Archive for November, 2011

Analyzing Network Characteristics Using JavaScript And The DOM, Part 1





 



 


As Web developers, we have an affinity for developing with JavaScript. Whatever the language used in the back end, JavaScript and the browser are the primary language-platform combination available at the user’s end. It has many uses, ranging from silly to experience-enhancing.


(Image: Viktor Hertz)

In this article, we’ll look at some methods of manipulating JavaScript to determine various network characteristics from within the browser — characteristics that were previously available only to applications that directly interface with the operating system. Much of this was discovered while building the Boomerang project to measure real user performance.

What’s In A Network Anyway?

The network has many layers, but the Web developers among us care most about HTTP, which runs over TCP and IP (otherwise known jointly as the Internet protocol suite). Several layers are below that, but for the most part, whether it runs on copper, fiber or homing pigeons does not affect the layers or the characteristics that we care about.

Network Latency

Network latency is typically the time it takes to send a signal across the network and get a response. It’s also often called roundtrip time or ping time because it’s the time reported by the ping command. While this is interesting to network engineers who are diagnosing network problems, Web developers care more about the time it takes to make an HTTP request and get a response. Therefore, we’ll define HTTP latency as the time it takes to make the smallest HTTP request possible, and to get a response with insignificant server-processing time (i.e. the only thing the server does is send a response).

Cool tip: Light and electricity travel through fiber and copper at 66% the speed of light in a vacuum, or 20 × 108 metres per second. A good approximation of network latency between points A and B is four times the time it takes light or electricity to travel the distance. Greg’s Cable Map is a good resource to find out the length and bandwidth of undersea network cables. I’ll leave it to you to put these pieces together.

Network Throughput

Network throughput tells us how well a network is being utilized. We may have a 3-megabit network connection but are effectively using only 2 megabits because the network has a lot of idle time.

DNS

DNS is a little different from everything else we care about. It works over UDP and typically happens at a layer that is transparent to JavaScript. We’ll see how best to ascertain the time it takes to do a DNS lookup.

There is, of course, much more to the network, but determining these characteristics through JavaScript in the browser gets increasingly harder.

Measuring Network Latency With JavaScript

HTTP Get Request

My first instinct was that measuring latency simply entailed sending one packet each way and timing it. It’s fairly easy to do this in JavaScript:

var ts, rtt, img = new Image;
img.onload=function() { rtt=(+new Date - ts) };
ts = +new Date;
img.src="/1x1.gif";

We start a timer, then load a 1 × 1 pixel GIF and measure when its onload event fires. The GIF itself is 35 bytes in size and so fits in a single TCP packet even with HTTP headers added in.

This kinda sorta works, but has inconsistent results. In particular, the first time you load an image, it will take a little longer than subsequent loads — even if we make sure the image isn’t cached. Looking at the TCP packets that go across the network explains what’s happening, as we’ll see in the following section.

TCP Handshake and HTTP Keep-Alive

TCP handshake: SYN-ACK/SYN-ACK

When loading a Web page or image or any other Web resource, a browser opens a TCP connection to the specified Web server, and then makes an HTTP GET request over this connection. The details of the TCP connection and HTTP request are hidden from users and from Web developers as well. They are important, though, if we need to analyze the network’s characteristics.

The first time a TCP connection is opened between two hosts (the browser and the server, in our case), they need to “handshake.â€� This takes place by sending three packets between the two hosts. The host that initiates the connection (the browser in our case) first sends a SYN packet, which kind of means, “Let’s SYNc up. I’d like to talk to you. Are you ready to talk to me?â€� If the other host (the server in our case) is ready, it responds with an ACK, which means, “I ACKnowledge your SYN.â€� And it also sends a SYN of its own, which means, “I’d like to SYNc up, too. Are you ready?” The Web browser then completes the handshake with its own ACK, and the connection is established. The connection could fail, but the process behind a connection failure is beyond the scope of this article.

Once the connection is established, it remains open until both ends decide to close it, by going through a similar handshake.

When we throw HTTP over TCP, we now have an HTTP client (typically a browser) that initiates the TCP connection and sends the first data packet (a GET request, for example). If we’re using HTTP/1.1 (which almost everyone does today), then the default will be to use HTTP keep-alive (Connection: keep-alive). This means that several HTTP requests may take place over the same TCP connection. This is good, because it means that we reduce the overhead of the handshake (three extra packets).

Now, unless we have HTTP pipelining turned on (and most browsers and servers turn it off), these requests will happen serially.

HTTP keep-alive

We can now modify our code a bit to take the time of the TCP handshake into account, and measure latency accordingly.

var t=[], n=2, tcp, rtt;
var ld = function() {
   t.push(+new Date);
   if(t.length > n)
     done();
   else {
     var img = new Image;
     img.onload = ld;
     img.src="/1x1.gif?" + Math.random()
                         + '=' + new Date;
   }
};
var done = function() {
  rtt=t[2]-t[1];
  tcp=t[1]-t[0]-rtt;
};
ld();

With this code, we can measure both latency and the TCP handshake time. There is a chance that a TCP connection was already active and that the first request went through on that connection. In this case, the two times will be very close to each other. In all other cases, rtt, which requires two packets, should be approximately 66% of tcp, which requires three packets. Note that I say “approximately,� because network jitter and different routes at the IP layer can make two packets in the same TCP connection take different
lengths of time to get through.

You’ll notice here that we’ve ignored the fact that the first image might have also required a DNS lookup. We’ll look at that in part 2.

Measuring Network Throughput With JavaScript

Again, our first instinct with this test was just to download a large image and measure how long it takes. Then size/time should tell us the throughput.

For the purpose of this code, let’s assume we have a global object called image, with details of the image’s URL and size in bits.

// Assume global object
// image={ url: …, size: … }
var ts, rtt, bw, img = new Image;
img.onload=function() {
   rtt=(+new Date - ts);
   bw = image.size*1000/rtt;    // rtt is in ms
};
ts = +new Date;
img.src=image.url;

Once this code has completed executing, we should have the network throughput in kilobits per second stored in bw.

Unfortunately, it isn’t that simple, because of something called TCP slow-start.

Slow-Start

In order to avoid network congestion, both ends of a TCP connection will start sending data slowly and wait for an acknowledgement (an ACK packet). Remember than an ACK packet means, “I ACKnowledge what you just sent me.� Every time it receives an ACK without timing out, it assumes that the other end can operate faster and will send out more packets before waiting for the next ACK. If an ACK doesn’t come through in the expected timeframe, it assumes that the other end cannot operate fast enough and so backs off.

TCP window sizes for slow-start

This means that our throughput test above would have been fine as long as our image is small enough to fit within the current TCP window, which at the start is set to 2. While this is fine for slow networks, a fast network really wouldn’t be taxed by so small an image.

Instead, we’ll try by sending across images of increasing size and measuring the time each takes to download.

For the purpose of the code, the global image object is now an array with the following structure:

var image = [
	{url: …, size: … }
];

An array makes it easy to iterate over the list of images, and we can easily add large images to the end of the array to test faster network connections.

var i=0;
var ld = function() {
   if(i > 0)
      image[i-1].end = +new Date;
   if(i >= image.length)
      done();
   else {
      var img = new Image;
      img.onload = ld;
      image[i].start = +new Date;
      img.src=image[i].url;
   }
   i++;
};

Unfortunately, this breaks down when a very slow connection hits one of the bigger images; so, instead, we add a timeout value for each image, designed so that we hit upon common network connection speeds quickly. Details of the image sizes and timeout values are listed in this spreadsheet.

Our code now looks like this:

var i=0;
var ld = function() {
   if(i > 0) {
      image[i-1].end = +new Date;
      clearTimeout(image[i-1].timer);
   }
   if(i >= image.length ||
         (i > 0 && image[i-1].expired))
      done();
   else {
      var img = new Image;
      img.onload = ld;
      image[i].start = +new Date;
      image[i].timer =
            setTimeout(function() {
                       image[i].expired=true
                    },
                    image[i].timeout);
      img.src=image[i].url;
   }
   i++;
};

This looks much better — and works much better, too. But we’d see much variance between multiple runs. The only way to reduce the error in measurement is to run the test multiple times and take a summary value, such as the median. It’s a tradeoff between how accurate you need to be and how long you want the user to wait before the test completes. Getting network throughput to an order of magnitude is often as close as you need to be. Knowing whether the user’s connection is around 64 Kbps or 2 Mbps is useful, but determining whether it’s exactly 2048 or 2500 Kbps is much less useful.

Summary And References

That’s it for part 1 of this series. We’ve looked at how the packets that make up a Web request get through between browser and server, how this changes over time, and how we can use JavaScript and a little knowledge of statistics to make educated guesses at the characteristics of the network that we’re working with.

In the next part, we’ll look at DNS and the difference between IPv6 and IPv4 and the WebTiming API. We’d love to know what you think of this article and what you’d like to see in part 2, so let us know in a comment.

Until then, here’s a list of links to resources that were helpful in compiling this document.

(al)


© Philip Tellis for Smashing Magazine, 2011.


Fall & Autumn Inspired Illustrations


  

Fall is a very special time for people because it means a chance to enjoy family and enjoy the holidays. It isn’t too cold or too hot and we get the joy of knowing a new year is right around the corner. The leaves falling and the cold coming in can sometimes be off-putting but for many artists it is a great source of inspiration.

With all the good times and all the beautiful changing leaves, it’s a prime time for illustrators (and different artists alike) to whip out their weapon of choice and capture the best moments. We’ve decided to jumpstart the inspiration fest by gathering some of our favorite fall illustrations and digital paintings so that our readers can get in the spirit.

Fall and Autumn Illustrations

Autumn to Come by Karelias

Autumn Day by greenklukva

Autumn by Diaff

Autumn In My Pit by MikiMikibo

Indian Summer by Alexxxx1

Fall by Sketchhy

Fall by Inverse-Ion

Autumn Stories by Zzanthia

Mister Owley by fizzgig

Autumn by Mechanical-Penguin

Autumn Tree by Angela-T

Autumn Walk by Aomori

To Autumn by Skysealer

Autumn by Cutteroz

Salute to Autumn by Iryiu

Autumn God by Sc-parade

Autumn Moon by Dronograph

Fall… by Simsamy130

Fall Fairy by Bboypion

Fall of the King by Amadihelsa

Hapee Thankgiveeng by Etoli

The Last Thanksgiving by AMSLizrah

Happy Thanksgiving by Rhiled

Thanksgiving Wallpaper by BrowCo

Happy Thanksgiving by Feoris

Harvest by Beaucoupzero

Autumn by Yumedust

Autumn by Tattereddreams

The Autumn by Smokepaint

Autumn Spirits by AlexandraBirchmore

Autumn’s Sigh by Vixelyn

Autumn Stories II by Zzanthia

Change by NaBHaN

Autumn in the Fog by Laell-W

(rb)


Pursuing Semantic Value





 



 


Disclaimer: This post by Jeremy Keith is one of the many reactions to our recent article on the pursuit of semantic value by Divya Manian. Both articles are published in the Opinion column section in which we provide active members of the community with the opportunity to share their thoughts and ideas publicly.

Divya Manian, one of the super-smart web warriors behind HTML5 Boilerplate, has published an article called Our Pointless Pursuit Of Semantic Value.

I’m afraid I have to agree with Patrick’s comment when he says that the abrasive title, the confrontational tone and strawman arguments at the start of the article make it hard to get to the real message.

But if you can get past the blustery tone and get to the kernel of the article, it’s a fairly straightforward message: don’t get too hung up on semantics to the detriment of other important facets of web development. Divya clarifies this in a comment:

Amen, this is the message the article gets to. Not semantics are useless but its not worth worrying over minute detail on.

The specific example of divs and sectioning content is troublesome though. There is a difference between a div and a section or article (or aside or nav). I don’t just mean the semantic difference (a div conveys no meaning about the contained content whereas a section element is specifically for enclosing thematically-related content). There are also practical differences.

A section element will have an effect on the generated outline for a document (a div will not). The new outline algorithm in HTML5 will make life a lot easier for future assistive technology and searchbots (as other people mentioned in the comments) but it already has practical effects today in some browsers in their default styling.

Download the HTML document I’ve thrown up at https://gist.github.com/1360458 and open it in the latest version of Safari, Chrome or Firefox. You’ll notice that the same element (h1) will have different styling depending on whether it is within a div or within a section element (thanks to -moz-any and -webkit-any CSS declarations in the browser’s default stylesheets).

So that’s one illustration of the practical difference between div and section.

Now with that said, I somewhat concur with the conclusion of “when in doubt, just use a div”. I see far too many documents where every div has been swapped out for a section or an article or a nav or an aside. But my reason for coming to that conclusion is the polar opposite of Divya’s reasoning. Whereas Divya is saying there is effectively no difference between using a div and using sectioning content, the opposite is the case: it makes a big difference to the document’s outline. So if you use a section or article or aside or nav without realising the consequences, the results could be much worse than if you had simply used a div.

I also agree that there’s a balance to be struck in the native semantics of HTML. In many ways its power comes from the fact that it is a limited—but universally understood by browsers—set of semantics. If we had an element for every possible type of content, the language would be useless. Personally, I’m not convinced that we need a section element and an article element: the semantics of those two elements are so close as to be practically identical.

And that’s the reason why right now is exactly the time for web developers to be thinking about semantics. The specification is still being put together and our collective voice matters. If we want to have well-considered semantic elements in the language, we need to take the time to consider the effects of every new element that could potentially be used to structure our content.

So I will continue to stop and think when it comes to choosing elements and class names just as much as I would sweat the details of visual design or the punctation in my copy or the coding style of my JavaScript.

(vf)


© Jeremy Keith for Smashing Magazine, 2011.


Our Pointless Pursuit Of Semantic Value





 



 


Update (November 12th 2011): Read a reply by Jeremy Keith to this article in which he strongly argues about the importance of pursuing semantic value and addresses issues discussed in the article as well as in the comments here on Smashing Magazine.

Disclaimer: This article is published in the Opinion column section in which we provide active members of the community with the opportunity to share their thoughts and ideas publicly. Do you agree with the author? Please leave a comment. And if you disagree, would you like to write a rebuttal or counter piece? Leave a comment, too, and we will get back to you! Thank you.

Meta-utopia is a world of reliable meta data. When poisoning the well confers benefits to the poisoners, the meta-waters get awfully toxic in short order.

– Cory Doctorow

Allow me to paint a picture:

  1. You are busy creating a website.
  2. You have a thought, “Oh, now I have to add an element.�
  3. Then another thought, “I feel so guilty adding a div. Div-itis is terrible, I hear.�
  4. Then, “I should use something else. The aside element might be appropriate.�
  5. Three searches and five articles later, you’re fairly confident that
    aside is not semantically correct.
  6. You decide on article, because at least it’s not a div.
  7. You’ve wasted 40 minutes, with no tangible benefit to show for it.

This Just Straight Up Sucks

This is not the first time this topic has been broached. In 2004, Andy Budd wrote on semantic purity versus semantic realism.

If your biggest problem with HTML5 is the distinction between an aside and a blockquote or the right way to mark up addresses, then you are not using HTML5 the way it was intended.

Mark-up structures content, but your choice of tags matters a lot less than we’ve been taught for a while. Let’s go through some of the reasons why.

The Web No Longer Consists Of Structured Content

In the golden days of the Web, Web pages were supposed to be repositories of information and meaning, nothing more. Today, the Web has content, but meaning is derived from users’ interactions with it.

XML, RDFA, Dublin Core and other structured specifications have very solid use cases, but those use cases do not account for the majority of interactions on the Web. Heck, no website really has the purity of semantic mark-up that such specifications demand. Mark Pilgrim writes about this much better than I do.

If you have content that demands semantic purity — such as a library database, a document that needs a table of contents, or an online book (i.e. anything for which semantic purity makes sense) — then by all means stick to the HTML5 outlining algorithm, and split hairs on which element should be an article and which a section. No customer-facing tool exists that takes advantage of this algorithm by producing a table of contents. No browser seems to exploit such tools either.

Is It Really Accessible?

If accessibility is your reason for using semantic mark-up, then understand that accessibility and semantic mark-up have very little correlation, due to the massive abuse of HTML mark-up on the Web. (I would love to link to Mark Pilgrim’s post on this, but it is dead, so this will have to do.)

The b, strong, i and em tags are equivalent to the span tag as far as the specification is concerned. And so are some of HTML5’s tags.

As stated on HTML5 Accessibility, almost every new HTML5 element currently provides to assistive technology only as much semantic information as a div element. So, if you thought that using HTML5 elements would make your website more accessible, think again. (How much additional information do <figure> and <figcaption> bring? None.)

The recent debate (or debacle?) on the <time> element is just more proof of the impermanence of the semantic meanings associated with elements.

Is It Really Searchable?

If SEO is your grand purpose for using semantic mark-up, then know that most search engines do not give more credence to a page just because of its mark-up. The only thing recommended in this SEO guide from Google is to use relevant headings and anchor links (other search engines work similarly). Your use of HTML5 elements or of strong or span tags will not affect how your content is read by them.

There is another way to provide rich data to search engines, and that is via micro-data. In no way does this make your website rank better on search engines; it simply adds value to the search result when a relevant one is found for your website.

Is It Really Portable?

Another much-touted advantage of the semantic Web is data portability. Miraculously, all devices are supposed to understand the semantic mark-up used everywhere and be able to parse the information therein with no effort. Aryeh Gregor puts that myth to sleep:

… +Manu Sporny said that semantic Web people had received feedback that out-of-band data was harder to keep in sync with content. I can attest that in MediaWiki’s case this isn’t true, though… The only times I can see where you’d want to use RDFa or microdata instead of separate RDF is if either you don’t have good enough page-generation tools, or you want the metadata to be consumed by specific known clients that only support inline metadata (e.g. search engines supporting schema.org or such). If the page is being processed by a script anyway, and if the script author has ready access to server-side tools that can extract the metadata into a separate RDF stream, then it’s normally going to be just as easy to publish as a separate stream as to publish inline. And it saves a lot of bloat on every page view.

What Now, Then?

  • There is no harm using div elements; you can continue using them instead of section and article. I believe we should use the new elements to make your mark-up readable, not for any inherent semantic advantage. If you want to use HTML5 section and article tags to enhance some particular textual documentation for a future document reader, do it.
  • Tools exist today that take advantage of the nav, header and footer elements. NVDA now assigns implied semantics with these elements. The elements are straightforward to understand and use.
  • There is good support for ARIA landmarks in screen readers, but be careful when using them with HTML5 elements.
  • HTML5 has a host of new features. Learn about them, use them, give feedback. Make these features more robust and stable. Yes, most of these features require that you understand and write JavaScript and expose features that create a richer experience for your audience. If that task sounds formidable to you, then start learning how to code, particularly JavaScript.

(al)


© Divya Manian for Smashing Magazine, 2011.


Peter Max: Peace, Love and Inspiration


  

As young kids, we all had our favorite posters adorning our rooms. From motorcycles to kittens to Justin Bieber photos… for which the coming years will hold guilt and embarrassment. Thanks to my hippie parents, I had Peter Max posters. In fact, I had a Peter Max room! While I loved the Beatles and Yellow Submarine (which was inspired by Max’s work but not done by him), sleeping in a psychedelic room made me the man I am today and please withhold the wisecracks, my longtime friends!

Sure, just try sleeping with über-bright yellows, pinks and oranges glaring through the dark. There was no need for a night-light as the vibrant glow kept me safe from the boogeyman but afraid of longhair love children, sitting in the corner of my room with bongs bubbling. Years later I would discover it wasn’t some childhood phobia but actual friends of my parents smoking pot in the wrong room. Yet something else, considering the second-hand weed smoke, that made me the man I am today. Again… hold off on the comments.

But Peter Max’s work was exciting. It was fresh and innovative and led a generation  — the love generation, to be exact — with visuals and messages that are still adored and worshipped today. Several days after I planned writing this article, I noted that Mr. Max would be appearing at a local gallery. Fortuitous? Karma? Too much second-hand smoke from “Uncle Bongchild?� Whatever it was, I made sure I was there to speak with him and get a few quotes.

A Bit o’ Background

There is a bit of confusion about Max’s actual date of birth, according to several biographies around the web. Some say 1937 and others say 1939. Considering the fact that his family, German Jews, fled Nazi Germany after he was born, the date may be earlier. The official bio on his website gives no date, so I would rather respect his obvious wish to have no date and judging by the man with whom I spoke, I believe numbers are not very important to him.

His family traveled to Shanghai, China, where they lived for the next ten years, according to Wikipedia, and they lived in a house that ‘overlooked a Buddhist temple, where Peter would observe monks painting calligraphic images with large bamboo brushes on large sheets of rice paper.’

The bio goes on to say his Chinese nanny taught him how to hold and paint with a brush by using the movement of his wrist. His mother encouraged him to develop his art skills by leaving a variety of art supplies on the balconies of the pagoda and told him to ‘go ahead and make a mess; we’ll clean it all up after you.’

During my interview with Peter, he did make a point of artists learning to move their wrists for the best training in rendering and control.

In 1948, the family departed China and, according to yet another bio, ‘in fact the young Max would move frequently with his family, learning about a variety of cultures throughout the world while traveling from Tibet to Africa to Israel to Europe until his family moved to the U.S. In America Max was trained at the Art Students League, Pratt Institute, and the School of Visual Arts, all in New York.’

It is said that as a young child he simultaneously developed an interest in art and astronomy. If you follow him on Twitter, you will see posts dealing with art and astronomy! A key insight to his interest in “cosmic art?�

What’s The Real Story Behind The Man and The Myth?

There are many different bios about Mr. Max that dot the internet and they all vary slightly, so only Peter knows what is really true. The point to this writer’s look at Peter Max as a creative is to inspire the readers by his lessons on creative thought and application.

It’s important to note that Peter, like so many other great expressionists — if one can put him in that classification — learned realism before embarking on a style unique to his own vision. As one world-renowned painter once told me, “you need to learn the real world before you can create your own and have it be believable.�

Peter’s art was groundbreaking. That’s a hard position to be in. When you are the first, you face the doubters, the naysayers and the conservative mindset that makes expressing your love for what you believe in an uphill battle.

In all the biographies that one can read, it’s obvious that Peter’s parents supported his creativity and encouraged it. In a time of war and turmoil, moving from the threat of extermination under the Nazis to Shanghai under the control of the Imperial Japanese army during the brutal days of the Second World War, then to a young State of Israel, surrounded by enemies bent on destroying each and every citizen, Peter had to be aware of the tensions around him. It was probably the love and protection of his parents that made those years not so frightening for him. Throughout it all, there was art in which to immerse himself. Perhaps it was the world that he best knew and it gave him comfort.

With his family moving to Brooklyn, New York in the early 1950s, Peter was now part of a city that celebrated art and gave him many avenues to grow as a professional. His earliest work to gain attention was collages of photographic images, and it won a gold medal from the Society of Illustrators in 1962.

Love, Peace and Art

The 1960s saw big cultural changes. The sexual revolution, the nightly broadcasts of the war in Vietnam, “doves and hawks,� “tune in, turn on, drop out,� “make love, not war� burning bras and draft cards and the growth of casual drug usage — it all happened very fast and people sought to find other “planes of reality.� It wasn’t just acid trips… it was a way to free themselves from the uptight 1950s with the frightened attitudes of the cold war and a possible threat of nuclear war, communists and space aliens… which were less feared than communists.

The beat generation of the 1950s was too quiet. Bongos, MAD Magazine, Kerouac and Ginsberg were too fringe at the time to threaten the American way of life. Max and his contemporaries were actually changing things. But the generation of freedom and “marching to one’s own drummer� also had a certain hipness that was an insistence of “being in.� If you weren’t “with it� you were a “square.� Fashions and causes change but people will always be people. With Max’s upbringing and art being his world of creativity and peace, I suspect it insulated him against growing up at a time when non-creatives committed unspeakable acts against humanity. His art was everything – his number one reason for being.

When I saw that Peter would be at the Ober Anderson Gallery in Clayton, Missouri, I tried to arrange a meeting so I could ask a few questions for this article. My biggest quandary was what questions does one pose to an iconic talent whose work spans decades? The usual questions have been asked and answered dozens of times. I wanted to find answers to questions that would be relevant to what creatives face today. I wanted gems from the master that would change lives and thinking.

I had expected a few minutes of Peter’s time in the gallery but was delighted when he suggested we sit at a sidewalk café to chat.  I assured him I would only ask two or three questions, as I knew he was busy. “Ask four or five or more� he replied, with a genuine smile.

Mr. Max was a pioneer of many things. Aside from his art style, often referred to as “cosmic art,� he also was the first to experiment with licensing and mass production. I actually had some of his Mead book covers, which were ripped from my books by a teacher who screamed at me about “filthy hippie, drug-addled art not belonging in a clean, wholesome American school.�

If you consider the generation who fought the status quo, the establishment and old mainstream thinking, Max’s foray into licensing his work may have seemed too commercial for the current art movement at that time. Was Max “selling out� to the establishment or using consumerism to spread the message of his art? His art adorned clocks for General Electric, school book covers for Mead, airplanes, postage stamps, work for six American presidents, among too many projects of shear importance to mention in just one article.

I was curious about what brought him into licensing his work. Not even Norman Rockwell, who was America’s darling artist from the 1940s through the 1980s, had done it before. Did Max see potential in consumerism or was it just an extension of his art and the tools with which he experimented?

When I asked about his entry into licensing, Mr. Max smiled and leaned forward. “It was really great… historic… sensational… such a rush from every direction toward who I was and what I did. It was hard for me to even believe it. I just somehow captured the mood the way the Beatles captured the music mood of the late sixties and early seventies, I captured the visual.�

“Licensing is where you license your name to be reproduced commercially but to the public, they just see the objects out there… the Peter Max objects and they just loved it. How else were they to get Peter Max things? The posters weren’t enough. I sold a million posters at least, if not two million. Then there were Peter Max blue jeans and Peter Max shirts and I had 72 licensing deals. After about two-and-a-half years, I realized that the only other two people doing licensing were Dior and some other designer in Europe. I decided I didn’t want to be that company anymore and gave up a two million dollar business. I did two million dollars gross in 1970 dollars. You can imagine. I gave it up and then I missed it a lot. It was an exciting period for me and then, in the late eighties, I did it again but this time with only 35 licenses and gave it up again. Today, every major artist who gets ten to twelve million per piece licenses, when asked why they are doing this, they say, ‘isn’t that how Peter Max started?’ So, it’s a way to distribute your work and to getting your work out there. People loved it, so I gave them what they wanted. It was a lot of fun for me, so I may do it again, very soon.”

I had to ask if his contemporaries resented his work for “the establishment.�

“No, no! It was a huge, big, beautiful community, the love generation. We were all together generating the feeling of love, peace, harmony and togetherness. It was not a competitive thing; it was unity… in unity is strength.�

He also mentioned his work in the spiritual community. Mr. Max, it turns out, was the force behind the Satchidananda Ashram, affectionately known as “Yogaville,� in Buckingham, Virginia. If you are in the area, make time for a visit and mention his name.

Someone from the gallery rushed out to inform Peter that he was needed in the gallery right away but he politely replied that he would be there once he was done with my interview. The graciousness and consideration overwhelmed me! I did, as I had promised, keep the number of questions down to three. With only one question left, I asked what advice he had for designers to help their creative thought. What did he think about the belief that creatives had to have a certain “style� for which they are known?

“The advice I always give young creatives, “ he started, “go to a print shop where there’s a lot of random sheets of paper they throw away and you can get forty pounds of paper they don’t need for twenty or thirty dollars and draw all day long. Draw nonsense. Just let the hand and wrist go and draw anything. Circles, squares… if a drawing comes out it comes out, if not then go on to the next piece. So just draw, draw and draw and don’t worry what comes out. Let the pen and the wrist get used to the movement. You should become an expert in moving the wrist. You get better with repetition. Not every drawing has to be a good drawing. Every sheet should be a bad drawing, just move the pen around. Eventually the great drawings will come.�

Picking up an inspiring quote from Max’s Twitter account (@Peter_Max), “when I approach a canvas, the only thing I anticipate is being… surprised!�

How Does This Translate to THIS Generation?

It was never success or money Max was after – it was always about the art. Sure, he made millions and will continue to make money but if you hear his words, it falls behind his love for creativity. As with his words on drawing, until “it comes,� keep loving your creative projects and the money will come. If not, at least you’ll love what you’re doing. I have to take credit for that afterthought.

Look for opportunity in technology and marketing. Consumerism was a bit more innocent in the 1960s, if “innocent� can be used as a descriptor, but as rampant as consumerism is, why not use it? With digital technology evolving every day, there are always avenues open for creativity. Get inspired by Max’s words and life!

Yes, we may not want to actually draw on paper, but Peter is not the only great artist to encourage others to draw every day. Picasso was also quoted as saying one should draw every day. No matter what tool you use to create, practice makes perfect and mistakes, or “bad drawings,� as Max refers to it, hold lessons that lead us to become better at creating great pieces, designs, websites, etc.

It’s hard, if not impossible, to fathom such thoughts as “unity� and “harmony� in our generation as we rebel against our parents of the love generation and live behind the “me first� generation of entitlement. There are great lessons in Peter Max’s words, as well as his career.

If you check the Peter Max website you’ll find, among other words of wisdom that inspire, a schedule of his exhibits and personal appearances. I highly suggest you go to one and meet the man. You will find a gracious, kind and humble man who will be happy to shake your hand and take a few moments to chat with you. You will come away from it feeling better about being a part of the creative community and inspired about starting a new day with a new outlook.

Check out his book, “The Art of Peter Max� (available signed, too!)

Images ©Peter Max


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