Monday, March 12, 2007
Thursday, March 8, 2007
Here is an example of an archive put into context
Here is a selection of photographs of female sculptures an signs to show that the toilets are the females. It is a collection of images put in to context as a design for imagary for the toilets the same slyle was done for the males toilets. This photgraph was taken in the met quarter hopping center in liverpool .
Tuesday, March 6, 2007
Why Archives
Why this interest’s me. Most people have collections of some sort that is fascinating to them weather they realise they do it our not.
I am fascinated with what fascinates others and why different things intrigue people.
This research project will take up a lot of my time so I have chosen a subject that will keep me interested in this project. I have also the past two years been collecting my own archive of peoples beliefs you could say this is an archive within an archive.
I am fascinated with what fascinates others and why different things intrigue people.
This research project will take up a lot of my time so I have chosen a subject that will keep me interested in this project. I have also the past two years been collecting my own archive of peoples beliefs you could say this is an archive within an archive.
apply collections to contxt
I will look at personal resource in any medium from any source, perspectives on meaning and interpretation to apply collections to context with a point of view and explore context as a boundary of meaning.
I will show how simulating awareness of the creative potential of the world around us can form archive, which can be brought into a graphic context
(Such as the camper shoes campaign.)
I will show how simulating awareness of the creative potential of the world around us can form archive, which can be brought into a graphic context
(Such as the camper shoes campaign.)
Amelie (the flim)
In ‘Amelie’ the film directed by Jeunet you could observe a serious of characters defined (or at least better illustrated) by their collections/taxonomy.
Amelie herself finds an archive left behind in her flat by a small boy; the other main character collects torn up passports photos and photos footprints in wet cement: a girl from the café collects proverbs (and judges others on their own knowledge of them). The film starts by listing the characters’ likes and dislikes.
Amelie herself finds an archive left behind in her flat by a small boy; the other main character collects torn up passports photos and photos footprints in wet cement: a girl from the café collects proverbs (and judges others on their own knowledge of them). The film starts by listing the characters’ likes and dislikes.
collections
It is certainly difficult to avoid top 10 lists in magazines at the moment, e.g. 50 places to go before you die, the best 50 beaches in the world, top ten life experiences before you’re 30, ect.
What I will be looking at however is merely a list but collections that have been developed over time. Looking at things people love, hate and are fascinated by. How artist have had their own personal perspective on subjects and their reasons for their interest in them.
What I will be looking at however is merely a list but collections that have been developed over time. Looking at things people love, hate and are fascinated by. How artist have had their own personal perspective on subjects and their reasons for their interest in them.
what i will look at
Through out my research I want to look at not just photography as a material of keeping archives but to look at flim, sound, type, image, drawings, objects, the abstract or the ephemeral
Monday, March 5, 2007
british art councel
Over the past few years the British art council have organized several major photography and video exhibitions to showcase the diversity and breadth of these disciplines across contemporary UK practice. In December 2004 Sam Taylor-Wood opens at the Engineers' Palace in St Petersburg whilst a unique collaboration with The Photographers Gallery allowed Reality Check to show in London in November 2002 as part of its international tour. Through exhibitions like Common Ground audiences can explore social documentary, portrait and landscape photography, whilst the stunning 1930s studio photographs of Madame Yevonde add a historical perspective to our work. Have a closer look at our current and archived projects below.
Anna Fox 'Archive'
Anna fox has used photgraphs as an archive her serious of 'mum in a million' this is personal archive projct of individual homes after mothers day. she has plastered the wall with thw pictures all most as a doley wall paper. In each picture has flowers on the mantel pice or on tables. the pictures show the mothers touch (every mother has her own touch ).
center of the creative universe 'liverpool'
i vistied this exbition at the tate modern in liverpool. the exibition showed documentry of liverpool life. the main mediea that was used in this was photography.
neville gabie 1959 used a serious of photograhs called playing away uk-liverpool 1998-2005. The collection of pictures showed goals that had been painted on the sides of buildings across liverpool no person to be seen in them but a deserted area with vandlised buildings as goals.
Tom Wood 1951
his collection of pictures was from citerzens on bus from the inside and out. his projct was not planned as serious from the outset part of woods everyday routine he uses reflections in bus windows and doors as formal elements. fragmenting views and questioning our our preception of the scence. bring street photography in doors
martin parr 1983
'the lens on the street' is a serious of picture from around liverpool. martin parr is known for his high colour depictions of everyday life and customs in britian like one of his great influnces tony ray jones, paris images are redolent of the quintessential oddness of englishness living on mersyside in early 1980s, parr took many images of the area, most notably his gaudy photographs of the faded resort of new brighton. the images presentd here some of which arre exhibited for the first time ever, show different side of mersyside-a derelick and dystopian vision of liverpoool in the early 1980s.
his pictures capture the character of the rtimes in these areas in one of his pictures he focus on the curtians of a house showing t he tweedness of them through the colour.
neville gabie 1959 used a serious of photograhs called playing away uk-liverpool 1998-2005. The collection of pictures showed goals that had been painted on the sides of buildings across liverpool no person to be seen in them but a deserted area with vandlised buildings as goals.
Tom Wood 1951
his collection of pictures was from citerzens on bus from the inside and out. his projct was not planned as serious from the outset part of woods everyday routine he uses reflections in bus windows and doors as formal elements. fragmenting views and questioning our our preception of the scence. bring street photography in doors
martin parr 1983
'the lens on the street' is a serious of picture from around liverpool. martin parr is known for his high colour depictions of everyday life and customs in britian like one of his great influnces tony ray jones, paris images are redolent of the quintessential oddness of englishness living on mersyside in early 1980s, parr took many images of the area, most notably his gaudy photographs of the faded resort of new brighton. the images presentd here some of which arre exhibited for the first time ever, show different side of mersyside-a derelick and dystopian vision of liverpoool in the early 1980s.
his pictures capture the character of the rtimes in these areas in one of his pictures he focus on the curtians of a house showing t he tweedness of them through the colour.
the begging of my reaserch project
I have started to look at the way that graphic artist use photograhy in there work to convey messages. An what the role of photograhy can play in grahic coumunication. Also looking at artist's that have used photograhy as part of an archived project with in there work.
Thursday, January 11, 2007
Andrew Blauvelt
As head of the Design Studio at the Walker Art Center in Minneapolis, ANDREW BLAUVELT is one of the most influential figures in US graphic design both as a practising designer and as a creative director commissioning other designers' work.
Ever since the 1930s, design has played a critical role in the development of the Walker Art Center in Minneapolis. Every element of design at the Walker – from its design exhibitions to functional graphics like signage - is co-ordinated by the Design Studio under the Walker’s design director Andrew Blauvelt.
Regarded as a role model for best practise in design, the Design Studio at the Walker Art Center has won more than fifty design awards and was nominated in 2001 for the Chrysler Award for Innovation. With a staff of six full-time designers, two editors and two interns, it is responsible for everything from exhibition catalogues to monthly calendars and invitations.
Blauvelt and his team also collaborate frequently with specialists in different fields, notably Matthew Carter, the acclaimed typographer whose Walker typeface, created specially for the Walker Art Center, is not only renowned for its pleasing appearance and legibility but is seen as one of the most innovative typefaces of the 1990s.
Ever since the 1930s, design has played a critical role in the development of the Walker Art Center in Minneapolis. Every element of design at the Walker – from its design exhibitions to functional graphics like signage - is co-ordinated by the Design Studio under the Walker’s design director Andrew Blauvelt.
Regarded as a role model for best practise in design, the Design Studio at the Walker Art Center has won more than fifty design awards and was nominated in 2001 for the Chrysler Award for Innovation. With a staff of six full-time designers, two editors and two interns, it is responsible for everything from exhibition catalogues to monthly calendars and invitations.
Blauvelt and his team also collaborate frequently with specialists in different fields, notably Matthew Carter, the acclaimed typographer whose Walker typeface, created specially for the Walker Art Center, is not only renowned for its pleasing appearance and legibility but is seen as one of the most innovative typefaces of the 1990s.
stefan sagmeister
STEFAN SAGMEISTER (1962-) is among today’s most important graphic designers. Born in Austria, he now lives and works in New York. His long-standing collaborators include the AIGA and musicians, David Byrne and Lou Reed.
When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned.
Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeister’s style. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeister’s technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas.
he writes his messages on his face body useing him self as the base if his layouts
When Stefan Sagmeister was invited to design the poster for an AIGA lecture he was giving on the campus at Cranbrook near Detroit, he asked his assistant to carve the details on to his torso with an X-acto knife and photographed the result. Sunning himself on a beach the following summer, Sagmeister noticed traces of the poster text rising in pink as his flesh tanned.
Now a graphic icon of the 1990s, that 1999 AIGA Detroit poster typifies Stefan Sagmeister’s style. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister. Sagmeister’s technique is often simple to the point of banality: from slashing D-I-Y text into his own skin for the AIGA Detroit poster, to spelling out words with roughly cut strips of white cloth for a 1999 brochure for his girlfriend, the fashion designer, Anni Kuan. The strength of his work lies in his ability to conceptualise: to come up with potent, original, stunningly appropriate ideas.
he writes his messages on his face body useing him self as the base if his layouts
david carson layouts
David Carson's retrospective of his past five years, Trek features photography, film, and Web-based projects that shift between personal and commercial. Uniting the content is Carson's distinctively fragmented and layered compositional approach: One example, a photograph of a sun-bleached shack and a notice board that reads "Carson Design inc," is adorned with graphic sunbursts, leaving the reader to wonder how much of the image is real and how much constructed. The jurors commended the fluid, free-associative feel. "David Carson continues to be one of the world's most distinctive typographic voices--much imitated, but never matched," Lupton said. She added that the book, which is published by Gingko Press, "effectively presents Carson' own work in his own style. That could be too much of a good thing, but in this case, it's just right."
david carson has had a big impact on surf and skateboarding magazines. he has used type in a movment art form which communcates well both sub-cultures of skateboarding and sufing.
david carson has had a big impact on surf and skateboarding magazines. he has used type in a movment art form which communcates well both sub-cultures of skateboarding and sufing.
8vo
On the outside’ surveys 8vo’s work from 1984–2001, including ‘Octavo’, the international journal of typography and its influence in the emergent typographically-led design movement in the UK and internationally during the late 1980s and through the 1990s. The emphasis is on process: trying to reveal how 8vo’s design got made rather than simply showing finished jobs. A number of hand-made and computer generated stage by stage mock-ups are featured. Written and designed by Mark Holt and Hamish Muir, two of the founding principals of 8vo, the story’s told how it was – the everyday struggles of working with clients, typesetters, printers, and later on computers. Like many of their contemporaries, 8vo were working during a period of considerable change within the design industry – the book places 8vo’s work within the context of this revolution; from paste-up to desktop.
this website shows good layout designs.
this website shows good layout designs.
Wednesday, January 10, 2007
Exquisite Corspse
Exquisite corpse
Artist that have used exquisite corpse in there work are
Dada or Dadaism it is a culture movement that began in neutral Zurich, movement primarily involved visual arts, literature (poetry, art manifestoes, and art theory), theatre, and graphic design, which concentrated its anti war political through a rejection of the prevailing standards in art through anti-art cultural works.
They have designed books where you moved parts of the body’s to other people’s legs head. They have created a deformed babies doll where it is just legs.
A picture where one artist starts it and another finishes.
Artist that have used exquisite corpse in there work are
Dada or Dadaism it is a culture movement that began in neutral Zurich, movement primarily involved visual arts, literature (poetry, art manifestoes, and art theory), theatre, and graphic design, which concentrated its anti war political through a rejection of the prevailing standards in art through anti-art cultural works.
They have designed books where you moved parts of the body’s to other people’s legs head. They have created a deformed babies doll where it is just legs.
A picture where one artist starts it and another finishes.
Exquisite corspse reasarch for play
During the 2004 electoral campaign in Quebec, candidate posters covered the province. It happened that each of the three party leaders was shown wearing a suit. Clothing brand henri vezina grabbed the opportunity to make use of the electoral posters by putting up their own posters showing the candidates other half.
Canada 2004 agency BOS.
The three posters were the subject of a newspaper campaign on three consecutive full pages. This is an exquisite corpse that has been used in a political stand.
Canada 2004 agency BOS.
The three posters were the subject of a newspaper campaign on three consecutive full pages. This is an exquisite corpse that has been used in a political stand.
PONG
Pong
The real video game history started with Ralph baer as early as 1951
A video game is defined as an apparatus that displays games using RASTER VIDEO equipment; a television set, a monitor, ect.
Only mainframes could allow playing a few games.
Ralph worked at Loral a TV company his chief engineer, Sam lack off asked him to build the best television set in the world. This was an easy task for Ralph and he wanted to add a new concept playing games on a televison set how ever in 1951 his boss did not understand. In September 1966, Ralph came back to his 1951 idea of playing games on TV sets and started building the first video games prototypes.
The first playable video game was a chase game two squares chasing each other.
After several demonstrations to TV agreement in 1971 and the first video game system was released in May 1972; Odyssey. The history of pong games and derivates just started, would spread all over the globe, and die in the early 1980s.
In the USA, it started in May 1972 with the Magnavox odysses (first home video game) and Atari in November 1972 (their first pong arcade game).
In Europe, video games appeared in homes 1974. The early and fragile European market was formed of a few companies selling cheap systems made of discrete components. A whole industry was launched and hundreds of manufacturers released their own line of pong video games all over the world.
The real video game history started with Ralph baer as early as 1951
A video game is defined as an apparatus that displays games using RASTER VIDEO equipment; a television set, a monitor, ect.
Only mainframes could allow playing a few games.
Ralph worked at Loral a TV company his chief engineer, Sam lack off asked him to build the best television set in the world. This was an easy task for Ralph and he wanted to add a new concept playing games on a televison set how ever in 1951 his boss did not understand. In September 1966, Ralph came back to his 1951 idea of playing games on TV sets and started building the first video games prototypes.
The first playable video game was a chase game two squares chasing each other.
After several demonstrations to TV agreement in 1971 and the first video game system was released in May 1972; Odyssey. The history of pong games and derivates just started, would spread all over the globe, and die in the early 1980s.
In the USA, it started in May 1972 with the Magnavox odysses (first home video game) and Atari in November 1972 (their first pong arcade game).
In Europe, video games appeared in homes 1974. The early and fragile European market was formed of a few companies selling cheap systems made of discrete components. A whole industry was launched and hundreds of manufacturers released their own line of pong video games all over the world.
Fluxus
Fluxus is a movement of an art form. The word “fluxus”, means “a flow”, an unstoppable movement towards a commitment that is more ethical than aesthetic in nature.
The aim of this is making a different use of established channels of art, and the liberation of art from any specific language. It there for focused on interdisciplinary and on the use of means to a new concept of art, as “total art”
Some of the artist apart of the fluxus is
Marc alocco
Yoko ono
Armando
Josesph Beuys
Goege Brecht
Ugo carrega
Takehisa kosugi
And so on.
The aim of this is making a different use of established channels of art, and the liberation of art from any specific language. It there for focused on interdisciplinary and on the use of means to a new concept of art, as “total art”
Some of the artist apart of the fluxus is
Marc alocco
Yoko ono
Armando
Josesph Beuys
Goege Brecht
Ugo carrega
Takehisa kosugi
And so on.
Oblique Strategies NEW EDITION
The new edition of the cards has evolved from the separate observations on the principle underlying what we were doing. Sometimes they were recognized in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, sometimes they were formulated.
They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma ocours in a working situation.
They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma ocours in a working situation.
Oblique strategies 2
The deck itself had its origins in discovery by Brain Eno that both he and his friend Peter Schimidt.
Tended to keep a set of basic working principles which guided them through the kinds of moments of pressure- either working through a heavy painting session or watching that clock tick while you‘re running up big buck studio bill.
The strategies were, then, a way to remind themselves of those habits of thinking-to jog the mind.
Weather the cards were explicitly intended to be oracular at the outset or weather Schmidt and Eno necessarily saw them exclusively as a single instruction/single response”kind of “game” It is not clear how ever the introductory cards included in all three versions of the first versions of the Oblique Strategies suggest other wise.
It seems clear, also, that the deck was not conceived of asset of “fixed” instructions, but rather a group of ideas to be added to or modified over time; each of the three decks included 4 or 5 blank cards, intended to be filled and used as needed.
The Oblique Strategies evolved from me being in number of working situations when the panic if the situation-particularly in studios-tended to make me quickly forget that there were tangential ways of attacking problems that were in many sense more interesting than the direct head-on approach.
Tended to keep a set of basic working principles which guided them through the kinds of moments of pressure- either working through a heavy painting session or watching that clock tick while you‘re running up big buck studio bill.
The strategies were, then, a way to remind themselves of those habits of thinking-to jog the mind.
Weather the cards were explicitly intended to be oracular at the outset or weather Schmidt and Eno necessarily saw them exclusively as a single instruction/single response”kind of “game” It is not clear how ever the introductory cards included in all three versions of the first versions of the Oblique Strategies suggest other wise.
It seems clear, also, that the deck was not conceived of asset of “fixed” instructions, but rather a group of ideas to be added to or modified over time; each of the three decks included 4 or 5 blank cards, intended to be filled and used as needed.
The Oblique Strategies evolved from me being in number of working situations when the panic if the situation-particularly in studios-tended to make me quickly forget that there were tangential ways of attacking problems that were in many sense more interesting than the direct head-on approach.
Oblique strategies
Oblique strategies
Oblique strategies is a deck of cards up until 1996 they where quite easy to describe. They measured about 2-3/4x3-3/4. They came in a small black box which said “OBLIQUE STRATEGIES” on one of the top’s long sides and “BRAIN ENO/PETER SCHMDT’ on the other side.
The cards were solid black on one side, and had that aphorisms printed in a 10-point sans serif face on the other.
Oblique strategies is a deck of cards up until 1996 they where quite easy to describe. They measured about 2-3/4x3-3/4. They came in a small black box which said “OBLIQUE STRATEGIES” on one of the top’s long sides and “BRAIN ENO/PETER SCHMDT’ on the other side.
The cards were solid black on one side, and had that aphorisms printed in a 10-point sans serif face on the other.
Tom Munckton
As well as striving towards idealism that design could be used to make our lives better, Munckton also values the humbler concept of fun. Indeed, baffled by the realisation that some theme tunes don’t have to be lyrics and that attempting to write them down would prove impossible, Munckton and pal Alex turner deceived to phonetically emblazon a set of posters for an exhibition at the OXO tower in aid of a game of name that tune. “It was great at the private view watching really posh people trying to work out the tune mouthing, ‘bum bum bum… trala lala laaa.” He recalls
Tom Munckton
Tom Munckton
Tom Munckton has certainly managed to squeeze in an impressive array of commissions while simultaneously juggling coursework and an internship with London designer’s bilbliotheque. Favouring the rigorous logic-riven values of modernism, his work attempts to test the limits of 2D design, managing to combine innovation with functionality to such an extent that his intriguingly clever designs convince you to dismiss old timeworn methods as irrational. He has demonstrated how a graphic design can become more of an object by the use and complex folding technique. Or his cd sleeve design for EMI and sanctuary records which utilise the jwelcase and layering created by the folding of inserts to push two dimensions into three.
Tom Munckton has certainly managed to squeeze in an impressive array of commissions while simultaneously juggling coursework and an internship with London designer’s bilbliotheque. Favouring the rigorous logic-riven values of modernism, his work attempts to test the limits of 2D design, managing to combine innovation with functionality to such an extent that his intriguingly clever designs convince you to dismiss old timeworn methods as irrational. He has demonstrated how a graphic design can become more of an object by the use and complex folding technique. Or his cd sleeve design for EMI and sanctuary records which utilise the jwelcase and layering created by the folding of inserts to push two dimensions into three.
typography website
www;//del.icio.us/holster/typography.
On this web site when you put the cursor on the letters. You are able to move them where you want to display them.
When you move the Helvetica character left and right with the mouse. Beat Arial by jumping on it using the mouse button. The Helvetica moves faster in flight
On this web site when you put the cursor on the letters. You are able to move them where you want to display them.
When you move the Helvetica character left and right with the mouse. Beat Arial by jumping on it using the mouse button. The Helvetica moves faster in flight
cassette tapes
Cassette generator
Here you can make your own virtual cassette you can chose the band name the album, credit and text colour. This could bring cassette tapes back making then a use again for modern life taking some thing old and making onto a digital form bring it into a contempary form blasts from the past.
Here you can make your own virtual cassette you can chose the band name the album, credit and text colour. This could bring cassette tapes back making then a use again for modern life taking some thing old and making onto a digital form bring it into a contempary form blasts from the past.
the designer republic web site
The designer republic dot com
This web site has an interactive playful way of showing the work. On the opening page by moving the curser over the words on the screen they change into other words. They also have digital sound that go of when the curser is moved over these words
This web site has an interactive playful way of showing the work. On the opening page by moving the curser over the words on the screen they change into other words. They also have digital sound that go of when the curser is moved over these words
Zoren Gold and Minori/ photography montage
Zoren gold and Minori
Epitomised by Tokyo based photography and are direction duo Mi-Zo’s output but there’s nothing straightforward about their fusion of sex and surrealism, photography and illustration. There work shows a live for the moment sprit. There work shows a serlisam of photomontage and hints of exquisite corpse style.
They have attacked a list of big names such as Sony, mtv, Warner bros.
Epitomised by Tokyo based photography and are direction duo Mi-Zo’s output but there’s nothing straightforward about their fusion of sex and surrealism, photography and illustration. There work shows a live for the moment sprit. There work shows a serlisam of photomontage and hints of exquisite corpse style.
They have attacked a list of big names such as Sony, mtv, Warner bros.
Sudio Tonne
The front page of studio tone is of an equsite corpse of play it is of the three men that work at studo tonne when the mouse is scrolled over each one there actions change also the sound can change. This works well as there opening page you can see that there company is base on play. If the era of digital downloading seems a threat to music graphics, it does not bother Paul farrington of studio tonne , who riding the crest a new wave of music and propensity for tinkering with software has seen him invent his own genre of interactive sound visuals . it is in the digital arts that farrington has really found his niche. His passion lies in his various soundtoys, the virtual product that first brought him to the wider consciousness. The toys are based around a simple visual idea. On the screen are a set of lines with a time bar running through each one, further down are a cluster of icons that contain different sound samples. All you have to do to create a song or, probably more accurately, a soundscape is drag an icon onto the line.
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