Sean Adams, along with his partner Noreen Morioka, formed the Beverly Hills design firm AdamsMorioka in the mid-‘90s in part as a reaction against what they saw as a trend toward excess in design. Since then, the firm has become known for its clear, simple, engaging designs. In recognition of his stature, Adobe recently tapped Adams to design one of the templates – based on his recent work for the Sundance Film Festival -- issued along with its new InDesign CS PageMaker Edition. Adams recently took some time to talk with GraphicsIQ about the ideas behind the Adobe template, the good and bad of today’s graphic design, and where he sees the world of design heading in the future.

GraphicsIQ: Adobe’s new InDesign CS PageMaker Edition ships with a variety of new templates, one of which you designed. How do you recommend other designers use the template?

Sean Adams: I think of the templates as roadmaps. They serve to help organize information in very clear ways, freeing the designer to be creative with message, color, type or images.

GraphicsIQ: What was the inspiration behind the template design?

-- Sean Adams

SA: We were fortunate to work with Sundance for the last several years. The templates are an outgrowth of the work we did for the film festivals. The inspiration for much of the thinking came from the client. Robert Redford’s commitment to creativity allowed us to create work that functioned on an information-gathering level, but also expanded our ideas of good design.

GraphicsIQ: What prompted Adobe to ask you to design one of the templates?

SA: I imagine my name was picked at random in the telephone book. Seriously, as a firm, we’ve been involved with the Adobe family for the over a decade. My partner, Noreen, served as an evangalist in Tokyo for Photoshop and PageMaker. It’s not just lip-service -- we believe in these products and Adobe’s commitment to the design community.

GraphicsIQ: What got you started/interested in graphic design? What is your background?

SA: I wish I could say it was a calling, but frankly, it began as a way to get out of class in high school. I started by designing a poster for one of the school plays, which grew into banners for the gym, rally signs, posters for any event, graduation materials, even school stationery. It seemed an obvious transition to go to CalArts. I graduated from CalArts (where I met Noreen), moved to New York and worked as the senior designer for the New York Public Library. I returned to Los Angeles after three winters and began working with April Greiman. In 1994, Noreen and I founded AdamsMorioka.

GraphicsIQ: How did the idea come about for forming AdamsMorioka? Was it in response to the direction you saw design heading at the time?

SA: It’s a corny story, but we were spending an eccentric amount of time at Disneyland previous to founding the firm. We typically would sit on the Peoplemover or monorail and complain about graphic design. The general direction at the time seemed to be heading toward disintegrated typeface, 40 varnishes, meaningless squiggles and impossibly complex forms–excess. Rather than continuously complaining, we decided to form AdamsMorioka and make work that was clear, simple and honest, and could be understood and resonate with normal people, not just five other designers.

GraphicsIQ: Does graphic design for print differ markedly from graphic design for the Web? Why or why not?

SA: Beyond the technical issues, which are obviously different, the final mission and process is the same for us. The message should be clear and memorable, the experience should be entertaining and engaging, and the viewer should be spoken to with respect. Over the years, I’ve begun to believe that print, Web and television are more similar than dissimilar in intent.

GraphicsIQ: How does your focus on clarity and simplicity translate to Web design? Is the Web -- vs. print -- a good vehicle for communicating via design?

SA: To answer the first question, any message should have clarity regardless of medium. Simplicity does not necessarily mean lots of white space. Our definition has to do with using the most salient and minimal forms to make a message. To answer the second question, the Web is a perfect place to communicate certain ideas, just as print is better at communicating others. Both forms are interactive and can be dynamic.

GraphicsIQ: What do you see as some of the best characteristics of today's graphic design on the Web? Do any sites stand out? What is good/bad about them?

SA: I love a site that is free of tricks, loads easily and has a clear idea. These are currently some of my favorites: VSA Partners, Samatamason, Concrete, and of course, our site. They share a lack of "stuff." They are all easy to navigate and understand, and they rely on the content to make the site interesting. The sites I’m not crazy about tend to have every Flash trick in the book and do everything but take you to dinner.

GraphicsIQ: What are some pet peeves you have about today's graphic designers and designs?

SA: Ten years ago, when Noreen and I were sitting on the Peoplemover, we were quick to judge and criticize. Either we’ve gotten old(er), or we’ve been on the receiving end of the criticism for so long that I’m more likely to find things about designers today that are exciting and wonderful, rather than negative. We started this year readdressing the "clarity, purity and resonance" mission and reformed it with "honesty, compassion and generosity".

GraphicsIQ: If you were addressing a class of design students, what words of wisdom would you offer them? Is there anything you've done that they would do best to avoid? Or emulate?

SA: I teach at CalArts and my poor students are forced to listen to my ramblings weekly. The most valuable advice I can offer them is to stay open. It is very easy to find fault and dismiss. Whether it’s another designer’s work or a client’s idea, take a leap of faith and find the parts that do work. I remember sitting in class when I was 20 years old thinking new wave design was the best thing since sliced bread and some design legends were clueless. During the last 20 years later, I have found these designers’ work meaningful and amazing. I wish I had not been blinded by style and allowed for different ways of seeing.

GraphicsIQ: Look into your crystal ball. What do you see as the future of Web graphic design?

SA: As technology evolves and we access the Web via handheld devices and other mediums, the content and message can only become more important, while the aesthetic and purely form-driven work recedes. Our job will become even more critical as message makers and content drivers.

GraphicsIQ: What do you think is the most difficult part of being a graphic designer today? Why?

SA: I’m sure it’s different for everyone. For me, I find it difficult to maintain energy and inspiration in the midst of daily life. It is very easy for me to become involved with the phone/server problem, or why a project is running over budget and let the creative take a back seat. When that happens, I remember that our practice is based on the creative. We protect that energy with myself and the designers at AdamsMorioka in the same way a widget factory would protect the manufacturing of the widgets.

GraphicsIQ: What is the best part about being a graphic designer today? Why?

SA: We are encouraged to be communicators, not just layout artists. While craft is integral to the profession, the tools we use give us the time to address larger issues such as strategy and communication. And the implosion of information delivery systems: the web, television, print and product, have forced us to solve problems with ideas that translate across media, rather than become fixated on that hairline rule in the corner of a layout.