Tuesday, May 13, 2008

David Carson Paper.

David Carson was born in Corpus Christi, Texas, on September 8th 1955. At a very young age, his family moved to New York City, an environment that has clearly influenced his design aesthetic. He received his BFA in sociology from San Diego state university, and was a professional surfer in college, ranked in the top ten in the U.S. In the 1980’s, he taught in a California high school, and here he discovered his passion for graphic design, diving into the unconventional bohemian artistic culture of Southern California. He began his design career by branching off from his surfing career, working at a magazine called Beach Culture. Here, he developed his signature style of innovation, unusual design elements, and “dirty” type. This became the blueprint for the popular “grunge” style of design so prevalent in the 1990’s.

David Carson’s client list has included some of the most well-known companies and groups of the modern time. These include Pepsi Cola, Ray Ban Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines, Levi Strauss Jeans, AT&T, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software, Fox TV, Nissan, Quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails.

Advertisements such as this for Kodak, and the above for Ray Ban sunglasses shed light on David Carson’s work. His interesting use of type is something he is very well known for. He was unafraid to mix sizes, fonts, weights, styles, and orientations of letters, making a statement of modernity, youth, and a laid-back atmosphere. His work for magazines, especially Ray Gun, also turned the traditional magazine design industry upside-down.




The above photograph of a spread in Ray Gun magazine, as designed by David Carson, shows the unprecedented unconventionality of his magazine design style. The bizarre placement of type goes against any and all preset rules of design, breaking them all and not bothering to create new ones. He places pictures in places most would not think for them to go. Yet somehow, this jumble of creative regurgitation still works and creates a fresh, hip vibe.

This Ray Gun cover demonstrates the same disregard for traditional graphic design rules and determination to be set apart. His use of all lower-case letters lends an air of informality and invites the reader in as an equal. The unexpected orientation of the cover photo catches the eye of a potential reader passing a newsstand, setting Ray Gun apart from other magazines as more interesting and unique. The design of this cover conveys the overall attitude and message of the magazine, one that promotes counter and subcultures and strives to defy expectations.

David Carson is best known for his use of photography in Graphic Design and for his innovations in the field of typography. He is often referred to as the “father of grunge.” His work created standards for a new field of graphic design based in unusual typographic elements and the incorporation of photography into design. His works do more to communicate the emotion of the product, article, or whatever subject he is designing around then they do to literally display the subject. He has won several awards, including Best Overall Design (Society of Publication Designers in New York), Cover of the Year (Society of Publication Designers in New York), Designer of the Year in both 1998 and 1999 (International Center of Photography), and The most famous graphic designer on the planet, April 2004 (London Creative Review magazine). His first book, The End of Print, published in November 1995, is the best-selling graphic design book of all time, selling over 200,000 copies in 5 languages. His other books include 2nd Sight: Grafik Design After the End of Print published in 1997, Fotografiks with Phillip B. Meggs in 1999, and Trek in 2000.

Sources:

The end of print : the grafik design of David Carson / by Lewis Blackwell + David Carson.

"The History of Graphic Design" by Philip Megg

http://www.davidcarsondesign.com/?dcdc=top/s

Friday, May 9, 2008

Blog Comments 5.

Blog comments on Core77: One Day Paper Waste Furniture by Jens Praet



This is so cool! This guy takes wasted, shredded paper, and mixes them with resin to make furniture. The end result is as sturdy as a piece of wooden furniture. So much paper goes to waste every day being shredded by everyone from big corporations to average people shredding their credit bills. This is an interesting, functional, and aesthetically kind of cool way to recycle this not-so-obvious building material. I find this to be innovative and exciting. And I think it would be interesting to use these pieces of furniture as the inspiration piece to design a room. The little snippets of text still legible would make for quite the conversation piece as a coffee table, people could sit around it and discuss what the documents may have once been. It is something non-traditional but still functional, and a very innovative piece of design.

Blog Comments 4.

Blog comments on Core77: Project H Design (Anti)Manifesto: A Call To Action For Humanitarian (Product) Design, By Emily Pilloton

Wow, what an article. I learned SO much and I'm really glad I read it. This is something really important to me, the idea of impacting the world through art and design. I really hope that people read this and take her words to heart, because this is one of the things the world truly needs right now. I really loved the way she explained the idea of function vs. impact with the hammer story. A hammer's function is to drive a nail, its short-range impact is that it builds a house, and its long-range impact is that it provides shelter for those who need it. And that long-range impact is what designers and everyone, really, needs to be focusing on. And she is also right about how "Green design" as a trend is becoming overused and cliche, when it shouldn't really even be a term used, because all design should be designed with its environmental impact in mind. I can't even say all the things I can say about this article, I could write an entire paper on it. She makes so many extroadinary points, and I love her company's focus on humanitarian design. I am in love with the idea of enabling people through design. It comes down to the idea that if you give someone a fish, they'll eat for a day, but if you teach them how to fish, they'll eat for life. Except in this case, its like, if you design a luxury fishing rod, someone can catch a fish and send it to a starving person in a developing nation, or you can design a functional fishing rod to be given to the person in the developing nation and they can fish for themselves.
Perhaps I'm not as gifted at expressing this concept as the author of this article...
But I definitely identify and agree with all of her sentiments.

Some quotes I really loved:

"Our real goal should be to design the biggest impact with the least amount of product."

"Separating function from impact is a critical step in the design process, encouraging us to look for consequences beyond the obvious, and grounding us in considerations beyond the often-irresistible distractions of form and function."

"If all our clients are corporate, we're only perpetuating the profit-driven machine. In order to move design toward a more humanitarian and global service-based industry, we've got to redefine our client base."

Tuesday, May 6, 2008

Blog Comments 3.

Blog Comments on NussbaumOnDesign; New Solar Tiles For Roofs -- Tiles, Not Panels

As a person who considers herself concerned about the environment and the world around her, this post was very interesting. The marriage of design and environmentally friendly techonology is definitely a business on the rise, and this is a good example of that. Many people who could have afforded solar panels, but perhaps did not want to sacrifice the visual appeal of their home, can now put these aesthetically pleasing tiles on the rooves, and enjoy the visual impact that the tiles have as well as the reduction of negative environmenal impact that the home creates. If I had a home, and lots of money, I would tile my roof in these!

Blog Comments 2.

Blog Comments on NussbaumOnDesign; Is Apple innovative or just Adaptive?


I don't know the answer to this question, but the probing questions and points Nussbaum raises intrigue me. What is the definition of innovation? I do think that Apple is innovative, but that's from a design perspective. Many of the dissenting comments on this post concern Apple's innovation (or not) in terms of techonology, and I certainly do not know enough about that to decide. Apple is one of the first companies to integrate creative design into every aspect of their business, from sleek product and package design to aesthetically pleasing and user-friendly web design. From what I've heard, its even pleasant to work in an Apple office because of the interior design! In their use of design in a corporate atmosphere, Apple is certainly innovative.

Blog Comments 1.

Comments on annoyingdesign; The Big Apple is big on Design biz :

I think that this post presents a very interesting point of view. He really analyzes the differences between advertising & marketing versus design & innovation. It brings to light the importance of students such as myself in the design and innovation process, and the growing trend of businesses recruiting fresh ideas from academic atmosphere's. I found it especially interesting that he brought up the MIT Media Lab, since Leo Bonanni, a grad student studying in the aforementioned lab, came and spoke to us about all of the interesting (and most certainly innovative!) projects being worked on in the lab.

5.6.08.

Business Card layout:

Tuesday, April 29, 2008

Brandscape + Logo

Final Logo:


Brandscape with my approved logo placed in it:

4.29.08.

FINAL: TUES, MAY 13 1:00 PM.
BRING:
Cd/final files
binder w/ printouts
blog print-out (incl. paper)

TODAY:
Finalize Logo
Work on Business Card
(touch up brochure?)

To Do:
Write up on Leo Bonnani
Review blog posts on blog
Touch up/print out brochure
Touch up portrait

Thursday, April 24, 2008

4.24.2008.

-fill out forms
-finish logo and place in brandscape with tagline (no name)
-get pre-perforated businesscard stock (white, no decoration)

Tuesday, April 22, 2008

DESIGN VOCABULARY + PRINCIPLES. 4.22.2008.

Slideshow lecture on Design Vocab...will be on final!

why is design important?
design is an indication of a confident society.

Charles & Rae Eames: Designers who were active in 50's-70's.
-exhibition about American culture done in Moscow during Soviet-American hostilities.
-many say this was one of the factors of the end of the cold war...USSR saw America as interesting

Steve Jobs (Founder & CEO of Apple)
"In most people's minds, design means veneer. (But in my mind) design is the fundamental soul of a man-made creation that ends up expressing itself in the outer layers if the product or service."

The greater the penetration of design, the stronger the company.
(companies like Nike, Apple)

Design articulates a country's "question."
-The European question:
"Is everyone (a little bit) happy?"
-The American question:
"What's next?" (less cautious, more risks, more exuberance)

What is the difference between art and design?

(Tom's) Design Principles
Design=de-sign
informational/inspirational
(denotation/connotation)
a mixture of factual and poetic
connotation: suggestion, abstraction

The best design is:
-understandable (different from art)
-meaningful
-poetic

"Design is desire disguised as function."
(things like iphone, etc)

Anticipate developments by tracking contemporary art.
Understand the "bio-metaphorical" bias of your era.

Why is the network important for the designer?
-Find creative partners
-Find new work opportunities/clients
-Build a "brain trust" (for short term answers and long term planning)
-stimulates new thoughts + learning ("fun")
*community websites
*blogs
*podcasting
*MoSoSo (mobile social software)

Parellel development: "Peer-production"
-cost of entry = almost nothing

(Thew New Design)
Experience Design:
-designers not just desgning isolated graphic elements but "touch points" (all instances where customers have contact with a company)

"Novelty is erotic."
-Jean Nouvel
"The profound stillness of gazing"
-Johannes Itten

4.22.2008.

Brandscape: my way.
These are some camera company logos.


Thursday, April 17, 2008

4.17.08.

Brandscape;

Thursday, April 10, 2008

Paper draft 1.

David Carson was born in Corpus Christi, Texas, on September 8th 1955. At a very young age, his family moved to New York City, an environment that has clearly influenced his design aesthetic. He received his BFA in sociology from San Diego state university, and was a professional surfer in college, ranked in the top ten in the U.S. In the 1980’s, he taught in a California high school, and here he discovered his passion for graphic design, diving into the unconventional bohemian artistic culture of Southern California. He began his design career by branching off from his surfing career, working at a magazine called Beach Culture. Here, he developed his signature style of innovation, unusual design elements, and “dirty” type. This became the blueprint for the popular “grunge” style of design so prevalent in the 1990’s.

David Carson’s client list has included some of the most well-known companies and groups of the modern time. These include Pepsi Cola, Ray Ban Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines, Levi Strauss Jeans, AT&T, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Princo, Lotus Software, Fox TV, Nissan, Quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails.

Advertisements such as this for Kodak, and the above for Ray Ban sunglasses shed light on David Carson’s work. His interesting use of type is something he is very well known for. He was unafraid to mix sizes, fonts, weights, styles, and orientations of letters, making a statement of modernity, youth, and a laid-back atmosphere. His work for magazines, especially Ray Gun, also turned the traditional magazine design industry upside-down.


The above photograph of a spread in Ray Gun magazine, as designed by David Carson, shows the unprecedented unconventionality of his magazine design style. The bizarre placement of type goes against any and all preset rules of design, breaking them all and not bothering to create new ones. He places pictures in places most would not think for them to go. Yet somehow, this jumble of creative regurgitation still works and creates a fresh, hip vibe.

This Ray Gun cover demonstrates the same disregard for traditional graphic design rules and determination to be set apart. His use of all lower-case letters lends an air of informality and invites the reader in as an equal. The unexpected orientation of the cover photo catches the eye of a potential reader passing a newsstand, setting Ray Gun apart from other magazines as more interesting and unique. The design of this cover conveys the overall attitude and message of the magazine, one that promotes counter and subcultures and strives to defy expectations.

David Carson is best known for his use of photography in Graphic Design and for his innovations in the field of typography. He is often referred to as the “father of grunge.” His work created standards for a new field of graphic design based in unusual typographic elements and the incorporation of photography into design. His works do more to communicate the emotion of the product, article, or whatever subject he is designing around then they do to literally display the subject. He has won several awards, including Best Overall Design (Society of Publication Designers in New York), Cover of the Year (Society of Publication Designers in New York), Designer of the Year in both 1998 and 1999 (International Center of Photography), and The most famous graphic designer on the planet, April 2004 (London Creative Review magazine). His first book, The End of Print, published in November 1995, is the best-selling graphic design book of all time, selling over 200,000 copies in 5 languages. His other books include 2nd Sight: Grafik Design After the End of Print published in 1997, Fotografiks with Phillip B. Meggs in 1999, and Trek in 2000.

Sources:

The end of print : the grafik design of David Carson / by Lewis Blackwell + David Carson.

"The History of Graphic Design" by Philip Megg

http://www.davidcarsondesign.com/?dcdc=top/s

Tuesday, April 8, 2008

4.8.08.

AND the printer is still broken. Grading on Thursday and next Tuesday hopefully.
Paper draft due Thursday...DON'T FORGET!

Here's my part 3 to the project:
We had to photograph a texture that reflected our word, then use it as the background to the image. We also had to use filters so as to prevent the texture from taking attention away from the subject of the image...ourselves!

Thursday, April 3, 2008

Part 2.

Assignment 2 Part 2;
Take the original image from part one and do 10-15 variations, using different photoshop filters on the background of each image.













There's five more but they won't load.

4.3.08.

-grading of assignment 2 next week
-draft of paper also due
-keep blog up to date

Tuesday, March 25, 2008

3.25.08.

Photomanipulation Project Part 1.

Thursday, March 13, 2008

Photo project.

New book choice:

1984 by George Orwell.

Possible word choices:
etiolated, proletariat, rebellion, vaporized, subordinate, propaganda, opposition, surveillance, avaricious,

Tuesday, March 11, 2008

Interesting.

I think that this is such a cool concept.



From The Design of Dissent.

3.11.08.

Today:
-demo part 2, assignment 2
-finish grading assignment 1 + blog

For Next Class:
-finish drafts of part 1 & 2, assignment 2

Potential book:


potential words:memory, , forgive, memoir, hope, believe, persevere

Thursday, February 21, 2008

2.21.08.

-inside of brochure layout demo
-grading brochure's next week

**march 4th & 6th no classes

Notes:
expanded-a font that is stretched horizontally
condensed-a font that is stretched vertically
widow-a word broken by a hyphen over two lines
orphan-one word alone on a line

Tuesday, February 12, 2008

2.12.08.

Typography Lesson;

Preferred Sans Serif

Futura-Medium
Futura-CondensedMedium
Futura-CondensedExtraBold

MetaPlusMedium-Roman

Univers-Medium
Univers-Bold
Univers-MediumItalic

LucidaSans
LucidaSans-Italic
LucidaSans-Demi

Optima-Italic
Optima-BoldItalic
Optima-Regular

HelveticaNeue-BoldItalic
HelveticaNeue
HelveticaNeue-Bold

NewsGothicMT
NewsGothicMT-Bold
NewsGothicMT-Italic

GillSans
GillSans-Italic

Preferred Serif Text

TimesNewRomanPSMT
TimesNewRomanPS-BoldMT
TimesNewRomanPS-ItalicMT

CenturySchoolbook
CenturySchoolbook-Bold
CenturySchoolbook-Italic

Rockwell-Bold
Rockwell-Italic
Rockwell

Palatino-Roman
Palatino-Italic
Palatino-Bold

Garamond-Italic
Garamond-Bold
Garamond

Friday, February 8, 2008

Designs I'm currently loving.


awesome stairs.



Bar Code Building!!!



hang your coat up!





Made from a vintage tennis skirt.


Mod lighting.

Lace as an architectural element?


Airspace Tokyo by Beige Architecture and Proces2

Thursday, February 7, 2008

2.7.08.

Today:
-Demo: grid (in Quark)
-Create grid
-Do layout
-Start work on paper

Making a monochrome lighter is called a "tint"
i.e; black --> gray: a tint of black.

Tuesday, February 5, 2008

2.5.08

Note to self;
Design blogs to check out:
http://www.treehugger.com/design_architecture/
http://www.aside.in/blog/
http://www.colourlovers.com/blog/

Koolhaas Photos


Rem Koolhaas
http://www.pritzkerprize.com/full_new_site/koolhaas_jurorcomments.htm


Seattle Central Library
http://commons.wikimedia.org/wiki/Image:SCL3.JPG


Seattle Central Library
http://time-blog.com/looking_around/2007/08/anguished_architect_alert.html


Serpentine Gallery Pavillion
http://www.serpentinegallery.org/2006/11/past_serpentine_gallery_pavili.html


Torre Bicentenario
http://alivianate.com/foronuevo/showthread.php?t=2315


Casa Da Musica
http://commons.wikimedia.org/wiki/Image:Casa-da-musica.jpg



Netherlands Dance Theater
http://www.stroom.nl/activiteiten/tentoonstelling.php?t_id=2582769

Thursday, January 31, 2008

Rem Koolhaas research.

Rem Koolhaas is a Dutch architect known for his ability to marry the arts of architecture and urban planning, as well as his outside-the-box style. Born November 17, 1944 in Rotterdam, his career took off when he helped found The Office for Metropolitan Architecture (OMA) in 1975. Koolhaas quickly became known for his different approach in a time where postmodern classicism was the prevalent design style. Scholars have a difficult time classifying his style, blending deconstructivism, structuralism, and modernism. Many find his work hard to understand, seemingly a jumbled assortment of unusual silhouettes, unexpected shapes, and hard edges. While his structures at first seem impractical, a closer look reveals an effective use of technology and space, completely reforming the way the world views functionality.

Koolhaas received acclaim for his writings on architecture before he had even build a single structure. His first book, Delirious New York: A Retroactive Manifesto for Manhattan, was published to great acclaim in 1978. He also published, in conjunction with other OMA partners, S,M,L,XL, a collection of fictional and non-fictional works concerning the contemporary city. “Rem Koolhaas is that rare combination of visionary and implementer, philosopher and pragmatist, theorist and prophet-an architect whose ideas about buildings and urban planning made him one of the most discussed contemporary architects in the world even before any of his design projects came to fruition,” says the Pritzker Prize Jury, who named Koolhaas the Pritzker Architecture Prize Laureate in 2000.

Work & Awards
Koolhaas’ work can be viewed almost anywhere in the world. In North and Central America, some of his most famous structures are the Torre Bicentenario in Mexico City, Mexico, the Seattle Central Library in Seattle, Washington, the McCormick Tribune Campus Center, IIT in Chicago, Illinois, the Guggenheim Hermitage Museum in Las Vegas, Nevada, the Second Stage Theatre in New York City, and the Prada retail stores in both Manhattan and Los Angeles. In Asia, Koolhaas’ name can be found on the CCTV HQ in Beijing, China as well as Nexus Housing in Fukuoka, Japan and the Seoul National University Museum of Art in Seoul, North Korea. The majority of his famed works are located in Europe, Koolhaas’ place of birth. The Córdoba International Congress Center in Córdoba, Spain, the Casa da Música, Porto, Portugal, the Netherlands Embassy, Berlin, Germany, the Maison à Bordeaux in Bordeaux, France, the Educatorium in Utrecht, The Netherlands, the Kunsthal in Rotterdam, The Netherlands, Villa dall’Ava in Saint-Cloud, France, the Euralille in Lille, France, and the Netherlands Dance Theater, located in The Hague. His major awards include the 2004 RIBA Gold Medal, the Praemium Imperiale in 2003, the 2000 Pritzker Architecture Prize, and the Doctor Honoris Causa by the Katholieke Universiteit Leuven, Belgium in 2007.

Today & Tomorrow
Koolhaas is currently a professor at the Harvard University Graduate School of Design. He heads offices in Europe (OMA*AMO Rotterdam), North America (OMA*AMO Architecture PC New York) and Asia (OMA Beijing). He will go down in architectural history for his unconventional attitude, unusual urban design tactics, and complete disregard for anything typical or predictable. In a 1996 interview with Wired magazine, Koolhaas said, “Architecture can't do anything that the culture doesn't. We all complain that we are confronted by urban environments that are completely similar. We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living,”

Sources
http://www.pritzkerprize.com/full_new_site/koolhaas.htm
http://architecture.about.com/library/weekly/aa042200a.htm
http://en.wikipedia.org/wiki/Rem_Koolhaas

Wednesday, January 30, 2008

1.29.08.


Notes

Two important elements of design:

  • denotative-the factual, descriptive aspect of a design
  • connotative-the suggestive aspect of a design, the feeling a design invokes
Font Facts:
  • Serif fonts -have "feet" on the letters. Gives a more decorative, elaborate, and traditional feel.
  • Sans Serif fonts- do not have "feet." More contemporary and corporate.

Programs to know:

Adobe Photoshop-
raster based

  • softer lines, uses pixels on a grid system, distorts when enlarged
Adobe Illustrator-vector based
  • sharp lines, ability to be enlarged well
Adobe InDesign/Quark-used for layout
  • a duopoly of the two methods


it·er·ate [it-uh-reyt]
-to do something over again repeatedly
Designers often iterate within their designs.