Den eventuella sanningen bakom Ives Wallpaper-omslag

Simon Helyar

The art director begins laughing, a chuckle at first, and then harder and harder.

“Fucking what?!”

“I don’t know how he’s done this,” She says dabbing tears from her eyes, “but Jony’s created a gradient from C0 M0 Y0 K0 to R255 G255 B255.”

“Fuck does that mean? So this is the correct image? There’s a colour? A gradient?”

“No!” the Art Director is shaking her head but still laughing, “They’re both white! The gradient is from RGB white to CMYK white! There’s no colour change other than the digital information. It’s genius! Jony Ive is a genius! Oh my god the lads down at the print house won’t know what hit them.”

“Incredible.” The editor says with conviction, pretending she knows what the fuck is going on.

The entire team make that ‘awww’ noise like those green things from those movies, also pretending they know what the fuck is going on.

“Must’ve taken ages.” someone says.

Jonathan Ives fixering vid vitt är designvärldens motsvarighet till kejsarens nya kläder: vitt säger ingenting, du kan inte förlora genom att använda vitt men det är samtidigt den mest neutrala väg att gå. Vitt upprör ingen, men det engagerar heller inte någon. Vissa skulle kalla det genialt, andra skulle kalla det fegt. Jag tror att sanningen ligger någonstans mittemellan.

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