Wednesday, March 30, 2011
Monday, March 28, 2011
Ellen attempts to revalue—in a positive rather than a destructive way—some of the fundamental theory of modern graphic design and make it accessible to all. Philosopher Walter Benjamin called writers to take up the camera; the intention behind Ellen's own study of design history and theory is to eventually influence designers to take up writing. Benjamin’s “author-as-producer” would have been able to juxtapose image and text; the skills of a graphic designer/writer would allow her not only to juxtapose but also to penetrate: to analyse images with the “language” of both words and graphics, and to determine the format in which a message might be framed. Despite the hostility expressed towards writing in these brilliant and influential textbooks of design, the notational “vocabulary” of form that develops out of them is rich in associative, culturally communicative meaning. The visual “language” of the diagram, as demonstrated by the some of the examples of graphic design published in Kepes’s text, is not a transparent filter for self-evident meaning, but rather a transforming, metaphoric code.
Tuesday, March 22, 2011
Monday, March 21, 2011
A total traditionalist, and lover of things from the past.
Timba Smits known as the vintage guy, and self confessed magazine whore. Timba has a background is in fine art and illustration. Has a deep rooted passion and feel for typography, magazine layouts and book design. 2006 he started ‘Wooden Toy magazine’ a free skate culture mag, Timba wanted to make a magazine that looked paid-for but give it away free His style is detailed, nostalgic and textured with a hand-made approach taking inspiration from the 40’s, 50’s and 60’s and combining them with modern techniques and mediums. Kind of an old meets new approach.
Woooden Toy magazine is possibly the most design heavy print magazine, a culmination of the amazing talent, people and ideas that Timba see on a daily basis around him. It is a catalog of the progressive nature of worldwide creative culture. It started in 2006 born from a love of magazines, art, photography, type and youth culture. It was released during a moment when Timba found himself searching for something that didn’t exist in other publications at that particular time, well not in Melbourne at the time .
A magazine with no boundaries, no set template, a freedom of speech and a focus on its production just as much as what it was saying through it’s editorial. Timba’s philosophy behind the brand is to document and highlight the creatives that have in some way been influenced by youth, street culture and art while drawing in the creatives that we think can be, and are an influence and inspiration to creative cultures future progression and presenting this as a lifestyle that cannot be separated from a love of brilliant photography, street art, illustration and some of the best graphic designed layouts you’ve ever touched.
At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results. After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.
Deitch Projects, Banana Wall
Peretz Rosenbaum was born in Brooklyn, New York in 1914. At a very young age he started painting signs for his father’s grocery store as well as for school events. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute, though neither of these schools offered Rand much stimulation. Despite studying at Pratt, Parsons and the art students league. Rand was by-and-large “self-taught as a designer.
As Orthodox Jewish law forbids the creation of graven images that can be worshiped as idols, Rand’s career creating icons of global capitalism seemed unlikely. He decided to camouflage his overtly Jewish identity shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new surname. . So he became Paul Rand. Creating a nice symbol and a brand name for his many accomplishments.
From 1936 to 1941, Paul Rand was art director of "Esquire" and "Apparel Arts" magazines while from 1938-1945 he also designed the acclaimed covers of "Direction" magazine. From 1941 until 1954 Paul Rand was art director of the William H. Weintraub advertizing agency in New York. And from 1956 Paul Rand freelanced as a graphic designer and consultant for Westinghouse and IBM.
The Hologram typeface was an idea Glaser says had been in his head for a while before he had a chance to actually make use of it. He found his oppo
This one was a proprietary face for the Rainbow Room in NYC; It had two styles: wide and narrow.
Another typeface called The Sesame Place, that was based on an earlier typeface of his called Houdini.