tag:blogger.com,1999:blog-64913368748077795072024-03-05T07:56:52.496-08:00216s13design stories, spring 2013, montserrat college of artJohn McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-6491336874807779507.post-54072267745720705262013-05-06T05:41:00.000-07:002013-05-06T05:41:07.716-07:00Catalogue taking a new direction<div class="separator" style="clear: both; text-align: left;">
Here's where I'm at with my catalogue so far. I made the cover and the page for the effect pedals last night, and it's making me want to go back and change the rest of the book to be more loosely designed to match their style. The other pages feel too structured and boring in comparison. </div>
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<br />Ian Corriganhttp://www.blogger.com/profile/06909722672177308139noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-42132883160378307672013-05-06T04:37:00.002-07:002013-05-06T04:41:31.674-07:00catalog emblem? book<div class="separator" style="clear: both; text-align: center;">
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<br />GDiPietrohttp://www.blogger.com/profile/02746831389932062207noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-13877774162948635582013-05-01T10:45:00.003-07:002013-05-01T11:52:48.390-07:00TypeSInce I'm working with a Journal/Memory type of aesthetic I find a handwritten type would work best. What do you think?<br />
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<tr><td class="tr-caption" style="text-align: center;">Dynastar</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fischer</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Elan</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Atomic</td></tr>
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NReillydesignhttp://www.blogger.com/profile/15283793735400785980noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-38856751089685926102013-05-01T05:28:00.002-07:002013-05-01T05:28:21.646-07:00Catalog new idea<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/02567494890335851889noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-56156254579345540662013-04-30T19:02:00.000-07:002013-05-01T02:11:33.136-07:00penultimata<p>(penultimate means, next to last day. antepenultimate means, the day before the next-to-last day.)</p>
<p>Read Gesche Joost and Arne Scheuermann, their <i>Design as Rhetoric: Basic Principles for Design Rhetoric</i> (Paper, Symposium of Swiss Design Network, 2007). The laser printer didn't cooperate when I sought to print a larger size, so you'll have to squint.<br />The paper is available through Joost's website, <a href="http://www.design-research-lab.org/?persons=gesche-joost">here</a> — scroll down, right side — or directly <a href="http://www.geschejoost.org/files/design_as_rhetoric.pdf">here</a>.</p>
<p>I will supply pages from Aristotle's <i>Art of Rhetoric</i>, and (maybe) of Plato's dialogue <i>Phaedrus</i>, and go through them with you. We may also consider — as our final read? — Gui Bonsiepe, his "visual-verbal rhetoric."<br /> </p>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-20458524956809661802013-04-29T05:44:00.002-07:002013-04-30T18:49:44.577-07:00cover<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nVBNYe6SPqOSlC6xJQjNA7x-iPy11hb2SoVvM3q4U3RE9BAJM-aZ8AMLeE2yNLPjmOUcPWfqtbBn0Z6PS-b1OPei3HZjmDl8busn0samGVizy7qFpTjulqA9XXe5xRpqgyY_uq6mFMA/s1600/CATALOUGEDRAFT2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nVBNYe6SPqOSlC6xJQjNA7x-iPy11hb2SoVvM3q4U3RE9BAJM-aZ8AMLeE2yNLPjmOUcPWfqtbBn0Z6PS-b1OPei3HZjmDl8busn0samGVizy7qFpTjulqA9XXe5xRpqgyY_uq6mFMA/s640/CATALOUGEDRAFT2.jpg" width="452" /></a></div>
<br />GDiPietrohttp://www.blogger.com/profile/02746831389932062207noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-66201408270492141642013-04-23T18:21:00.001-07:002013-04-23T19:00:28.977-07:00CuteWhat Is Cute?<br />
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<br /><a href="http://www.youtube.com/watch?v=Z0zConOPZ8Y">Why are things cute?</a> (Vsauce)
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Reminds me of subject in reading.<br />
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<br />GDiPietrohttp://www.blogger.com/profile/02746831389932062207noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-79449466469714808642013-04-22T19:38:00.001-07:002013-04-22T19:38:55.379-07:00Serif.<div class="separator" style="clear: both; text-align: center;">
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I changed the type to a serif thinking maybe this would be a middle ground between the clean thin sans serif I started with and the monospaced courier I went to second. What does everyone think? Better solution?Nicole Schradieckhttp://www.blogger.com/profile/03347870011477348906noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-71917825462794097842013-04-22T16:49:00.000-07:002013-04-22T16:50:39.838-07:00Catalog<br />
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GDiPietrohttp://www.blogger.com/profile/02746831389932062207noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-42289614906330145082013-04-18T12:52:00.004-07:002013-04-18T12:54:10.417-07:00Collection.<div class="separator" style="clear: both; text-align: center;">
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changing the type face, size, alignment and shape of the text helped a lot - the text matches the images much better now i think. an index would be nice at the end but do i have enough objects for that? this is ready to print soon. i'll print on cardstock and glue bind it.</div>
<br />Nicole Schradieckhttp://www.blogger.com/profile/03347870011477348906noreply@blogger.com2tag:blogger.com,1999:blog-6491336874807779507.post-57192644989347374432013-04-17T06:46:00.001-07:002013-04-17T06:46:12.797-07:00Catalogue beginnings - musical equipmentHere's a few pictures of my catalogue design, showing the instruments and musical equipment I have with brief descriptions/back stories. I'm not happy with the layout so far, so you can expect it to change in the near future.<br />
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<br />Ian Corriganhttp://www.blogger.com/profile/06909722672177308139noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-32318521358219995182013-04-16T20:55:00.001-07:002013-04-16T20:56:50.499-07:00Liv Varney: Catalogue sample - Collection of hats<center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6XpR5rROQHrPLe1QZL-R0UFSwYA2q4wWla6K4wAJMNEUEpey2L7RKLST2ZUzNU7WbIe6NdU5SUiiF4aE0EnGiUrEdlAhIr_FwNNAgmKGKOEHgC9FSzQAuac2kYPhLpVLr2umASkt0jg4/s1600/collage+sample.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6XpR5rROQHrPLe1QZL-R0UFSwYA2q4wWla6K4wAJMNEUEpey2L7RKLST2ZUzNU7WbIe6NdU5SUiiF4aE0EnGiUrEdlAhIr_FwNNAgmKGKOEHgC9FSzQAuac2kYPhLpVLr2umASkt0jg4/s320/collage+sample.jpg" /></a></center>
<br>So I have been working on a few collages, so far I have done two. I don't think they're finished yet but I figured I would stop with them and go back to them if need be. I am showing an image because I'm pretty sure that the paint on it will not be dry enough to carry to class tomorrow. I started off by cutting 7 sheets of paper down to 8.5in x 8in. All of the pages will be the same size that way it will be easier to scan them in without having to adjust their size digitally. I have a lot of scrap paper that I've been using and I printed out some images of my hats in black and white.Anonymoushttp://www.blogger.com/profile/10687951684099145292noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-42604539890326733702013-04-14T10:46:00.001-07:002013-04-14T10:46:38.227-07:00Design Types - Ulrich ResponseWhen reading through Ulrich's writing I was kind of surprised. As he was describing the different ways that designers work, I found out that I use more than one type. In my own design process I combine hierarchical, casual relationships, parallel exploration, and existing artifacts. It makes me wonder if anyone else uses more than one type of exploration in their work, or do they limit themselves to one type? I think they must combine things, as I'm not really sure how one could possible only use one exploration method.Caroline Lareshttp://www.blogger.com/profile/15280297101698238973noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-83242977321205322512013-04-10T11:38:00.000-07:002013-04-10T11:38:03.008-07:00Ulrich ResponseI found this text different than many of the readings I've done about design while in school. This article took a much different approach than I was use to be describing design in a more industrial and engineering context rather than straight graphic design. I think that design has such a broad spectrum that using any niche in the design field as an example to explain the process of getting from problem to solution through exploration would have sufficed. However, I appreciate that in this case it was not in the context in graphic design, maybe it held my attention a little better to read about familiar concepts in a light that I don't usually see them in. I agree that this is a valuable text to read as a practicing designer because without the process - there is generally no solution. It's almost impossible to come up with the 'right' solution without any background understanding or trial and error. I believe that's just the nature of the field. I appreciated the way that Ulrich talked about drawing abstractly to get across the point of view for the purpose of exploring through representation and abstraction. It solidified for me that as a designer trying to come up with a solution - this type of drawing is all that is proficient for the process. 'Good abstractions suppress details that have little relevance for the central design decisions at hand.' p 41Nicole Schradieckhttp://www.blogger.com/profile/03347870011477348906noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-91182479061569029012013-04-09T20:44:00.000-07:002013-04-10T01:43:04.393-07:00weds 10 april<p>Monday, we discussed <br />
Steve Baker's "To Go About Noisily: Clutter, Writing, and Design" (<i>Emigre</i> 35, Summer 1995), <a href="http://www.scribd.com/doc/103708913/To-Go-About-Noisily-Clutter-Writing-and-Design-by-Steve-Baker">here</a>, and read (aloud) through Jane Graves, "What Is the Object's Secret," in her posthumous collection <i>The Secret Lives of Objects</i> (2010). <p>"<i>Every object contains the history of its own making</i>," Graves writes, "<i>but there is another secret; what the 'other' sees in the object. These two secrets reflect and reverberate upon each other as a pair of revolving mirrors</i>."
<p>While we are developing our catalogues (of "things" in our lives), we're giving some thought to the design of things.
<p>We'll be looking at a Bryan Lawson's discussion of the iterative nature of the “craft-based” design process — particularly the account of the design of the cartwheel, its downtilt (pitch) and forward-angle (foreway). The role of language comes particularly — and literally — into “play” in chapter 15 (Design as conversation and perception), in Lawson's <i>How Designers Think : The Design Process Demystified</i> (Fourth edition, Oxford: Elsevier / Architectural Press, 2006).
<p>We will also look at chapter (4) on "exploration" in Karl T. Ulrich. Design: Creation of artifacts in society (2011), available as a pdf <a href="http://opim.wharton.upenn.edu/~ulrich/designbook.html">here</a>.
John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-32029005445254621282013-04-02T09:11:00.005-07:002013-04-02T09:11:59.612-07:00Different ReadingsFor this assignment I read the chapter on the digital future of graphic design, entitled Printing with Pixels in Cramsie's The story of Graphic design and The Digital Revolution and Beyond in Megg's History of Graphic design. Both books I feel had a good amount of information about the subject, however there are a few key differences that I noticed. In Cramsie the history was more focused on a brief history about the mac computer and how they revolutionized the way graphic design is today. Also in his text he focuses in on a few key designers such as Greiman, Brody, LanderLans and Carson. Which to me are very important people to know during tis time period. Aslo Cramsie's text was for me easier to read and not so overwhelming with information that Megg's seemed to be.<br />
While reading Megg's history on the subject I found the text included a lot of little things that weren't necessary but very interesting. Things such as why a mouse on a computer is called a mouse. You don't really need to know but it's always fun to have some weird trivial knowledge on the subject. Also Megg's text had pictures of what the first icons looked like on the mac and to see that evolve so much is amazing to me. Another thing that I thought was weird during both books with the name "LanderLans" was spelt two different ways Cramsie put "LanderLands" and Meggs put "Landerlans".<br />
Megg's book had a few different artist that did not show up in Cramsie that were good to have but I also think it started to make the chapter drag out a little too long.<br />
Lastly I Megg's book had a section of MTV in the text and how the logo had changed so much. I think both books should have a section of MTV not because it's one of my favorite channels on tv but because of how it started to revolutionize how people made ads and how people designed.Anonymoushttp://www.blogger.com/profile/02567494890335851889noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-67937944050293720302013-03-31T13:35:00.001-07:002013-03-31T13:35:16.530-07:00discussion notes, Weds 27 March<p>our brief exercise, for Monday (1 April) —
<p>Compare a chapter (or long treatment) in Cramsie, with a comparable discussion in any of the other design history surveys available to us. Discuss the parallels and differences, and what if anything is missing in either or both of the treatments.
<p>We talked about collections.
<ol><li>Leanne Shapton<br><i>Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewelry</i> (Farrar, Straus and Giroux, 2009), and her<br>
<i>Swimming Studies</i> (Blue Rider Press, 2012)
also,
<li>Ilene Beckerman, her <i>Love, Loss, and What I Wore</i> (Algonquin Books, 1995)<br>
and
<li><i>Bicycle Portraits</i> (three books) and the associated <a href="http://www.bicycleportraits.co.za/Index.html">website</a>.</ol>
<p>And tentatively agreed on the idea of cataloging a collection. The collection might be design oriented. But certainly some/all of the items in a collection, would be describable in design terms.
<p>Walter Benjamin came up in this connection.</p>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-40339836993588119082013-03-24T19:52:00.001-07:002013-03-31T13:35:36.812-07:00discussion notes, Weds 20 March<p>Wednesday last, we discussed design and "intention." What do we mean by "intention"? Is intention in play at every stage of our process? What about accident? Detours?
<p>That conversation was much informed by Steve Baker's brief essay on intention.
<p>We also looked at, and evaluated, designs selected by the Design Museum (in London) for their quality. See Guardian article <a href="http://www.guardian.co.uk/artanddesign/2013/mar/19/design-museum-selects-its-picks-of-the-year">here</a>, and the gallery of 15 designs <a href="http://www.guardian.co.uk/artanddesign/gallery/2013/mar/19/designs-year-2013-in-pictures">here</a>. With the exception of brutally graphic cigarette packaging from Australia, none of the designs were "graphic."
<p>We also gave some thought to Jonathan Gibbs's "design Blog" <a href="http://blogs.independent.co.uk/2013/03/15/friday-book-design-blog-a-tale-for-the-time-being-by-ruth-ozeki/">essay</a> on the design of Ruth Ozeki's novel <i>A Tale for the Time Being</i>, "published by Canongate in four simultaneous editions: hardback (price £20), paperback (£7.99), ebook (£7.99) and audio (£7.95 on iTunes).". Gibbs refers to design co-director Gerard Saint's explanation that "the exposed stitching at once references Japanese binding techniques, and emulates the fragility at the heart of the novel. The thing even comes wrapped in plastic, with a red sticker warning the reader ‘This special edition is fragile.’ Everything about it makes you want to treat it with the same care that Ruth, in the novel, treats Nao’s diary."<br /> </p>
<img src="http://montserrat.edu/studio/gd/216S13/friday-ozeki-spine_640w426h.jpg" width="640" height="426" border="0">
<p> <br />Gibbs writes: " While this is a perfectly apt response to the book, it does make me wonder about the future... All dilemmas that we may face more and more, as books come in bundles like this. The worst of all possible worlds, it occurs to me: the physical book becomes untouchable objet d’art, a sumptuous avatar of the text, an Alton Towers bumper sticker for the intelligentsia..."
<p>For Monday, read Cramsie Chapter 15, "Commercial Modernism."<br /> </p>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-81951872686552542542013-03-23T14:17:00.001-07:002013-03-23T14:17:44.797-07:00sleep, uses of.<p><i>Sleep plays an important role in the brain’s ability to consolidate learning when two new potentially competing tasks are learned in the same day...</i></p>
<p>William Harms, <i>UChicagoNews</i>, 20 March 2013<br />
<a href="http://news.uchicago.edu/article/2013/03/20/sleep-consolidates-memories-competing-tasks" target="_blank">here</a>
John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-76709308364225620842013-03-20T04:18:00.001-07:002013-03-24T19:30:22.232-07:00Design Exhibit I still need to scan in a few pictures from Cramsie to make this final but this is what I've come up with so far, thinking of turning it into a book. maybe.<br />
These squares are 4x4 with a 1 inch square in the center.<br />
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<br />Anonymoushttp://www.blogger.com/profile/02567494890335851889noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-37888526540413406792013-03-19T14:08:00.001-07:002013-03-19T14:09:36.204-07:00currents
For Wednesday,
<ol><li>refresh/replenish memory of Rick Poynor, "Art's Little Brother" (2005)<br>in Alex Coles, ed., <i>Design and Art</i> (2007)
<li>Cramsie, chapter 20,<br>Printing with Pixels : Digital Expressionism & Postscript: The Digital Future, c.1984 —,<br>and
<li>Read Brad Troemel, "The Accidental Audience," posted at The New Inquiry on March 14, 2013<br>on what we do with art (and other) images, on tumblr and elsewhere<br><a href="http://thenewinquiry.com/essays/the-accidental-audience/" target="_blank">here</a>.
<p>also
<li>give some thought to concluding/packaging your prospectus to design exhibit, one that argues an idea.</ol>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-1644597615173706942013-03-15T07:36:00.001-07:002013-03-15T07:36:20.478-07:00errata<iframe src="http://player.vimeo.com/video/11766000?title=0&byline=0&portrait=0" width="640" height="375" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="http://vimeo.com/11766000">Errata</a> from <a href="http://vimeo.com/alexanderstewart">Alexander Stewart</a> on <a href="http://vimeo.com">Vimeo</a>.</p> <p>Errata (16mm, 2005) is an experimental film in which I used a photocopier to generate frames of animation. Each frame of the film is a photocopy of the previous frame. Both black & white and color photocopies were used to make this film, approximately 4,600 copies total.<br /> </p>
<p>via<br /><a href="http://7or8.tumblr.com/post/45418885315/do-photocopiers-dream-errata-by-alexander#notes">7/8.tumblr.com</a></p><p>experiment/experience.<br /> </p>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-74082009761640750882013-03-15T07:00:00.004-07:002013-03-15T13:23:19.734-07:00post break<p><b>read</b>
<ol><li>Walter Benjamin —<br />"The Work of Art in the Age of Mechanical Reproduction," and<br />"Unpacking my Library."<br />reading notes/comments on both at the archived Design Stories blog for 2010, <a href="http://www.montserrat.edu/studio/gd/stories/index.htm#WAAMR">here</a>.<br />
<li>three essays in Alex Coles, ed., <i>Design and Art</i> (2007) —<br>Alex Coles, "Introduction // Beyond Designart,"<br />George Nelson, "Good Design: What is it for?" (1957),<br />Norman Potter, "Is a Designer an Artist?" (1969), and<br />Rick Poynor, "Art's Little Brother" (2005).<br />
<li>the <i>Oxford English Dictionary</i> (OED) entries for<br />"experiment" (noun and verb), and<br />"experimental" (adverb and adjective).
</ol>
<p>The Benjamin readings pertain to the aura of the work of art — its loss in (his) modern times, and curiously, it's rediscovery (in "Unpacking my Library"), in the collection. The collection — the series, the multiple, even different iterations of the same. Where meaning/significance is shunted along, from one item to another, the encounter of each object with each other, and all with the beholder, all participantd in the unfolding narrative (or conversation?).<br />(But I digress.)
<p>The essays in <i>Design and Art</i> pertain in part to "process" — the designer's process. This connects with Donald Schon's thinking about design as conversation.
<p>Finally, the dictionary entries on "experiment" may help us think about the idea of "testing" in design.</p>
<p>We'll start on Monday with the Benjamin. Please take notes (or annotate your copies) as you read.<br /> </p>
<p><b>other</b>
<p>Tumblrites among you may be interested in two recent essays in/at/on <i>The New Inquiry</i> —
<ol><li>Brad Troemel, "The Accidental Audience" (14 March 2013) —<br>on recycling art on tumblr (<a href="http://thenewinquiry.com/essays/the-accidental-audience/">here</a>), and<br />
<li>Rob Hornung, "Escape from Love Jail" (7 March 2013) —<br />on social media — and sociality — in general. Very good links worth following up, particularly one to a paper (on "escape") by Mariann Hardey and David Beer.
</ol>
<p>And please think about experiment/experience, experimental/experiential, and how these might pertain to design process/practice.<br /> </p>John McVeyhttp://www.blogger.com/profile/14481670714832899230noreply@blogger.com0tag:blogger.com,1999:blog-6491336874807779507.post-76933673744999238182013-03-06T08:58:00.001-08:002013-03-06T08:58:13.092-08:00Bauhaus, Artist Animal, Curation.<u><b>Bauhaus, Cramsie Ch 13</b></u><br />
<u><br /></u>
<i>Overall what I enjoyed and took away from this chapter was an understanding of the history of the Bauhaus in more detail than I knew before. In art history classes I've learned a bit here and there about pieces that have come out of the institution but never quite all the phases the school went through over the course of its being. The following are excerpts from the text that stood out...</i><br />
<br />
"The idea of providing a general introductory course to teach the fundamental aspects of art was not new, but it was through the Bauhaus that such a course became the standard feature of art education in Europe and the United States during the second half of the twentieth century ... He saw the main purpose of the 'Basic Course', as being to free the students from any prior learning so that heir own individual nature could emerge." 191<br />
<br />
"They took up what, at that time and in that place, were highly unusual practices, such as fasting, acupuncture or frequent gargling and garlic eating." 191<br />
<br />
"Gropius's socialist belief in community and the role of art in binding communities together required his students to engage with the world around them, not retreat from it." 191<br />
<br />
"The primary aim for this new kind of design was for it to be functional, or, as he put it, to find the 'right form for the stated function'..." 192<br />
<br />
"A new emphasis on commercial art and advertising, rather than fine-art printing, brought the workshop a new status, which was reflected in its new name: 'The Printing and Advertising Workshop'." 194<br />
<br />
"Moholy-Nagy called this arrangement an example of 'typophoto', a form of design he considered to be 'the most visually exact rendering of communication' ... In typophoto, however, they should be seen, heard and listened to." 194<br />
<br />
<br />
"It was born out of the twin recognition that the cold, hard purity of mechanical reproduction could have a special form of beauty of its own, and more than that, that by breaking free of the human prejudice and artfulness that plagued the painter's hand, these new methods of image making could come closer to revealing the world as it really was." 195<br />
<br />
"Today, most adult handwriting is so unpracticed it looks primitive, almost childlike." 196<br />
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"Why is there for one sound, for example 'a', two signs 'A' and 'a'? One sound, one sign. Why two alphabets for one word, why double the number of signs when half would achieve the same?" 198<br />
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"...exclude from their symbols any 'details which do not improve the [symbols'] narrative character'." 200<br />
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"Over time he [Jan Tschichold] was t hone his mastery of this kind of dynamic, balanced asymmetry to such an extent that even the most free-form and minimal arrangements were suffused with a sense of harmonious equilibrium." 203<br />
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<u><b>Artist Animal, Steve Baker</b></u><br />
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<i>Baker made good points in his statements, however it's hard to completely agree or disagree with them. They seem to be provocative where as they are taking a firm stance on one end or the other of an opinion which is helpful to form your own opinions but it's a bit confusing to put into context against what we're taught in school and from past history. However, I do understand the points being made and their supporting details, I appreciate the way they turn my thoughts in another direction to consider what is at hand. These quotes from <b>'On Artists and Intentions' 90-91</b> and <b>'On Relevant Questions' 180-181 </b>show what I mean:</i><br />
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"It is neither theoretically necessary nor desirable to make psychologistic assumptions concerning the intentions of the photographer; it is the pre-constituted field of discourse which is the substantial 'author' here: photograph and photographer alike are its products and, in the act of seeing, so is the viewer." 91<br />
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"...complex of texts, rhetorics, codes, woven into the fabric of the popular preconscious." 91<br />
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"intention is a word I should use as little as possible." 91<br />
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"...the word <i>intention</i> refers 'to pictures rather more than to painters'." 91<br />
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"There are no good answers if the question is not the relevant one." 181<br />
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"Art consists in the shaping of just such 'precious tools for thinking'." 181<br />
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<u><b>Curating</b></u><br />
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What I plan to do over Spring Break for the curation project is to write a detailed but moderately brief description of what the space I've deigned is and is meant to teach you. I want to make a book with this description as well as the images I've chosen and show an example of how it would look in the room. My overall idea for this is to create a sort of catalogue for the exhibit.Nicole Schradieckhttp://www.blogger.com/profile/03347870011477348906noreply@blogger.com1tag:blogger.com,1999:blog-6491336874807779507.post-31612514038739276372013-03-05T22:17:00.001-08:002013-03-15T13:23:48.361-07:00tImeline of artistic stylesI was thinking of continuing this project with a timeline of other styles of art that were around during the art nouveau era. I was going to focus on three other styles of Post-impressionism, neo- impressionism and the arts and crafts movement. I was looking at these posters, paintings, glasswork, ect. as hanging on the wall side by side with matching dates. Saying these 4 works were done in the same year or time frame. It felt a little odd to me to put these works together because of how they are displayed in a history book when you think a style has 1 time frame and another one is right after or right before the style and no coexisting with it.<br />
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