So I have to admit I have this thing for chairs. They really turn me on (especially old chairs) and I really like having them. We have way more chairs at home than bums to put in them. Waaaay more.

The collection I have is eclectic – a 1950’s Krug stenographer chair (it’s cute); an early 20th century rocker and matching armchair that look like Stickley (they’re not, but they are square-jawed handsome); a little turned Victorian armless rocker with hand carvings from the late 1800’s (quite country proper) – and many others.

I aspire one day, if the lottery numbers ever come up right, to own a George Nakashima piece.

I often go to the library and read books about chairs. I even own a piece of art titled A Monkey in a Big Chair.

The chair featured above was made by a Brazilian designer named Julia Krantz. It’s exceptionally beautiful (my opinion) and sculpted completely by hand. It also looks to me like it would be great to have a sit in. This one is another lottery ticket dream.

Chairs, like the work we aim to do on a daily basis at Fusion, need to strike a perfect balance between form and function to be great. I wouldn’t want to deliver something beautiful to a client if I didn’t think it could garner good results for their business and I don’t want chairs that look good but hurt my ass. (Can I use the word ass on the Fusion blog?)

I think being a fan of great work across all disciplines of design can only help a graphic designer in the advertising business.

I also have a small collection of tin snips. But that’s a fetish post for another time.