DEAR CLASS, DON'T FORGET TO EVALUATE THIS COURSE

it has been a great pleasure to be with this smart, driven, talented, group. 

whatever you say about this course is important for for me & for the ARH program.

make the time, it takes a few minutes. 

thank you!

nicole martinez (under 30)

 

nicole martinez is from miami florida. she works from miami beach.

the dead good young, website project.

excuse me while i kiss the sky, illustration.

juri zaech (under 30)

juri zaech is a Swiss Art Director, currently living in Paris, France. He works in advertising while doing other projects on the side, which is what you're looking at.

Nils chair.

Telemark typeface.

leslie david (under 30)

David is a Paris-based illustrator and designer who got her start at the fashion-forward French ad agency Petronio Associates. There she had the opportunity to apply her background in design and illustration to the agency’s biannual fashion and culture magazine, Self Service, as well as projects for clients like Colette, Chloe, Pucci, and Miu Miu.

Illustration for Bromance Records

tomi um (under 30)

new york times sunday review

Born in the year of the monkey, Tomi Um studied fine arts and received an undergraduate degree at Parsons School of Design. She is a textile designer at Tom Cody Design by day and a freelance illustrator by night & weekend.

new york times, sunday magazine

I have loved drawing since I was a kid, but although I did fine art at university I spent a lot of my college time not working very hard at all, to be honest, I came to what I wanted to do at a pretty late stage. I was 26 and travelling around Korea after graduation when I saw some beautiful illustrations in the New York Times online – and thought “I’d like to do that!” When I got home I signed up for a silk screen class at a continuing education college – and that was where I created my first portfolio.

aaron koblin (under 30)

As Aaron Koblin walks me through the two floors of cereal bars, scooter parking, and conference rooms in Google’s New York office, he apologizes. “I wish I could give a better tour,” he says. “But it’s just so huge.”

the sheep market

Using the Processing programming language, developed by his UCLA thesis adviser, Casey Reas, with Ben Fry, Koblin turns the messiest sets into beautiful, if equally complex, images. These days he’s playing with Mechanical Turk, an Amazon.com crowd-sourcing tool that pays tiny sums for menial tasks. 

For his project the Sheep Market, 10,000 users drew left-facing sheep for two cents each. The human error made it interesting. “Six hundred and sixty-two of them didn’t meet sheeplike criteria,” Koblin says, so he cut them out. 

But in another project, Ten Thousand Cents, he left the mistakes in—one contributor wrote “$0.01!!! Really?”—to see if the data, warts and all, could resolve into a convincing image. It did.

ten thousand cents

For Koblin, order hides even in chaos. Which is why his new job as technology lead of Google’s experimental marketing department, Creative Lab, is tinged with irony. “The first thing you realize here,” he says, “is that you’re never going to understand the entirety of everything.” (taken from print magazine).

jean jullien (under 30)

jean jullien is best known for creating cheerful characters that he cuts out of paper and captures in photographs. his simple, appealing scenes got a big break on the website Manystuff in 2008 while he was still in art school, and since then his work has appeared in The Guardian and The New York Times, and on a host of design blogs.

jullien studied graphic design at the french school Le Paraclet and then at Central St. Martin’s, and is now enrolled at the Royal College of Art. he comes by both his visual inclinations and his fascination with three-dimensional forms honestly: his mother is an architect and a curator, and his father is a town planner. he says that he and his brother, a musician, were “always shown design and art.”

katrin schacke (under 30)

from the series clothing as food

Katrin Schacke is an interdisciplinary artist, freelance graphic designer and photographer in Offenbach am Main.

for Vitra

Her fields of work include the one of the classical areas of graphic design, such as editorial design, book and magazine design, and information and event design, corporate design and screen/web design. In addition, she develops visual concepts for three-dimensional illustrations,

Brian Chippendale's NOISE DESIGN

As a vocalist for Lightning Bolt and Mindflayer, Chippendale eschews the usual microphone stand and conventional microphone, instead using a contact microphone. The microphone is then run through an effects processor to alter the sound further (this says a lot about Chippendale's ways of design).

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.

click here for Chippendale music (he's an accomplished drummer),

your turn#10 (last post for comment)

dear class: follow the instructions I sent via announcement. there's plenty to discuss. this is basically the developments of graphic design during 1980s-1990s.

 

PHAIDON

 

Phaidon here,

your turn #9

hi class, sorry, I'm posting this on Sunday. I won't close the comment box. 

Neurath, Helvetica, Fukuda, Propaganda, Advertising, Saul Bass, the amazing Polish School, Punk, New Wave (April Greiman), Sussman, the 80s: Dunbar aesthetics, 80s' trends, 

go ahead, plenty to talk about,

Saul Bass- Style is Substance

your turn #8

more stuff to talk about: you have it all there, on our blog's right hand side (of published posts, from your turn #7, up to "what's in a logo" post).  

go ahead. & please, make your comment meaningful.  

Bob Noorda & Vignelli's signage for New York Transit (1960s)

Though they have been modified over the years, the signs New York subway riders see today are essentially the work of Mr. Noorda and Mr. Vignelli, from the bold, clean type to the color coding used to identify the system’s many train lines.

What do we see?  

1- identifiable codes,
2- few words,
3- friendly, consistent colors,
4- functionality,
5- familiarity

Lester Beall (1950s)

geometric, simple, direct, photo, primary colors.

even in the 1950s Beall didn't change much.

graphic designers took on the "intangible" and lent it visual form

Will Burtin, cooper corporation, 1950s

Here technology and human figures are compared. Bodies compared with machines, brains with computers. Technological intervention at a microscope placed test-tube babies and miracle cures in the same world as polymers. All had properties unheard of before synthetic processing. Visualizing scientific processes was critical in the context of research where the ability to conceptualize a problem was often directly related to the model according to which it could be represented. Burtin's capacity to design scientific findings for broad public consumption accounted for the wide circulation of his imagery.

your turn #7

 

Dorothea Tanning, Family Portrait, 1954

we had a nice class this wednesday. we're moving on, covering a veritable explosion of movements in the first half-century (almost at the point of world-war two): 

we discussed the expressionist graphic contribution, Futurism (with Depero & Marinetti's work), Constructivism (Rodchenko, Moholy Nagy), Paul Klee, DADA and its two graphic developments (political and metaphysical --though I didn't address Max Ernst, will do next week), BAUHAUS (and try to cover some of its many facets), Neue Typographie, German New Objectivity, Plakatstil, 

go ahead. please, no echo chamber & research your point.