Monday, March 23, 2015
Tuesday, March 17, 2015
The design is based on an answer to one basic question: how to present both architectural and graphic design works in a way that shows their mutual interconnectivity and relationship, but at the same time doesn't force the viewer to go through works he's possibly not interested in at all. I also didn't want to make one of the fields "1st" and the other one "2nd" by placing them consecutively. In result, I decided to make the book double-faced, having two covers and no end. More precisely, end of each of the two parts is in the exact middle, so where one field of design ends, the other one begins (upside down).
I believe there's a nice parable in it.
Posted by Radio Free Pescado at 2:58 PM
Monday, March 16, 2015
Although he never realized his ambition to become a well-regarded architect, Theo van Doesburg made a huge contribution to the intellectual development of Modernism and was one of the most energetic thinkers of the period.
He became interested in avant-garde art at a young age, producing paintings in the style of Kandinsky in his early twenties. In 1916 he helped to found the artists’ groups De Anderen and De Sphinx, and through them met artists and architects such as Piet Mondrian and J.J.P. Oud.
This association resulted in the publication of the journal De Stijl, which Van Doesburg was to edit until his death. The first issue appeared in November 1917. De Stijl aimed to unite art and architecture, and the strength of its message meant that the work of its contributors was often described as ‘De Stijl’.
Anxious to promote De Stijl ideas, Van Doesburg travelled to Germany and Paris to lecture and participate in exhibitions, eventually settling in France in 1923. Since the mid 1910s Van Doesburg had been producing colour schemes for the buildings produced by other architects, and from the early 1920s he became increasingly interested in working as an architect himself. He collaborated with the architectural student Cornelis van Eesteren on some housing models for an exhibition in 1924, and in the late 1920s took charge of the redecoration of the Café Aubette in Strasbourg. Despite these efforts Van Doesburg was only able fully to design one building by himself – his own house in Meudon, which was completed in 1930.
Van Doesburg died in 1931 and without him the journal De Stijl also perished. However, his ideas had made a big impact and his theories were carried into the next decade by younger designers, such as the Swiss architect Max Bill.
Posted by Radio Free Pescado at 10:10 AM
Wednesday, March 11, 2015
Monday, March 09, 2015
at the risk of stating the obvious - here's a brilliant piece of informatics,
delineating the literary London origins of many famous written works,
where in fact they took place, where indeed .... look carefully, as some
you'll know !
Posted by Radio Free Pescado at 10:56 AM
Thursday, February 12, 2015
Saturday, January 24, 2015
Posted by Radio Free Pescado at 2:41 PM
Dagobert Peche (1887 - 1923) he died young, from too much ice cream and loud, bad, rock and roll
He studied Architecture at the Academy of Fine Art in Vienna (Wiener) and after four years of freelancing, joined the Wiener Werkstätte. Dagobert joined the Werkstätte in 1915, during World War I. His work was more ornamental than the work of other well known contemporaries like Moser and Hoffmann - because he came at a later time, when Viennese design was not quite as preoccupied with geometry, as was typically the case.
Posted by Radio Free Pescado at 2:33 PM
Saturday, January 17, 2015
Thursday, January 15, 2015
the Design Two
the "it's not what you know ... , BUT, who you know assignment "
design two - winter/spring 2015 - Assignment One, a research assignment, to be assigned and discussed during our first class.You will need to choose one from the list by our second class.
You'll be giving a Keynote or Powerpoint presentation in class, live, on your choice. The presentations themselves, will commence after mid-term.
the Arts and Crafts Movement
Wesley and Sean
Bugatti, Daimler and Benz
Rudy Van derLans
Louis Comfort Tiffany
Hoefler & Frere Jones
Frank Lloyd Wright
Chermayeff & Geismar
R. Buckminster Fuller
Henri de Toulouse-Lautrec
The Arts and Crafts Movement
William Van Allen
Henry Van deVelde
Charles Rennie Macintosh
Mid Century Modern
Robin and Lucienne Day
Mies van der Rohe
Joseph Muller Brockmann
Pentagram and Push Pin Studios
Fredric Law Olmstead
Posted by Radio Free Pescado at 10:35 AM
d is for designers, at work in the dark, E is for effort, required from the start ....
assimilate the following people, it's a design scavenger hunt !
digital one Spring 2015, assignment one !
~ introduce yourselves to each of these graphic designers & typographers below -look carefully at their work, learn to recognize their styles, and read about their lives and influences. Many have their own web sites ..
One of the names is intentionally, quite jumbled up, others a little miss-spelled, mixed up, all on purpose. If you can decode/deduce who they all are, beaux Koo extra marks ..... ( hint ) She's part of a famous design couple, and the creative force behind an influential company/magazine specializing one might say in all type of types, or types of type .....
this assignment is due second class. current digital one students only !, to be assigned and discussed during our first class, and not before... you'll see
Posted by Radio Free Pescado at 10:29 AM
he electronics company Philips was to the Dutch city of Eindhoven what Rolls Royce is to Derby, or Mercedes to Stuttgart. It was founded there, and grew to become the biggest employer. But when from the 1980s on Philips began to shift its operations out of Eindhoven, culminating with the move of its head office to Amsterdam in 1997, it left a void. Like a lover scorned, Eindhoven needed to go out and get itself a makeover. Technology and design sectors blossomed, and many of the old factories became homes to creative start-ups.As part of the effort to rebrand itself, it seemed apt that Eindhoven should turn to an aspect of design – namely, typeface.
The city’s municipality and Eindhoven 365, its marketing department, embarked on a collaborative effort to commission a new city font. They created a virtual design agency, with designers from competing agencies working together. The results can now be seen all over the city.
As the original sketches were made from sticky tape, the corners of the letters in the final design are missing. The result is a slightly rough-around-the-edges typeface. That fits this once-industrial city, says Remco van de Craats, co-owner of one of the city’s design agencies tasked with coming up with Eindhoven’s typeface. Eindhoven, he says, is a city “very much in transition.”
But can a typeface really represent what’s unique about a city? Van de Craats, not surprisingly, thinks so. Type has a lot of effect on the atmosphere of a place, he says, calling it “the voice of the city”: “I think cities that don’t have this very dynamic energy, they don’t feel the need to change their identity.”
That identity, for many of the world’s largest cities, is intimately tied up with typeface. Johnston Sans and Gill Sans, which are used on the London Underground, say “London” even before you’ve read the signs. In New York it’s Gotham, or Helvetica (where once it was Standard) on the subways. The Legible Cities movement, which is creating a new Cyrillic alphabet for Moscow’s transit system, is gaining momentum.
“When typefaces get attached to cities,” explains Dan Rhatigan, a New York-based type designer, “it’s because typefaces become part of people’s everyday experience. People don’t identify typeface necessarily; very few of us can look at something and say what it is, but it has an effect, it’s a personality.”
Though much of this font personality stems from transit systems – Helvetica in New York, or Frutiger in Paris – fonts come from everywhere: Anandabazar Patrika (AKA Linotype Bengali and now effectively the typeface of the entirety of Bangladesh and West Bengal) grew out of a city newspaper in Kolkata. Because Sheffield was home to the type foundry Stephenson Blake & Co, officials attempted to use the company’s Granby Condensed as the city’s official typeface – an attempt that proved difficult in practice and led to the creation of Wayfarer, still visible around the city today. And more are commissioned every year:Stockholm Type is hot off the presses.
But it is small, post-industrial cities that seem particularly eager to, as it were, make a name for themselves. In Chattanooga, a city of 200,000 on a bend in the Tennessee river, typeface designers Jeremy Dooley and Robbie De Villiers set up a Kickstarter to raise funds for a new city font, securing more than $10,000 (£6,600).
Chattanooga, Dooley believes, was the ideal city for such a project. Its small size made it easy for the design community to rally around the project. He also points out: “If you’ve got a very diverse kind of a city that’s a lot more fragmented, there’s going to be a lot more difficulty in coming with one unifying [typeface].” Where bigger cities have become associated with a typeface, it has tended to happen more organically, or via specific projects for transport networks or road signage, rather than through a city-wide project such as Chattanooga’s.
“Rome feels different to London; there’s a certain tangibility,” he says. “And now, as a typeface designer, I see part of it is the typefaces being used. In any city in the world – largely because the graphic designers doing the branding feed off one another – a vernacular develops ... in the same way as an accent, for example.”
In designing the font for Chattanooga, Dooley looked to the city’s Cherokee heritage – the written form of the Cherokee language is still used in the two nearby reserves – and its history as a major railway point. De Villiers, for his part, sought an equal emphasis on the future: “Chattanooga ambitiously wants to see itself as a kind of Silicon Valley alternate,” he says. “In North America they were the first city to have their own gigabit internet. They’ve really been investing in that [broadband] infrastructure and they want people to have that idea about what Chattanooga is and what it wants to be.”
Chartype, the font the pair have created, aims to align all those themes. It is a chunky slab serif with “an 1880s kind of a feel,” Dooley says. “They’re really popular right now with graphic designers in the US, so it’s still contemporary.” The font is now visible all around town: because it’s free, different companies have adopted it, as have the Chattanooga visitors’ bureau and library.
Paul Bailey, a brand consultant at London-based 1977 Design, says it’s exactly by tapping into “what makes this place this place” that makes a typeface work. As one of the most important visual aspects of any brand, typography can be used to “reflect a certain kind of personality”, he says – reflect, he stresses, not create. “You can’t pick a nice, modern typeface if the city is actually really run down. People can quickly see through it. You can’t rebrand something and then tell people ‘This is what your city is like,’ because if it’s not, they’ll just say ‘That’s rubbish, it’s not like that at all.’”
But you can, Bailey says, use fonts to signal “where a city brand is moving to”. That’s what a team at the University of Missouri–St Louis are hoping to achieve by raising funds to design a typeface called St Louis. According to Jennifer McKnight – an assistant professor and designer at the university who is running the project with Terry Suhre, the university’s gallery director – the city of St Louis was one of the nation’s top type-founding cities in the late 19th century, and played a key role in the industrialisation of type-founding. She and Suhre now want to tap into this heritage, via a competition to design a new typeface, but also to “suggest a way that design might be the suggested way to solve our city’s problems”.
“Some say the region lives in the past,” McKnight says. Just like Eindhoven, St Louis has been hit hard by the loss of manufacturing – in this case the closing of the local Ford plant and big cuts at Anheuser-Busch. “Many of us are wondering how to reframe or rename St Louis into a city on the rise, instead of a city whose time is past. With the rise of interactive design, design that doesn’t need to be made in a hub city, we were hoping in this project that perhaps design could be a player in how we make our city grow.”
But while it’s clear that typography, as one manifestation of design, can and has done a lot for these smaller cities, it cannot be the whole solution. “A new typeface in itself isn’t going to change a city,” says Bailey. “But it might help change the mindset of the people in a city and inspire them to make the change themselves.”
Posted by Radio Free Pescado at 10:27 AM
Wednesday, October 22, 2014
the lovely, genius, 1969 Citroen DS 21, a car with its own sound track, and flickering black whites images of families fleeing south to the cote d'azur
Posted by Radio Free Pescado at 2:48 PM
Friday, October 10, 2014
Friday, August 22, 2014
Saturday, August 02, 2014
From the folks at Hella More Funner
Machine Parade 2010
45 x 72"
"You see the Hindu Gods. Look again. No, more closely. They are corporatized Kombucha monsters gone mad. They are the self transforming machine parade from hyperspace. They are the pop-cultural Frankenstein puppet masters. They are the stuffing in beanbag chairs. We will worship them if you do. Landfills of trashed computers and shopping carts wobble into outer space like monuments to human triumph over technology. Did you hear that the newest computer processors are faster than anything ever created and are the size of a grain of sand? Can you believe it? Well it's more true now than ever.
We are increasingly connected to each other through electronic prostheses and invisible structures: self-dramatizing blogs, Twitter, Facebook, Myspace, PDAs, satellites, surveillance cameras, GPS, wire tapping, RFID tags, hyper-targeted advertising, Wi-Fi networks, terrorist networks, oh my! Sounds scary, right? We think so too, but we know we must submit to the future, which in our minds looks like a parade of drummers, robots, Native Americans, midgets, astronauts, trash collectors, and men donning biohazard suites. All of them celebrating the world for what it has become: utterly chaotic, disconnected in its increasingly mediated connections. We are the victims of technological progress but we suffer from Stockholm syndrome: We are slaves who love our masters. "