In Meditations, Aurelius distills the central pillars and tenets of stoic philosophy. Although it was essentially a journal and never intended for a general readership, it has become one of the most widely read philosophical works in the world.
In this illustration, we drew inspiration from one of Notre Dame's stained glass rose windows, a fractured relic in the shape of a Legionnaire's helmet. Like the stoic's ideal state of mind, stained glass is at once orderly and beautiful. Ideas radiate out from central first principles in a natural and inevitable succession of deductions and balancing forces. At the helmet's edge I added six pictograms, representing the four pillars of stoicism (Courage, Justice, Temperance and Wisdom) as well as two central stoic concepts: Memento Mori ("Remember Mortality"), and Amor Fati ("Love Fate").
In this illustration I only use the shapes and colors of a stop sign. Instead of serving as a warning, the color red beckons the viewer through an octagon-shaped portal to a new horizon made of reformed lines and perfect angles.
Marcus Aurelius was a preeminent stoic philosopher, but still found time to be the Emperor of Rome from 161 to 180 AD. This quotation is from his personal journals, now known as the Meditations where he admonishes the reader for being such a procrastinating worrywart. It would be pretty harsh of him, were he not also the intended reader (journal, remember?). You can think of Aurelius as your own personal Jiminy Cricket but with fewer dance numbers and more facial hair.
We love this particular quotation’s simplicity, a call to put down all of the “what if” that daily life elicits, and to focus on the here and now.
In our illustration, two cones, future and past, taper to a central moment under an assault of imagined swords. The cones form the shape of an hourglass or if you want to get really nerdy, a Minkowski space-time diagram. The swords fall outside of the possible future and past paths, showing the pointlessness of idle worry, leaving the wide-open space of possibility that only focus can manifest.
In this illustration, the voluminous text of Meditations spills out of an open book, forming a river of overwhelming concepts. A rider crosses the river over a bridge engraved with pictograms representing the four pillars of stoicism (Courage, Justice, Temperance and Wisdom) as well as three central stoic concepts: Memento Mori ("Remember Mortality"), Amor Fati ("Love Fate"), and the Inner Citadel.
Much of Aurelius' Meditations is dedicated to the pursuit of focus. The mind wrestles with distraction constantly (maybe you're doing it right now?), and while we know what we ought to be doing, it's easy to wander from idle thought to idle thought. Whether it be the desire for instant gratification, the temptation to multi-task, the anxiety of the unknown, or simply a lack of will to focus, the mind's ability to derail itself from what it wants to achieve is boundless.
In this illustration, a forest path recedes into the trees. Rather than being present in nature, the viewer's thoughts wander to less idyllic concerns, as the slender trees momentarily transform into the outline of a barcode. The tension between the natural and the commercial creates a dissonance and a challenge to the viewer to recenter on what truly matters.
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]]>Educators are the backbone of our society. Their passion for knowledge and dedication to nurturing young minds shapes the future in profound ways. In our endeavor to support these unsung heroes (many of whom use our art prints in their classrooms), we are thrilled to announce a one-week open access to our (typically) private Educator Discount Program.
During this one-week window, all educators, including teachers, professors, librarians, and homeschoolers, can enjoy the benefits of our educator discount (30%) without registering for our private program by using the code: SUMMERBREAK. After the open access period, educators may choose to enroll in our permanent program by registering with their school address.
You may also use the code if you are purchasing prints for educators or educational purposes.
While we invite educators to take advantage of this limited-time open access themselves, we also encourage everyone to share the educators' code with their friends and family. By extending this gesture, we hope to express our gratitude to the entire community of teachers and educators who contribute to the growth and development of learners young and old.
To all the teachers, librarians, and homeschooling parents out there: Thank you for shaping the future and instilling a love of learning. Your impact is immeasurable, and we are honored to support you on this journey.
A quotation from Ralph Waldo Emerson’s thoughtful meditation on nature, “Circles.” Emerson explores circles as a metaphor for perception and experience; every new discovery radiates outward from the one before, on and on, without end.
He begins, “The eye is the first circle; the horizon which it forms is the second; and throughout nature this primary picture is repeated without end.” In other words, the first circle is the self, the second is observation, the third is the edge of what we can see. As we explore and understand the world, we begin to map new territory from which we can view new horizons in every direction.
In our illustration, we took inspiration from a geometric shape at the edge of humankind’s mathematical horizon, the E8 lattice. “E8” is an interrelated 248-dimensional symmetrical object that has been described by some physicists as “the key to the theory of everything.”
Don't panic, we don’t understand it either! But it sure is beautiful. Its mandala-like structure suggests the interconnectedness of everything, each connection a possibility for greater understanding, and each horizon giving way to potential discovery.
We left the outer reaches dark to leave room for the future.
Not to be outdone by his novels, Tolstoy led an epic life. To the manor born, young Leo did poorly in school and had more interest in gambling and romancing. That all changed when he enlisted and fought in the Crimean War. The experience converted him from a libertine dissolute into a non-violent reformer and spiritual anarchist.
He spent the rest of his life writing on social issues and thinking about how to help build a kinder, gentler society. He was an anachronistic thinker: an aristocrat who opposed serfdom and property rights, a devout Christian who drew profound inspiration from Indian sacred text, and a proto-communist who was deeply skeptical of government in any form. He also inspired Mahatma Gandhi to pursue peaceful resistance in India. He founded the first institute of democratic education, happily worked alongside peasants in the fields, practiced moral vegetarianism, and (oh yeah!) banged out War & Peace, Anna Karenina, A Day in the Life of Ivan Ilyich, and eight other novels and social treatises.
We love this quotation from his diary, written in 1900 under the heading “Some Social Remedies: Three Methods of Reform.” Lest the more revolutionary amongst us take issue with his assertion to look inward first, remember that we discovered it only by peeping in his diary, and that his intended audience was himself.
In our illustration, two camps of protestors converge in a struggle to change each other’s minds. The composite clash takes the shape of a face, contemplating the many voices and issues at hand, leading to an act of thoughtful self-examination.
For this illustration, we used Emily Dickinson's own words as line elements to create the "thing with feathers" she describes in this extraordinary poem. The source of hope she depicts is a bottomless well of creative inspiration and strength, which for her manifested in poetry. Visually, her handwriting is a remarkable combination of beautiful flourishes and swooshes combined with an almost frantic energy - a pen racing to keep up with a quicksilver mind.
This print from our book Hope is the Thing.
From his classic philosophical treatise On Liberty:
"He who knows only his own side of the case, knows little of that. His reasons may be good, and no one may have been able to refute them. But if he is equally unable to refute the reasons on the opposite side; if he does not so much as know what they are, he has no ground for preferring either opinion."
This illustration depicts the border between two contrasting spaces as a tightrope. The walker's balance pole becomes the balance of a scale weighing both sides of the argument dispassionately.
The final line of The Great Gatsby, the Fitzgerald novel that defined the jazz age. It was the era that ushered in modernity, a time of material excess, liberation, and intoxication. But even in the midst of the party, Fitzgerald could sense the toll such decadence takes on the human soul.
Like so many other Fitzgerald fans, we adore this quotation and its kaleidoscopic meanings. Gatsby, surrounded by unimaginable wealth, prestige and fanfare, dreams only of a future with Daisy that will recreate their past. And yet, his past is what prevents him from attaining that bright future. All pomp and circumstance aside, Gatsby is deeply relatable. Everyone, in their own way, aspires to their own vision of “one fine day.” Everyone is reaching toward the green light. And like Gatsby, we are all eventually borne, against our will, into the past.
In our illustration, a figure rows toward an ethereal, glimmering girl as her dress forms the bay. Her belt resembles a shining city, and a green jewel dangles from a string of pearls.
With one hand she sets the sun, with the other she lifts the moon.
Trailblazing journalist Ida B. Wells knew what she stood for and unwaveringly stood for it: Truth. Despite the impediments as both a former slave and a black woman living in the post Civil War south, she relentlessly pursued stories that exposed horrific injustices, often jeopardizing her own safety.
She viewed truth—no matter how hard it was to tell—as the ultimate means of confronting corruption, injustice, and hatred. She didn’t embellish, or write to fit her agenda or feelings. She didn’t allow herself to be defined by ideologies or interest groups. She told the truth. Our illustration is a nod to her remarkable strength, and the idea that the act of writing as a form of truth telling shines a light on the world.
From the extraordinary Don Quixote.
The maxim "know thyself" dates back to ancient Greece, inscribed on the Temple of Apollo at Delphi. In its simplest form, the thought has been ascribed to Aeschylus, Socrates, Plato, Hobbes, Benjamin Franklin, Emerson, and more recently, it was inscribed over the Oracle's door in The Matrix movies.
What we love about Cervantes' version is his focus on knowing yourself as a practical, lifelong task rather than some vaguely blissed-out spiritual state.
We wanted to capture the challenge of a mind reflecting on itself in order to improve itself. In our illustration, a pair of hands piece together a puzzle of which they are a part.
From his classic poem Stopping by Woods on a Snowy Evening.
Like many, this poem was one of the first we learned in school, and there's something magical and nostalgic about it. Frost is known for his use of down-to-earth, colloquial language to explore complex social, philosophical, and natural subjects.
The final line "and miles to go before I sleep" is repeated twice at the end of the poem. The repetition implies a double meaning, both a literal and metaphorical journey to be taken. We wanted to capture both in our illustration.
No author better captured or more fully experienced the importance of learning to read and write than Frederick Douglass.
A man is trapped in a universe as vast as his desires and as constrained as the expectations that block them. As time runs out, he struggles with an overwhelming question.
]]>"Adopt the pace of nature: her secret is patience." - Ralph Waldo Emerson. Emerson was a prolific essayist and philosopher who led the transcendentalist movement.
He championed individualism and man’s profound connection to nature. This quotation from his mid 19th century essay Education explores man’s divine and essential connection to the natural world.
While the concept can seem trite and alien to a 21st century reader, perhaps it demonstrates the need to reacquaint ourselves with “the stream of power and wisdom which animates all whom it floats.”
In this illustration we wanted to explore nature as an animated, living thing - in this case the grassy hill is also a buck hiding in plain sight, the tree branches suggesting antlers.
Do you see the deer?
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From his play Antigone, on the temptation to sacrifice wisdom at the altar of power, and the cost of defying the gods.
Those of us who are old enough to have been young adults in the previous century, straddle two different worlds. Even for us, it's difficult to remember what life was like without the internet, smart phones, e-commerce, big data, and social media.
While I am by no means anti-tech, I often feel nostalgic for the "old" world, when social interactions were exclusively with flesh-and-blood people in real places. Because no one was recording it, sharing it, commenting on it, or performing a role for a current or future audience, human exchanges were by their very nature intimate and transient.
Of course we still go places in real life, we still interact face-to-face with family, friends, and strangers. And of course the internet - and the ability for virtually anyone to communicate at scale with the world - is extraordinary. In some ways, I owe a great deal of happiness to it. But when I think back to that old world, I can't shake the feeling that something essentially human has been lost, perhaps irretrievably. As vast as it is, this new way of connecting with each other came with sacrifice.
The entire passage reads:
"And through the future, near and far, as through the past, shall this law hold good: Nothing vast enters the realm of mortals without a curse.
For hope whose wanderings are so wide is to many men a comfort, but to many a false lure of giddy desires; and the disappointment comes on one who knoweth nought till he burn his foot against the hot fire.
For with wisdom hath some one given forth the famous saying, that evil seems good, soon or late, to him whose mind the god draws to mischief; and but for the briefest space doth he fare free of woe."
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"Free yourself from distraction, walk the path in front of you." - Marcus Aurelius
Much of Aurelius' Meditations is dedicated to the pursuit of focus. The mind wrestles with distraction constantly (maybe you're doing it right now?), and while we know what we ought to be doing, it is so easy to wander from idle thought to idle thought. Whether it be the desire for instant gratification, the temptation to multi-task, the anxiety of the unknown, or simply a lack of will to focus, the mind's ability to derail itself from what it wants to achieve is boundless.
In this illustration, a forest path recedes into the trees. Rather than being present in nature, the viewer's thoughts wander to less idyllic concerns, as the slender trees momentarily transform into the outline of a barcode. The tension between the natural and the commercial creates a dissonance and a challenge to the viewer to recenter on what truly matters.
]]>"In the midst of chaos, there is also opportunity." - Sun Tzu
From The Art of War, the Chinese military treatise which dates back to the 5th century BC.
Sun Tzu was the original game theorist, and the advice in The Art of War contains ancient practical wisdom with application well beyond military strategy. He underscored the importance of "knowledge is power" and "picking your battles," as well as the role of hubris, planning, and timing. This "winners mindset" quotation is a favorite of ours with universal appeal.
We responded to the quotation's simple contrast, and honed in on the question it raises: How do you identify opportunity in the midst of chaos? Aim for it and go for it. In the illustration, we depict an archer aiming his or her bow, the curve of which defines the border between calm and chaos.
]]>"Waste no more time arguing what a good man should be. Be one." - Marcus Aurelius
In Meditations, Aurelius distills the central pillars and tenets of stoic philosophy. Although it was essentially a journal and never intended for a general readership, it has become one of the most widely read philosophical works in the world.
In our illustration, the voluminous text of Meditations spills out of an open book, forming a river of overwhelming concepts. A rider crosses the river over a bridge engraved with pictorgrams representing the four pillars of stoicism (Courage, Justice, Temperance and Wisdom) as well as three central stoic concepts: Memento Mori ("Remember Mortality"), Amor Fati ("Love Fate"), and the Inner Citadel.
]]>"Above all, don't lie to yourself." - Fyodor Dostoevsky
This passage from The Brothers Karamazov is so awesome, we included the entire excerpt in our design to provide context for Dostoevsky's stunning insight into personal responsibility, clarity, and the dangers of self-deception.
While one may mistake this wisdom for mere platitude, we found the central theme inspired - that lying to oneself deranges the most basic tools of perception, like erasing the cardinal directions on a compass. If perception and experience help us orient ourselves in the world and to discern reality, then self-deception can be thought of as deliberate misperception, and self-induced blindness. As one's actions influence others and we learn to accept falsehoods as truth, then all of society can become deranged and unable to make proper sense of the world. All of this can be distilled to that one simple truth above all others: Don't lie to yourself.
For the illustration, I wanted to create something as simple and direct as Dostoevsky's words, and ideally to include the entire quotation somehow. Because the insight is about the inner reality of the psyche, I used the language to make the shape of a face. To represent the act of lying, a portion of the text is redacted. The black bands then serve as a blindfold, a self-inflicted denial of what one knows to be true that prevents the figure from perceiving reality.
The entire passage reads:
]]>"And above all, do not be so ashamed of yourself, for that is at the root of it all… You have known for a long time what you must do. You have sense enough: don't give way to drunkenness and incontinence of speech; don't give way to sensual lust; and, above all, to the love of money. And close your taverns. If you can't close all, at least two or three. And, above all—don't lie... Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to such a pass that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love, and in order to occupy and distract himself without love he gives way to passions and coarse pleasures, and sinks to bestiality in his vices, all from continual lying to other men and to himself. The man who lies to himself can be more easily offended than any one. You know it is sometimes very pleasant to take offense, isn't it? A man may know that nobody has insulted him, but that he has invented the insult for himself, has lied and exaggerated to make it picturesque, has caught at a word and made a mountain out of a molehill—he knows that himself, yet he will be the first to take offense, and will revel in his resentment till he feels great pleasure in it, and so pass to genuine vindictiveness. But get up, sit down, I beg you. All this, too, is deceitful posturing..."
Exciting news! We’ve been working with the awesome folks at Threadless to launch a new line of Obvious State tees. This is a beta launch which includes twelve brand new designs! And not only will you be the first to see them, we want your feedback and suggestions on what you like and what kind of new designs you’d like to see.
So why a partnership with Threadless?
THE CHALLENGE
You want t-shirts. We want to make t-shirts. But the math on our current 175 designs gets ridiculous fast. Hang with us: Just one design across just 2 shirt styles (unisex and women’s), times 9 sizes (xs - 5xl), times 4 color options, times having at least 4 of any variant in stock means that having a line of just 6-12 equals a thousand pricey t-shirts.
And of course, some designs and sizes are more popular than others, so either we have to moonlight as clairvoyants to guess right, or we run out of stock in one design/size/color and have hundreds of unsold t-shirts which impedes our ability to invest in new designs.
THE COLLABORATION
Enter Threadless. We’ve purchased t-shirts from Threadless for years and love the quality. There are tons of tees to choose from in every size, they’re always in stock, and the print quality is fantastic! But best of all, we can finally offer unlimited designs in a dizzying amount of options. With your feedback and suggestions, the sky is (almost!) the limit.
THE CREATIVE
Now to the best part: To kick things off, we are finally launching a collection we’ve been tinkering with for a few years: Book titles! We’ve launched with 11 of our favorites and can’t wait to hear about (and make) your suggestions. Each design is intentionally minimalist to keep the focus on the title, but with a little Obvious State visual twist.
You can see all of the designs in our Threadless shop here. We hope you love this new direction, and stay tuned for a way to give feedback and get involved.
]]>
In Meditations, Aurelius distills the central pillars and tenets of stoic philosophy. Although it was essentially a journal and never intended for a general readership, it has become one of the most widely read philosophy works in the world.
In this illustration, I drew inspiration from one of Notre Dame's stained glass rose windows, a fractured relic in the shape of a Roman Legionnaire's helmet. Like the stoic's ideal state of mind, stained glass is at once orderly and beautiful. Ideas radiate out from central first principles in a natural and inevitable succession of deductions and balancing forces. At the helmet's edge I added six pictograms, representing the four pillars of stoicism (Courage, Justice, Temperance and Wisdom) as well as two central concepts of stoicism: Memento Mori ("Remember Mortality"), and Amor Fati ("Love Fate").
I wanted to elucidate the six concepts represented in icons, starting with the four pillars of stoicism.
Courage, or fortitude, is the first pillar of Stoicism. It refers to the ability to face and endure difficult situations without fear or hesitation. Courage involves accepting what cannot be changed and embracing the challenges that come with life.
Justice is the ability to treat others fairly and with respect. Justice involves recognizing the inherent value and dignity of all individuals and acting in a way that promotes the common good and the greater good of society.
Temperance is the ability to exercise self-control and restraint. This includes moderation in all aspects of life, such as avoiding excess and indulgence in pleasures, and managing emotions and desires.
Wisdom is the ability to understand and navigate the world in a rational and logical manner. Wisdom involves using reason to make decisions, seeking knowledge and truth, and recognizing the limits of one's own knowledge.
These pillars are book-ended by two central concepts to stoicism - which in latin are referred to as Memento Mori and Amor Fati.
Memento Mori translates to "remember you must die" from the Latin. It serves as a powerful tool to cultivate humility, gratitude, and perspective. Stoics believe that by keeping in mind the fact that our lives are finite and that death is inevitable, we are more likely to appreciate the present moment and make the most of our time.
Amor Fati translates to "love of fate," from the Latin. It is the idea that one should embrace and love everything that happens in their life, both good and bad, as it is a necessary part of the universe's unfolding. It involves accepting one's fate with gratitude, recognizing that every event that occurs is an opportunity to learn, grow, and become stronger.
]]>An elegant, illustrated book of poetry, excerpts, and musings on the noblest human emotion: love. From Viktor Frankl's insight that "love is the ultimate and highest goal to which man can aspire" to Rilke's humble desire "with only this one dream: you come too," this exquisite collection speaks to all of us at a time when loving one another seems more important than ever.
It would be easy to write off Rilke’s Love Song” as a sappy nod to fate. But here he cleverly portrays love as a powerful force that draws two people together, whether they desire it or not. Love is inevitable. The question is: Who (or what) is that unseen hand? In our illustration, two complex shapes made from the thinnest of repeating lines are made to vibrate in harmony.
The entire quote from Les Miserables is, "To love or have loved, that is enough. Demand nothing more. There is no other pearl to be found in the shadowy folds of life. To love is a fulfillment." In our illustration, raindrops fall on still water, sending gentle ripples outward. Most of them remain isolated as they fade into the surface, but lucky ones manage to connect.
Printed on beautiful matte paper, this petite gift book is perfect for poetry and art lovers alike.
The Illustrated Classics is a series of stylishly designed pocket editions of iconic literary works. Each book is illustrated by Evan Robertson, the Cofounder and artist behind Obvious State. Thematic art, elegant typography, and exquisite language from some of our greatest minds combine for a unique, immersive reading experience that illuminates the wisdom and aesthetic beauty of beloved, enduring works. Our hope is to create beautiful, portable art objects to collect and share, and to inspire moments of quiet reflection in a hyper-connected world.
"How can artwork live on the page with poetic text in a way that enhances it without upstaging it or undermining its ability to communicate? That was my main priority, and it informed everything about the visual approach. The stark palette, the repetition of visual elements, and the balance of art and text all serve to drive the narrative forward. While there’s no “correct” way to visualize these works, I’ve chosen to focus on the broader themes rather than the literal narration of action. I wanted to create a seamless marriage of provocative visuals and punctuated language, both exploring the same idea in slightly different ways. The result, I hope, creates a uniquely illuminating and immersive experience for the reader, where the wisdom that the author and artist explore together are brought into sharper focus." - Evan Robertson
For this project we selected Ogg—a luscious calligraphic serif typeface designed by Lucas Sharp. The design was inspired by the iconic hand lettering of twentieth century book designer and calligrapher Oscar Ogg. It captures the unique mix of calligraphic and typographic forms he achieved through his use of hand carved pen nibs. While Ogg is high contrast and dramatic, it remains refined and warm, which we think pairs perfectly with the art.
When considering the format of our collection one thing was important to us: The experience. We envision readers of the books treating them as a 20-minute break in the middle of the day, something to enjoy over coffee, a non-digital start to the morning, or a respite from an exhausting news cycle.
In short: A provocative, portable art object packed with wisdom and beauty.
All of our books are printed in Van Nuys, California on FSC-certified, sustainable paper made with 10% recycled content. We use soy and vegetable-based inks and uncoated paper for a beautiful, elegant finish.
Truth may be stranger than fiction, but let's face it: fiction is fun. Reality can be alternately too boring, too depressing, too complicated or just a drag. Instead, do us a favor: Spin a yarn. Tell a tale. Catch a big fish, and make it sing.
This quotation comes from Fitzgerald's 1920 short story The Offshore Pirate. It's a fascinating tale about a suitor feigning to be a romantic and dangerous figure to woo the heroine, Ardita. Geeks that we are, we especially love the way it can be interpreted as Fitzgerald himself spinning a narrative to woo the reader. And like Ardita, we're enraptured and applaud his beautiful illusion.
In our illustration, a moon shines down on a ship and reflects across the waves. Because the story is, in the end, just a fiction, the objects are all made of text from Fitzgerald's stories.
This is an updated version of a previous design.
]]>The quotation is from The Love Song of J. Alfred Prufrock by T. S. Eliot, which was published in the June 1915 issue of Poetry: A Magazine of Verse. You can see our illustrated version here.
Let Us Go Then: our illustrated version of The Love Song of J Alfred Prufrock by T. S. Eliot.
Would you rather have tea?
]]>Pray, coffee drinkers, do not trifle with a connoisseur of the finer beverage, lest you find yourself forevermore excluded from respectable society.
In our illustration, we humbly present a woman with tea on her mind - literally. The crown of her hat is composed of an upside-down teacup, the brim a fetching saucer. Five more tea accoutrements complete the drawing, including a string of cups, fashionable tea leaf dress, chandelier steeper ball earrings, stirring spoon sunglasses and a bergamot flower brooch.
Yes, we have a penchant for Earl Grey tea (especially that which uses real bergamot oil and not "natural flavors" but we digress). And no, Earl Grey wasn’t yet a thing in Jane Austen’s day. Neither were Jackie O. sunglasses. But like Earl Grey, they are fabulous nonetheless.
A word of caution: Should you ever be so impertinent as to mention that dreaded black ooze of a beverage that begins with a “c,” we shall report your impropriety to Lady Chamomile at the next meeting of the HBPS - The Hot Beverage Preservation Society. You have been warned.
The quotation is from Mansfield Park, which was published in 1814 - a year after Pride and Prejudice.
Our favorite copy of Mansfield Park is from Penguin Classics.
Would you rather have coffee?
]]>Pablo Neruda's collection Veinte Poemas de Amor y una Canción Desesperada is an emotional and sensual exploration of love, infatuation, and despair. Even his most sexually charged metaphors also contain an austere appreciation of beauty and nature, at once deeply personal and highly universal. In the illustration below, for example, we wanted to capture the human form as part of nature, and the universal longing of natural elements to merge together.
Neruda's work is a pleasurable, sensorial escape and perhaps the nudge we need to reconnect with each other and with nature.
"Have you thought about a version with the original Spanish text?" Yes! Yes we have! And you can purchase that edition here.
We collaborated with our friend, Matt Saldivar, who read an excerpt for us in Spanish.
The Illustrated Classics is a series of stylishly designed pocket editions of iconic literary works. Each book is illustrated by Evan Robertson, the Cofounder and artist behind Obvious State. Thematic art, elegant typography, and exquisite language from some of our greatest minds combine for a unique, immersive reading experience that illuminates the wisdom and aesthetic beauty of beloved, enduring works. Our hope is to create beautiful, portable art objects to collect and share, and to inspire moments of quiet reflection in a hyper-connected world.
"How can artwork live on the page with poetic text in a way that enhances it without upstaging it or undermining its ability to communicate? That was my main priority, and it informed everything about the visual approach. The stark palette, the repetition of visual elements, and the balance of art and text all serve to drive the narrative forward. While there’s no “correct” way to visualize these works, I’ve chosen to focus on the broader themes rather than the literal narration of action. I wanted to create a seamless marriage of provocative visuals and punctuated language, both exploring the same idea in slightly different ways. The result, I hope, creates a uniquely illuminating and immersive experience for the reader, where the wisdom that the author and artist explore together are brought into sharper focus." - Evan Robertson
For this project we selected Ogg—a luscious calligraphic serif typeface designed by Lucas Sharp. The design was inspired by the iconic hand lettering of twentieth century book designer and calligrapher Oscar Ogg. It captures the unique mix of calligraphic and typographic forms he achieved through his use of hand carved pen nibs. While Ogg is high contrast and dramatic, it remains refined and warm, which we think pairs perfectly with the art.
When considering the format of our collection one thing was important to us: The experience. We envision readers of the books treating them as a 20-minute break in the middle of the day, something to enjoy over coffee, a non-digital start to the morning, or a respite from an exhausting news cycle.
In short: A provocative, portable art object packed with wisdom and beauty.
All of our books are printed in Van Nuys, California on FSC-certified, sustainable paper made with 10% recycled content. We use soy and vegetable-based inks and uncoated paper for a beautiful, elegant finish.
Marcus Aurelius was a preeminent stoic philosopher, but still found time to be the Emperor of Rome from 161 to 180 AD. This quotation is from his personal journals, now known as the Meditations, where he admonishes the reader for being such a procrastinating worrywart. It would be pretty harsh of him, were he not also the intended reader (journal, remember?). You can think of Aurelius as your own personal Jiminy Cricket but with fewer dance numbers and more facial hair.
Upon revisiting Meditations, we found striking similarities between stoicism and Buddhism. We were not the first to make this connection, in fact author Nassim Taleb apparently once quipped, “a Stoic is a Buddhist with attitude.” We agree. Stoicism is the philosophical whiskey to Buddhism's beer. It's a Buddhism sandwich with a side of spicy “get your crap together.” Those are technical definitions.
After the past several years, with too much time worrying about things beyond our control, and consequently getting too little done, Aurelius' Meditations is a much-needed kick in the pants.
We love this particular quotation’s simplicity, a call to put down all of the “what ifs” that daily life elicits, and to focus on the here and now. We also love the translation (from the original Greek) of the word “confine.” In the same way that an artist needs constraints, and babies prefer swaddling to flailing legs and arms, the word “confine” shows us how useful limits can be. It invites us to restrict your far-reaching consciousness to only what is in front of you. There’s a reason that mindfulness is called being “present,” folks! Maybe it's time to put aside the mental barrage of countless concerns that are beyond our control, both temporally (the past and the future), and spatially (there vs. here).
In our illustration, two cones, future and past, taper to a central moment under an assault of imagined swords. The cones form the shape of an hourglass or if you want to get really nerdy, a Minkowski space-time diagram. The swords fall outside of the possible future and past paths, showing the pointlessness of idle worry, leaving the wide-open space of possibility that only focus can manifest.
Our favorite copy of Meditations is from Penguin Classics.
]]>We hope you and your family are enjoying good food, good company, and good cheer.
One of our favorite things to do as we ring in a new year is to reflect on the past year through the lens of the quotations and illustrations that resonated with our community.
Judging from our bestsellers, this year was a reflective year for many, as themes of truth, honesty, and introspection dominated. There was also a hint of adventure and carpe diem, which dovetails with one of the first projects we will announce in the new year.
We also want to thank you for all of your support of our small business. Whether you made a purchase, shared something on social, or simply like what we do, we could not do it without you.
We wish you the happiest of holidays and happy new year!
Here are our top ten illustrations for 2022:
Trailblazing journalist Ida B. Wells knew what she stood for and unwaveringly stood for it: Truth. Despite the impediments as both a former slave and a black woman living in the post Civil War south, she relentlessly pursued stories that exposed horrific injustices, often jeopardizing her own safety.
She viewed truth—no matter how hard it was to tell—as the ultimate means of confronting corruption, injustice, and hatred. She didn’t embellish, or write to fit her agenda or feelings. She didn’t allow herself to be defined by ideologies or interest groups. She told the truth. Our illustration is a nod to her remarkable strength, and the idea that the act of writing as a form of truth telling shines a light on the world.
This illustration is an ode to those who live out loud. The twin flames of a candle merge into the billowing dress of an intrepid dreamer.
A man is trapped in a universe as vast as his desires and as constrained as the expectations that block them. As time runs out, he struggles with an overwhelming question.
The final line of The Great Gatsby, the Fitzgerald novel that defined the jazz age. It was the era that ushered in modernity, a time of material excess, liberation, and intoxication. But even in the midst of the party, Fitzgerald could sense the toll such decadence takes on the human soul.
Like so many other Fitzgerald fans, we adore this quotation and its kaleidoscopic meanings. Gatsby, surrounded by unimaginable wealth, prestige and fanfare, dreams only of a future with Daisy that will recreate their past. And yet, his past is what prevents him from attaining that bright future. All pomp and circumstance aside, Gatsby is deeply relatable. Everyone, in their own way, aspires to their own vision of “one fine day.” Everyone is reaching toward the green light. And like Gatsby, we are all eventually borne, against our will, into the past.
In our illustration, a figure rows toward an ethereal, glimmering girl as her dress forms the bay. Her belt resembles a shining city, and a green jewel dangles from a string of pearls.
With one hand she sets the sun, with the other she lifts the moon.
From The Brothers Karamazov. This passage is so awesome, we included the entire excerpt in our design to provide context for Dostoevsky's stunning insight into personal responsibility.
A face comprised of text has been partially redacted, creating a self-inflicted blindfold.
The entire passage reads:
"And above all, do not be so ashamed of yourself, for that is at the root of it all… You have known for a long time what you must do. You have sense enough: don't give way to drunkenness and incontinence of speech; don't give way to sensual lust; and, above all, to the love of money. And close your taverns. If you can't close all, at least two or three. And, above all—don't lie... Above all, don't lie to yourself. The man who lies to himself and listens to his own lie comes to such a pass that he cannot distinguish the truth within him, or around him, and so loses all respect for himself and for others. And having no respect he ceases to love, and in order to occupy and distract himself without love he gives way to passions and coarse pleasures, and sinks to bestiality in his vices, all from continual lying to other men and to himself. The man who lies to himself can be more easily offended than any one. You know it is sometimes very pleasant to take offense, isn't it? A man may know that nobody has insulted him, but that he has invented the insult for himself, has lied and exaggerated to make it picturesque, has caught at a word and made a mountain out of a molehill—he knows that himself, yet he will be the first to take offense, and will revel in his resentment till he feels great pleasure in it, and so pass to genuine vindictiveness. But get up, sit down, I beg you. All this, too, is deceitful posturing..."
Why is it that the most profound human truths are so often conveyed by the most eye-roll inducing, clichéd phrases? All you need is love! Live in the moment! Stop to smell the roses! Dickinson’s poetry always manages to end-run these dull platitudes and tackle the biggest, weightiest ideas.
In her poem Forever - is composed of Nows, she blitzes two of her favorites, time and mortality. We humans seem to have a unique capacity to contemplate the infinite expanse of "time." We codify it, and arrange our experience of the world along an imagined timeline: first there was then, now I am here, and tomorrow I will be there.
But useful as this ability is to human civilization (would there even be civilization without it?), it obscures a simple truth. Time is merely a series of "nows." Outside the scope of memory, there is only here and now. Dickinson’s poem explores this truth, and re-contextualizes “forever” as a stream of present tense experience.
In our illustration, this present tense is represented as a map pin, a temporal “latitude of home.” The “nows” flow along a path that winds its way forever, taking the form of a snake biting its own tail.
We honored Dickinson's capitalization of the word "Now" in the quotation.
This poignant quotation is from Chopin's beloved novel, The Awakening, and in our illustration, a woman slips off the words that once defined her. Kate Chopin was a feminist before her time. The Awakening, which was published in 1899, was controversial and considered a failure. It wasn’t until the 1970s feminist movement that it became more widely read and recognized as a pioneering work in women’s literature.
This original illustration is printed on premium, heavy archival paper and ships in a protective sleeve with information about the print and our studio on the back. Our art prints make great literary gifts for book lovers and art lovers alike.
From The Twilight of the Idols: or How to Philosophize with a Hammer
First: How awesome is that title?
Nietzsche's idea that hardship is not alleviated by reducing the burden of life, but by increasing our conviction to bear it with purpose strikes a chord.
For the illustration, a constellation is depicted in the shape of a globe. The hand reaching across the star map reveals a figure who willingly bears the weight.
Not to be outdone by his novels, Tolstoy lead an epic life. To the manor born, young Leo did poorly in school and had more interest in gambling and romancing. That all changed when he enlisted and fought in the Crimean War. The experience converted him from a libertine dissolute into a non-violent reformer and spiritual anarchist.
He spent the rest of his life writing on social issues and thinking about how to help build a kinder, gentler society. He was an anachronistic thinker: an aristocrat who opposed serfdom and property rights, a devout Christian who drew profound inspiration from Indian sacred text, and a proto-communist who was deeply skeptical of government in any form. He also inspired Mahatma Gandhi to pursue peaceful resistance in India. He founded the first institute of democratic education, happily worked alongside peasants in the fields, practiced moral vegetarianism, and (oh yeah!) banged out War & Peace, Anna Karenina, A Day in the Life of Ivan Ilyich, and eight other novels and social treatises.
We love this quotation from his diary, written in 1900 under the heading “Some Social Remedies: Three Methods of Reform.” Lest the more revolutionary amongst us take issue with his assertion to look inward first, remember that we discovered it only by peeping in his diary, and that his intended audience was himself.
In our illustration, two camps of protestors converge in a struggle to change each other’s minds. The composite clash takes the shape of a face, contemplating the many voices and issues at hand, leading to an act of thoughtful self-examination.
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First: How awesome is that title?
Second: We know, the wording of this particular quotation is a bit clunky at first glance. But once you parse its meaning, we think it is perfectly condensed. If it's eluding you, put the word "why" and "how" in quotations in your mind.
Nietzsche's insight - that hardship is not alleviated by reducing the burden of life, but by increasing our conviction to bear it with purpose - strikes a big chord with us.
For the illustration, a constellation is depicted in the shape of a globe. The hand reaching across the star map reveals an Atlas-like figure who willingly bears the weight of the entire structure.
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In her poem Forever - is composed of Nows, she blitzes two of her favorites, time and mortality. We humans seem to have a unique capacity to contemplate the infinite expanse of "time." We codify it, and arrange our experience of the world along an imagined timeline: first there was then, now I am here, and tomorrow I will be there.
But useful as this ability is to human civilization (would there even be civilization without it?), it obscures a simple truth. Time is merely a series of "nows." Outside the scope of memory, there is only here and now. Dickinson’s poem explores this truth, and re-contextualizes “forever” as a stream of present tense experience.
In our illustration, this present tense is represented as a map pin, a temporal “latitude of home.” The “nows” flow along a path that winds its way forever, taking the form of a snake biting its own tail.
Forever is composed of Nows -
’Tis not a different time,
Except for infiniteness
And latitude of home.
From this, experienced here.
Remove the dates to these.
Let months dissolve in further months.
And years exhale in years.
Without certificate or pause
Or celebrated days,
As infinite our years would be
As Anno Domini’s.
Not to be outdone by his novels, Tolstoy lead an epic life. To the manor born, young Leo did poorly in school and had more interest in gambling and romancing. That all changed when he enlisted and fought in the Crimean War. The experience converted him from a libertine dissolute into a non-violent reformer and spiritual anarchist.
He spent the rest of his life writing on social issues and thinking about how to help build a kinder, gentler society. He was an anachronistic thinker: an aristocrat who opposed serfdom and property rights, a devout Christian who drew profound inspiration from Indian sacred text, and a proto-communist who was deeply skeptical of government in any form. He also inspired Mahatma Gandhi to pursue peaceful resistance in India. He founded the first institute of democratic education , happily worked alongside peasants in the fields, practiced moral vegetarianism, and (oh yeah!) banged out War & Peace, Anna Karenina, A Day in the Life of Ivan Ilyich, and eight other novels and social treatises.
We love this quotation from his diary, written in 1900 under the heading “Some Social Remedies: Three Methods of Reform.” Lest the more revolutionary amongst us take issue with his assertion to look inward first, remember that we discovered it only by peeping in his diary, and that his intended audience was himself.
In our illustration, two camps of protestors converge in a struggle to change each other’s minds. The composite clash takes the shape of a face, contemplating the many voices and issues at hand, leading to an act of thoughtful self-examination.
For our part, we do wish to totally take this line out of context. So we wondered: do exotic pet owners ever regret their decisions?
Let’s ask Mia and James. Everything had been going so well. Romantic dinner, long walk in the park, awkward invitation for a nightcap that lead to the couch. When suddenly, James' pet peacock slipped out of his playroom and inserted himself into the conversation. Gillian tried to laugh it off with a clever remark, but was interrupted by a mouthful of feathers.
]]>April 1, 2022, Washington DC. In a joint statement, leadership from both major parties announced that they will put aside their differences and pursue an ambitious new goal: to improve conditions for the public.
“The time has come to put an end to our pointless bickering,” said a spokesperson. "We have a responsibility to the people, and we will meet that responsibility together.”
A representative from across the aisle added, “We agree wholeheartedly, and aren’t afraid to say it. We may not see eye to eye, but we are all public servants and therefore have a duty to work together and a common responsibility to make life better for the whole country.”
The two tearfully embraced as an eager crowd rose to their feet and applauded in approval.
Poet and playwright William Shakespeare responded to the surprising events by commenting “now I will believe that there are unicorns.”
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Outrageously expensive, but worth it if you want to be the #GOAT of goats.
This whack-a-doodle insult comes to us courtesy of the Henry V character Pistol, who pistol-whips a French officer simply for being French.
How dare he speak with that damned accent? Wear those luxurious clothes?
What is it about this French dandy that reminds Pistol of a mountain goat? Was it the outrageous, oversized horns of the French Alpine Ibex, whose population was considerable at the time?
We'd like to think so.
But wait! This is no ordinary mountain goat. It's a damned and luxurious mountain goat. One who has shamelessly out-blinged his plain-horned peers.
]]>Although little is known of the historical figure Jack Cade, Shakespeare had fun bringing him to life in the Henry VI trilogy. As he depicts it, Cade’s bumbling rebellion against the king in 1450 is chock full of political tropes that sadly still resonate today.
Cade is a man of the people, yet he pontificates about his royal lineage. He promises to foster universal brotherhood, yet aspires to be worshipped as “lord.” And he’s all for worker’s rights, so long as they work for free.
But when it comes to prosperity by fiat decree, nothing he says compares to the lunacy of outlawing small beers. That bears repeating: Small beers. Outlawed.
Sadly he never wins the throne, so we’ll never know what utopian dreams may come - where one is compelled to drink more, read less, and kill all the lawyers (we’ll save that last one for another day).
In our illustration, we combine a super-sized pint with the full legal force of “the law” - in this case a judge’s gavel which has smashed an inadequate drink.
Over the past few months, we've made the first six illustrations in a new series, MOST ABSURD.
Shakespeare wrote many a sublime line, but our focus for this project is on the ludicrous stage directions, cheeky insults, and laugh-out-loud observations that highlight the Bard's hilarious side.
The video below details all of the illustrations from phase one of the project (which are currently available as prints) and is a kickoff video for phase two.
PHASE TWO IS WHERE YOU COME IN.
It will be collaborative.
And there will be swag.
Like t-shirts and totes.
And free gifts!
Up to 12 free gifts in fact.
And a beautiful box set of 5x7 prints.
And much more.
WHY WE NEED YOUR HELP: SUGGESTIONS AND COLLABORATION
Given the scope of Shakespeare's work, we can't possibly know every zinger, so we're calling on the Bard's most ardent fans as well as the word nerds, actors, theater goers, teachers, English majors, and practical jokers out there who have fantastic quotes up their sleeves (or will have fun ferreting them out).
If you like optical illusions, visual puns, inside jokes, random bears, cats in too-small boxes, rogue pirates, and Scotland represented as an egg yolk, we think you'll like this project. And hope you know others who will as well.
By spreading the word to people who may like the project, you help us find the people who have those quotes we don't yet know about.
WE JUST LAUNCHED A KICKSTARTER CAMPAIGN FOR PHASE TWO
Our campaign will help us fund the second part of the project which will include everything mentioned above (tees, totes, box sets) as well as Kickstarter exclusive prints, posters, and free gifts for helping us make it happen.
By backing the project you can score the swag and free gifts.
WHY KICKSTARTER?
For the past 4 years, we've worked closely with the publishing team at Kickstarter and have grown an audience with the lovely people who help fund indie publishing projects like our own. By running a Kickstarter campaign for a project like this, we accomplish a few things:
1. The backers weigh in and participate in the process. From quotes to picking which tees and totes we make, it's a collaboration. Given how small we are, it's fun to have a team of sorts.
2. We get an idea of what's popular (or not) before we go into production, which helps us manage expectations based on that feedback.
3. There is an unbelievably supportive audience on Kickstarter and we've grown to love them.
If you want to get involved or just take a peek at the campaign (there's so much more there), we'd love you to check it out!
Thanks so much!
Evan and Nichole
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In Shakespeare’s plays, the rich and powerful are sometimes clueless, and the penniless “fools” are often the smartest guys in the room.
Sound familiar?
In my illustration I used a king and jester to represent the wise and foolish respectively. I then used text as a device to represent the quality of their thinking. In contrast to his outward appearance, the fools’ thoughts are rich and dense, forming an elaborate jeweled crown. Likewise, the king’s are sparse and simplistic, forming a jester’s hat.
The idea of the "witty fool" reminds us of Socrates' famous quotation "I know that I know nothing." Wisdom begins with knowing you're a fool, and we see this quotation as a challenge to engage the world with real curiosity, humility, and openness. As far as the arrogance and self confidence of the "foolish wit" - well let's just do our best to avoid that stuff, shall we?
- Evan
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We know he meant "devils" literally. But we thought about the ways in which everyday tribulations feel like proverbial hell (think Sartre's famous line "Hell is other people").
Musing about how humans immiserate each other (and the tragedy of the commons and all that) finally brought us to the perfect metaphor for endless suffering. Ladies and gentlemen, we submit for your consideration: the humble traffic jam.
In our illustration, a seemingly endless line of cars winds its way along a devil's tail. The point of the tail directs you to your final destination: here.
That's hellish torture.
Except in Northern New Jersey where it's just called "Wednesday."
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It began when we asked our super-smart-Shakespeare-scholar friend what her favorite quotation was. We promised to illustrate it no matter what. Apparently, she took it as a challenge. Her answer?: "What, you egg!" [Stabs him].
Challenge accepted.
We could tell you how pivotal this line is to the progression of Macbeth. We could go on about how brilliant all of the bird metaphors are leading up to the moment when Macduff's son is stabbed by Macbeth's super-evil henchmen. We could wax poetic about all the deep symbolism and stuff. But sorry Will, nothing - NOTHING - can undo the accidental comedy of calling someone an egg, and then stabbing them.
For this illustration, we represent Macbeth's domination of Scotland with a crowned medieval helmet placed on top of the country's map. The map is colored with the tartan plaid of clan Macduff.
BUT WAIT! The helmet and map double as a fork and fried egg, making it the perfect decor for your kitchen *and* your war room.
For more Shakespeare stage direction, see, "Exit, pursued by a bear" and "Enter pirates."
]]>"Enter pirates." - Shakespeare
Huh? Why, of everything the Bard wrote would we pick this absurd stage direction to illustrate?
Because it was there, my friend. Because it was there.
Like our other favorite stage direction ("Exit, pursued by a bear"), this line originated from one of Shakespeare's later "Romance" plays, in this case Pericles, Prince of Tyre. Despite its challenges, we are big fans of its wild, massive scope. Part Odysseus, part Job, the play features literal deus ex machina moments when greek gods appear, and the best random pirate kidnapping of all time.
Given how much of the play takes place at sea, we wanted our illustration to feature a rogue wave and a shore. Because the play builds its themes using high fantasy, we made a sand castle the object under threat. A setting sun and the wave combine to suggest a pirate flag.
]]>Out of context, Celia's line from As You Like It could be used for all manner of location-based comic effect - bedroom? hotel bar? toilette? But we couldn't resist assigning it to a haughty cat who claimed your gift box for a summer cottage, while inadvertently refashioning the tissue paper and ribbon into Elizabethan duds.If you have cats you know what we're talking about.
The intended gift was a copy of the play (and it's still worth the read). But, patient reader, we ask your forgiveness for any stray hairs that make their way into the box. And we must apologize on behalf of feisty felines everywhere - as they most certainly will not.
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