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Imagens: Excertos do Livro “Transmission”
Detalhes:
Plano editorial: Post-Punk Peter Saville Joy Divison New Order References
Publicação a cores Formato da Publicação: Livro (Spread 20 x 40 cm) Número de páginas de conteúdo: 64 Fonte tipográfica: Univers e Dynamoe
Imagens: Excertos do anexo: booklet e cd
Conteúdos: Letras e detalhes sobre as músicas escolhidas.
1 Disorder (by Joy Division) 2 Shes Lost Control (by Joy Division) 3 Athmosphere (by Joy Division) 4 Love Will Tear Ur Apart (by Joy Division) 5 Transmission (by Joy Division) 6 Transmission (by New Order) 7 Age Of Consent (by New Order) 8 Ultraviolence (by New Order) 9 Ceremony (by New Order) 10 Blue Monday (by New Order)
Publicação a cores Formato da Publicação: Booklet (Spread 20 x 40 cm) Número de páginas de conteúdo: 20 Fonte tipográfica: Univers
Fonts usadas por Peter Saville
Inspiração para linguagem gráfica : Quimigramas
Inspiração para linguagem gráfica : Design de Peter Saville
Pesquisa de conteúdos e edições especiais discográficas.
Pesquisa de conteúdos e edições especiais discográficas.
Joy Division/New Order [Pesquisa]
Joy Division/New Order, British rock group who, as Joy Division, refined the external chaos of 1970s punk into a disquieting inner turmoil, ushering in the postpunk era. They later, as New Order, pioneered the successful fusion of rock and 1980s African American dancemusic styles. The principal members were Ian Curtis (b. July 15, 1956, Macclesfield, Cheshire, England—d. May 18, 1980, Macclesfield), Bernard Albrecht (later Bernard Sumner; b. January 4, 1956, Salford, Manchester),Peter Hook (b. February 13, 1956, Manchester), Stephen Morris (b. October 28, 1957, Macclesfield), and Gillian Gilbert (b. January 27, 1961, Manchester).
Inspired by seeing the Sex Pistols perform in Manchester, guitarist Albrecht, bassist Hook, and vocalist Curtis formed Warsaw in the spring of 1977 to play thrashing punk music. By early 1978 they had replaced their original drummer with Morris and changed the band’s name to Joy Division (slang for female concentration camp prisoners forced into prostitution by theNazis). Their trademarks were already in place: prominent, melodic bass; guitar and drums as rhythm and texture; complex, literary lyrics; and mediumistic live performances (Curtis’s spastic hyperactivity was sometimes actually the result of onstage epileptic seizures). The group’s debut album,Unknown Pleasures (1979), was produced by Martin Hannett for Manchester’sFactory Records with a prescient ambience and sonic atmosphere that anticipated production conventions to come. It marked the viability of the independent bands and labels that had arisen in response to punk and made Joy Division one of the hottest live draws in the United Kingdom. Later covered by disco diva Grace Jones, “She’s Lost Control,” from Unknown Pleasures, became their signature tune.
Working at a dizzying pace, the group incorporated drum machines and synthesizers in their move from rock to a measured European electronic sound influenced by Kraftwerk and producer Giorgio Moroder. In concert Curtis held nothing back, giving nightmare visions such as “Dead Souls” and “Atrocity Exhibition” an existential authority. Along with a troubled private life and worsening epilepsy, this intensity drove Curtis to the brink. On the eve of Joy Division’s first U.S. tour in 1980, he committed suicide at the home of his estranged wife. Success followed tragedy; the single “Love Will Tear Us Apart” and the band’s second album, Closer, made the top 10 and top 20, respectively, in the United Kingdom.
Following Curtis’s death, the three remaining band members—joined by keyboardist Gilbert—continued as New Order, with Sumner (formerly Albrecht) becoming the vocalist. With singles such as “Everything’s Gone Green” (1981) and the best-selling “Blue Monday” (1983), New Order moved toward a more thorough exploration of dance music. Their 1989 single “Fine Time” incorporated elements of the then-current U.K. club sound called acid house, and “World in Motion,” the official national theme for the 1990 World Cup, gave them their first U.K. number one hit. “Regret,” released in 1993, was nearly as successful.
After an eight-year hiatus from recording, New Order returned with Get Ready (2001), a solid collection of guitar-driven tracks that eschewed the dance anthem model that had typified their later releases. Less well-received was Waiting for the Sirens’ Call (2005), an unremarkable return to the disco sound of the mid-1990s. Bassist Hook, who had drifted apart from his bandmates over the years, finally left New Order in 2007. Although other members announced in 2009 that they had formed a new band, called Bad Lieutenant, New Order began to tour again two years later, notably performing at a massive concert in Hyde Park, London, to mark the end of the 2012 Olympic Games. Lost Sirens, which salvaged additional songs recorded during the sessions that produced Waiting for the Sirens’ Call, was released in 2013.
Post Punk [Pesquisa]
Post punk is an excellent example of a Geographical Subculture. In large post-punk was only found in the North of Britain, cities such as Manchester, Leeds and Sheffield. It’s true to say that in later years the music and some of the post punk ideology spread globally, but in the sense of the subculture itself, it always stayed very location specific. The reason for this was that these northern settlements were the home of post-industrial Britain. Factories were closing, unemployment was reaching record figures, dereliction was abundant, poverty was in the air and depression,both mentally and economically, was everywhere.
People began to write and publish their own magazines, these became known as fanzines. In these fanzines people had the freedom to write whatever they wanted, poetry, reviews, lyrics, observational writing. Bands began to record and release their own music. Indie labels were born, cutting out the need for middleman record labels.
Most noteworthy of the post-punk era is Factory Records. Factory Records used a creative team, most notably record producer Martin Hannett and graphicdesigner Peter Saville, which gave the label, and the artists recording for it, a particular sound and image.
Artists began to display work outside of galleries, moving art into nightclubs or derelict buildings. The post-punk fashion sense was quite a restricted one. Post-Punk fashion was identifiedmore by its colour than actual appearance. The people involved in the subculture had little money to spend, so there was no time for lavish or eccentric style. Instead the typical post-punk associate would be found clad in quite average apparel. The essential post-punk wardrobe would contain a range of grey, black and generally dull coloured garments. Minimalism was an obvious feature as well; perhaps one or two grey button-up shirts, a pair of black working slacks and a hand-me down trench coat. The image was utilitarian to say the least. Musically post-punk offered a massive step in evolution, it is often considered the missing link between the punk rock of the seventies and the alternative rock of the nineties.
Illustrated discography of Peter Saville related works including sleeves, covers or packages. This site is from Japan.
Creative people have to believe in the value of their work. If you don’t have any belief then you can’t give anything—designing is an act of giving, and a belief in the value of the work fuels the desire to express something. It’s important to know what your values are and to take care of them.
Peter Saville
Peter Saville album cover artwork
1- Unknown Pleasures, Joy Division (1979)
2- Closer, Joy Division (1980)
3- Blue Monday, New Order (1983)
4- Power, Corruption & Lies, New Order (1983)
5- Low-life, New Order (1985)
6- True Faith, New Order (1987)
7- Technique, New Order (1989)
8- Regret, New Order (1993)
Peter Saville [Pesquisa]
Born in 1955 in a part of Hale, Cheshire, he was the youngest and brightest of three brothers. He seemed destined for law, accountancy or medicine, but by 14 he had discovered girls and the school art room. Saville was a major player in a graphic design revolution that converged with the convulsions that were happening in pop at the end of the 1970s. If Jamie Reid’s cut and paste covers were the image equivalent of the punk sound, then Saville and Garrett’s more abstract, impersonal designs were the visual analogue of post-punk. It was Saville who developed the instantly recognisable minimalist style that became Factory’s trademark in the 70s and 80s. Saville’s designs did far more than illustrate the records on which they appeared. The implicit message of his work was that music is always more than just music, and his highconcept, modernist-influenced sleeves invited record buyers to see connections between pop and avant garde art. Saville graduated from art school in the late 1970s, keen to be a player in a post-punk scene where art, fashion, music and film mingled. Thie punk scene acted as a “brilliant grounding, and it was the learning curve was going to be essential, but in a way there was a field to raze before a new era could start. And punk razed the field.” Saville just stood back and watched.
As style began to grip the Britishconsciousness, the music and fashion fixated Saville (and other designers such as Neville Brody, a founder member of The Face) found themselves in the right time and place to be starting out.Saville’s particular contribution since then has been an unerring ability to merge two genres: as a designer, he packages music as he would fashion, and fashion as he would music, bringing a painstaking elegance to the former (the minimal sleeve for Joy Division’s Unknown Pleasures in 1979, say) and an edginess and sense of performance to fashion (in 1992, Saville and Yamamoto rejected the standard catalogue in favour of a video of artist Bruce McLean struggling in and out of thespring/summer menswear collection). As house designer and a founding partner at the newly formed Factory Records, Saville had almost total creative freedom, providing cool graphics for new electronic groups such as New Order, Orchestral Manoeuvres In The Dark and A Certain Ratio. In some instances, the quality of the presentation was superior to that of the music; in others, it was a nuisance. “The bands didn’t really ask what I was doing,” he says. “With Joy Division, once they became New Order , nobody even really wrote the songs. And there was no hierarchy in the group. It was an argumentative democracy, where they disagreed with each other as a matter of principle.” Saville’s strategy has always been to consider both the product and its market, and, like any good art director, to look for a visual solution that works for both. What sets him apart, however, is the breadth of his frame of visual reference, which takes in everything from fine art and architecture to fashion and film.
The artwork for New Order’s 1993 CD Republic montages a spectacular series of images on the theme of fire and ice, derived from endless orders to photo libraries. Taking his cue from the band’s new name, Saville based his designs forthe first three releases by New Order on Futurist posters and book jackets: Ceremony 51, Everything’s Gone Green 52 and Movement 53 (all 1981). The point with these designs is that Saville changed only the slightest of details, consciously applying Jan Tschichold’s views on type and placement, and unwittingly giving us a simple demonstration of Barthes principle of the `second degree’. For someone so highly regarded by his peers, Saville’s life has hardly followed an easy course, however. His unconventional work habits and unwillingness to compromise have had an adverse effect on his financial and, possibly, critical success. In 1983, he set up Peter Saville Associates (PSA) with the designer Brett Wickens, whose typographic and technological strengths inform much of the work they produced. But Saville’s drawn-out production times, often the result of his excessive perfectionism, have never led to happy accounting.
Pré-visualização da publicação digital “(Intra)Conexão”.
Detalhes:
Plano editorial: Introdução Wolfgang Weingart April Greiman Conclusão Referências
Publicação E-book a cores Formato da Publicação: IPad (1024 x 768 px) Número de páginas de conteúdo: 14 Grelha de página: 4 colunas Fonte tipográfica: Univers
Componente Visual
Componente Escrita
Wolfgang Weingart, designer e professor, tornou-se conhecido essencialmente pelas suas explorações tipográficas e pelo seu ensino sobretudo experimental na Escola de Basileia (Schule für Gestaltung Basel) que remetia para uma nova abordagem tipográfica que posteriormente surge como uma das mais influentes na área do design gráfico.
Nascido na Alemanha, teve o seu primeiro contacto com a tipografia e o design num curso que tirou na Merz Academy em Stuttgartt. Foi após esse curso que Weingart conheceu Karl-August Hanke, para quem esteve a trabalhar na Ruwe Printing, onde aprofundou o seu conhecimento em tipografia. Em 1963, Weingart torna-se estudante da Escola de Basileia, onde tem contacto com figuras relevantes do design gráfico como Hofmann e Emil Ruder. Inspirado pelos grandes mestres, em 1968, Wolfgang Weingart dedicou-se ao ensino da tipografia na mesma escola, não só para estudantes suíços mas para um círculo de alunos internacionais, uma vez que a escola tinha adquirido um enorme prestígio.
Numa fase inicial do seu desenvolvimento profissional, Weingart apercebeu-se rapidamente das limitações existentes nas composições tipográficas desenvolvidas anteriormente na escola, onde a tipografia era interpretada segundo uma vertente técnica de estética rigorosa. O seu trabalho evidenciou desde cedo uma espontaneidade que negligência deliberadamente o design de estilo ‘helvético’ do seu tempo. Weingart estimulava os alunos a explorar as possibilidades da tipografia, considerando tamanhos, pesos e estilos conjugáveis entre si com o objectivo de adicionar expressividade às palavras remetendo mais facilmente para os seus significados. Leccionou tipografia por mais de 40 anos e em vários países. Enquanto ensinava, Weingart continuou a produzir paralelamente um trabalho que partia sempre de um carácter experimental: cartazes, projectos para a revista Typographische Monatsblätter, entre outros.
“I was motivated to provoke this stodgy profession and to stretch the typeshop’s capabilities to the breaking point” - Wolfgang Weingart
“I took ‘Swiss Typography’ as my starting point, but then I blew it apart, never forcing any style upon my students. I never intended to create a ‘style’. It just happened that the students picked up—and misinterpreted—a so-called ‘Weingart style’ and spread it around.” - Wolfgang Weingart
Weingart apresentou aos seus alunos o que hoje é chamado de New Wave - uma saída ecléctica intuitiva de forte organização e uma objectividade neutra da grelha.
April Greiman, aluna de Weingart explorou o estilo Internacional e aderiu às experiências pessoais do mesmo no desenvolvimento de uma estética representativa pós-industrial. Greiman continuou a explorar o significado tipográfico adicionando-lhe alterações na perspectiva dentro do espaço bidimensional da página remetendo graficamente para um espaço tridimensional que adicionava uma dinâmica própria e inovadora ás suas composições.
Quando, em 1984, o Macintosh entrou no mercado do design, a maioria dos designers eram cépticos, se não completamente contra a ideia de integrar o computador na sua prática. Greiman reconheceu desde logo o potencial deste novo meio de produção, introduzindo ao design uma nova estética aliada à tecnologia computacional. Pixeis, sobreposição de imagens e fotomontagem, o seu estilo foi dificilmente aceite pois era considerado pouco ortodoxo, afastando-se da precisão limpa e nítida do estilo Internacional. Em 1986, Greiman fez com que houvesse uma reconsideração do uso destes elementos na prática do design gráfico após a sua publicação no Design Quarterly # 133: "Does It Make Sense?". Greiman colocou o digital no centro da comunidade de design desencadeando inúmeros debates sobre processos, contextos e criatividade.
“It’s not just Graphic Design anymore. We don’t have a new name for it yet.” - April Greiman
“In the tradition of graphic design in the twentieth century, you had to be either a great typographer, a great designer/illustrator, or a great poster designer. Now we are confronted with motion graphics, the World Wide Web, and interactive applications. The world has changed and the field is changing to meet it.” - April Greiman
"Does it make sense?"“It makes sense if you give it sense.” “I love this notion which exists in physics as well—that the observer is the observed, and the observed is the observer. The tools and technologies begin to dictate what and how you see something, or how the outcome is predictable. These ideas bring back the kid in me, that very pure curiosity.” - April Greiman
“Everything is related, and makes this wonderful loop of interconnection.” - April Greiman
Ambos os autores podem ser descritos como figuras que impulsionaram a inovação, a exploração e a experimentação de novas possibilidades no design gráfico.
Wolfgang Weingart criou a sua própria linguagem visual, caracterizada pela liberdade e pelo rompimento dos princípios do design suíço, grelha e composições restritas. Apesar de se notar no seu trabalho uma grande valorização da escola suíça enquanto modelo de pensamento. Weingart foi a transição do estilo modernista (estilo suíço) para o estilo pós-modernista, opondo-se à geometrização das formas e às grelhas de composição.
April Greiman, enquanto aluna de Weingart consolidou as suas bases com a criação do conteúdo digital. Greiman vê-se a si mesma como uma ponte natural entre a tradição modernista e as futuras gerações de designers. Possui os conhecimentos e habilidades da tradição modernista e ainda assim é uma defensora da nova estética, defendendo tanto a estética visual e conceptual, como as novas tecnologias. Como criadora de um movimento pós modernista deu lugar à contemporaneidade no design, onde se misturam vários estilos.(o híbrido)
April Greiman. [Consult. 2016-04-26] Disponível em: http://www.aiga.org/medalist-aprilgreiman/
Burton, Philip. (2013) Wolfgang Weingart. [Consult. 2016-04-29] Disponível em: http://www.aiga.org/medalist-wolfgang-weingart/
Greiman, April. (1990) Hybrid Imagery: The fusion of technology and graphic design.
LA Design History: April Greiman. [Consult. 2016-04-29]. Disponível em: https://www.youtube.com/watch?v=DoDItJ4zI98
Meggs, Philip B., and Purvis, Alston W. (1998) A History of Graphic Design. Weingart, Wolfgang. (1972) How Can One Make Swiss Typography.
Weingart, Wolfgang. (2000) Typography/[Wolfgang Weingart]. Springer Science & Business Media
Referências para o Objecto Editorial
8½ Ipad magazine - Features
Wim Crouwel: A Graphic Odyssey (http://spin.co.uk/work/wim-crouwel-exhibition)
Wim Crouwel - Digital Catalogue (http://uniteditions.com/shop/wim-crouwel-digital-catalogue)