{"id":14722,"date":"2019-12-16T14:12:00","date_gmt":"2019-12-16T19:12:00","guid":{"rendered":"https:\/\/dvsnightingstg.wpenginepowered.com\/?p=14722"},"modified":"2022-12-27T14:45:10","modified_gmt":"2022-12-27T19:45:10","slug":"the-greatest-library-youve-never-heard-of-the-visual-telling-of-stories","status":"publish","type":"post","link":"https:\/\/nightingaledvs.com\/the-greatest-library-youve-never-heard-of-the-visual-telling-of-stories\/","title":{"rendered":"The Greatest Library You\u2019ve Never Heard Of: \u2018The Visual Telling Of Stories\u2019"},"content":{"rendered":"\n

Dr. Chris Mullen\u2019s drive to collect and share information has created a fascinating archive with a focus on Fortunes Magazine and the history of visual communication<\/h3>\n\n\n\n

Less than two years ago, I found myself on a website with abstract links and that featured the quote \u201cIT BEGGARS BELIEF\u2026\u201d on its homepage. The ellipsis suggested to me that someone was about to elaborate. How right I was.<\/p>\n\n\n\n

I came to learn that the site is called The Visual Telling of Stories<\/em><\/a> <\/em>and it\u2019s the brainchild of Dr. Chris Mullen.<\/p>\n\n\n\n

Memory theatre<\/em><\/h2>\n\n\n\n

To call\u00a0The Visual Telling of Stories<\/em>\u00a0an archive doesn\u2019t do justice to the crafty mind that has assembled it. To call it a game would imply that it has rules. After a lot of thinking I\u2019ve come to the conclusion that the scope of the project and its deliberate artiness is actually a decent approximation of Mullen\u2019s own mind. Sometimes carefully documented, sometimes hastily jotted; blind hyperlinks are common, rarely labeled, and always lead to brilliantly unexpected but related information.<\/p>\n\n\n\n

The site is more like a memory than a library: a mixture of academic clippings, magazine advertising, personal reflections, correspondence with art directors, illustrators, and friends, cartoons, old books, and diagrams from every subject and time period. Too personal to be academic and too rigorous to be a diary, it\u2019s a living example of what it is to perpetually learn.<\/p>\n\n\n\n

After returning to the site over and over again, I decided to contact Chris to learn more. We\u2019ve been in contact for a few months now and I even had the pleasure of visiting him and his wife at their home in Brighton, UK.<\/p>\n\n\n

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Chris and Oriole Mullen in their lovely backyard, Sept. 2019 (photos by author)<\/figcaption><\/figure>\n<\/div>\n\n\n
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What is The Visual Telling of Stories?<\/em><\/h2>\n\n\n\n

I asked Chris to give some context into how this sprawling work began and why it continues today:<\/p>\n\n\n

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SAVING IS EVERYBODY\u2019S WAR JOB, Tom Eckersley, 1943 from the section \u201cThe Single Image Narrative<\/a>\u201d<\/figcaption><\/figure>\n<\/div>\n\n\n

Simply put, <\/em>The Visual Telling of Stories <\/em>site<\/em><\/a> (hereafter the <\/em>VTS) was started as a personal initiative in support of the new Masters Course in Narrative and the Sequential at the <\/em>University of Brighton<\/em><\/a> in 1989. Imagine concentric circles. At the core is <\/em>every lecture<\/em><\/a> and seminar given, with film notes and reports. Then come key images and <\/em>documents<\/em><\/a>. Then an outer ring of images that fill in the gaps\u2026Our students were part-time, most were working professionals and many lived hours of traveling away from Brighton. <\/em>VTS kept everybody in touch.<\/em><\/p>\n\n\n\n

I moved to Brighton to enjoy the possibilities and I just kept adding more circles: whole illustrated books from my own collection (<\/em>Macao et Cosmage 1919<\/em><\/a>); dialogues with artists and designers (Nigel Henderson of the <\/em>Independent Group<\/em><\/a>, and Tom Eckersley, poster <\/em>designer<\/em><\/a>).<\/em><\/p>\n\n\n\n

I <\/em>visited the<\/em> Rochester Institute of Technology in 1982 and had been impressed by\u00a0<\/em>R. Roger Remington<\/em><\/a>\u2019s initiative of attracting graphic material and committing scans to a laser disk. To devise a taxonomy that would accommodate any image found, it seemed to me the height of wonderment. Meeting Jim Fraser at the Fairleigh Dickinson University Library, who hosted the Archives of the American Outdoor Advertising Association, was another inspiration, \u201cDo you want to be in the Fast Lane?\u201d he asked. \u201cOh yes,\u201d I said.<\/em><\/p>\n\n\n

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\u201cTHE DECLAIMER TO PICTURES\u201d, Chodowiecki, Improvement of Manners, 1786 (link<\/a>)<\/figcaption><\/figure>\n<\/div>\n\n\n

In 1994, Mullen started writing HTML as a way of getting around institutional barriers. The internet let Mullen directly interface with current (and past) students and continually document and his lectures and ideas. He continues:<\/p>\n\n\n\n

With so many concentric circles, paths of navigation had to be found. What were they to be? Or rather, what was the metaphor for the unfolding of data? I found a digital culture in the UK torn between librarianship and the comic strip\u2026 the emphasis was on the visual, that complex multi-layered propositions might be contained in an image flow with the minimum of text (a la <\/em>Feynman Diagrams<\/em><\/a>). From that date, I have worked a minimum of four hours a day adding circles and <\/em>using my own library<\/em><\/a>.<\/em><\/p>\n\n\n

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Chris Mullen with just a portion of his home library, Sept. 2019 (photos by author)<\/figcaption><\/figure>\n<\/div>\n\n\n
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The collection that is The Visual Telling of Stories<\/h2>\n\n\n\n

I had the opportunity to visit Chris and Oriole one bright September morning. After looking at so many pages, with blissful hours lost in the maze of the VTS<\/em>, it was a real joy to visit Chris in his home.<\/p>\n\n\n\n

I had some suspicion that their home would be filled with a lifetime of art and books \u2014 both of which I found \u2014 but Mullen\u2019s fascination wasn\u2019t oppressive. A lightness permeated the house and charitable goodwill filled my visit. His library was loosely arranged and filled with a variety of objects:<\/p>\n\n\n\n

Ninety percent of <\/em>VTS is from my [magazine and book] collection; illustrated auction catalogues; gallery catalogues long forgotten of neglected artists; trade catalogues; gramophone needle tins; book matches, all embedded in my very own Memory Theatre for instant retrieval (well almost). If I was to take Visualisation seriously, I had to get my own materials. Thank heavens for a huge garage never to receive a car.<\/em><\/p>\n\n\n\n

As we walked a few steps across his delightful flower-filled garden into the garage, I had a feeling we would find some kind of treasure. On entering, Chris pointed to several large shelves to his right, \u201cthere it is.\u201d<\/em><\/p>\n\n\n

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Chris Mullen with the physical archives of The Visual Telling of Stories, Sept. 2019 (photos by author)<\/figcaption><\/figure>\n<\/div>\n\n\n
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The importance of Fortune<\/h2>\n\n\n\n

The image that originally brought me to the VTS<\/em> was from Fortune<\/em> magazine<\/a>. While Fortune<\/em> is commonly known to be an important midcentury American design resource, it somehow hasn\u2019t been remembered or acknowledged in the digital age. Hastily scanned versions have only just appeared on Archive.org<\/a>. There is not a published compendium of Fortune <\/em>artwork, and the names of its art directors and central designers are not common outside of the occasional essay by design historians. For example, one of its visionaries was art director Will Burtin<\/a> (1945-49), who became a key figure in midcentury corporate design. Despite Burtin\u2019s importance to midcentury design, his name and others just don\u2019t carry weight anymore.<\/p>\n\n\n\n

I\u2019d argue that the deep connection between American business, data, and its visualization, might easily be traced to the widespread influence of Fortune<\/em> Magazine in its prime years. It is a treasure trove of data visualization and information design and few people understand it like Mullen.<\/p>\n\n\n\n

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Early 1930s cover images from Fortune magazine<\/figcaption><\/figure>\n\n\n\n
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Mullen\u2019s archive of Fortune<\/em> is a big part of The<\/em> Visual Telling of Stories<\/em>. His vast understanding of the American information-design resource is so deep that it reveals his personal connection to the publication, its mission, and the artists that created it. Chris recounted his first experience with the magazine at a late-night second-hand shop in the mid-1970s:<\/p>\n\n\n

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Cover of Fortune magazine, Antonio Petruccelli, June 1945<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

I had never seen such a beautiful publication as that mint copy of <\/em>Fortune, April 1959. I filled the car with over a hundred at 20 pence each. At every roundabout, the piles slid over our children riding in the back seat. To this day my daughter associates the smell of <\/em>Fortune with a sudden dimming of the daylight.<\/em><\/p>\n\n\n\n

Phoning on my return, it seemed a container with three runs of\u00a0<\/em>Fortune\u00a0from 1930 to 1960 (duplicates from American public libraries) was available very cheaply. There was one run for my fellow enthusiast Phil Beard, one for tear sheets, and the third run for keeps.<\/em><\/p>\n\n\n\n

His website boasts a funny detail for anyone who\u2019s tried to present this stuff: No gutters appeared in my teaching imagery, just the majesty of the pages, single and double.<\/em><\/p>\n\n\n\n

And those articles and illustrations (now housed in the online portfolios and in his garage) are indeed majestic. Gallery<\/a> after gallery<\/a>, page after page of incredible diagrams, illustrations, and charts, all scanned in high-res quality, organized by illustrator, often with publication date and issue. We see not only the highlights from Fortune<\/em>, but full articles featuring all kinds of businesses from radioisotopes to air cargo. The way Fortune<\/em> covered American business was markedly different from any other magazine.<\/p>\n\n\n\n

Fortune was on subscription, delivered in custom-made packaging that would have withstood a hand grenade, it was a dollar when others were 25 <\/em>cents. It was immaculately printed on antique laid paper, quickly establishing visual aspects of the American economy with portfolios commissioned from illustrators as well as photographers. Artists previously known as gallery types were sent off on location (such as\u00a0Philip Guston<\/a>), or given diagrams of telecommunications or\u00a0atomic test<\/a>ing. <\/em><\/p>\n\n\n\n

Fortune didn\u2019t just present articles on midcentury businesses, they instead visually explained a new era of American ingenuity as envisioned by the leading practitioners of modernist design. To Mullen, \u201cFortune explained the great intangibles to its readership.\u201d <\/em>The below spreads matched leading designers with industries they couldn\u2019t have dreamed they would be working on, but somehow it all worked so well.<\/p>\n\n\n

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\u201c The ABC\u2019s of Tracerlab\u2019s Business, Radioisotopes for Industry,\u201d Gyorgy Kepes<\/figcaption><\/figure>\n<\/div>\n\n
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\u201cAir Cargo\u2014 Its Problems and Prospects\u201d Lester Beall, Fortune Magazine, Aug 1947<\/figcaption><\/figure>\n<\/div>\n\n\n

Mullens and his colleague Phil Beard hatched an idea to present an exhibition of pages from their collection. <\/em>In addition to digesting, scanning, and archiving countless issues of Fortune<\/em>, Mullen also began to correspond <\/a>with many of its artists and designers to learn more about their personal stories. Their letters have all been scanned on the site, and they are touching examples of the quickly established bond of professional fraternity. \u201cWe wrote hundreds of letters to named Fortune staff and commissioned artists. Only one artist failed to respond, and I think he was dead.\u201d<\/em><\/p>\n\n\n

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The \u201cold-timers\u201d meeting with Fortune artists Tony Petruccelli (standing yellow shirt) and Ricky Harrison (bow tie) photo by Chris Mullen (link)<\/figcaption><\/figure>\n<\/div>\n\n
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The exhibition catalog for \u201cFortune\u2019s America: The Visual Achievements of Fortune Magazine\u201d<\/figcaption><\/figure>\n<\/div>\n\n\n

We exhibited \u2018Fortune\u2019s America\u2019 at the University of East Anglia and at Rochester (NY) with the delightful and inspiring R. Roger Remington. I had brought the show over in a carrier bag of tear sheets. The show, the letters, and the life\u2019s work of the illustrator designer Tony Petruccelli are all on the\u00a0<\/em>VTS\u00a0website, and more is still being added.<\/em><\/p>\n\n\n\n

Visits to remarkable places<\/h2>\n\n\n\n

But\u00a0Fortune<\/em>\u00a0is only one aspect of the\u00a0VTS<\/em>. There are collections of original\u00a0isotypes<\/a>, scanned issues of\u00a0BLAST<\/a>, countless\u00a0advertisements<\/a>,\u00a0cartoons<\/a>, and illustrations organized by subject matter (\u201cSex<\/a>\u201d is an especially provocative category), and literally thousands more.<\/p>\n\n\n\n

It\u2019s taken me weeks to write this article because every time I open the site I find more and more amazing content. It\u2019s impossible not to be surprised by what you\u2019ll find and I rarely stumble on the same content twice. Even though Mullen knows it\u2019s a huge amount of information, he playfully toys with his audience.<\/p>\n\n\n\n

Back at his house again, Mullen says to me with a raised eyebrow \u201cHave you found Grammercy Park yet?\u201d His wife Oriole lets out a chuckle.<\/p>\n\n\n\n

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A legacy of generosity<\/h2>\n\n\n\n

Initially, the internet was a place for Mullen to teach his students, but as Mullen has built the VTS<\/em> it has evolved over decades into something more holistic. As the internet is often decried as a place of trolls and hostility, legions of people are archiving many aspects of cultural history, there for the finding.<\/p>\n\n\n\n

I was pleased to hear that I was the latest in a sequence of guests spanning many years of pilgrimage to meet Mullen. Designers, researchers, and interested parties have all found the VTS<\/em>, and his good nature has pulled many of them to Brighton for a visit. It\u2019s comforting (for me at least) to know that there is a network of people that are exploring the history of information design. Visiting the VTS<\/em> should be considered as a central resource for this, comparable to the great libraries of the world. While less documented, the VTS<\/em> is certainly more fun.<\/p>\n\n\n\n

Chris Mullen\u2019s life\u2019s work of teaching the clever ways humans communicate visually is a treasure. What started as a teaching aid soon became something less defined and all-encompassing. It is a gift that artists and designers should collectively embrace, uphold, and celebrate. I urge anyone to take some time wandering around its pages. You will not know what is around the corner, but what you\u2019ll find is truly wonderful.<\/p>\n\n\n\n

Here it is. Go get lost: https:\/\/www.fulltable.com\/vts\/index2.htm<\/strong><\/a><\/p>\n\n\n

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\u201cTHE US AIR INDUSTRY\u201d RICHARD EDES HARRISON, Fortune Magazine, March 1941<\/figcaption><\/figure>\n<\/div>\n\n\n
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Special thanks to Chris and Oriole Mullen for being so wonderful, and Clare Harvey for editing.<\/em><\/p>\n\n\n\n

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Categories<\/span>Data Art<\/a> Design<\/a> Historic Dataviz<\/a> Topics in Dataviz<\/a><\/div>
Tags<\/div>Data Visualization<\/a>Design<\/a>illustration<\/a>information design<\/a><\/div>","protected":false},"excerpt":{"rendered":"

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