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My main objective for CDS was to learn more about the history of design and to develop new processes I could use for my own work.

After finishing this course I feel like I have developed many new ways of creating work. Particularly valuable for me were the Zine-making and Prototyping workshops, as they showed me the importance of constantly bringing a design into the physical world, testing how the final object might feel. I realised how valuable it is as a starting point for a project to experiment with interesting materials and processes collecting new ideas to explore.

The course also inspired me to do my own research into topics discussed in the lectures, particularly the Bauhaus was one of my main interests this year - following the lectures on the Bauhaus I watched several documentaries on the school to further educate myself on this enormously important art movement.

What fascinated me the most about the Bauhaus was their approach to materials and their relationship to design, how important it is to understand the material you are working with and how you can use and manipulate a certain material once you truly understand it.

Last I would love to learn more about the future of design, how new technology can be used for new design solutions and how the emergence of these technologies has changed the course of design

The Intro of Katsuhiro Otomo’s Memories (1995) reminded me of the activity in which we tried to find letterforms in our surroundings.

Final version of my AMA Project.

As a designer who has grown up fully in the digital age, who has experienced the rise of the internet, smartphones and social media, New York based designer

Si Weon Kim explores the effects these new technologies have on the society we live in - what challenges arise, how it affects our daily lives and how it affects the work of a designer.

As my final outcome I created a zine using acetate to create multilayered pages, images and text on the acetate is transparent and affects the printed page underneath it. I used gradients, images of her work, text and more to be printed on the transparent sheet, distorting and altering the information presented on the silver page. This usage of multilayered pages becomes a representation of how the digital world is an additional reality existing alongside the real world we live in, affecting our daily lives, changing our view on issues and other information presented to us. I explored how difficultly it is to find truth in information in the digital age - everything presented to us online can be edited heavily, photoshopped, lied about, simply to fit the needs of the author of such information. In an age where every image can be faked, facts can be easily falsified and truthful, unbiased media is almost impossible to come about, truth becomes an abstract concept.

Furthermore, through the design of the zine I also tried to explore the possibilities the digital age has opened for designers, how new technology has opened the possibilities for designs which were unthinkable a few decade prior (such as the typeface used for text in the zine).

In the interview Kim also talks about the idea of the poor image, how in the age of the internet every image gets posted, saved and posted again countless times, losing image resolution/quality every single time this is done which creates the pixelated low resolution poor image we all know. On the front page I aimed to explore this cycle of regurgitation of uploading and saving by having the same image printed 4 times, dropping some of it’s image quality each times. Inspired by the concepts behind Si Weon Kim’s work I wanted to explore how said poor images are seen as the garbage of the digital world, how they are rejected in any form of media due to their unprofessional look and amateurish feeling - yet still they have some form of aesthetic appeal to them, they can create fascinating effects, they give a sense of texture to a work that just cannot be produced by neat, crisp, high-end photography.

Last I want to discuss how incredibly helpful my creative was and how much insight into her own work she was able to give me with such a limited amount of questions. Her work is incredibly interesting conceptually and relevant in the age we live in, her great answers and the themes she works with inspired me to create work which I would have not been able to produce without her.

Web-design by Johnson/Kingston for the B-Sides Festival which relates to what was discussed in last Friday’s lecture about the future of design and how the dawn of the digital age has opened completely new possibilities for designers. The design blurs the boundaries between design, art, animation and photography, creating a visual experience which mimics music and sound. The work shows how all the art forms can be united into one art piece, complementing each other and creating a more meaningful experience for the viewer in the process.

milovisuell

Memphis Group

GRAP2199 | Week #9 | Lecture/Relevant research

The Memphis-filled apartment of Raquel Cayre. Photo: Bobby Doherty/New York Magazine

1986

Pee-wee’s Playhouse debuts. The spirit of the Memphis style (though not necessarily the philosophy) enters the mainstream. The movie Ruthless People, drenched in Memphis-inspired décor, comes out that year, too.

October 1991

Karl Lagerfeld, who filled his Monaco home with Memphis furniture, sells his entire collection at Sotheby’s.

February 2016

Supreme releases an apparel-and-skate-deck collection designed by Alessandro Mendini, who exhibited in the first Memphis show.

Schwartzberg L. (2017). The Memphis Design Movement Is Having a Moment. Retrieved from https://www.thecut.com/2017/05/the-memphis-design-movement-is-having-a-moment.html

Zine from today’s workshop.

https://vimeo.com/222654176 Design Talk by Toshi Omagari which relates to today's lecture. Particularly interesting is Omagari's typeface Cowhand which utilises the possibilities which arise through new technology to create a font in which every word (up to 20 letters) is the same length.

Experiments with texture, form, translucency as well as with multilayered pages.

AMA Project - progress

Last Friday’s workshop - creating prototypes

Slash Magazine, founded by Steve Samiof and Melanie Nissen was one of the most successful punk fanzines which focused on the local punk scene in Los Angeles. Similar publication spread around the whole country and were an expression of the counter culture during the time period. A movement which had given up on the utopian promises of Modernism, a generation which had seen the modern idea fall and which had seen the problems it had brought to society.

Post-Modernism rejected and disregarded all the rules established by the modernists over half a century - the movement was full of experimentation and creativeness, they valued artistic expression over functionality, a movement which was about breaking the chains rather than working within a rigid framework of set rules and guidelines.

Today’s workshop on collage and zine-making.

Jan Tschichold was born in Leipzig, Germany in 1902. He was introduced to design by his father who was a sign-writer, which influenced Tschichold to study calligraphy at a very young age; This set him apart from other designers and typographers of the time. He learned wood carving, engraving, etching and other various techniques, studying the craft and discovering the materials and tools. In 1923, after his first exposure to the Bauhaus, Tschichold changed his style completely. At the Bauhaus, classical form was to be abandoned and the structure and function of everything was to be rethought. Tschicholds political ideas also radically changed during the time at the Bauhaus, for a while, he even Russianised his name to Ivan to identify himself more closely with the Left.

He became a leading advocate of Modernist design: first with an influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work ‘Die neue Typographie’. This book was a manifesto of modern design, in which he condemned all typefaces but sans-serif. He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules. He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effective use of different sizes and weights of type in order to quickly and easily convey information. This book was followed with a series of practical manuals on the principles of Modernist typography which had a wide influence among ordinary workers and printers in Germany.

He was condemned by the Nazis for creating unGerman typography and accused of 'Kulturbolschevismus', and was arrested and interned for a while. He took refuge in Switzerland in 1935. While in Switzerland he published 'Asymmetric Typography' where he uncompromisingly advocated the new typography.

Although Die neue Typographie remains a classic, Tschichold slowly abandoned his rigid beliefs from around 1932 onwards (e.g. his Saskia typeface of 1932, and his acceptance of classical Roman typefaces for body-type) as he moved back towards Classicism in print design. He later condemned Die neue Typographie as too extreme. He also went so far as to condemn Modernist design in general as being authoritarian and inherently fascistic.

His abandonment of Modernist principles meant that, even though he was living in Switzerland after the war, he was not at the centre of the post-war Swiss International Typographic Style.

Tschichold’s “universal alphabet” (above) was designed to clean up the few multigraphs and non-phonetic spellings in the German language. For example, he devised brand new characters to replace the multigraphs ch and sch. His intentions were to change the spelling by systematically replacing eu with oi, w with v, and z with ts. Long vowels were indicated by a macron below them, though the umlaut was still above. The alphabet was presented in one typeface, which was sans-serif and without capital letters.

A geometric drawing resemblant of a face on the poster for the Bauhaus Exhibition in Weimar inspired the band of the same name to design their logo in a similar fashion, appropriating the legacy and cultural impact of the bauhaus in the process.

The ‘Haus am Horn’ constructed by the Bauhaus specifically for the 1923 Weimar exhibition as a space in which to present work created by the students, was built from cheap, accessible materials and pre-available part in order to provide an affordable and accessible way of modern loving to the average worker. The whole building is entirely in the spirit of the Bauhaus being constructed from cheap, simple parts which are easy to assemble as well as an architectural style entirely in the spirit of the school.

Letterforms from around the campus.

The work of New York based designer Si Weon Kim who I will try to contact and interview.

https://siweonkim.com

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