What we realized, very early in the process, was that we were right out there, alone and new, on sea of, well, pre-existing merchandise.

We realized that what we needed was an image that was new, that was powerful, evocative, enticing, mysterious and exciting.

Starting with the word...
Normally, I use a lot of color in my work. I love color. Color is love, color is life. It's the cosmos, it's spatial plasma. But then I realized that everyone was using color. Everyone. Color is passe. Color is dead; it's tragic, but that's the bitter, bitter truth, and there's no point denying it. So then I realized... I realized and I said to myself

"My God, the genius.. The genius, of that."

And then I knew; I knew exactly how C.K. must have felt when he did that scene. But he was talking about a pile of little arms, where as in my revelatory, transcendent access of cosmic co-knowledge, I witnessed something completely different to a pile. It was not a pile of anything; it was an absence; it was the absence, of color; it was freedom; it was liberation; it was the sublime purity of monochrome.

Did you know, black is not a color? Nor is white. A lot of people don't know that, but it's true. That's why racism is so wrong, from a conceptual point of view, because there is no such 'thing' as the 'color' 'black,' or the 'color' 'white.' They don't exist. It's all just words in an ether of delusion - feeble attempts to constrain two poles of the same whole. And in the world between, we have the family of color; bonded, wedded, harmonious in the world of light and shade. Without black and white, together, there would be nothing. Nothing, and then I realized.

Black, and White - together!

And that's how I returned to the roots of our graphic heritage; I knew that the word had to be clear, and pure - as clear and pure as

black and white...

Fonts. As you can see from the logo, we have used the font Verdana (crap).

But I spent literally months on fonts. I had fonts made, I hired fonts. I even hand wrote. Nothing worked. And then one day my partner hit on it. She said to me:

"Rupert, if you say that word one more time I am going to kill you."

Then she came toward to me.. But instead of killing me with the bat in her hand, she used it to smash my computer, and then my desk. And then later, she grabbed my portable away from me, and with it she typed the word crap using the default font. Then she thrust the machine back at me and she said:

"There - 'crap' - finished! CRAP! Why the fuck did I leave Cleveland? 'Art and air,' my ass!."

And then I realized! It was like that diamond bullet, all over again -

    "Default! My God, the genius!"

     Default is the font of our times!

..it says everything about our age. It speaks of choice and placement; the illusion of freedom amid the banality of convenience.

Next day, our web technician pointed out that most people's default font is not Verdana, but Times, or even Arial. But he didn't see the concept; the concept which is simply this: the default of life is entirely relative, dependent upon the defaultee...

The rest of the process was about harmony and balance. For example, usually when we select the font Verdana and type the word..

...what we get is a somewhat jarring gap between the 'a' and the 'p'. (Compare that with the distance between the 'c' and 'r') Now, a lot of people would not be disturbed by that, but since I knew that the word would appear in large scale, and since I wanted to convey harmony and purpose, I knew that we needed to bring the 'p' back into harmony with the 'cra'. Thus we achieved:

It took us a while to make the final decision, but I think, I hope, that we've arrived at the best solution. Of course only time will tell..

In the end, time is the only critic we all answer to...

Thank you for reading,

Rupert.