Saturday, April 28, 2018

list of images & concepts for our final exam (spring 2018)

list of concepts for the final exam.

there are 44 images from which I'll pick about 28. same as before: author, title, year.

as per the concepts, this time I'm more interested in you remembering the names of the designers for each design school. these names are underlined in red.

Thursday, April 26, 2018


Banksy is a household name in England—the Evening Standard has mentioned him thirty-eight times in the past six months—but his identity is a subject of febrile speculation. This much is certain: around 1993, 

his graffiti began appearing on trains and walls around Bristol; by 2001, his blocky spray-painted signature had cropped up all over the United Kingdom, eliciting both civic hand-wringing and comparisons to Jean-Michel Basquiat and Keith Haring. 

Vienna, San Francisco, Barcelona, and Paris followed, along with forays into pranksterism and more traditional painting, but Banksy has never shed the graffitist’s habit of operating under a handle. His anonymity is said to be born of a desire—understandable enough for a “quality vandal,” as he likes to be called—to elude the police. 

BANKSY aesthetics:
1- be subversive,
2- be invisible,
3- be omniscient,
4- be accessible,
5- be humorous.

Adbusters, the power of anti-advertising

Adbusters Media Foundation (called Adbusters or the Media Foundation) is a not-for-profit, anti-consumerist organization founded in 1989 by Kalle Lasn and Bill Schmalz in Canada. 

They describe themselves as "a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age." 

The foundation publishes Adbusters, a 120,000-circulation, reader-supported activist magazine, devoted to numerous political and social causes, many of which are anti-consumerist in nature. 

the message?
1- be subversive,
2- use the message against the message,
3- fight the system within the system.

The art of Andrey Logvin

Russian artist Andrey Logvin became known in the late 1990's for his witty, bright, energetic posters. In 1996 he received the gold medal at the International poster Biennal in Warsaw, Poland.  

International Design from New York, featured him as a master pushing the boundaries of the profession (the first Russian designer to be so honored).

Logvin tries to break through to the general public. Despite of the bad rap for political posters as a form of propaganda,

Logvin message?

1- be green!
2- speak to the masses, no the elite,
3- be honest with your message.

Christoph Niemann (the trick-of-the-eye master)

Christoph Niemann is an illustrator, animator, and graphic designer whose work has appeared on the covers of The New Yorker, Atlantic Monthly, The New York Times Magazine, and Business Week. 

He lives in Brooklyn with his family. 


Niemann's philosophy:

1- come up with fresh solutions to old problems,
2- reinvent yourself,
3- be witty,
4- the more out there the better!

Brian Chippendale (design is NOISE)

Brian Chippendale is a new post-post modernist hybrid between music and art. His work embodies a kind of visual/noise aesthetics, influenced by punk, trash & DIY philosophy. The visuals feed on the music and viceversa. Check out the other Chippendale profile here and here. His Ninja and Maggot series (the former took five years in the making) have developed a cult following. 

Chippendale video's here.

Iman Raad

Iman Raad fell in love with Arabic script while teaching a typography class at Cooper Union in NY. Raad's work comes from typography, calligraphy, pottery, weaving, talismans, religious flags, and posters. "I try to explore the language of myths in the contemporary world" he says.

AnDy ReMeNtEr (design should be wacky)

Andy Rementer  (Philadelphia) earned graphic design degrees from University of the Arts in Philadelphia. 

He is the happiest creating comics. The medium gives him the freedom to do as he pleases.

Rementer's world:

1- zany,
2- biting & offbeat,
3- wacky is good,
4- witty,
5- be a little paranoid,

Die Designpolitie (turning complex stories into iconic visuals)

De Designpolitie is a graphic design agency, based in Amsterdam, the Netherlands.
Its members were brought up in the Dutch design culture and rich tradition of Dutch art, design and tolerance. In keeping with these traditions, De Designpolitie follows simple but ruthless methods. 

Their working process often ends in a stripped image which is a critical but always communicative solution.
De Designpolitie consists of a small group of ambitious and talented creatives and was founded by Richard van der Laken and Pepijn Zurburg. Don't miss their page!

Tom Gauld's "comics" design

Tom Gauld (b. 1976) is a Scottish cartoonist and illustrator. He studied illustration at Edinburgh College of Art and the Royal College of Art. He now lives in London with his partner, artist Jo Taylor. 

His published books are Guardians of the Kingdom, 3 Very Small Comics (Volumes One to Three), Robots, Monsters etc and Hunter and Painter. His strip Move to the City ran weekly in London Time Out 2001-2002.

He is noted for his work with Simone Lia, who he met at the Royal College of Art. Together they self-published the comics First and Second, under their Cabanon Press.

Arem Duplessis

Duplessis takes from fine art, diagrams in old psychology, and sharks (yes, he's an avid scuba diver) as inspiration. 

1- use innovative typography, 
2- use scale, space and rhythm,
3- to convey complexity use pun and metaphor
4- make your design easy to digest. 

Duplessis is currently the Art Director of The New York Times Magazine. He has held design-director and art-director positions at various titles, including Spin, GQ and Blaze magazines. He has received over 300 awards from organizations like the Society of Publication Designers, where he most recently won both the "Members Choice Award" for best magazine and the prestigious "Magazine of the Year Award" for work done at The New York Times Magazine. More on Duplessis here

Yves Netzhammer (design as insdtallation environment)

Nothing ever stands still in the idiosyncratic pictures by the young Swiss artist Yves Netzhammer. His subject matter is constantly changing to reveal stories in which any form of metamorphosis appears to have become possible. He uses props, computer projections, sculptural elements, furniture, and sketches all blended together to form one expansive installation.

For his exhibition at the Stiftung Wilhelm Lehmbruck Museum, Duisburg, the artist developed a new synchronised video-projection consisting of three parts, a combination of computer-projections, sculptural elements and light. At the Kaiser Wilhelm Museum, Krefeld, the artist created an intriguing combination of video-installations and wall-drawings.

Fons Hickmann

currently as fons hickmann m 23  in berlin: appointments as lecturer and professor in numerous universities, lectures tours, paarticipation in juries, numerous publications, 

hickmann has received numerous honors. his works have been represented in biennials and exhibitions around the world. hickmann lives in berlin and vienna, with the illustrator gesine grotian-steinweg and a small fontissima with the lovely name of uma malina (written by uwe loesch for area).

Martin Woodtli's techno-graphics

Martin Woodtli is perhaps the most accomplished representative of the new design scene in Switzerland, where the joy of the design process (as opposed to monetary reward) seems to determine the direction of the studios. Swiss designers would rather work for small cultural projects to which they are often connected personally than to fall into the trap of large advertising conglomerates. Woodtli does not subscribe to the silly adage circulated by many of his colleagues about the computer being just a tool; he sees it simply as a process.  

Woodtli creative mantra:

1- be program-savvy,
2- sketch first,
3- throw the message slightly off balance,
4- maximalism is ok,

Rene Knip's typeface virtuosity

Rene Knip's letters are architectural, built and constructed rather than drawn or written. And the architectonic nature lends itself very readily to use in real architecture: in buildings, on walls, as floor tiles, etc. The relationship between the letters and their surroundings isn't clearcut; it's as though the letters themselves were part of the built environment. Sometimes they are. Knip takes inspiration from various existing letterforms left over from the 1920s and '30s, especially those that he has found in the streets of Amsterdam. Others have mined this same vein; the squared-off echoes of Art Nouveau, De Stijl, and Art Moderne remind me of the lettering of cartoonist Joost Swarte, and some of the constructed shapes are reminiscent of alphabets done by Max Kisman. Knip's genius is in melding the letterforms and their immediate environment, making each a part of the other.Knip studied with the renowned Dutch letterer and type-designer Chris Brand, at the St. Joost Academy of Art and later in private lessons at Brand's home. Although Brand's letters were always quite traditional in their form, he encouraged Knip's very different style and taught him to pay attention to the "white of the letter": the space inside (the counter). 

1- the world is graphic,
2- brutal physicality,
3- typeface is environment,
4- interiors are exteriors too.