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[fergarundel]

Algorithm-Driven Design

Artificial Intelligence is still a relatively new and misunderstood term, however the impact it will have on the future of the design world has begun to gain attention. Miklos Philips article, ‘The Present and Future of AI in Design’ explores how this new technology will help and hinder the creative industry.

Philips states that AI design tools will become an essential design tool, helping refine designs more quickly with machine learning based on millions of other successful designs. AI can also be used to personalise the user experience based on their profile and previous interactions with the technology. Coupling AI with other technologies such as voice and facial recognition the technology will be able to determine gender, age, location and other aspects of a user to personalise and optimise their experience. However, as this is becoming more of a reality questions have to be asked about the morality of privacy and the dangers of such personal data.

Netflix has already begun experimenting with augmented intelligence to personalise show thumbnails for individual’s users, tailoring the artwork for each user to highlight the aspects of a title that are specifically relevant to them. For example, when showing the classic Pulp Fiction to a Netflix user who has previously watched movies featuring Uma Thurman, Netflix will show the artwork that contains Uma. If someone is more of a John Travolta fan they will show the alternative cover (SHOWN ABOVE).

[yvonnesgourou]

“You can learn everything you need to know from just three Beatles covers: Revolver, Sgt Pepper’s and ‘The White Album’.

In the Revolver cover there’s the grace and lusciousness of drawing against photography that’s simple black and white but incredibly involving. Sgt Pepper’s is a great editorial cover. It tells you about your times, you can keep finding things in it … you try to discern meaning, some of it seems cultural, some of it seems irrelevant – it’s an incredible narrative. ‘The White Album’ is the ultimate conceptual cover, the opposite of Revolver.”

Paula Scher

[fergarundel]

Paula Scher discussing three of my favourite albums and their covers

[andyatrmit]

AMA UPDATES!!

We went to a laser cutter induction to research the possibility of using the machine in the zine process! Originally I considered laser cutting the title out of card or paper, but I found a way to make a little stand up home on the back page of my zine, and the action of cutting it feels very collaborative and homey ✂ ✂ ✂

[fergarundel]

interesting use of different materials andy !

[fergarundel]

Publication Design

Experimenting with basic page layouts in Indesign for the upcoming zine assignment. In my first zine above I’ve taken photos from a trip to Nepal and designed a very basic publication using the A3 template from canvas. 

[fergarundel]

Week 9 Workshop

Looking back on the collage workshop in week 9 we experimented further with contextual and critical thinking with a hands on approach creating letterforms from cutouts of magazines in an attempt to create a typeface. This activity tested the skills of students in our ability in seeing the letterform within the shape and not in manipulating the images completely out of context. 

[fliegender]

Peter Saville, Waste Painting, EMI, 2004. From his Waste Paintings series, pieces he created by digitally manipulating his own earlier album artwork.

[fergarundel]

One of my favourites of Peter Saville’s work 

[fergarundel]

Sergei Sviatchenko, Faces, 2018

After our Week 9 workshop experimenting with collaging I decided to research Sergei Sviatchenko, whose works “explore everyday objects with the use of photography and collage elements” being called “one of the most influential innovators of modern collage”. Sergei’s clean cut composition of colour and shape creates a interesting design exploring the use of texture and contrast.

[fergarundel]

Cal Foster photography and design for Plane Clothes

[fergarundel]

WEEK 8 - RMITabc

Working with perspective and the built environment the class explored RMIT’s campus to find letterforms in the architecture and surroundings of the uni. Finding existing letterforms from your surroundings explores and improves creative thinking, being able to “QUOTE”

Pictured (from first to last): 9, a, o, x, !

[fergarundel]

Bauhaus

First founded in 1919 in Germany by Walter Gropius, The Bauhaus has influenced the design world throughout the early 20th Century aiming to reunite fine art and functional design. Designers such as Piet Mondrian, Vilmos Huszár, Gerrit Rietveld and Max Miedinger have all taught at the Bauhaus.

When the Bauhaus school opened in 1919 more women than men applied, however few became as well known as the men of the Bauhaus. The schools founder Gropius believed women thought in “two dimensions” while men could grapple with three, placing women into mostly weaving courses while men were placed into painting, carving and the schools architecture department. 

[fergarundel]

Week 6 

Our group was given squares as the template for our typeface, leading to the creation of our initial ‘blocky’ font. We were then given quarter blue circles to incorporate into the design adding complexity to the typeface. We named our font ‘Subway’ as the ‘s’ resembled the subway logo and because of the strong use of yellow.

[fergarundel]

Hello, my question is... How will AI affect design?

With Artificial Intelligence becoming more apart of our everyday lives and it increasingly progressing in complexity, the question of how it will affect the creative industry has risen. Will it be able to replicate the human element which is needed in design and eventually take over from designers ?

[postpunkindustrial]

Black Flag flyer by Raymond Pettibon

[fergarundel]

“Early Typefaces” - Elizabeth Wilhide

a brief introduction to the invention of the first typefaces in Western Europe

When Gutenberg invented his “movable type” printing press, black-letter or Gothic font was the primary typeface throughout Europe. Originating in Germany, the typeface is recognised by its dramatic thin and thick strokes, many found the font hard to decipher and so new fonts were being created and by the middle of the sixteenth century printers outside Germany had abandoned the typeface. Typefaces had begun to accomodate the new technology making more economical use of the page, by the 18th Century William Caslon published a specimen sheet (shown above) showcasing an entire family of typefaces, including his best-known font, Caslon roman, a ‘precisely cut upright typeface’. Font continued to evolve and development throughout the years with the first ‘true’ modern roman typefaces showcasing a more geomemtric style, highlighted in Firmin Didot’s typefaces (shown above) with their ‘long ascenders and descenders, fine precise serifs and rigorous symmetry’, expressing the spirit of the Age of Enlightenment.

[fergarundel]

Gutenberg Printing Press

While not the inventor of the printing press, with the oldest known book , ‘The Diamond Sutra’, dating back to around 868 AD in Tang Dynasty, China, Johannes Gutenberg’s invention of the “movable type” printing press is seen as a pivotal point in printing technology. Gutenbergs machine allowed him to speed up the production of books, as hand copying was still the primary method used for book production. The Gutenberg press created a social and cultural revolution throughout Europe, giving rise to the European Renaissance.

[fergarundel]

WEEK 3 - Pangram

This week we continued our experimentation with typefaces using pangrams, “words or sentences containing every letter of the alphabet at least once”. Using different mediums the class explored various methods to create typefaces. We first explored with wool and pins creating a bold san serif font, however we found the font to be too time consuming and constricted for the task. Secondly, we moved outside to experiment on a bigger scale, using water the class were forced to be more efficient when creating the typeface making a more fluid and dynamic font.

[fergarundel]

HOBO GRAFFITI 

A Moniker is a piece of graffiti, usually written on the side of a freight train, communicating an identity that will travel the country. Originating in the late 1800′s in America, railway works and train-hoppers began drawing unique ‘symbols and words’ on the sides of trains usually using chalk. As time progressed the mark-making developed into a graphic language for travellers to spread information and provide directions to others.