https://nathanyoung.design Nathan Young » Graphic Designer Sat, 05 Jan 2019 22:38:35 +0000 https://nathanyoung.design en https://nathanyoung.design/Homepage Wed, 05 Dec 2018 23:53:40 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Homepage 👋 I am a designer and Assistant Professor at the Tyler School of Art + Architecture. <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/627f3800f37a7dc37335b5937f47de0db499f29b1805d043cd463393febab34e/IMG_0137-Edit.png" data-mid="30165901" border="0" src="https://freight.cargo.site/w/1000/i/627f3800f37a7dc37335b5937f47de0db499f29b1805d043cd463393febab34e/IMG_0137-Edit.png" />Modern Sport <img width="1285" height="1319" width_o="1285" height_o="1319" data-src="https://freight.cargo.site/t/original/i/d068881dcb61317460d29517c96af9ff37e2b14a1d409573671fd3e16f1f8b48/NWY_Type-3_P3_Buesiness-Card-Mockup-18.12.2_thumbnail.png" data-mid="32961505" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/d068881dcb61317460d29517c96af9ff37e2b14a1d409573671fd3e16f1f8b48/NWY_Type-3_P3_Buesiness-Card-Mockup-18.12.2_thumbnail.png" />Jungfrau-Aletsch Sea-Level Projections <img width="5795" height="3718" width_o="5795" height_o="3718" data-src="https://freight.cargo.site/t/original/i/902dbc400e6a75d2092cf8442db9f2556734e369eee1f122db86fde91bfd0d62/fruitwebsitemockup.png" data-mid="30168550" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/902dbc400e6a75d2092cf8442db9f2556734e369eee1f122db86fde91bfd0d62/fruitwebsitemockup.png" /> Fruit for Thought <img width="480" height="270" width_o="480" height_o="270" data-src="https://freight.cargo.site/t/original/i/21b0b19583e3ac67b168a37b33136471321555ad7ebef798d17777d20c53b24c/giphy-1.gif" data-mid="35436186" border="0" data-no-zoom src="https://freight.cargo.site/w/480/i/21b0b19583e3ac67b168a37b33136471321555ad7ebef798d17777d20c53b24c/giphy-1.gif" /> Baby, I’ve Been Here Before <img width="988" height="679" width_o="988" height_o="679" data-src="https://freight.cargo.site/t/original/i/9100462c1f9ae95da1abbae2af1d1346c8e096657efb41a603d6c835ba0a1d61/Monsters2.gif" data-mid="30134682" border="0" data-scale="100" src="https://freight.cargo.site/w/988/i/9100462c1f9ae95da1abbae2af1d1346c8e096657efb41a603d6c835ba0a1d61/Monsters2.gif" /> All the Final Hollering Monsters Melodrama <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3b74e27b39158897c30478eb870810e785427569ef86312004994c455cb67589/THESIS_1-1-Posters_TapestryChunks_Mockup_18.12.06.png" data-mid="30072889" border="0" data-scale="100" data-no-zoom src="https://freight.cargo.site/w/1000/i/3b74e27b39158897c30478eb870810e785427569ef86312004994c455cb67589/THESIS_1-1-Posters_TapestryChunks_Mockup_18.12.06.png" />American Tapestry <img width="2298" height="1321" width_o="2298" height_o="1321" data-src="https://freight.cargo.site/t/original/i/f8c42031b125d5d2b43cded3150b0331ee4c54543d776210b34a7a631a3b9c67/XD_NWY_Labor-of-Love_2_181207.png" data-mid="30167422" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/f8c42031b125d5d2b43cded3150b0331ee4c54543d776210b34a7a631a3b9c67/XD_NWY_Labor-of-Love_2_181207.png" />Labor of Love <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/0e30214233ccdc422911aeff92b35e2f49cd634a6ffa9f8a611521576692fe77/IMG_7550.jpg" data-mid="30166964" border="0" src="https://freight.cargo.site/w/1000/i/0e30214233ccdc422911aeff92b35e2f49cd634a6ffa9f8a611521576692fe77/IMG_7550.jpg" />If You’ll Believe in Me, I’ll Believe in You Phones with Friends <img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/fc87ba8273913d48b709767f20c0c39cb69906a1707de7390a83b464fcd98c51/MOPO-Mockup-181207.gif" data-mid="30150519" border="0" src="https://freight.cargo.site/w/600/i/fc87ba8273913d48b709767f20c0c39cb69906a1707de7390a83b464fcd98c51/MOPO-Mockup-181207.gif" /> The Moving Poster body.homepage, body.homepage .content img, body.homepage a { https://nathanyoung.design/Writing-1 Sat, 05 Jan 2019 21:35:02 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Writing-1 Writing <img width="1500" height="2135" width_o="1500" height_o="2135" data-src="https://freight.cargo.site/t/original/i/71d0c16e7b4a758a66c97ffb5dd661956862180fe8d889aee1bcbc21bd9ee1c3/a18.jpg" data-mid="31954879" border="0" src="https://freight.cargo.site/w/1000/i/71d0c16e7b4a758a66c97ffb5dd661956862180fe8d889aee1bcbc21bd9ee1c3/a18.jpg" /> Wayfinding with Wombatsv.1, &nbsp;May 2017 <img width="3988" height="3797" width_o="3988" height_o="3797" data-src="https://freight.cargo.site/t/original/i/b25575309fc815b2ce6778050f9d08a40c284397f6e025368b456692868e546c/RISD_GD_Triennial_Broadsheet_01_CRITIQUE_HIRES.png" data-mid="31954884" border="0" src="https://freight.cargo.site/w/1000/i/b25575309fc815b2ce6778050f9d08a40c284397f6e025368b456692868e546c/RISD_GD_Triennial_Broadsheet_01_CRITIQUE_HIRES.png" /> Part of the Problem RISD Graphic Design Triennial, Oct. 2018 https://nathanyoung.design/Wayfinding-with-Wombats Sat, 05 Jan 2019 21:20:29 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Wayfinding-with-Wombats Wayfinding with Wombats Originally published in v.1, the RISD Graduate student publication, in May 2017. April 1, 2017 My new iPhone arrived in a small, nondescript cardboard box. The FedEx driver left it at my back door in the rain, like an unwanted infant-wizard in a basket—seemingly innocuous but imbued with immense power. Fortunately my neighbor, Kelly, brought the package inside to safety, without even knowing its significance. She’s cool like that. &nbsp; For those who are privileged enough to own a smartphone, the relationship with the device is often incredibly intimate. We keep them in our pockets at all times, like marsupials with their young. But then, every two years or so, we rather callously upgrade to a newer, prettier joey. As such, the peaceful transition of power from one phone to the next has become a sacred American tradition. I held my breath in anticipation as I booted up the new phone, not for the safe transfer of my data, however, but for the preservation of its placement. On WombatsSince August 2014—for 2 years, 7 months, 4 weeks, and day—I have been arranging the applications on my phone by color. The inspiration came from Scott Dadich, designer and then editor-in-chief at Wired magazine, who used his “Letter from the Editor” that month to ennoble his color-coded app organization system. He put his apps into folders, one for each color, wryly asserting “I’m never more than two taps away from any app. It’s super-efficient and not weird at all.” This made total sense to me. My first job out of college was at ArtHouse Design, a boutique firm in Denver that (among other things) designs signage systems for hospitals and museums. There I learned the holy sacraments of wayfinding signage, the most important of which is this: Help people remember where they parked. When you take your kids to the zoo, the zone you parked in will most likely be coded with: the name of a cute, furry animal, let’s say a wombat, written out as a word,a graphic image of the wombat,a numeral for the wombat-zone, and a color for the wombat-zone. After a long day of family amusement it can be difficult to remember where the car is, and a prolonged search for the car can spoil the whole experience. That’s when multimodal wayfinding comes to the rescue. Everyone remembers a certain detail better than others—the number, the color, the word, or the furry wombat. Dadich is clearly a color guy. Most of us are. First Steps When I sat down to arrange my apps by color, I deduced that the folders just weren’t going to work for me. <img width="640" height="1136" width_o="640" height_o="1136" data-src="https://freight.cargo.site/t/original/i/1673ebad3430150392c36e00625afae7b72517352dd146f5f70cc32f7ec86982/IMG_4878.PNG" data-mid="31937965" border="0" data-scale="53" src="https://freight.cargo.site/w/640/i/1673ebad3430150392c36e00625afae7b72517352dd146f5f70cc32f7ec86982/IMG_4878.PNG" /> above: no good I didn’t always have nine apps of a certain color, making some folders look lumpy and incomplete. To remedy this, I began to free the colors from the confines of their folders and blend them from one hue to the next in a flowing, candy-colored stream. This was my breakthrough moment. <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/d0a6c7345fc16dafb0ddf5abbef4ff172a32721601e538fd7aa7ab212a6d807a/IMG_6020138.jpg" data-mid="31938032" border="0" src="https://freight.cargo.site/w/1000/i/d0a6c7345fc16dafb0ddf5abbef4ff172a32721601e538fd7aa7ab212a6d807a/IMG_6020138.jpg" /> above: my breakthrough In my old life, my phone was a calamitous clash of jumbled letters and logos, not to mention the red “badge app icons,” with their insistent little numerals. Once I began to slide those dancing squares into color-harmonious families, my phone became a Zen-filled peace palace. While the folders were an efficient response to a design problem (i.e., finding the car) I had designed an experience, one that valued serenity over speed. Scrolling from one screen to the next is like spreading frosting on a birthday cake; a healing Care Bear stare in a careless world. HookedMy app colors became my only hobby. I’d tinker with them while waiting at the doctor’s office. Before bed. When I woke up. If an app changed its icon (an event that occurs with surprising frequency), I would relocate it, reassess its new color family as a whole, and ease the disruption left by its wake. I was the first of my design-nerd friends to learn of Google’s recent rebrand because its icon went from white-on-blue to 4-color-on-white. Uber’s too. AirBnb. I remember them all.&nbsp;<img width="750" height="1334" width_o="750" height_o="1334" data-src="https://freight.cargo.site/t/original/i/6f51301e11c8c33275e1575e58f28e5fe5d76342e725fd1583d32d8b22d03d15/IMG_1901.jpg" data-mid="31938365" border="0" src="https://freight.cargo.site/w/750/i/6f51301e11c8c33275e1575e58f28e5fe5d76342e725fd1583d32d8b22d03d15/IMG_1901.jpg" /> above: automatic updates means the visual environment is in a constant state of flux. There have been bigger changes too: iOS updates provoke an annual sea change, and when I moved from an iPhone 5 to a 6, I gained a WHOLE EXTRA ROW of app space. You might think these constantly changing conditions were frustrating, but I found the process relaxing, meditative. I was a tree in an old-growth forest, the world changed and I grew with it, mindfully, easily, slowly. I had to give up on Two Dots though. They change colors way too much.  (I keep it in a grab-bag section in the back.) At first the apps I used every day were enough to satisfy my preference for smooth transitions in hue or value, but it didn’t last. I started to peruse the app store just for colors. I scoured app-review sites, justifying the new additions taking up storage space (and on a few occasions, actual dollars) because of their great ratings. Noisly is the best rain-sound generator, by the way. Actually, Rain Rain is also good, and it fits nicely into my blue-on-white section, so I have both.  My only rule is it needs to be an app I might use. If it’s a crappy app, I won’t keep it. I’m not an animal. Planned Senescence It’s been two years since I started down this road, and with time my standards have mellowed, developing into a kind of self-acceptance. For one, I no longer keep apps that I don’t use. I’ve also decided a page of apps can be uneven, no longer restricted to a perfect 4 x 6 grid. <img width="856" height="1528" width_o="856" height_o="1528" data-src="https://freight.cargo.site/t/original/i/a12c73d01876db6b7e26b5d395d93aaea3cbd75a71d0bb7fd13e3ec703d1b772/Screen-Shot-2019-01-05-at-5.04.53-PM.png" data-mid="31938548" border="0" src="https://freight.cargo.site/w/856/i/a12c73d01876db6b7e26b5d395d93aaea3cbd75a71d0bb7fd13e3ec703d1b772/Screen-Shot-2019-01-05-at-5.04.53-PM.png" /> above: embracing imperfection If an app changes color, I just move it where it looks nice, or maybe even delete it. No reassessment. No big fuss. In a way, I’ve let go of my role as a designer altogether—content in reaping what I’ve sown. When changes come my way, I don’t need to control them. I simply notice them and let them dance on by.&nbsp;-- Back <img width="1500" height="2135" width_o="1500" height_o="2135" data-src="https://freight.cargo.site/t/original/i/1a48467cf445d079447c53aed081a6a39943ce371b04c5a3dda7da1948bc4122/a18.jpg" data-mid="31936310" border="0" data-scale="47" alt="Original publication in v.1, 2017" data-caption="Original publication in v.1, 2017" src="https://freight.cargo.site/w/1000/i/1a48467cf445d079447c53aed081a6a39943ce371b04c5a3dda7da1948bc4122/a18.jpg" /> https://nathanyoung.design/Part-of-the-Problem Sat, 05 Jan 2019 22:38:35 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Part-of-the-Problem Part of the Problem Originally published in the RISD Graphic Design Triennial publication, October 2018Since the advent of mechanical reproduction, we have inundated our planet with combinations of Type and Image, or what we loosely now call “Graphic Design.” (Let’s just say design.) In this century, the amount of design that reaches our eyeballs on a daily basis has increased exponentially, and the stakes of this onslaught on our contemporary culture are high. Design theorist Tony Fry argues that design is unambiguously, profoundly political, in that it wields the power to either “serve or subvert the status quo.” Building one’s design practice in 2018, a designer must question: How much of all that design, in text and subtext, subverted the status quo? Or, chillingly: how much of that unquantifiable sum was the dutiful servant of white supremacy, colonialism, hetero/cisnormativity, ableism, and misogyny? There is power in Type and Image — and if the world is broken in 2018, design helped make it so. There is a robust history of design contributing to dissent, and credit is due to the many designers who have centered their practice in fighting injustice. Where we have repeatedly fallen short is to take responsibility for reinforcing a culture that is unjust. We must stop pretending that we haven’t been a part of the problem all along. We have neglected this obligation for decades. The need for the field of design to be critical — of itself, its patrons, its audience, and systems of power — is paramount. In my design practice I have become interested in leveraging the familiar conventions of design to expose societal ills and the designer’s role in calcifying them. In American Tapestry, featured in the RISD Graphic Design Triennial, I visualize the pattern of mass shootings in the United States as a literal surface pattern—one of the trappings of commercial products—with an urgent, commercial voice. <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/99ef4119fed49917fa5332af5007f81d5ae71387363deecafa2aa6f8a33ebcea/GDT_2018_099.jpg" data-mid="31954011" border="0" src="https://freight.cargo.site/w/1000/i/99ef4119fed49917fa5332af5007f81d5ae71387363deecafa2aa6f8a33ebcea/GDT_2018_099.jpg" /> above: American Tapestry at the&nbsp;2018 RISD Graphic Design Triennial, Woods-Gerry Gallery, Rhode Island School of Design My aim (pun intended) is to disentangle the terrible tapestry of commerce and violence that is woven into the fabric of the American experience. To see an AR-15 as a product (deflating it from the sacred rite the NRA clings to with their cold, dying hands) is to imagine a world where market pressure can influence their continued sale and manufacture. With this work I sought to 1.) shine a light on design’s onerous relationship to consumerism, having marketed of all kinds of morally-despicable products and ideas in the 20th century and 2.) exploit this relationship, repositioning the AR-15 not as an abstract representation of freedom but as an outstandingly lethal commercial product. My thinking around critique in design is rapidly expanding. Design has historically sought to over-simplify, reducing complicated narratives to quippy one-liners. Instead, our approach to design (and critique) should be expansive and, crucially, self-reflexive. We must question every choice— Who do your choices leave out, or silence? Will you include them? What do you choose to reaffirm about the culture? Should you? -- Back<img width="3988" height="3797" width_o="3988" height_o="3797" data-src="https://freight.cargo.site/t/original/i/b25575309fc815b2ce6778050f9d08a40c284397f6e025368b456692868e546c/RISD_GD_Triennial_Broadsheet_01_CRITIQUE_HIRES.png" data-mid="31954216" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/b25575309fc815b2ce6778050f9d08a40c284397f6e025368b456692868e546c/RISD_GD_Triennial_Broadsheet_01_CRITIQUE_HIRES.png" /> 2018 RISD Graphic Design Triennial Publication design by Annaka Olsen and Olivia de Salve Villedieu <img width="2783" height="2132" width_o="2783" height_o="2132" data-src="https://freight.cargo.site/t/original/i/d686cb7c370a98c5a684248b3b42c83be208fde486c6b6325f8f5d868afbe408/GDT_2018_079.png" data-mid="31942609" border="0" src="https://freight.cargo.site/w/1000/i/d686cb7c370a98c5a684248b3b42c83be208fde486c6b6325f8f5d868afbe408/GDT_2018_079.png" /> 2018 RISD Graphic Design Triennial, curation and design by&nbsp;Goeun Park and&nbsp;Joel Kern https://nathanyoung.design/Sea-Level-Projections Sat, 08 Dec 2018 01:30:25 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Sea-Level-Projections Sea-Level Projections Climate change could raise the global sea-level by 20 ft. in the next 180 years (The New York Times, "What Could Disappear" 04/24/2016). RISDs Fleet Library building ("15 West") is 9.8 above sea-level. Sea-Level Projections is a proposed projection mapping installation, casting the expected sea-level rise on to historic buildings in Providence, RI. The locations are buildings with historic flood markers, indicating the extent of disasters past. Sea-Level Projections indicates the extent of disasters yet to come. Music: Jonny Greenwood, Baton Sparks https://nathanyoung.design/Phones-with-Friends Fri, 07 Dec 2018 22:10:29 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Phones-with-Friends Phones with Friends Smartphones are a bizarre contradiction, seemingly connecting us with others in virtual space but isolating us from others in physical space. By “hacking” the widely available platform of Instagram these seductive devices are repurposed to generate unexpected joy with others. https://nathanyoung.design/The-Moving-Poster Fri, 07 Dec 2018 19:29:54 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/The-Moving-Poster The Moving Poster Prototypes for exercises for my&nbsp; Moving Poster course (during RISD’s Wintersession, January 2019).<img width="2000" height="3115" width_o="2000" height_o="3115" data-src="https://freight.cargo.site/t/original/i/efdfcea738d269a1427942284374a836d6c15c63592a4833267601ae1f04d114/NY_P6-Hot-Printing-Final_170206_3.png" data-mid="30146732" border="0" src="https://freight.cargo.site/w/1000/i/efdfcea738d269a1427942284374a836d6c15c63592a4833267601ae1f04d114/NY_P6-Hot-Printing-Final_170206_3.png" /> https://nathanyoung.design/All-the-Final-Hollering-Monsters Fri, 07 Dec 2018 20:21:30 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/All-the-Final-Hollering-Monsters All the Final Hollering Monsters I wanted to bring my work into unexplored formal territory, so I created a system that forced me to make choices incrementally, rather than divergently. I then devised a book that gives the viewer the previous, current, and next step in one spread. In this way, I’m forced to reconcile the next step with the previous step, making clear to the viewer where we were before and what has changed. The text is from A Coney Island of the Mind by Lawrence Ferlinghetti, and articulates how the nightmares of Goya’s paintings and what Susan Sontag called “the Imagination of Disaster” are all around us— only the landscape has changed. <img width="1000" height="1198" width_o="1000" height_o="1198" data-src="https://freight.cargo.site/t/original/i/26644273809c5f24a0b1ec6e87976d842aa66470eec04c31ba89811117d3929f/Hollering-Monsters-1.png" data-mid="30151682" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/26644273809c5f24a0b1ec6e87976d842aa66470eec04c31ba89811117d3929f/Hollering-Monsters-1.png" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3f839a10eddee2ab7ffb81fdfa33d56350ab463575b2d4e6eb581c7b6970baa2/Hollering-01-end.png" data-mid="99335537" border="0" src="https://freight.cargo.site/w/1000/i/3f839a10eddee2ab7ffb81fdfa33d56350ab463575b2d4e6eb581c7b6970baa2/Hollering-01-end.png" /> <img width="1027" 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data-src="https://freight.cargo.site/t/original/i/fda906ae60f1a3b748fac534fd5dd0e3ea3384ceed8455599b8b93660089ff84/Hollering-60-72-ppi.png" data-mid="99335571" border="0" src="https://freight.cargo.site/w/1000/i/fda906ae60f1a3b748fac534fd5dd0e3ea3384ceed8455599b8b93660089ff84/Hollering-60-72-ppi.png" /> <img width="2155" height="1616" width_o="2155" height_o="1616" data-src="https://freight.cargo.site/t/original/i/12afc56116374f9ee51d15cf39b0a7e7d6c0ff69a899247262c17baa8067d078/Hollering-60-300ppi.png" data-mid="99335573" border="0" src="https://freight.cargo.site/w/1000/i/12afc56116374f9ee51d15cf39b0a7e7d6c0ff69a899247262c17baa8067d078/Hollering-60-300ppi.png" /> https://nathanyoung.design/Modern-Sport Wed, 05 Dec 2018 23:53:39 +0000 Nathan Young » Graphic Designer https://nathanyoung.design/Modern-Sport Modern SportExhibit and Catalogue <img width="3000" height="2000" width_o="3000" height_o="2000" 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data-src="https://freight.cargo.site/t/original/i/55ff819b5f79199569c1ab6126d3491680bc3fccc84c0a7f3dbb9907bd1970e6/IMG_0087_EDIT.png" data-mid="30163857" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/55ff819b5f79199569c1ab6126d3491680bc3fccc84c0a7f3dbb9907bd1970e6/IMG_0087_EDIT.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/970f8ac46df8b31f4698f559c46e6e75004aa8cb1af996b5f7d00bfca51cadcb/IMG_7414_EDIT.png" data-mid="30163864" border="0" src="https://freight.cargo.site/w/1000/i/970f8ac46df8b31f4698f559c46e6e75004aa8cb1af996b5f7d00bfca51cadcb/IMG_7414_EDIT.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f3c9aa0f96214309aa3fdb76e5d1d75060eeeab53ffc8ab6541d7c4fcfd7c106/IMG_0091_EDIT.png" data-mid="30163858" border="0" src="https://freight.cargo.site/w/1000/i/f3c9aa0f96214309aa3fdb76e5d1d75060eeeab53ffc8ab6541d7c4fcfd7c106/IMG_0091_EDIT.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e41c75c890c46b3a32bcd4dfea7d7a31f635a22a7f74644a190291a794c0450e/IMG_0075_EDIT.png" data-mid="30163854" border="0" src="https://freight.cargo.site/w/1000/i/e41c75c890c46b3a32bcd4dfea7d7a31f635a22a7f74644a190291a794c0450e/IMG_0075_EDIT.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ee8d649293d6396a243bd1387ddc10ae6a12399883c602b3c9bb9062200bef81/IMG_0131_EDIT.png" data-mid="30163861" border="0" src="https://freight.cargo.site/w/1000/i/ee8d649293d6396a243bd1387ddc10ae6a12399883c602b3c9bb9062200bef81/IMG_0131_EDIT.png" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f2cffa7b89699e1f7912ce0344ec76a7f9e0fb2f015616ae19ba2ab4ed13141f/IMG_0018_EDIT.png" data-mid="30163850" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f2cffa7b89699e1f7912ce0344ec76a7f9e0fb2f015616ae19ba2ab4ed13141f/IMG_0018_EDIT.png" /> Exhibit The credo, “guns don’t kill people,people kill people” is ubiquitous. With one bumper-sticker argument, gun advocates ingeniously removed firearms, the tactile, designed objects, from the gun control debate. Since, advocates have had much success by sticking to their guns, purporting that they are a morally-agnostic tool. Any tool, they argue, can be abused. If a government prohibits the sale of a firearm (any firearm) — what’s next? Shall we also outlaw hammers? Automobiles? The holes in this logic are .950 caliber, especially when confronted with the outstanding lethality of the AR-15-style assault rifle. Whether directly fashioned after weapons of war or a product of convergent evolution in the civilian market that achieves the same end, these weapons fire bullets at 3,250 feet per second — two and a half times faster than a 9-mm handgun, and nearly three times the speed of sound. Instead of cutting through human tissue in a clean, straight line, bullets at this speed displace the matter around them like a shock wave. Exit wounds can be the size of an orange. The engineering term for this displacement is “cavitation.” If a bullet from a 9-mm handgun passes through the torso and nearly misses the aorta, the wound is survivable (provided the victim receives care quickly.) A bullet from an AR-15-style rifle need only to strike in the vicinity of the aorta and the cavitation shock wave pulverizes the artery beyond repair.2 Worse, assault rifles are semi-automatic, dispatching bullets as quickly as one can pull the trigger; about 2 to 3 times per second. An average shooter can easily empty an AR-15 magazine, 30 rounds, in 15 seconds, every one of them supersonic. In the intervening years since the Columbine massacre in 1999, a new narrative has become painfully ubiquitous— that of the “mass shooter,” killing as many of their fellow Americans as they can. Mass Shooter / Modern Sport seeks to question if the shooter’s chosen “tool” (or indeed, any tool) is morally-agnostic; reclaiming these designed objects from abstract argument and reinstating them in shared space, at 1:1 scale. Catalogue This is a catalogue for an exhibit that never happened. Modern Sport, the exhibit, is a speculative endeavor. The show did go up long enough to take photographs, thanks to the generosity of Access Gallery in Denver, CO, and especially to their executive director Damon Y. McLeese. I enthusiastically encourage you to support the gallery and their mission.Find more about them at accessgallery.org. The printed publication serves as both the catalogue for the exhibition, and as an exhibition in itself. The nature of this book ensures that every object in the exhibit is reproduced&nbsp; in 1:1 scale.While the experience of each exhibit — one architectural, one sequential — differs considerably, I hope the empathetic response is the same. <img width="2602" height="1951" width_o="2602" height_o="1951" data-src="https://freight.cargo.site/t/original/i/d9c9017c11f4724510a761df6a61ecaee0ac7009de0751f99b855ac84371633e/Modern-Sport-Cover-Mockup-2.png" data-mid="30165235" border="0" src="https://freight.cargo.site/w/1000/i/d9c9017c11f4724510a761df6a61ecaee0ac7009de0751f99b855ac84371633e/Modern-Sport-Cover-Mockup-2.png" /><img width="4000" height="2700" width_o="4000" height_o="2700" data-src="https://freight.cargo.site/t/original/i/55e072e3c2644d6aa892c4820acf3fa5ba5f4f33dd4f628a97b9aeaad150cacc/Modern-Sport-Cover-Mockup_interior-143.png" data-mid="30165360" border="0" src="https://freight.cargo.site/w/1000/i/55e072e3c2644d6aa892c4820acf3fa5ba5f4f33dd4f628a97b9aeaad150cacc/Modern-Sport-Cover-Mockup_interior-143.png" /> <img width="2000" height="1350" width_o="2000" height_o="1350" data-src="https://freight.cargo.site/t/original/i/8f42cd94cbec07979429f96bc96b4486d6de004808121a36846e3e8fa8f1dd42/Modern-Sport-Cover-Mockup_interior-29.png" data-mid="30165742" border="0" src="https://freight.cargo.site/w/1000/i/8f42cd94cbec07979429f96bc96b4486d6de004808121a36846e3e8fa8f1dd42/Modern-Sport-Cover-Mockup_interior-29.png" />