Telling the story by hand and meditation.

I can recall designing and writing out a phrasing by Michelangelo Buonarroti, “By hand, which follows mind and meditation.” It’s actually a telling that follows a longer contemplation:

“The best of artists never makes creation
That is not hid already in the stone
In marble fixed and yet the work is done
By hand, which follows mind and meditation.”

The point comes down to the notation that the spirit of the mind, and memory, in meditation — the contemplation of an idea, or ideal, that bridges and interweaves that translation, the transforming of dream to expression, pushing out the story and the invention of interpretation. If “illustration” as I recently told a group of brand + design students is about making something “shine;” and that “translation” — is a transferring [which inherently means a carrying or a ferrying], while transforming is a movement through form, the idea of the hand touch carries through each and each is a lensed treatment of the perspective of the soulful insight — these movements are signs, signals, signatures and sigils of — the person. As in the founding meaning of the word “interpret” is “to spread” — to explain, expound and understand — all of these are journeys in which the hand plays a part in the telling of that story.

A friend, Steve Heller, art director, writer, educator, publisher and scholar sent this link, his blog notations, along to me, a blog that he found relevant to my commentary, a non-digital laboratory in a wholly digital company; the analog lab at Facebook.

A key message from Heller’s discussions:

“Barry’s Analog Lab team art directs the physical spaces and signage programs to insure that design reinforces the Facebook culture. And recently an artist in residency program was instituted, where outside artists are invited to create work for a period of two to eight weeks. And quoting Ben Barry, the art director of the Facebook Analog Design laboratory, a kind of visual brand culture design propaganda messaging office: “To me the act of creating the work is as important as the work itself because we are a culture of hackers/makers/builders.”

The touch of anything, especially not contained in the enclave of a screen, is a meaningful deepening of holistic sensation. And becomes more…unforgettable.

The hand, matters.

Tim Girvin | Girvin Island Studios | Decatur Island
G I R V I N |N E W WOWNESS
INNOVATION WORKSHOPS
CREATING STRATEGIES, PRODUCTS,
IDEAS FOR CHANGE.
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The Waves of Brand Story from the Light

When I walk into a place, I think about what I feel.
When I watch a person — in my room, my immediate space, I watch them wholly.
When I look at, read a story, I try to sense it, that telling, before I do anything else.
I listen big, and open — I try to hear the sounds, the inflections, around the sound.
I try not to evaluate it, but flow into it to sensually “see” what I can feel in that telling.

These days, it’s all about that sensate holism.
And, in the end, it all comes back to that idea of feeling.
It’s not the facts that matter in the end, it’s the feeling of it.
I don’t know that people really think and act on facts alone — it’s good “facts” with concomitant feelings and emotionality to support the follow-through to decision-making. People think with their instinctive reaction to what feels right — not, solely, the grounding of numbers and facts, alone. Surely, there are divisions in humanity of thinkers and feelers — but intuition and holistic “feelingness” can hold sway over even the most linear of analysts.

Not that everyone is spending all their time slipping into the dreamtime of holistic experientiality [I coined that for the moment -- a state (and degree) of experience character; I'm sure you've got another word for it. What is that?]
The point to enlarged and sensitive experiencers is that that holist sensuality is layered on a rippling of touches.

Think on this, as a retail designer.

You’re walking the street — a football field away, you see the shopfronts and the signing from afar. Getting closer, the building and its envelope supports a greater experience — textural character, materiality, sound, foot-track+touch character, greenness, air quality, light and reflectivity — all of these spill out to the storytelling and the sequential procession
and impressions of place.

That perception is sequencing — and it flows out, and flows in — just like the movement,
flowing in, flowing out: ingress and egress. It’s a rippling — like the energy that we flow, and move in, it’s what we see — what you sense: vibrations and molecular movements, the fluttering of sound, the flickering fractions of light — shimmering, a glimmering reflections of movements. Light passes, as do we — through it, by it, and around it.

The point might be is thinking about your flow through the brands that you work on — how to make the layering of their stories act as a sequencing of ripples.

The wave is a telling — like the experiencer, it flows in, out, through and repeats.
People walk in, they connect and embrace with the sense and state of place, the recall that frequency of storytelling and this is shared, flowing onwards.

A ripple, like a wave — flows on and on.
But it starts with the first wrinkle in time,
rippling wider in the rings of grasping consciousness
in the spirit of the experiencer.

TIM | GIRVIN STUDIOS | NYC
….
YOU COULD FEEL BETTER
HOLISTIC WELLNESS & PLACE
THE STRATEGY OF CREATING
HEALTHY PLACES OF BEING
http://www.girvin.com/subsites/wellness
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wellness experience design, storytelling + brand = http://bit.ly/XIQ0vm

The Whorl of Making and Imagination

Sometimes when I’m thinking about a challenge, working my way throughout a complex puzzle — I draw my self into it, and out of it.

Above, my little finger on an iPhone.

Below, the dinner table and a team meeting, whirling:

In a manner, drawing in the mind-full and mindless state of the scratching doodle, you go in and out and in that weaving there is a sorting — a plan, an approach emerges in the whirling whorl of distraction, abstraction and traction.
In making a nest, the drawings seek to enwrap the egg of the idea.

It happens.

But it got me thinking about patterning, and the whirling of layers of containment and the contentment that comes from, and in, that making.
I was contemplating the nest, which, in a way is an attribute of Motherhood, the making — and, in the weaving of the nest, the nature of inspiration.

Isn’t it so that the wisdom of Mothers teach us, take us home and into the heart, the heat of hearth and the holism of making? Home, heart, heat, hearth — it all threads and intermingles in the web of the archetypal, together, gathered.

To the symbolism of nest and Mother, these contemplations aren’t new, they go way back. A way back, my path, my journeying — along the red thread of meaning, con-text, framing, and the magic of being [in that place we are working: design].

A nest is an ancient word, it’s a world.
Nest is neatness.

Island installation of bird’s nest and hornet nest

Weaving that story, the whorl of contained contentment, habitation, familial community — containing the egg, the center of that making, that protection, there are stories, on stories, in stories.

Told.

You go where you go.
You come back from where you’ve been.

May, be.

TIM | GIRVIN island studios
…..

G I R V I N | N E W WOWNESS
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The Rhythm of Insight, Seeing-In — 1000 Eyes –
the brushstrokes
of Storytelling, the Rippling of Imagination

I was looking into the eyes of a dragonfly that I’d arranged on a mapping, a cartographic
brush-drawing of a circle stroke of containment.

That stroke, an enso,
is a meditation on completion and fullness, in the balance of nothingness.
I see the rich raven-black of the strokes seeping into the fabric, and they bleed into a tiny multiplicity of micro-strokes and tendrils, as the ink trails out, following the line. There is a symbolism in the weaving of ideas. One stroke, feathers along the warp and weft, to lay out, in a matrix of inked runnels — the idea seeps into lines of threading known and unknown, grasped and held — distantly touched in the capillary gathering of the ink, long those lines. Like storytelling — and the hold it makes, moving out in the rippling of telling. There is a synchrony between the strokes of the enso, the architecture of their explosive distribution and the wings and designed brilliance of the odonata.

In my world, a whorled view,
the idea of the stroke and the energy of a drawing –
could be the live-wired framing of the armature of a living being –
the spirited spatter lines become pulses, heart rhythms, quivering sensation.
Others espy a more direct assemblage of designed thinking,
natural review
and the emblems of outcome.
I never seem to think quite that way, or Kurzweil‘s immediacy — below, the “bug’s eye camera.”

Then again, I’m not him — I’m holding the truth of the place
that I live, see, sense in.
That’s a touching world — sweat, salt, the wafted scent of forest, the rasp of fabric and the call of the brushstroke, the ox gall bitterness of the black ink, trailing its lines, telling its stories.

Like real stories, the spattered wetness of the forced line –
once they’re told, they get out there –
farther than you could hope to know.

TIM | GIRVIN | SPOKANE CREATIVE STUDIOS
…..

WEAVING BRANDSTORIES
CROWD MIND | EXPERIENCE DESIGN | MEMORY STRATEGY
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AND THE ATTENTION TO DETAIL, IN THE SPATTERING OF INSPIRATION.

When I was in college,
I taught workshops to help my payment of the tuition, along with support from my family.
I used variously colored butcher paper to do that –
pulled, ripped out and sheared on a rolling roller of “wrapping paper stock.”
We have this in the office, on rollers, to move around the office, for improvisational note taking
and idea jotting, think mapping.

All photography, this blog,
by Gabrielle Girvin

What I found was that doing banners created a kind of splashy formatting for sharing ideas — like rollable white boards.

Meeting with a friend, recently — we talked about a transformation of a text, to a banner, in support of a very special place — an office wall, above a set of brilliantly fired Ferrari red file cabinets. I’d pointed out that a strip of red, torn, with spattered black calligraphy, could be a good banner to this idea:

“The difference between mediocrity and excellence is attention to detail.” That’s Sebastian J. Barbarito.

And it’s in the details that the emotional resonance of a design emerges.

series of things — but to one, “intention.”
You’re doing something, but why — what is the drive to direction?
What do you, are you, intending?

Intention — and its aligned word, attention, are thematically compelling to me and our teams. What’s the point — what are you doing and why are you doing it? This, a foundational question — both to the inside messaging — the internal teams, and how these expressions become experiences on the outside. The words, intend, intention, and the attending to attention. They link to muscle – tendon, and tensility as well as tenet. In intention, as well as attention, there is a principle of “turning in to – turning focus towards.” That relates in a manner to the concept of stiffness, rigor, discipline –
or a “cord” — a string that ties things together.

Thematically, in the grand arc of metaphorical thinking at Girvin,
we think about what lies within,
and what lies beneath, the deeper allegory,
in the poetry of people in story-making and telling,
in many things.

It’s never just the work,
it’s the meaning and the why of it.

When I think about a piece of writing, I flow into that script in
the spell-binding of the story
that lies within –
I consider:
scale,
flow,
spatter and
energy,
drive and
follow-through:
the flourish,
and the finish.

I’m looking for the energy of that drive-through the literature,
I’m looking to transform, and translate the wafting whisper of ideas, voiced, and now evoked — there’s a story, a script, a message, and how do you go through it, to the rendering on the other side.

In the end, that journey, like spell-making, binding and casting, sigils and symbolic formula –
the calligraphy of ideas,
mapping in
a cartography of breath, energy, flow.
The red is a thread of blood –
scribed and scratched and overlaid in black –
a set of incantations.

It’s all magic.

Like the college days, the core of my teaching to dozens of students, is
how to make that breath of expression, that meditation, live.

There is the inspiration.
There is the breathing-out,
the washed fluency of ink and blood –
and you move through to the other side,
where it’s not a dream,
but it’s an “acted-on”
principle of movement in the execution of
the best, the ideal — the perfected.

The quote was an item of discussion — and then an artistic drafting for a friend, designer and core creative director at Starbucks — long a point [Starbucks] of blogging commentary by Girvin.

I watched, I read, I listened, I pondered the dimensions of the place of installation –
then exhaled and drew, fast and without a plan, wet and full of curiosity about what
might come forth, a surprise in the risk of the wet, the black, the flow, the flung.

Done, gone, and shipped.

We’ll see what he thinks of the details.

When I think of details, I contemplate, in the thoughtfulness of strategist, and pattern language theorist, Christopher Alexander — who espouses that real human design — the quest for beauty, in the details, will show up for relevance in meaning — in “an eighth of an inch.”

Details.
Detailed.
Detail.

Piece by piece, step by step, en détail.
Tailored, that touch, that moment.

TIM | Spokane
Girvin Creative Studios
…..

G I R V I N | N E W  WOWNESS
INNOVATION WORKSHOPS
CREATING STRATEGIES, PRODUCTS,
IDEAS FOR CHANGE.
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I just told this story recently.

I was working with a colleague, in Florida — our client, her boss, was Michael Eisner. He had a dream about a Disney place that would be a kind of learning experience — but something even slightly theatrical, a traipsing venture, akin to his memories, along with his wife of the notion of Chautauqua — a circuit of entertainments and wisdom-wanderers that might sparkle wonder in a rural road of touring. The proverbial Chautauqua circuit — a way of self learning, that has a deep legacy in the roots of american culture, which reached its closing nadir in the mid-1920′s. Eisner’s dream was the Disney Institute — and our role, to the branding of it.

Different now, than then.

But, presenting to another group in California, I was talking about the layering and detailing of experience. And at the conclusion of the talk, a woman came up and said — “I went there, to that Disney Institute place — very fancy, very nice, a big place. But what was something that I remembered, wasn’t the big things, it was the small things, the touches — little details that I’ll never forget. And it’s not that I’m an interior designer — but when I go places, I look at things. I remember noticing that there were many little things, seals, icons, devices — and they kept coming out — these icons — stories in teaching, showing themselves — ways to learn, what to learn, and finally, how to learn. It wasn’t the big, but it was the small that stitched themselves together, to lead me somewhere, to get the whole, big idea.”

Sometimes, big ideas come out of small packages –
big stories, from just
a haiku of imagery.

When I was working in Paris, I’d linked to Serge Trigano — we co-paneled at a function at the American Embassy — we talked about story, touch, place and meaning; the idea of touch-points and place-making taught me a lot. We talked about his new concept — Mama which he brainstormed and built with Philippe Starck — and is now defined as the most innovative “business hotel” in Europe. When I was working there, talking to him — we talked about his early visioning for Mama, another tier to the story here.

The point, to anything in the design of experiences — the big story, the small story, the large thinking of designed presence, to the smaller micro points of beautiful conceptions — is that it’s all of them. Mama works because there is a big story, and there are many small stories – there is a big design, and many tiny ones. Organic and osmotic, flow goes both ways — big, filtered to small, small channels to large — one intention, moves through the walls to show something wonderful in another room,
another place.

Speaking of Paris, I was thinking about design, inspirations and the crossover of the big story to the small — and the fresh eye, and storytelling, to one room, a gallery of rooms, a hotel, ViceVersa –
and Chantal Thomass.

I never thought of Chantal Thomass as an interior designer [rather, a designer of intimate apparel,] but she plays the role well: stories told, layered and lascivious, promiscuous and densely sensual. Stories told, played out in their telling — big and small — and laid bare.

The hotel is modeled on sin, all seven of them.
That is the big story, but the power will be in the layering of their smaller whispers.

Like, being a sinner, the presumption would be that you’d start your journey in “heaven.”
The lobby and reception:

You can guess the nature of these rooms?

What I’m curious about is how people experience places — how they come into one environment, SENSE — listen to the stories,
experience their telling,
and move into
that experience,
as a
co-experiencer of the
shared dream,
deep.

Deep.
Beneath.

TIM | VANCOUVER, BRITISH COLUMBIA
…..

THE STRATEGY OF RE-IMAGINING
HOSPITALITY & GUEST ENGAGEMENT
DESIGNING ENVIRONMENTS FOR UNFORGETTABLE PLACES:
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SPAS + WELL CENTERS

Happiness
experience
design,
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Hand-ground pigment, split timbers, scent and
the explosive splatter of haboku.

When I draw, my senses are open, the touch of the paper, the splintering of the wood, the sound — the gasp, the clasp, the rasp of the stroke of the brush on the stock.

We worked on the Lone Ranger, but the corvid insinuation above isn’t our design solution –
that’s another story.

I’ve thought about the fascination with the corvid class, the crows, ravens and jays for me.
Why do people associate crows, ravens and jays with underhanded doings, evil, the dark arts — seers in the other side of this plane of experience.
Perhaps?
They are smart, seen as tricksters — and, to drawing — the boldly symbolic, the splashiest black, as wisps of smoke, spattered black on wood, stone and paper — they say a lot in the power of their presence.
Drawing them, perhaps the draughtsman evinces that power?
Like the sorcerer and the sigil, drawing that formulaic symbol stroke calls them forth,
the evocation and conjuring –
their name is called in the drawing.

I favor the intuition of energy, capturing the ch’i in
the drawing, the spirit of the presence, and less to the
lonely artifice of that which tries to draw the science of light and form,
in the engineered facility of perfect alignment –
what is scene, in scene, and what is seen — and known.

Drawing in the washy brush painting,
“Zen” style of suiboku — energized brush work,
in blacks and grays, softened in water –
the spirit of the subject comes out; this might be
in the shattered black of “broken ink” style, haboku, or “flying white” — speed, and the reveal of white show forth — or, as below — the caw, caw, scrawling of scratch on stone, mark on wood.

Hatsuboku is wetter, watered, splashier and spattered — in these flash drawings, “flying white,” that captures drier airiness of energy, flying.
I’m looking to capture the faster snatch of soul, in that moment.
Seeing these birds, the flicker
and explode in a ruffle of black.

I’ve been drawing on split timber, hauled and splintered with an axe.
And stone, and found timber.

I’m looking for that energy. In a manner, as designers in the place of brand, enterprise storytelling and interpretation, it all comes down to energy –
how is that attitude, that cant, the interpretation rendered –
the [il]lustration, the shining.

And when someone likes the telling — do they hold it?

Drawing it out,
it’s like a burst of idea,
formalized.

Brush on wood, ink seeping into stone — there’s a heat in the translation; and in the drawing, you can smell the scent as it lays down — and a story is told in that formalized movement of translation, and transformation of that story — literally, physically, from one form to another.

See here, the splash of black, that storytelling:

Point is, there are allegories in the work –
deeper metaphors –
the depth of the practice; of course, the journey might be, right now –
what lies beneath, the layering of your efforts?

Tim | Girvin Island Studios

G I R V I N | BRANDS BASED ON GENIUS
BUILDING STRATEGY AROUND PEOPLE
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Drawing People
[in] with Flowers, the Flow
of Story in
the Craft of
Rendering Ideas

In my beginnings, I drew flowers — and sold them as art pieces and gifts; then, at Christmas, I did groupings of flowers, silkscreened and signed in limited editions of thousands. People collected them. The list grew and grew, so that Christmas time became days of work signing the full sized serigraphed prints. I’d go places, visiting recipients and find that the flower prints were the key art in office suites, Doctor’s offices, clients, and friends’ homes.

I was surprised how popular they were. Aside from their sheer graphical power, strikingly colored and profoundly saturated contrasts — they were simple treatments — brush-stroked renderings I still have parts of the run of every year during that period.

What I realized, in the end, was that aside from their “prettiness” it was the fact that they were of archetypal imagery. Everyone has a relationship to flowers — they, in their inherent symbolism spoke to the opening that each of us feel — we see a flower and its type, its coloration, each reflect and say something about who we are,
and when our
hearts first opened.

That patterning of the seed, the shoot, the stem, the bud, the efflorescence of blossom, the pistil and the stamen, the petal, the curling leaf — each part is symbolic, each tells a story and each reaches into our history, and the individual psychic place of memory and what we hold in our lives going forward. What we hold is everything; it’s what we carry — and in the etymology of carrying, from the Latin relatus — it is our relationships, and the stories that we pass into our communities.

Later, I thought that the 18×24″ posters were too complicated to build, sign and distribute, [often me, carrying dozens, like a poster hanger to offices all around the town] so we created another version — a string of them, over the course of a couple of years.

Let us know if you’d like one.

Is it possible that flowers are really emblematic of flow?

Flow,
notes from
our past.

To flower is to flourish.
An offering like these,
to story, is a bridge to
the gesture to
the state
of flourishing.

Explore
as you will,
and let us know
if you’d like one.

TIM | GIRVIN | DECATUR ISLAND STUDIOS
….

THE STRATEGY OF IMAGINATION +
HOLISTIC WELLNESS = PLACE
DESIGNING ENVIRONMENTS FOR HEALING + HEALTH:
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wellness experience design, storytelling + brand = http://bit.ly/XIQ0vm

teams: New York City + San Francisco & Bay Area + Seattle | Tokyo

How are Designers, Creative Minds, Changed by Babies?

Having met Tom Ford, albeit in a short quasi-interview and completely unscheduled encounter at a WWD | BEAUTY + FASHION CEO SUMMIT; I’ll admit that I was afraid [of him.] When I was working for YSL, I was told that Tom would never come to the store unless it had been cleared of everyone. Yet, talking to friend Dawn Mello, who might be credited with the first global boost of exposure for the power of the designer Tom Ford — “Tim, don’t worry, he’s just the nicest man.” In working with Shirin Von Wülffen, the wife of Frédéric Fekkai, while she was a publicity director at YSL — she said the same — “a super lovely man.” When I finally met him, connected live, eye to eye, there was a classical genteel mannerism, almost “Texas etiquette.”
He was so kindly, accommodating, generous, that I was shocked.

What would my take be, to influence — now that Tom’s a dad, with his partner Richard Buckley — is greater youthfulness, vitality, energy, and likely grounded-ness. That would be a foolish prediction, given Ford’s confidence and concrete stability in terms of his visioning of direction. Still, a warm man will become warmer, humbled in the presence of a young human being. That openness that is seen in the presence of a baby is all open-eyed, persistent exploratory and a completely enlightened view of — everything — in the rawest of exposures.
Everything’s new.
Imagine being a designer and realizing that you’re missing what you’re seeing because you’re so loaded with baggage. The long line of luggage, as carefully chosen as it might be, still — there is something to the journey which many of us have had, the zen mind of babies.
Wide open. To everything.

Now, about ten years older than Tom, I’m past a father, I’m now a grandfather — and watching my grandson, I realize that return to the beatific power of open-sight that babyhood offers. That sentiment is holding true in Tom’s observations — commenting, as it was, to US Vogue’s Andre Leon Talley — even to the talk about changing diapers.
Sure, Tom changes diapers. Being one of the design field’s most hands-on, detail-driven visionary, it’s hard [for me at least] to imagine that having a child would be merely a styled artifact. It’s not a stunt for Tom, but a commitment to being a dad, as he notes in the interview below.
It’s a real dream, fatherhood –
and, for the time being, he’s set some projects aside to focus on the future.

From the Telegraph, London, an overview:
Video:
“When Tom Ford announced the birth of his first child, a son named Alexander John Buckley Ford, we probably weren’t alone in assuming that a coterie of multi-lingual nannies had been assembled to cater to the nipper’s every whim and whimper. But it appears we were wrong, and Ford is in fact a very hands on daddy to his little boy, who he calls Jack.”

READ: Tom Ford welcomes a baby boy

“I feed him in the morning, I change his diaper, dress him, I play with him and I have a good two/three hours before I go to the office, just me and Jack,” Ford told USVogue’s Andre Leon Talley, who replied with a gob-smacked “You change diapers?!”

“I didn’t have a child because I wanted to hand him off to somebody. I had a child because I’ve always wanted a child,” Ford retorts.

Of his fledgling career as a director, which saw his debut 2009 offering, A Single Man,nominated for a variety of high-profile awards, Ford says his second film is merely on hold while he focuses on his new family member. “My production this year was Jack Ford, and my second production was the show… you know, it’s coming soon.”

IN PICTURES: Tom Ford autumn/winter 2013

We wish him well, this journey,
a profoundly powerful dimension
to the ever-expanding range of his creativity

TIM | GIRVIN ISLAND STUDIOS | DECATUR
…..

G I R V I N | FASHION BRAND STRATEGY
CLOTHING, RETAIL + STORY: THE CARTOGRAPHY OF LOOK
http://bit.ly/szZeT0

In the quest for the truth of brands, the soul and heart of their storytelling — invariably, appropriately, there are humans involved. People make brands — mostly for other people, so the notion of inherently building brands around the bigger ideas of human aspirations makes sense, though is widely decried– “brands don’t have souls, they’re not human, they don’t have a heart!”

The beauty of you, the brand of you.

Girvin writing and case studies on soul & brand

Such persistent certainty is admirable. I love to study the contrarian rantings of the gesticulating expert, who is really only showing theory in the backgrounder case studies on their sites.

I’d ask for truth.
Please,
show me the truth of the work
that convinces you of such certain positioning.

Such certainty.

These days, who lives with anything in the way of certainty other than –
“nothing’s certain.”
The perpetual impermanence of “everything”
is such that nothing could be taken for granted, or –
to long range planning, any
presumptions of certainty
are a little questionable.

Things come, things go – it’s only in the warmth of their “holding” that the utility usurps the operational value.
They hold more, and are held, more.

But beauty, and the surprise of beauty can know certainty, permanence, perpetuity –
it can last:
in wonder,
in making,
in miracle,
in extending the rippling of
the beautiful person,
story,
enterprise
and brand.

Tim | Girvin island studios
| decatur, s.j.c
–––
WHY BRANDS ARE LOVED:
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