Thursday, June 26, 2008

Leilani ; David Carson







David Carson is an American graphic designer. He is best known for his innovative magazine design, and use of experimental typography and his time as art director for the magazine Ray Gun. Carson was perhaps the most influential graphic designer of the nineties. In particular, his widely-imitated aesthetic defined the so-called "grunge" era.


His work does not follow "traditional" graphic design standards. Carson is emotionally attached to his creations. Carson's work is considered explorative of thoughts and ideas that become "lost" in the subconscious. Every piece is saturated, but Carson still manages to communicate both the idea and the feeling behind his design.

I never learned all the rules, all the things you’re not supposed to do,”

Carson's work is familiar among the generation that grew up with Raygun Magazine and its progeny such as huH and xceler8, and in general, the visually savvy MTV generation. His Raygun layouts feature more daredevil design stunts like dripped ink and lines of type that extend across two pages. Once he had two separate articles run together simultaneously, and a Beastie Boys cover was left blank except for the two inches at the top that wouldn't be obscured by other magazines at the newsstand.


Carson has been one of the greatest influences on modern graphic design in the last twenty five years. He took photography and type and manipulated and twisted them together and on some level confusing the message but in reality he was drawing the eyes of the viewer deeper within the composition.

http://media-2.web.britannica.com
http://darmano.typepad.com
http://www.designingwithtype.com
http://pantagruel.typepad.com

Kurt- Stefan Sagmeister



Stefan Sagmeister was born in 1962 Bregenz Austria and studied graphic design at the university of applied arts Vienna in 1987 he then moved to New York to complete a fullbright scholarship at the Pratt institute.
He currently lives and works in New York out of his design studio Sagmeister Inc. and is also a Teacher of visual art.



He has designed work over the years for the likes of David Byrne and Talking Heads, Lou Reed, Aerosmith, Pat Metheny and the Rolling Stones to name a few, I really like the approach he takes to design as it seems very organic and uncomplicated.



I also think that good design is all about the great idea in the first place, something that Stefan Sagmeister seems to be constantly achieving in his work.



I also watched an interview of his where he explained that about 7 years ago he came to a point in his carrier where he just thought I’m going to take 1 year off, take on no clients, and just do experiments, I find this methodology just brilliant he later said that it really paid off in the end as all the new ideas he had were so fresh.



Stefan Sagmeister is a Graphic Designer but I really look at his work more like visual Art, I think he is also a great ambassador for this profession as the way he speaks and discusses design work with such passion and emotion is really stimulating.

Biblography
http://www.stealingeyeballs.net/sagmeister/
http://www.sagmeister.com/
http://www.designboom.com/eng/interview/sagmeister.html
http://www.kottke.org/05/09/stefan-sagmeister
http://thingsihavelearnedinmylife.com/about

Tuesday, June 24, 2008

Jamie’s DVD response:
 James Victor

James Victore has made a name for himself through his graphic design and his artworks. His works are bold and try’s to convey a message to its audience. He forces his graphics into the public to convey his smart and witty remark on an issue. His passion shows in the bold and powerful messages. 

With his work he has won many awards, these being both international and national. He works in New York City and he uses his surrounding environment to get inspiration for his works.
His work focuses on more so the message than focus to detail in some of his works. Some times the works with the least amount can have one of the greatest impacts. The use of line, reflects to the audience a feeling as though the idea is on the run, or going against common rules. The scratchy use of line really is effective in these works.
With his use of line it is most effective as he uses not a lot of color, though when he does use it, he is able to really put across his point by having a point of focus. His work does though focus a lot on shape, especially when he uses silhouette. His work has an almost graffiti feel to it, feeling as though it has a lot of inspiration from the city. His work work is very comical with its messages, images and themes. Though all in all his work does it’s purpose and gets it’s message through to the audience.
Bibliography:

Monday, June 23, 2008

70s DC Comics - Tane



(following informative passage from http://static.wikipedia.org/new/wikipedia/en/articles/d/c/_/DC_Comics_9a75.html - I couldn’t have explained the facts better.)


DC Comics is an American comic book and related media company. A subsidiary of Warner Bros. Entertainment (part of Time Warner) since 1969, DC is one of the world's largest English language publishers of comic books. DC Comics produces material featuring a large number of well-known characters, including Superman, Batman, Wonder Woman, and their teammates in the Justice League, who are among the medium's most popular and influential.
DC Comics' books are distributed to the bookstore market by Random House, and to the comics shop specialty market by Diamond Comics Distributors.


DC had extremely recognisable traits back in the seventies. Sensational action and iconic characters made DC a huge player in the industry, alongside Marvel. DC comics are now highly collectible.
The old DC comics sport milky inking, a few colour palette and clichéd villains. However there was always a quality sense of depth perception and body proportion was well drawn. The comics usually stick to a rigid discipline of standard comic-book size and structure. There was little tonal shading apart from block blacks to represent direction of light.


I like DC covers because they are so old-world cheesy – ‘Get that kid, he saw us kill those people.’
Ridiculous, gratuitous action fed the kids of the 70s. Maybe that’s why we are all so dysfunctional today.

LINKS…
http://www.geocities.com/joelcrowservo/comics.html
forums.comicbookresources.com/showthread.php?t=71325
pwbeat.publishersweekly.com/ blog/2007/03/19/70s-comics-non-monumental/
www.comicon.com/ubb/ultimatebb.php/ ubb/get_topic/f/36/t/006561/p/1.html
http://static.wikipedia.org/new/wikipedia/en/articles/d/c/_/DC_Comics_9a75.html

Kurt-70s-80s Adrian Frutiger

Adrian Frutiger is a Swiss type-designer, who has been responsible for some of the most well-known and widely used typefaces of the 20th century.
Typefaces like Egyptienne (1956), Univers (1957), OCR, (1968) and the famous Frutiger designed in 1975.



Born March 24, 1928 in Interlaken Switzerland, at the tender age of 16 he was an apprentice printer for 4 years and then between 1949 and 1951 he studied at the Kunstgewerbeschüle (school of applied arts) in Zürich.

He was soon after recruited by Charles Peignot from the Paris foundry Deberny Et Peignot where he designed several typefaces such as President, (his first commercial release in 1954), Phoebus and Ondine, it was here that Frutiger was also to convert already extant typefaces for the new phototypesetting Lumitype equipment.



In the Early 70’s Frutiger was commissioned by the Paris Public Transport Authority to redesign the Paris Metro signage he came up with a variation of Univers especially for the dark underground system.

The success of this type face prompted the Charles de Gaulle Airport to commission Frutiger yet another typeface for there “way finding signage” the result was a combination of Univers and the organic influence of Gill Sans by Eric Gill and Edward Johnston, originally named Roissy it was later renamed Frutiger.



In 1984 he designed Versailles and in 1988 Frutiger completed Avenir (future in French) this was influenced by Paul Renners Futura, he then later in 1991 Finished Vectora influenced by Morris Fuller Benetons type faces Franklin Gothic and News Gothic.



In 2003 he Designed watch faces for a limited edition line of wristwatches for the Swiss company Ventura.
The Outstanding carer of Frutiger has seen him Develop typefaces through the hot metal, phototypesetting and digital typesetting eras.



Currently Frutiger Lives near Bern in Switzerland and is designing for Big Box Caran d’Ache of Switzerland.

Bibliograpy
http://en.wikipedia.org/wiki/Adrian_Frutiger
http://nuxfux.wordpress.com/?s=Adrian+Frutiger
http://en.wikipedia.org/wiki/Frutiger
http://typophile.com/node/12118
http://www.linotype.com/720/adrianfrutiger.html
http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=190
http://nuxfux.wordpress.com/?s=Frutiger

JADE:Victore


James Victore is an independent graphic designer whose clients include Moët & Chandon, Target, Amnesty International, the Shakespeare Project, The New York Times, MTV, the Lower East Side Tenement Museum and Portfolio Center. He has been awarded an Emmy for television animation, a Gold Medal from the Broadcast Designers Association, the Grand Prix from the Brno Biennele (Czech Republic) and Gold and Silver Medals from the New York Art Director’s Club. Victore’s posters are in the permanent collections of the Palais du Louvre, the Library of Congress and the Museum für Gestaltung among others.

He teaches graphic design at the School of Visual Arts in New York City and is a member of the AGI.

Raised on a military base in northern New York State, Victore spent his childhood entertaining himself by drawing and making up little games. This process of making something he finds interesting has driven most of Victore’s career. He dropped out of two different colleges, including SVA where he now teaches, after a year or two before becoming an apprentice to noted book-jacket designer Paul Bacon. It was with Bacon that Victore found his voice as a designer and began to take charge of his own education and career.

http://www.jamesvictore.com/

http://www.apple.com/pro/color/palettes/victore.html

http://www.mediabistro.com/unbeige/people/we_asked_james_victore_some_questions_and_he_gave_good_answer_27602.asp

http://www.design.cmu.edu/show_news.php?id=119&m=200703

http://supermarkethq.com/product/857

Jamie 1970’s to 1980’s: Guns N Roses

Jamie 1970’s to 1980’s: Guns N Roses
Guns N Roses formed the band in Los Angeles, in 1985. The original musicians consisted of players, Duff McKagen, Izzy Stradlin, Steven Adler, Slash and Axl Rose. The band begin from the merging of two bands, LA Guns and Hollywood Rose. Eventually they had Guns N Roses original line up and they set out in 1985 on there self dubbed “Hell Tour”.

After creating a hype about themselves they were found by a Geffen Record A&R man, Tom Zutaut, after a show. Guns N Roses signed with Geffen and then released their debu album ‘Live ?!*@ Like A Suicide was released. This album began their journey on the music band wagon.


After the hype about the first album, Guns N Roses,
 set out on recording their most famous album ‘Appetite for Destruction’. This was released on July 21 1987. This album contained some of their greatest hits. With the lease of the album there was a lot of controversy with the original cover. The cover artwork was the suggestion of singer axle rose; also the painting also became the name of the album. The artwork was ‘Appetite for Destruction’ by artist Robert Williams. The scene is of a mechanical monster that is about to attack a knife wielding robot rapist. This cover started a lot of controversy with the women liberate group, complaining that the cover was offensive. That album had to be placed in a brown paper bag in the music shops if they were going to be displayed. 

Eventually the cover was revised from a biker tattoo artist; it was of the five band member’s heads in a skeleton form. Axl later went on to get it tattooed on his for arm. The album became an instant hit and stayed at number 1 of the billboard charts and to date has sold over 26 million copies.
Bibliography:

Tane- Stephan Sagmeister

. "The main reason for all this fluff is that most designers don't believe in anything," asserts Sagmeister. "When your conscience is so flexible, how can you do strong design?"

Born 1962 in Bregenz in the Austrian Alps, Sagmeister studied engineering after high school, but switched to graphic design after working on illustrations and lay-outs for Alphorn, a left-wing magazine. The first of his D-I-Y graphic exercises was a poster publicising Alphorn’s Anarchy issue for which he persuaded fellow students to lie down in the playground in the shape of the letter A and photographed them from the school roof.
Now a graphic design icon, Sagmeister’s work encompasses humour and sensationalism but in such an unsettling way that it’s nearly offensive, mixing sexuality with wit and a spot of the sinister. Sagmeister’s technique is often simple to the point of banality, like slashing D-I-Y text into his own skin for the AIGA Detroit poster.

To Stefan Sagmeister inspiration is found in unconventional places from which other people hide. Where other designers are satisfied with creating an image that is pleasing at first glance, Sagmeister holds a mirror up to people, challenging them to look deeper, in a sustained gaze.

He has received a Grammy Award in 2005 in Best Boxed or Special Limited Edition Package category for art directing Once in a Lifetime box set by Talking Heads.


I admire Sagmeisters style because it resonates so well with mine- the humorous satire bordering on the creepy sinister core.
He is like one of our crusaders, putting more sharp humour into art, which art desperately horribly needs.
I have no idea how to class his style, however. it looks like he uses a lot of classical painting skill, but i believe he has taken pop art and surrealism into a stranger world of his own, a sort
of adult Dr. Seuss. His work is so diverse that i dont think i can start to generalise on his use of line, point, etc. but i can tell you that he likes to use the ol' Vinci chiaroscuro (use of light and shade) thang. His style is enigmatic and charismatic. He pushes the envelope almost into the furnace. I'm proud to have his name on the graphic design side of the art family.

LINKS….
www.sagmeister.com/
www.chrysler.com/design/design_influences/ design_awards/2001/ssagmeister.html
n.wikipedia.org/wiki/Stefan_Sagmeister
www.ted.com/index.php/talks/view/id/50
www.designboom.com/eng/interview/sagmeister.html

JADE: KALMAN



Tibor Kalman (July 6, 1949–May 2, 1999) was an influential American graphic designer of Hungarian origin, and was best known for the groundbreaking work he created with his New York design firm, M&Co, and his brief yet influential editorship of Colors magazine. Throughout his 30-year career, Kalman brought his restless intellectual curiosity and subversive wit to everything he worked on -- from album covers for the Talking Heads to the redevelopment of Times Square. Kalman incorporated visual elements other designers had never associated with successful design, and used his work to promote his radical politics. The influence of his experiments in typography and images can be seen everywhere, from music videos to the design of magazines such as Wired and Ray Gun.

In the 1970s Kalman worked at a small New York City bookstore that eventually became Barnes & Noble. He later became the supervisor of their in-house design department. In 1979 Kalman, Carol Bokuniewicz, and Liz Trovato started theTibor Kalman (July 6, 1949–May 2, 1999) was an influential American graphic designer of Hungarian origin, well-known for his work as editor-in-chief of Colors magazine.

Kalman also worked as creative director of Interview magazine in the early 1990s.

Kalman became founding editor-in-chief of the Benetton-sponsored Colors magazine in 1990. In 1993, Kalman closed M&Co and moved to Rome, to work exclusively on the magazine. Kalman remained the main creative force behind Colors, until the onset of non-Hodgkins lymphoma forced him to leave in 1995, and return to New York.

Govinda - DVD Response Paula Scher



Paula Scher is an influential and successful graphic designer whose high profile jobs have included designing the City Bank Logo, working for The New York Times Magazine, Target and the Detroit Symphony Orchestra. Her range of work includes identity design, packaging design, publication design and environmental graphics.Paula Scher studied at the Tyler School of Art in Philadelphia before working as a graphic designer designing record covers in the 70’s.Taking inspiration from many sources, Scher creates dynamic, contemporary designs that give a voice to the companies she works for. Classic and pop iconography, literature, music and film have all influenced her strongly. Scher works mostly with type to create her bold designs. She uses her typographic skills to create illustrative elements using type blended with simple drawings, creating simple yet effective graphic designs.Although her designs are simple and minimalist, they convey the messages so accurately and strongly creating unique and timeless works. Scher’s use of bold, simple colours complements her designs and assist in making them effective.
Paula Scher is also a painter and her works are exhibited all over the world. A series of large scale paintings of world maps, all covered in detailed, hand drawn labels and information, have won her much praise as an expressive and beautiful artist.

http://www.mayastendhalgallery.com/paulaScherPage.html
http://en.wikipedia.org/wiki/Paula_Scher
http://www.aiga.org/content.cfm/medalist-paulascher
http://noisydecentgraphics.typepad.com/design/2006/09/paula_scher.html
http://www.pentagram.com/en/partners/paula-scher.php

Abby - Stefan Sagmeister

Stefan Sagmeister



Stefan Sagmeister is one of the world’s most important contemporary designers. He was born in Austria and now works in New York with the American International Graphic Association and world famous musicians.











The photo above is really interesting due to the font placement on the flowers. This draws your eye in towards the flower petals. The contrast between the black and white is eye-catching. 

Sagmeister combines materials and messages which cleverly fit together. His Always message is original and appropriate saying Always on the white flowers but the viewer may think about how the writing will look when the flowers wilt and die. 

The My Life words look to be made from grass wound around wire. The grass and leaves represent natural life, but this could be short lived as they grow brown, wilt and fall off. Sagmeister has been quoted saying, ’I have to live now’.
The light and dark contrast beautifully with the real lights in the background. The symmetrical leaves at the bottom frames the message of My Life.

























The Blue faced book cover shows Sagmeister with a highly digitalised patchy bright blue face making him look like a reptile. This working on his own body is common with Sagmeister, the most famous time when he has groves scratched into his body which then showed up as writing.

Sagmeister got his inspiration and influences from everyday life. He saw a schoolgirl on a train reading a text book through a red plastic filter. He then placed his CD cover inside a red-tinted plastic case copying the view the girl would have had.

His work is always different and unusual which makes it startling to his audience.


Bibliography:

http://joanamonteiro-work.blogspot.com/2007/02/stefan-sagmeister.html

http://www.thedrawbridge.org.uk/issue_4/post_16/

http://www.dexigner.com/design_news/stefan-sagmeister-s-exhibition-at-gallery-superspace-belgrade.html

http://www.creativereview.co.uk/crblog/things-i-have-learned-in-my-life-so-far/

http://www.designmuseum.org/design/stefan-sagmeister




Abby - Life Magazine 1970's & 1980's

Life Magazine 

Life Magazine is a famous American magazine which began in the 1930s. From 1978 it became a monthly. It had a new logo which was larger with the lettering closer together (tracking). It kept the trademark red rectangle with the white type.



Life magazines present a wide range of photos from Miss Piggy and the Muppets to the real animal world to famous people of our time. On all of the covers, feature stories are listed, but the eye-catching element is the graphic.
















The close up feature of the above photos gives the subject great importance. Life magazine was one of the first magazines to tell a story in still images, which we now call the photo-essay. The Rare Zoo Babies article would get a strong emotional response from most people.

A great picture is not merely seen, it demands
an emotional response.

































The fonts used reflect the feature article photo (strong, bold font in Violent Showdown... in contrast to the interesting leaning typography and the older style white lettering in White House Bride).In Life magazines some of the most famous photos have been shown taken by the greatest photographers of the 20th century. Photographers like Alfred Eisenstaedt, Margert Bourke-White, Andreas Feininger and John Dominis have all worked for Life.