Wednesday 30 May 2012
Monday 21 May 2012
"A toast to Crouwel." Experimental Jetset
Experimental Jetset are an independent graphic design studio
based in Amsterdam, consisting of Marieke Stolk, Danny van den
Dungen and Erwin Brinkers. A lot of their work is completed
collaboratively, with a focus on printed matter. They describe
graphic design as "turning language into objects".
Printed speechA7-sized booklet
'Near the end of 2008, we were invited by The Wolfsonian, a museum located in Miami, to attend a dinner that would be held on the occasion of two related events: Wim Crouwel's 80th birthday, and the opening of 'Gridnik', an exhibition that would take place between December 5, 2008, and March 10, 2009. Subtitled 'Wim Crouwel and Modern Typography', 'Gridnik' was an exhibition featuring work by Crouwel, combined with pieces drawn from the Wolfsonian collection.'
Source
The whole idea of looking at pamphlets and layout is to
gain an understanding of what exactly communicates effectively
when it comes to small format / multiple page designs.
'The booklet was actually just a single sheet of A4, printed on one side, and folded into an A7-sized booklet of 8 pages. It's actually a really interesting way of folding: you make a slit in the middle of a single sheet, and then just fold the sheet a couple of times, until a small booklet appears. Shown below the unfolded sheet, front- and backside. (As you see, we used paper with a silver backside). The red line indicates where the slit should be placed.'
This is essentially a 'hot dog fold' that we looked at for
leeds book fair last year. Worth trying this format as an
addition to the range for my product. The only problem
I can forsee is that the amount of information against
the amount of white space may mean that I will have to
use an extremely small typeface that will reduce readability.
Have a go.
Chaumont (((O))) Lecture
'The small booklet contained 9 small texts, each text accompanying one track. The booklet also contained a short afterword ('About this lecture'), in which we explained the theme of the lecture (mainly revolving around the subject of the sun in pop music).
The publication consisted of a yellow sheet of paper (360 x 240 mm), printed on both sides, and folded to a square of 120 x 120 mm. This square folder was then put into a blue standard CD envelope. The round window in the blue envelope showed the yellow content, looking like a sun in the sky, underling the theme of the lecture. The complete package is shown above. The booklet, in its unfolded form, is shown at the very bottom of this column.'
A format to note when i'm proposing an audio / / kinetic
type CD to accompany the zine and poster in one pack.
Could possibly add track listings and words to the poem
in an ordered fashion without tone, pace and intonation
included. I need to start thinking about how type works
in relation to folds within the stock.
Matters of Speech
Thinking about manners of speech, we decided to come up with a lecture called 'Matters of Speech'. In short, we compiled a list of 13 songs, all dealing with different manners of speech. We wrote short texts about these songs, and turned these texts into a simple publication, basically an A2-sized sheet folded to an A4-sized booklet.
More considerations of format: size. When looking at
this lecture, a large format document makes sense. In
context of the environment, it is more likely that the
will sit and take their time over reading it. This means
that more information can be crammed onto it. Given the
type of audience and the context they are in they will
have the patience to read the information and will also
treasure the booklet moreso.
My audience are similar to this in the sense that they
are already interested in poetry so will treasure the
booklet more and will also have the patience to read
through it- this means that I can push the format as far
as it will go, giving me more freedom to design some-
thing WACKY. Perhaps. Maybe.
based in Amsterdam, consisting of Marieke Stolk, Danny van den
Dungen and Erwin Brinkers. A lot of their work is completed
collaboratively, with a focus on printed matter. They describe
graphic design as "turning language into objects".
Printed speechA7-sized booklet
'Near the end of 2008, we were invited by The Wolfsonian, a museum located in Miami, to attend a dinner that would be held on the occasion of two related events: Wim Crouwel's 80th birthday, and the opening of 'Gridnik', an exhibition that would take place between December 5, 2008, and March 10, 2009. Subtitled 'Wim Crouwel and Modern Typography', 'Gridnik' was an exhibition featuring work by Crouwel, combined with pieces drawn from the Wolfsonian collection.'
Source
The whole idea of looking at pamphlets and layout is to
gain an understanding of what exactly communicates effectively
when it comes to small format / multiple page designs.
'The booklet was actually just a single sheet of A4, printed on one side, and folded into an A7-sized booklet of 8 pages. It's actually a really interesting way of folding: you make a slit in the middle of a single sheet, and then just fold the sheet a couple of times, until a small booklet appears. Shown below the unfolded sheet, front- and backside. (As you see, we used paper with a silver backside). The red line indicates where the slit should be placed.'
This is essentially a 'hot dog fold' that we looked at for
leeds book fair last year. Worth trying this format as an
addition to the range for my product. The only problem
I can forsee is that the amount of information against
the amount of white space may mean that I will have to
use an extremely small typeface that will reduce readability.
Have a go.
Chaumont (((O))) Lecture
'The small booklet contained 9 small texts, each text accompanying one track. The booklet also contained a short afterword ('About this lecture'), in which we explained the theme of the lecture (mainly revolving around the subject of the sun in pop music).
The publication consisted of a yellow sheet of paper (360 x 240 mm), printed on both sides, and folded to a square of 120 x 120 mm. This square folder was then put into a blue standard CD envelope. The round window in the blue envelope showed the yellow content, looking like a sun in the sky, underling the theme of the lecture. The complete package is shown above. The booklet, in its unfolded form, is shown at the very bottom of this column.'
A format to note when i'm proposing an audio / / kinetic
type CD to accompany the zine and poster in one pack.
Could possibly add track listings and words to the poem
in an ordered fashion without tone, pace and intonation
included. I need to start thinking about how type works
in relation to folds within the stock.
Matters of Speech
Lecture (reading/listening session)
Bold Italic 2006, Ghent
Bold Italic 2006, Ghent
More considerations of format: size. When looking at
this lecture, a large format document makes sense. In
context of the environment, it is more likely that the
will sit and take their time over reading it. This means
that more information can be crammed onto it. Given the
type of audience and the context they are in they will
have the patience to read the information and will also
treasure the booklet moreso.
My audience are similar to this in the sense that they
are already interested in poetry so will treasure the
booklet more and will also have the patience to read
through it- this means that I can push the format as far
as it will go, giving me more freedom to design some-
thing WACKY. Perhaps. Maybe.
Monday 14 May 2012
CONTENT / / Classical Poetry
William Blake, Tiger:
| TIGER, tiger, burning bright | |
| In the forests of the night, | |
| What immortal hand or eye | |
| Could frame thy fearful symmetry? | |
| In what distant deeps or skies | 5 |
| Burnt the fire of thine eyes? | |
| On what wings dare he aspire? | |
| What the hand dare seize the fire? | |
| And what shoulder and what art | |
| Could twist the sinews of thy heart? | 10 |
| And when thy heart began to beat, | |
| What dread hand and what dread feet? | |
| What the hammer? what the chain? | |
| In what furnace was thy brain? | |
| What the anvil? What dread grasp | 15 |
| Dare its deadly terrors clasp? | |
| When the stars threw down their spears, | |
| And water'd heaven with their tears, | |
| Did He smile His work to see? | |
| Did He who made the lamb make thee? | 20 |
| Tiger, tiger, burning bright | |
| In the forests of the night, | |
| What immortal hand or eye | |
| Dare frame thy fearful symmetry? |
Thursday 10 May 2012
Concrete poetry / / concept development.
I have recently come across the term 'concrete poetry'. The
definition of this being that the layout and shape of the words
are supposed to:
'convey the intended effect as the conventional
elements of the poem, such as meaning of words, rhythm,
rhyme and so on.'
This is essentially the concept I came up with initially,
(thinking I was being original - which nowadays is very rarely
the case.) however, the difference between my concept and
the idea behind concrete poetry is that, I, as the graphic
designer, know what best communicates a message
visually. I have the tools / knowledge that will look good
as well as communicating the meaning effectively.
Concrete Poetry was completely recognized in the 1950s, as is
marked by the numerous publications created from the German
and Brazilian artists. The work of Eugen Gomringer (German artist),
Augusto de Campos, Haraldo de Campos, Decio Pignatari
(Brazilian artists), as well as other poets from England, France, Italy,
Czechoslovakia, Spain, Canada and the United States indicate the
strength of the Concrete Poetry, which is conveyed from the
manipulation of sound or visual form.
Source
Eugen Gomringer:
'Eugen Gomringer is one of the key figure of the German language
Concrete Poetry movement. According to Druker, Gomringer's
concept involved the use of a compact set of formal elements-poems
of one or several words arranged in strict and relatively simple structural
arrangements. His Famous poem ‘Silence' is a visual presentation to the
meaning of the work. (Druker, J. 1998). '
Gomringer was mainly working in Switzerland. Furthermore, in 1953
he published a series of work under the name "Konstellations" and
began his career as one of the creators of the international magazine
‘Spirale', where he has the opportunity to show his point of view
regarding the modern art.Gomringer's poems are written in many different
languages such as German, English, Spanish, and French.
Decio Pignatari:
Decio Pignatari is a poet, graphic artist, and a professor of
information theory who was born in Sao Paulo in 1927. His poems
and essays were published in all issues of the Noigandres magazine.
Besides that he is co-founded the Noigandres group in 1952
together with Augusto and Haroldo de Campos, he is also co-authored
of the "pilot plan for concrete poetry" in 1958, and "Teoria da Poesia
Concreta" in 1965.
Pilot Plan for Concrete Poetry (1958)
Augusto de Campos, Decio Pignatari, Haroldo de Campos: Brazil
From Concrete Poetry: A World View, 1968, ed Mary Ellen Solt
Translated by the authors.
1958
definition of this being that the layout and shape of the words
are supposed to:
'convey the intended effect as the conventional
elements of the poem, such as meaning of words, rhythm,
rhyme and so on.'
This is essentially the concept I came up with initially,
(thinking I was being original - which nowadays is very rarely
the case.) however, the difference between my concept and
the idea behind concrete poetry is that, I, as the graphic
designer, know what best communicates a message
visually. I have the tools / knowledge that will look good
as well as communicating the meaning effectively.
Concrete Poetry was completely recognized in the 1950s, as is
marked by the numerous publications created from the German
and Brazilian artists. The work of Eugen Gomringer (German artist),
Augusto de Campos, Haraldo de Campos, Decio Pignatari
(Brazilian artists), as well as other poets from England, France, Italy,
Czechoslovakia, Spain, Canada and the United States indicate the
strength of the Concrete Poetry, which is conveyed from the
manipulation of sound or visual form.
Source
Eugen Gomringer:
'Eugen Gomringer is one of the key figure of the German language
Concrete Poetry movement. According to Druker, Gomringer's
concept involved the use of a compact set of formal elements-poems
of one or several words arranged in strict and relatively simple structural
arrangements. His Famous poem ‘Silence' is a visual presentation to the
meaning of the work. (Druker, J. 1998). '
Gomringer was mainly working in Switzerland. Furthermore, in 1953
he published a series of work under the name "Konstellations" and
began his career as one of the creators of the international magazine
‘Spirale', where he has the opportunity to show his point of view
regarding the modern art.Gomringer's poems are written in many different
languages such as German, English, Spanish, and French.
Decio Pignatari:
Decio Pignatari is a poet, graphic artist, and a professor of
information theory who was born in Sao Paulo in 1927. His poems
and essays were published in all issues of the Noigandres magazine.
Besides that he is co-founded the Noigandres group in 1952
together with Augusto and Haroldo de Campos, he is also co-authored
of the "pilot plan for concrete poetry" in 1958, and "Teoria da Poesia
Concreta" in 1965.
Pilot Plan for Concrete Poetry (1958)
Augusto de Campos, Decio Pignatari, Haroldo de Campos: Brazil
From Concrete Poetry: A World View, 1968, ed Mary Ellen Solt
Concrete Poetry: product of a critical evolution of forms. Assuming
that the historical cycle of verse (as formal-rhythmical unit) is
closed, concrete poetry begins by being aware of graphic space as
structural agent. Qualified space: space-time structure instead of mere
linear-temporistical development. Hence the importance of ideogram
concept, either in its general sense of spatial or visual syntax, or in
its special sense (Fenollosa/ Pound) of method of composition based on
direct-analogical, not logical-discursive juxtaposition of elements. "ll
faut que notre intelligence s’habitue à comprendre
synthético-idéographiquement au lieu de analytico -discursivement"
(Apollinaire). Elsenstein: ideogram and montage.
Forerunners: Mallarmé (Un coup de dés, 1897): the first qualitative jump: "subdivisions prismatiques de l’idée"; space ("blancs") and typographical devices as substantive elements of composition. Pound (The Cantos); ideogramic method. Joyce (Ulysses and Finnegans Wake): word-ideogram; organic interpenetration of time and space. Cummings: atomization of words, physiognomical typography; expressionistic emphasis on space. Apollinaire (Calligrammes): the vision, rather than the praxis. Futurism, Dadaism: contributions to the life of the problem. In Brazil: Oswald de Andrade (1890-1954): "in pills, minutes of poetry. João Cabral de Melo Neto (born 1920—The Engineer and The Psychology of Composition plus Anti-Ode): direct speech, economy and functional architecture of verse.
Concrete Poetry: tension of things-words in space-time. Dynamic structure: multiplicity of concomitant movements. So in music-by, definition, a time art-space intervenes (Webern and his followers: Boulez and Stockhausen; concrete and electronic music); in visual arts-spatial, by definition-time intervenes (Mondrian and his Boogie-Woogie series; Max Bill; Albers and perceptive ambivalence; concrete art in general).
Ideogram: appeal to nonverbal communication. Concrete poem communicates its own structure: structure-content. Concrete poem is an object in and by itself, not an interpreter of exterior objects and/ or more or less subjective feelings. Its material word (sound, visual form, semantical charge). Its problem: a problem of functions-relations of this material. Factors of proximity and similitude, gestalt psychology. Rhythm: relational force. Concrete poem, by using the phonetical system (digits) and analogical syntax, creates a specific linguistical area-"verbivocovisual" -which shares the advantages of nonverbal communication, without giving up word's virtualities. With the concrete poem occurs the phenomenon of metacommunication: coincidence and simultaneity of verbal and nonverbal communication; only-it must be noted-it deals with a communication of forms, of a structure-content, not with the usual message communication.
Concrete Poetry aims at the least common multiple of language. Hence its tendency to nounising and verbification. "The concrete wherewithal of speech" (Sapir). Hence its affinities with the so-called isolating languages (Chinese): "The less outward grammar the Chinese language possesses, the more inner grammar inherent in it" (Humboldt via Cassirer). Chinese offers an example of pure relational syntax, based exclusively on word order (see Fenollosa, Sapir and Cassirer).
The conflict form-subject looking for identification, we call isomorphism. Parallel to form-subject isomorphism, there is a space-time isomorphisin, which creates movement. In a first moment of concrete poetry pragmatics, isomorphism tends to physiognomy, that is a movement imitating natural appearance (motion); organic form and phenomenology of composition prevail. In a more advanced stage, isomorphism tends to resolve itself into pure structural movement (movement properly said); at this phase, geometric form and mathematics of composition (sensible rationalism) prevail.
Renouncing the struggle for "absolute," Concrete Poetry remains in the magnetic field of perennial relativeness. Chronomicro-metering of hazard. Control. Cybernetics. The poem as a mechanism regulating itself: feed-back. Faster communication (problems of functionality and structure implied) endows the poem with a positive value and guides its own making.
Concrete Poetry: total responsibility before language. Thorough realism. Against a poetry of expression, subjective and hedonistic. To create precise problems and to solve them in terms of sensible language. A general art of the word. The poem-product: useful object.
Forerunners: Mallarmé (Un coup de dés, 1897): the first qualitative jump: "subdivisions prismatiques de l’idée"; space ("blancs") and typographical devices as substantive elements of composition. Pound (The Cantos); ideogramic method. Joyce (Ulysses and Finnegans Wake): word-ideogram; organic interpenetration of time and space. Cummings: atomization of words, physiognomical typography; expressionistic emphasis on space. Apollinaire (Calligrammes): the vision, rather than the praxis. Futurism, Dadaism: contributions to the life of the problem. In Brazil: Oswald de Andrade (1890-1954): "in pills, minutes of poetry. João Cabral de Melo Neto (born 1920—The Engineer and The Psychology of Composition plus Anti-Ode): direct speech, economy and functional architecture of verse.
Concrete Poetry: tension of things-words in space-time. Dynamic structure: multiplicity of concomitant movements. So in music-by, definition, a time art-space intervenes (Webern and his followers: Boulez and Stockhausen; concrete and electronic music); in visual arts-spatial, by definition-time intervenes (Mondrian and his Boogie-Woogie series; Max Bill; Albers and perceptive ambivalence; concrete art in general).
Ideogram: appeal to nonverbal communication. Concrete poem communicates its own structure: structure-content. Concrete poem is an object in and by itself, not an interpreter of exterior objects and/ or more or less subjective feelings. Its material word (sound, visual form, semantical charge). Its problem: a problem of functions-relations of this material. Factors of proximity and similitude, gestalt psychology. Rhythm: relational force. Concrete poem, by using the phonetical system (digits) and analogical syntax, creates a specific linguistical area-"verbivocovisual" -which shares the advantages of nonverbal communication, without giving up word's virtualities. With the concrete poem occurs the phenomenon of metacommunication: coincidence and simultaneity of verbal and nonverbal communication; only-it must be noted-it deals with a communication of forms, of a structure-content, not with the usual message communication.
Concrete Poetry aims at the least common multiple of language. Hence its tendency to nounising and verbification. "The concrete wherewithal of speech" (Sapir). Hence its affinities with the so-called isolating languages (Chinese): "The less outward grammar the Chinese language possesses, the more inner grammar inherent in it" (Humboldt via Cassirer). Chinese offers an example of pure relational syntax, based exclusively on word order (see Fenollosa, Sapir and Cassirer).
The conflict form-subject looking for identification, we call isomorphism. Parallel to form-subject isomorphism, there is a space-time isomorphisin, which creates movement. In a first moment of concrete poetry pragmatics, isomorphism tends to physiognomy, that is a movement imitating natural appearance (motion); organic form and phenomenology of composition prevail. In a more advanced stage, isomorphism tends to resolve itself into pure structural movement (movement properly said); at this phase, geometric form and mathematics of composition (sensible rationalism) prevail.
Renouncing the struggle for "absolute," Concrete Poetry remains in the magnetic field of perennial relativeness. Chronomicro-metering of hazard. Control. Cybernetics. The poem as a mechanism regulating itself: feed-back. Faster communication (problems of functionality and structure implied) endows the poem with a positive value and guides its own making.
Concrete Poetry: total responsibility before language. Thorough realism. Against a poetry of expression, subjective and hedonistic. To create precise problems and to solve them in terms of sensible language. A general art of the word. The poem-product: useful object.
Translated by the authors.
1958
Wednesday 2 May 2012
Colour application / / Intrigue
DTC / Season 2005–2006
In this case, the A2 sheet was a piece of fluorescent yellow paper, printed on the backside with blue and purple type. Enclosed was also a A5-sized cardboard sheet (green fluorescent), perforated in such a way that it could be used as two A6 postcards.
Unfolded, the booklet turns into a double-sided A2 sheet. Shown below the front- and backside of this sheet. The A5-sized postcard (front and back) is shown as well:
Gradient
DTC / Graphic identity
DTC / Graphic identity
De Theatercompagnie
'Graphic identity' might be not the right word for this chapter. Truth is, in the case of De Theatercompagnie, we never really designed a logotype. If De Theatercompagnie ever had an actual graphic identity, it can be found in the posters: the use of quotations taken from the theatre plays, set in lowercase Helvetica, placed in specific typographic compositions. That is the graphic identity of De Theatercompagnie. What we are about to show here is just the stationery.
De Theatercompagnie
Season 2005–2006
Shown here is a brochure we designed to announce the new theatre season (2005–2006), basically a list displaying all upcoming plays. Technically, this folder is similar to the brochures we designed for Gilgamesj and for The Pillowman (see DTC / Gilgamesj and DTC / The Pillowman): an A2-sized poster folded into an A5-sized booklet.
Season 2005–2006
Shown here is a brochure we designed to announce the new theatre season (2005–2006), basically a list displaying all upcoming plays. Technically, this folder is similar to the brochures we designed for Gilgamesj and for The Pillowman (see DTC / Gilgamesj and DTC / The Pillowman): an A2-sized poster folded into an A5-sized booklet.
In this case, the A2 sheet was a piece of fluorescent yellow paper, printed on the backside with blue and purple type. Enclosed was also a A5-sized cardboard sheet (green fluorescent), perforated in such a way that it could be used as two A6 postcards.
Unfolded, the booklet turns into a double-sided A2 sheet. Shown below the front- and backside of this sheet. The A5-sized postcard (front and back) is shown as well:
Gradient
DTC / Graphic identity
De Theatercompagnie
'Graphic identity' might be not the right word for this chapter. Truth is, in the case of De Theatercompagnie, we never really designed a logotype. If De Theatercompagnie ever had an actual graphic identity, it can be found in the posters: the use of quotations taken from the theatre plays, set in lowercase Helvetica, placed in specific typographic compositions. That is the graphic identity of De Theatercompagnie. What we are about to show here is just the stationery.
Tuesday 1 May 2012
Zine / / NoZine
variety of young artists, designers, writers, photographers and illustrators.
Each issue is conceptually centred around it's issue number.
Curation, illustration, design and art-direction by Patrick Fry with the help
of many great contributors.
Patrick Fry is the main creator and contributor to this zine. There is
a very specific style that clearly takes advantage of a grid system,
whilst adopting typical zine attributes such as use of image and type
together irratically.
So far, for my designs I want to make use of the grid system in a more
loose sense. I want the type and layout to emphasise what the poem is
saying. Creating a full concept.
Mark Porter / / Editorial
It would seem wrong not to pay homage to Mark Porter when thinking
about dealing with type and layout in any project. Considering he is one
of the people who have not necessarily inspired, but highlighted the fact
along with functionality within type, there can also be an element of the
experiment. This counts for serious subject matter as well as the more
lighthearted stuff.
Mark Porter is the best known in his field. Having gained international
status over the years, he has been awarded many times through
respected corporations such as D&AD where he was the first and so far
only person to be awarded a black pencil for his editorial work.
Porter has worked on many magazines, supplements and books. The most well
known being 'The Guardian', famous for it's consistent grid design and simplistic
yet informative visual tone.
He also embraces the digital age. Something I have recognised as of late is
important for a relevant contemporary practice.
about dealing with type and layout in any project. Considering he is one
of the people who have not necessarily inspired, but highlighted the fact
along with functionality within type, there can also be an element of the
experiment. This counts for serious subject matter as well as the more
lighthearted stuff.
Mark Porter is the best known in his field. Having gained international
status over the years, he has been awarded many times through
respected corporations such as D&AD where he was the first and so far
only person to be awarded a black pencil for his editorial work.
Porter has worked on many magazines, supplements and books. The most well
known being 'The Guardian', famous for it's consistent grid design and simplistic
yet informative visual tone.
He also embraces the digital age. Something I have recognised as of late is
important for a relevant contemporary practice.
'' I'm just inviting you to join me on the bandwagon of my own uncertainty. "
- Taylor Mali
Important to take note that specifically in this format, spoken language plays
a huge role in the visual translation and direction of the type. If i'm thinking
of producing a CD that incorporates kinetic type with spoken word then the
two can inform each other. I need to think about the type of voice I will be
using and how specific words are emphasised to inform the visual poem.
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