Reading Assignment #13

The Citizen Designer

Sustainability
Bruce Mau and Massive Change
Jonathan Barnbrook
Center for Urban Pedagogy
Conclusion

Reading Assignment #12

The Digital Present

Resurgent Idealism

  • it was believed that technology would lead towards a better world and designers became caught up in the frenzy about the speculations of social changes that were about to come.
  • "digitopia"
Wired Magazine

  • embraced the belief that a technological utopia was coming
  • Louis Rossetto & John Plunkett
  • "mind grenade" (editors notes)
  • Marshall McLuhan
  • Johan Vipper - Swedish expat designer
  • immaterial world of cyberspace
  • 1995- Me Company - Nike posters
  • 1986 - 2009: the Designers Republic - densely layered kinetic compositions that overwhelm the viewer's eyes
  • work/buy/consume/die "brain aided design"
Designing the Web 1.0: Beginnings

  • 1995 - Netscape Navigator, Internet Explorer brings design to the world wide web
  • it is necessary for a design firm to have the manpower to have a way to produce and integrate designs for every considerable platform
  • the early web was a chaotic visual environment filled with amateure design
  • most dominate tech companies have embraced an updated version of the International Style
  • Times New Roman font used everywhere - universal availability


First Wave Motion and Interactivity: Flash 2000 - 2010

  • Web 2.0 - multimedia interactivity
  • avoidance of "rich media" sites due to consumers with lack of high-speed internet access
  • most tech companies could not see the future - "nobody want to watch a video on the internet"
  • Quicktime, Shockwave Player, Flash
  • By 2010, Flash had been installed on over 90% of desktop computers in the world and 75% of internet videos were available through the plug in
  • F.R.U.I.T. 
Viral Advertising

Animated Graphics for Film and Television

  • animation was being created long before the digital revolution
  • Kyle Cooper - film title sequences: Se7en, Spiderman 2002, Destiny: Taken King
  • A Series of Unfortunate Events - Jamie Calabri
  • 2001 - Troika Design Group in LA: SportsCenter (ESPN), Mad Men title sequence, broadcast titles for The Deadliest Catch
The End of the Flash Era

  • Joshua Davis set up online community in 2009 to help designers navigate Flash
  • "Hype Framework" - Flash was becoming so complex that it was killing creativity
  • iPhone released in 2007, iPad tablet in 2010 
  • "Thoughts on Flash" - a letter from Steve Jobs explains why Apple left Flash plug-in on its mobile devices (used too much memory and battery power)
  • HTML5, CSS, and Javascript rapidly replaced Flash
  • Flash will no longer be distributed or updated after 2020
The Multifaceted Digital World: Stories, Experiences, and Interfaces

  • Richard Wurman 1984 started TED Conferences - graphic designers learn about transformations in graphic design over the recent years
    • identity created by Kyle Cooper and Jakob Trollback
  • Interactive museum experience. Jake Barton
    • use of stylus/pens on screens to engate viewer
  • 2011 - MIT branding by Pentagram
  • 2014 - Media Lab digital brand (Michael Bierut)

Big Data

  • poor visual communication can have severe consequences (Challenger)
  • Fathom Information Design - Boston. Partners with Thompson Ruters in 2013.
    • shaped dynamic power in modern China
  • collecting and analysing data has become an essential part of a designers understanding of their own work
  • the illusion of understanding of and control over our lives and our bodies


Contemporary Digital Type

  • the sheer volume of new digital type designs can be difficult to track
  • work of dubious quality competing side by side with the most terrific typefaces of all time
  • 1986 - Aytsys's Fontographer
  • 1987 - Adobe Illustrator
  • FontLab, Postscript language, TrueType (vector graphics) - 1998
  • 2000 - OpenType
  • RoboFont (used with Python)
  • Glyphs - no programming skills required

Digital Crystal Goblets

  • don't ask "How should it look?" but ask "What must it do?"
  • 1991 - Erik Spiekermann creates FF Meta (humanist sans serif)
    • founded FontShop in 1988 with his wife
  • 1990 - Dutch designer Martin Majoor creates FF Scala
  • 2018 - Carol Twombly and Robert Slimbach make Myriad designed to be "a totally invisible type of letter"
Comic Sans and Papyrus (could be considered somewhat of a beta noir in the typography community)

Experimental and Conceptual Type 

  • Nevil Brody
  • flipper fonts. Erik van Blokland - Kosmik typeface - 1993
  • 1991- Mark Andersen - Not Caslon typeface
  • 1995 - Walker typeface - Matthew Carter
  • Jonathan Hoefler - 1996 - Fetish No. 338 typeface
  • Paul Elliman uses found objects to create Found Font which he continues to add to this day.
  • 2008 - Nikola Djurek - Brioni typeface
  • 2010 - David Keshavjee and Julien Tavelli - Template Woodcut typeface
  • 2012 - Karl Nawrot & Radim Pesko - Lyno typeface
Lessons From Type at Moma - type that had been carelessly transformed into a digital commodity was able to insinuate itself even into one of the bastions of design history (editing and fixing Franklin Gothic for their logo)



Reading Assignment #11

Contemporary Graphic Design

Eclectic Experiments: "Grunge" Design

Depoliticized Design
Celebrification
Eclecticism, Histoicism, and Appropriation
Conceptual Design
MTV, Coopting the Counterculture
Comics, Manga, Video Games, and Anime
Graffiti and Street Art
Illustration in a Digital Age

Design it Yourself

Global Graphics?


Design Project 4 - Designer Poster

Barney Bubbles Poster

Image result for barney bubbles paintings dark














Described by The New York Times as "a hero to young designers," the British designer Barney Bubbles is one of the most mysterious but influential figures in the field of graphic design. Bubbles, who died 25 years ago, links the colorful underground optimism of the 1960s to the sardonic, edgier art that accompanied Punk's explosion a decade later. In the 1960s, Bubbles created posters for the Rolling Stones, brand and product design for Sir Terence Conran and psychedelic lightshows for Pink Floyd. Responsible for art direction at the key underground magazines Oz and Frendz, and for the classic masthead of the NME rock weekly, he is best known for the plethora of stunning record sleeves, logos, insignia and promo videos for musicians and performers, from the countercultural collective Hawkwind to New Wave and Postpunk stars Elvis Costello, Ian Dury, Nick Lowe, Graham Parker, The Damned, Billy Bragg, Depeche Mode and The Specials. Bubbles created his own idiom, amalgamating Expressionism, Dada, Constructivism and Concrete poetry into a Rock context. With over 600 images, the meticulously researched Reasons to be Cheerful is the first and definitive investigation into Bubbles' life and work. Billy Bragg contributes an introduction, graphic designer Peter Saville an essay on the significance of Bubbles' oeuvre (titled "Toward the Canonisation of Barney Bubbles") and Malcolm Garrett a foreword.










[Barney Bubbles at the MoMA] https://www.moma.org/artists/41288

[Eye Magazine] http://www.eyemagazine.com/feature/article/in-search-of-barney-bubbles

[Tribute article by an artist who was inspired by Barney Bubbles] http://www.johncoulthart.com/feuilleton/2007/01/20/barney-bubbles-artist-and-designer/

[some info about methodology and family] life] https://daily.redbullmusicacademy.com/2015/03/barney-bubbles-feature

[7 of his works featured at the MoMA] http://www.paulgormanis.com/?p=13134

[The Face] https://testpressing.wordpress.com/2011/05/13/the-face-barney-bubbles/?fbclid=IwAR3CVkEooWU4Mg9IweR-Q8ctQIzM9tXB5BnY-v106D-ehec4NsFAuY5m_g8

[Illustrations for band poetry] http://racketracket.co.uk/music/john-cooper-clarke-directory-1979/?fbclid=IwAR282qre-OUTEMTAXRq38kJg-tWJJK-YGTQILpT4o8KVRG_9-Y4wW7ZbZbY

[Design Research Group] https://designresearchgroup.wordpress.com/2008/05/31/who-was-barney-bubbles-anonymity-and-the-design-canon/

[video- tribute concert for Barney Bubbles] https://www.youtube.com/watch?v=IfLsXka6TfQ

[video - Hawkwind live with bubbles/stage show] https://www.youtube.com/watch?v=HdTFeW8FCto

[video - armed forces packaging for Elvis Costello] https://www.youtube.com/watch?v=rPkhllHv0II

[ video - Block Heads Do It Yourself Sleeves] https://www.youtube.com/watch?v=iLsOSyg7Z6M

[images from the book I just bought] http://www.djfood.org/the-life-work-of-barney-bubbles-book/

[stuff he did for Quiver] http://www.paulgormanis.com/?p=13980

[bondage stuff] https://davidwills.wordpress.com/tag/barney-bubbles/
  •  Bubbles’ poster for a series of shows featuring the band alongside South Wales pals Man channelled the 1920s Art Deco vibe, while his artwork for the compilation Roadhawks marries Futurism with modern tendencies. Bubbles knew his art/design history and used it in a knowing way throughout his career. This methodology is typical today, but in the 1970s, it was anathema. For this alone, Barney Bubbles was a trailblazer in the world of graphic design

His signature style emerged as one that was colourful, playful, loaded with geometry, art-history and music-history references, jokes, cryptograms and symbols. The overriding appetite was for going against the grain of accepted design standards. His work is simultaneously complex in meaning and simple in its delivery.
streamlined, modern car grilles a la Raymond Loewy; and a dark sense of iconography reminiscent of fascist icons and architecture. Bubbles’ designs presaged the visual style of countless progressive rock and krautrock designs by pairing the atmospherics of Hawkwind with a look for the machine age, simultaneously dehumanizing and supplementing the music with an aesthetic of true futurism.

It was a natural progression for Fulcher to be caught up in London's burgeoning underground scene as the counter-culture 60's grabbed the imagination of the young. He moonlighted on projects and became a figure at events in venues such as The Roundhouse, Middle Earth, The Electric Cinema & The Arts Lab. His work on light-shows, which were then crude affairs employing colored liquid bubbles trapped between glass plates that were rhythmically manipulated in a light beam, was probably the source of his most common nickname 'Barney Bubbles'. It was certainly a name he had adopted by 1967 and formally used when his work with fellow artist friends appeared in an early issue (No 12) of "OZ" magazine in 1968. This is a glorious supplement of unfettered 'communal' art by Barney & Co that obviously got the nod from Martin Sharp.




























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