50 Things - some refinement

In bringing my work work together for my tutorial and critical review of work to date I felt that I wanted to extend the work I started for "50 Things" I have edited down the list to 25 items which I felt could have imagery associated with them. The idea being that from title or notions applied to myself, I could generate what might appear to be a random series of images. I considered how I might extend this as a set and experimented with the idea of mini-images in the form of a series of postage stamps. Although this set represents links to points in my life it can be initially seen as a selection of seemingly random images. The images only demonstrate their links to me by the added visual signs of my silhouette and caption on the stamps.

To further this I considered how the stamps might be used in another visual  association, ie. on envelopes  linked visually by the appearance of an address/franking stmps etc. but, using the visual position of the address as an opportunity to link some meaning or comment to the image on the stamp. In this case, the intention being to see this piece of text as a short piece of "graphic poetry" maybe, directed at the person/character associated with the object. My intention with this excercise was to consider how to develop strands of creative thought moving away from the initial context of "50 Things" towards image and creative text.

Reflections on seminar - moving towards manifesto

The session yesterday evening not only gave me an opportunity to review my "Balance" poster but also helped me to further consider a statement leading to my manifesto. I clearly want to reflect on the organisation of space in print through "Balance and Juxtaposition" of elements. Additionally I want to investigate, explore and take influences from periods and trends. 

I have been interested and influenced for some time by graphic design emerging in the 1950's - in particular the "paste up" typography and photography work of Reid Miles for the Blue Note Jazz record label through the 50's and into the early 60's. 

I am equally intrigued by the trend of the last few years of the move to developing design work for print from hand rendered and hand assembled starting points for graphic outcomes. This has gradually moved into the mainstream and now regularly appears in design work for major corporate companies. I feel that development of this work is in some part due to a reflection and in some ways a rejection by artists/designers of the dominance of the computer over design outcomes and seeks to return to some sense of reflection and acknowledge that design and creativity exists/existed before the computer.

I would like to start from the work of the 50's, which will clearly shows the influences of modernism and swiss graphics as a starting point and investigate creating work which relates to periods/trends from the that period to the present day and to try to draw comparisons between the hand rendered/paste up work of  the 50's,60's 70's through the digital transition of the late 1980's to the current trend of hand rendered starting points for some of today's design. 

I am keen to take on the notion of "being in practice" as discussed in yesterday's session; the idea that you continue to "practice" outside of the client brief and the pressure of "linear" design constraints and deadlines.  I am also inspired by the idea of being my own "audience" in developing a body of work through my creative investigations. I hope to use the next module - "Design Methods" to dig deeper into research of my own subject and practice to further this.

In terms of a statement for manifesto, something around "Balance, Juxtaposition and space is influenced by period, trend and process" might be getting close to it and something that I would wish to discuss and get some further critical feedback on.

further refinements to Balance Poster

After discussion at the group seminar yesterday evening with Rob and John the content of th poster was considered. It was felt that whilst the geometric shapes with the addition of the broken "Balance" and "Juxtaposition" carried the message well enough without the addition of the other type at the base of the poster "Space" together with my quote relating to the title. I have now reviewed this and amended so that a comparison can be seen between this and the last posting.

Working towards manifesto

Following the writing of a short piece on the theme of "Design That Makes Me Happy" there was a session with John Hammersley where the group evaluated each otheres' writings  to consider emerging themes. I was unable to attend that session but had the opportunity to discuss it this week with John to consider potential statements that might be isolated in my writing leading to a possible "thesis statement". 

The group selected the idea of "Balance, Juxtaposition and Space" (relating to typography) as a recurring theme within my writing. From this we were asked to develop a creative piece in response to this (above). I can now see possibilities arising from the study of this theme  and considerations relating to periods, styles and trends in typography, particularly within the field of information design. I am becoming increasingly interested in trends and the period of the 1950's (influences of modernism, swiss graphicsetc) and the changes and developments through digital intervention and the current resurgence of hand drawn lettering and illustration. I now feel that I need to refine my ideas to develop a clear direction and content for my "Manifesto"

Developing Research Skills

After some delay, a follow up to John Hammersley's session on "Developing Research Skills" on 29 October 2009. I have spent some " library time" today, on-line and in the library covering some of the research approaches discussed in the October session. After completing the izone quiz.... I have moved on to relevant research related to the Animation project using book, journal and database searches. there will be evidence of this as screenshot print-outs in the learning journal. 

Update on progress - Animation

The technical issues that have arisen with this project have hindered/delayed my progress with an outcome. Unfortunately the version of Flash that I have (8) in CS3 does not seem to support the import of Photoshop files with layers ( in the way that later versions of Flash do).  Therefore, having spent time building a series of slides as layers in Photoshop CS3 I have had to consider an alternative ie complete the basic animation in Photoshop; export as a movie and import to imovie and overlay sound file there.

This has had the effect of me having to consider a simpler version of "tweens" between frames and sections of the animation and I feel that I am, unfortunately, designing down to my technology knowledge. I have to say that my own interest in animation/moving image is limited and that I would prefer to be developing my ideas as print based outcomes. Some of the sources for imagery in the animation would be useful starting points for exploration in print and in that medium I feel that I could extend the depth of my work much further.

Sweet talk 38 - Watershed 5 November 2009

SweetTalk is CandyCollective’s self-initiated series of creative-to creative live events. It’s a way of bringing together local creative talent with international luminaries in a relaxed, social environment.

The talks also hope to promote discourse and knowledge transfer between the creative industries, academics and students.

SweetTalk 38 Speakers: 
Ian Anderson – The Designers Republic (tDR)
Maria Mochnacz – Photographer
Andy Council – Illustrator
Gabriel Solomons – Designer/Publisher/Editor/Educator/

£10/£8 students

The re were interesting moments in these talks with a very nervous Andy Council being the most endearing. Elements and humour and reflection in relating the development of his work - almost self deprecating. Gabriel Solomon's message that you cannot rely on one role/job and that you must be willing to become involved in more than one venture certainly rang true. Maria Mochnacz's approach stating that she did not involve herself in digital seemed disjointed as some of the work show seemed certainly to have been constructed with digital intervention. Ian Andersons laid back arrogance rather stuck in my throat; maybe because it was getting late and the chairs were uncomfortable. There is no doubt that he has done some interesting work from untrained beginings. However when questioned by a young student over his ethics with regard to his involvement with Coca Cola I felt that he rather dodged the issue. "I only get involved with things where I can make a change/difference" he said. Also citing reasons for getting back to taking control of his work - whereas he agency had distanced himself from this. Come on Ian - isn't the basic reason for the Coke account that it made big bucks for you?

Keeping up to date with reading

I have been addressing the essential reading list and have recently covered  "What is Graphic Design" Newark, Quentin. Notes on reflection on this are contained in studio notebook 1. One major point of note is that the underlying premise of the book relates back to the quotes by Dwiggins "Super Printing"  and Meynall  and the debate of "Artist or Artisan" from "Loooking Closer" The idea of the designer "finding a position".  There are considerations of Art over Design - Art being implicit, Design being explicit. In terms of design evolution the book relates early 20th century design as a "mechanism that would tranform society and help to build a utopia". Industrialisation was seen as a context for this. With regard to "Visual Communication" Jaques Derrida, a french philosopher and fellow theorists root their thinking in "structuralism" - "all language communication (graphic design) is a system of relationships between signs (semiotics) and each individual sign only has a meaning because of its relationship to other signs - word/pictures/symbols etc" I found that this linked to the idea of Bias and Context discussed in recent seminar with John Hammersley. Contexts in which design is made - the self - what is self expression? The idea that we all take our influences and bring them together to create our own design.

Other books which I am already familiar with through my own work (education) include "A Smile in the Mind" and " The Art of Looking Sideways" My current reading from the esssintial list is "Visible Signs" - more on this later.

Getting up to date

I have become aware that due to my recent and lingering bout of painful  sciatica that I have been neglectful of my intentions to keep up to date with my reflections via this blog. So I need to address some of my more recent progress with work for the module.

My current progress with the "Moving Image, narrative" project has been slow: due to the sciatica and discomfort; but equally due to my lack of technical experience of Flash and my reticence to be involved with time based visual media. However, I am making progress. I have run some test tutorial pieces in Flash 8 to learn the basics and started building slides towards my narrative piece based on thoughts for my "Manifesto".

My focus for this work is on typographic approaches in print based design. My influences start from the work in the 1950's and early 60's of the work of Reid Miles who for a period of 15 years maintained the role of the main designer for Blue Note jazz record label. He maintained this role as well as designing for other agencies and running his own studio (s). Later in his career he started to focus more on the role of photographer. His work was ahead of its time. I feel that typographicaly he was the "Brody" of the 1950's. His methods of cut and paste type, visual alignments and juxtapositions with shapes and photo's are inspiring and take leads from early modernist typographers.

My aims for this time based piece take a starting point from the idea of drawn shapes with typography inspired by Reid Miles work and I hope to develop this though animation to show some other typograhic considerations linked to quotes to qualify this piece. Images above show initial starting points of drawn elements and composite Photoshop slide of elements starting to come together.

Feedback so far from Rob seem to suggest that each f these slides being built for the animation do link to the period discussed and that each could be seen as an individual "poster" and considered for some developmental print work, maybe later on scanning prints back in to develop further animation.

Reflection of "Crit" - work in progress for 50 Things

Thursdy 22 October 14.00

Session focussed on groups progress on the project. Split into two groups of 5 we reviewed the work of those in the other group and considered:

Clarity, Intention, Attention grabbing properties, Fitness for purpose

Whole group the re convened to consider findings/criticisms of the work reviewed. There was a broad range of stages of development that individuals had achieved and some of the group had more successfully moved on than others.

For my own work I had gone through a range of directions: 

• that of developing further the idea of "paste up" from my previous submission of two weeks ago in the format of a poster. As this was derived from my "pre Mac' " paste up idea which had really missed its audience (no other students in group who had really entered the graphics industry pre computer technology) I felt that I could no  longer further this approach as it was never likely to be anything other than an "aesthetic" arrangements of graphic elements on a page.

• an exploration of arrangement of the information contained in 50 Things into categories with considerations for "sub categories" and how to graphically communicate this. I feel that as a starting point that this development was reasonably successful. If the work were to be furthered the final layout arrangement of elements and choices of colours for links would need to be reconsidered.; in fact some alternative graphic elements/visuals could be considered to enhance the readability and overall aesthetic of the outcome.

• an exploration of the idea that if I took the titles (without descriptors) of my 50 things and allowed them to be viewed out of context ie just as a random selection of titles/statements, then these could be seen as a vehicle for something alternative. In this case the idea that they might be seen a a random selection of T shirt slogans pithched as the sort of advert that might have been seen in some "1970's" music magazine (NME/Melody Maker etc). This I felt was reflected in my choice of typeface for the T  shirt designs/advert/poster (Cooper Black). The intention was not to create a piece of work with a strong visual aesthetic but one of "pedestrian" design for straightforward communication of sales/merchandise linked to the idea of the "random" titles/statements as an extension of ideas generation. The use of chosen colours was entirely straightforward/basic (linked to the proposed purpose) and not intended to represent any further, considered or more refined applied aesthetic for the design. Had this been work as part of a major final project then I would have considered the manufacture of the actual T shirts to carry the idea forward (mentioned in the crit by the group). In retrospect I now wish that I had made up at least one shirt for effect and presentation!

Reflection: "Some possible understandings of language" John Hammersley

Thursday 22 October.

Some of the initial discussion focussed on "what is language" (communication code?); What is language for(to enable communication transfer?).  The consideration that we understand the above based on the bias of the originator and in the context of the communication. Recommended reading included Crow, David "Visible Signs" (ordered for hold from BA library the following day! Discussion of Language (linguistics); Signs (semiotics). We looked at our onn perceptions, feelings and understanding of a theory - "ideology" based on self or impressions from others and considered "borrowed theories - out of context" and the imposition of our own theories on others. Medina, Jose - Language, Key Concepts in Philosophy.

We considered why we should understand meaning not explicitly expressed. Is language always pre-packaged (politics). Can we read it without realising the bias or understanding the context?

This discussion allowed me to question my own understanding of how I view the use of language, its persuasion and indeed that it cannot exist without bias. Taking part in discussion raised questions of readership/understanding/ownership of communication taking place.

2 Questions as feedback:

1 What did I gain that I didn't expect to gain? 

Some understanding of Bias/Context. The idea that no communication, written or spoken, can be really reflected upon or debated without defined context; equally there will always be a bias controlled by the writer or originator of the communication.

2 What did I find most difficult or challenging

Challenging aspects were those of specific language. ie. the philosopphy of language and the associated terminology. Also... sitting through this session with serious pain from "Sciatica"...

Progress with "50 Things"

I have been considering numerous approaches to further outcomes for this task including: processing the information as a piece of formal information design; developing the theme of "paste-up" . In exploring the information graphics approach I tried to consider categorisation of my topics/statements and where categories overlapped. The results of this were becoming too diagramatic and I felt that I should call a halt to this. 

After a visit to the Library at the Bower Ashton Campus and some general visual research I considered some further approaches relating the work to traditional processes to graphic artwork (paste up). "The New Handmade Graphics" - Rotovision. (Derek Birdsall - his approaches to art direction) He is dismissive of the the value of digital technology in graphic design - he points out two fundamental flaws,  first "that objects cannot be physically picked up and moved around; secondly that there is a restricted sense of scale"  I wanted to explore the potential of some printmaking and physical paste-up, however, the rather painful bout of sciatica that I currently have prevents me being on my feet for too long or moving around easily. So, I have explored the idea/theme of paste-up as a digital mock up. Unfortunately, I felt that this work started to take on the "linear design" visual aesthetic of appearance rather than considering  alternative links/ideas to hang the work on.

I then struck on the idea that my 50 Things topics/titles might just be the sort of "one off" and in some contexts meaningless messages that might be seen on T shirts worn by anybody. So I worked on the idea of developing a "merchandise sheet" as if these titles or messages could be sold as printed "statement" T shirts. What would these titles or statements mean to anybody? probably nothing out of context of the original list... but hey, don't we all wear T shirts with seemingly meaningless messages, titles, slogans or graphics on them at some time?

Reflection on Seminar: Using Language Effectively

In this session I took part in discussion and exercises which initially considered the idea of "morphemes' - graphemes and phonemes. Breaking down and exploiting the structures of words. Working in groups of two we considered words which were asked to break down into component structures. these were share and developed by the whole group.

A further exercise looked at the use of metaphors and distinguishing metaphors in a text then breaking down the text into more mundane language. The reverse of this was then considered by adding the abstract and metaphorical for effect.

I felt that the exercise of breaking down of words into written and sound chunks provided a ueful insight to approaches to ideas generation for copywriting/tag lines - example used  - I - AM- STERDAM. Relating ideas to written and spoken ideas.

The session helped me top understand broader considerations and insights to the use of language for design ideas and developments. An opportunity to break information down into alternative starting points for creative ideas thinking.

Reflection - Context, Intention Audience

Discussion of distributed text. Consideration of position - artist or artisan. In groups some discussion and agreement of how we judge design (quality of design). The idea of objective and subjective decisions and judgement: Clarity; suitablity for purpose; Hierarchy of information; memorability; context and humour; attention grabbing/audience.

There were some links in this texts to that of last week: Eg has the advent of the"mac" in the 1980's enabled all to be designers? What differentiates the "educated" designer from anybody who can produce visual communication.  Similarity to "Dwiggins"  - Looking Closer 3 - "How printed matter looks makes no conscious difference to anybody except the designer and the connoisseur of printing" ie who decides who is educated enough to make value judgements?

This discussion linked to considerations for where we take or"manifesto". How do we want to work?

My Typeface badge

Considering the task set last Thursday - design a badge to represent me/relevant typeface - could have been a difficult choice. However, I couldn't overlook the typeface that I have returned to time and time again in my work - Gill Sans. The versatility of this family and its links to formative stages of the development of graphic communication during the last century continue to interest me.

In developing my badge(s) I wanted to make some immediate and recognisable visual links to support my choice so have include Gill's links to Johnston's typeface for the London Underground, commissioned in 1913. Gill was apprenticed to Johnston at this time and later used the typeface as his inspiration when designing his font Gill Sans used initially for LNER in 1929. 

Additionally I looked at the use of Gill Sans in the up-date of  Penguin book jacket designs carried out in 1950 by Jan Tschichold

There are many visual references that I could have considered in this excercise but wanted to achieve the clear recognition and links for this typeface. I'm not sure what my choice of typeface says about me, although I'd like to think that it links with my ordered approach to typography and my consideration for balance and alignment.

Reflection on Presentation "50 Things"

Initially we had the opportunity to view each persons response to this task without knowing the author/designer and make some initial comment about one chosen piece and aim to guess the originator. I have to say that my concentration during  this session was somewhat marred by severe pain I was experiencing from a nasty bout of sciatica - not pain to be recommended I have to say. Following on from this we discussed in pairs our own work with the other person. This allowed me to reflect on he context of my own work, the concept and outcome at this stage. Both through this discussion and the later group crit of the work I felt taht I had achieved a reasonable level of visual communication in my chosen approach and  layou of typography. However, my concept of focussing on the "pre Mac' " production of "mark up and paste up" to link to my own starting point in the design industries failed to some extent to hit the right "audience". Other members of the group clearly were "post Mac'" students and the subtlety of the "paste up" visual was to a greater extent lost on them. I felt that I was reasonably successful in developing my 50 list and managed to achieve some progressive and chronological links. With regard to basic communication/typographic layout it was pointed out hat my submission managed to communicate at two levels: the bold type headings; then the added descriptors and this was likened to dictionary entries.

I now need to consider for two weeks time an update of this work. Considerations will clearly need to focus on audience - appropriate visual concept; what changes will I make? can I edit down/group selections of information, will image illustration add to the meaning/readability?

Having looked at the work of Adam Hayes could I develop and Illustrated/typographic approach to the next stage or should I further investigate the existing typographic layout and readability by exploring scale/negative space?

Reflection: Seminar Design/Creative Processes

This session reflected on the reading set from last weeks sesion: How To Be a Graphic Designer Without Losing Your Soul; Fundamentals of Ilustration; What is Graphic Design. Initial discussion came from models put forward by Dwiggins/Meynall; function versus aesthetic possibility and the comparison of Artist/Artisan. The idea of how to choose a position. Developing practice -personal investigation? or applied practice - working to a brief. The self directed approach important to this level - a good example - Alan Fletcher , developing his own practice, evolving styles and ideas which may then be used to develop/satisfy solutions to a brief. The consideration of choosing an audience.

The discussion then moved on to the structure of the design process. The benefits of "intelligent clients". Are Graphic designers "Information Architects"? Where does one see onself in the discussed model (large organisation). For my part I feel that I should be developing work along the "Alan Fletcher" route. Consider what matters to me; how might my work then fit into the development and solutions of design problems. How might these be placed?

50 things about me

A delayed entry on "50 things about me' - task set at last weeks session. Initial lists for this felt"usual" or predictable. Persevering I was able to develop items or topics with more interest and  links and some sense of progress chronologically. In terms of ideas for presentation, and keeping within the guideline of no more that 2 sheets of A4 I considered focussing on some of the topics from my"50" as a vehicle: eg. each entry written on a plectrum and contained somehow within A4 to link to my music themes. However, I felt that one thing that I was aware of in the group was that I am probably the only person who entered the creative industries before the days of "Mac". So I pursued the theme of processing my "50 things" as a list presented as a proof read type mark up and a paste up of artwork in the style/format that I would have used when I studied graphics and first entered the industry. Ironically the production of the elements for this were created using In Design. I chose this approach to give some sense of position with regard to reflection of my own previous practice. Evaluation of suitability of this initial solution will be dealt with in reviewing the group presentation session.

Reflection on Seminar "Intro to Graphic Arts"

First impressions were of the contrast to being a facilitator (Teaching and delivering a module introduction to FdA Creative Practices students during the morning prior to the session) and that of being a student; the listener, the responder - in this instance.

One of the very relevant initial points was that of moving away from "linear design". The idea (well known from previous practice) that the design outcome was invariably driven by a brief constrained immediately by time and importantly budget. The opportunity, through this MA study opportunity to act on  conscious approaches to collect, organise reflect and evaluate without initial constraints associated with much of the usual graphic designers workload. 

Images shown in a short Powerpoint seemed to look at where graphic arts can be; what surfaces can they be on; what can they be constructed/manufactured from. There is a sense that some of this "visual communication" could be moving towards the umbrella of fine art. Conversely, there is the consideration for the multiple when producing visual communication.

On a personal level and after many years of employment in education management and teaching  which gradually took me away from my original study and freelance design work, this opportunity - I hope - will be a timely "kick up the arse": To re-inspire me into the making of my own art and processing design ideas; to renew my enjoyment of the subject for "me"; to involve me in new study in which I hope to be able to make links with - traditional approaches and techniques which were current when I was an undergraduate student, digital technology and the current resurgence of hand drawn graphics/typography. Having said this, I am mindful of trend, one of the issues raised in the introductory session touched on the consideration for the "currency" of trend. Can I afford to work into an area that is already receiving major attention? How can I have an input that takes something from current trend, develop it further and make my own mark on it?

The introduction to the initial practical task for the module was an immediate wake up call in the required move from the linear graphics approach: move away from the familiar, the expected the "normal".

In addition to the the main module introduction, the supporting, workshop health and safety talks etc reminded me that I was still in an institution with rules - no different to my current workplace. However, beyond the rules there are facilities and resources that should provide me with scope to explore and develop work that I have missed engagement with for many years.

As an aside.... the fire safety talk (whilst serious) amused me as the guy delivering the session WAS Keith Lard ( Peter Kay's fire officer from Phoenix Nights) -"look he's drawing a dog!"...

First Entry

The start of another perfect day!