Process book and manifesto

 

Cover and book link

Design Manifesto:

-Don't be afraid of style, so long as it doesn't impede you

-Do your research, everything looks better if you know about it

-Half inch margins, not quarter inch

-Avenir is better than Helvetica

-Use rich black

materials for a manifesto (temporary post)

manifesto vs aphorisms

demonstrate don’t manipulate

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know / come clean about / who you are in and behind and around your work.
how did it/you come to this.
I am not good about this.

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scale.
for books, small books should not feel like a large book shrunk down.
nor the reverse.
and yet this, too, depends.

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don’t fuss too much about composition (in the layout sense), if (1) there is a robust grid and (2) other pages provide visual context.

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3 is better than 2.
if four, group : 2+1+1
if five, group : 3+1+1, or 2+2+1

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“Instead of shooting arrows at someone else’s target, which I’ve never been very good at, I make my own target around wherever my arrow happens to have landed. You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.”
—Brian Eno
see https://austinkleon.com/2018/10/15/arrows-and-targets/

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design is a relationship with others and with the materials of design (words, pictures, pixels, code, messages, channels, partners, vendors, everything one has ever seen or touched or heard).
let it all in, as necessary.

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Let every activity have at its centre some moments of interruption.
— The Notebooks of Simone Weil, Vol. I, translated by Arthur Wills (1956) : 96

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“To draw back before the object we are pursuing. Only what is indirect is effective…”
— Simone Weil, The Notebooks of, translated from the French by Arthur Wills (1956, 2004) : 169

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Beauty. One cannot say that it is a “perspective” order. It tears us away from the point of view.
— Simone Weil. The Notebooks of. Translated by Arthur Wills (1956): 232

Beauty is the ultimate defense against complexity. Beauty is our most reliable guide...
David Gelernter, Machine Beauty : Elegance and the heart of technology (1998) : 22 –

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To be confronted by with things is a liberation of the mind.
Simone Weil (1909-1943), First and last notebooks. translated by Richard Rees. 1970 : 40

The unity of a work of art must be ceaselessly in peril and still be preserved at each instant.
— Simone Weil (1909-43), Lectures on Philosophy (translation 1978): 187

composition of a poem: thought without language, for the choice of words takes place without the help of words.
The Notebooks of Simone Weil, Vol. I, translated by Arthur Wills (1956) : 37

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The concrete presence of seeking, clarity, balance, spacial energy, entry of light, layering, material and precision, measurement, vertical/horizontal and proportion, harmony within itself and the drawing of thoughts are in my mind essential terms of architectonic thinking. The constructed space is open in all directions. Architecture begins before architecture.
Heinz Tesar, Notate

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Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.
Peter Zumthor

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There’s nothing like putting stuff in boxes. (or something to that effect)
Muriel Cooper (somewhere)

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Has the scope for exploration been defined in a way that the space of possibilities includes high-quality solutions?
Karl T. Ulrich, Design : Creation of Artifacts in Society (2005-11)
aside — useful, important book, this.

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...an immaculate surface that leaves no room for dialogue...
— Robin Kinross, on the “modern”, in Fellow Readers (1994)

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You can't learn physics or other sciences without doing experiments. The same holds for graphic design.
— Malcolm Grear, Inside | Outside : From the basics to the practice of graphic design, Second Edition (2006) : 26

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I don't often remember portfolios, but I remember people.
— Adrian Shaughnessy, Portfolios

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I try to be as stupid as possible regarding my profession, which means I try to look at as few design magazines as possible. I don't use the word "success," neither do I use the word "failure." Good design needs bad design and vice versa. For me, design is simply that human activity that sometimes — rarely — is able to communicate.
Ettore Sottsass (founder, Sottsass Associati)
“A conversation about the good, the bad, and the ugly.”
Wired 9.01 (January 2001)

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to practice in all things a certain sprezzatura [nonchalance], so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it. And I believe much grace comes of this...
ex Baldesar Castiglione, The Book of the Courtier (1528)

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Man, Robert Frost said thinkin’ was just putting one thing beside another and lookin’ at ’em. What you call ramblin’ is what I call thinkin’...
K.C. Constantine, Bottom Liner Blues (Mysterious Press, 1993).

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There’s another way to make a movie, which is the way that Eisenstein suggested a movie should be made. This method has nothing to do with following the protagonist around but rather is a succession of images juxtaposed so that the contrast between these images moves the story forward in the mind of the audience. This is a fairly succinct rendition of Eisenstein's theory of montage; it is also the first thing I know about film direction; it is also the first thing I know about film directing, virtually the only thing I know about film directing.

You always want to tell the story in cuts. Which is to say, through a juxtaposition of images that are basically uninflected. A shot of a teacup. A shot of a spoon. A short of a fork. A shot of a door. Let the cut tell the story. Because otherwise you have not got dramatic action, you have narration...

The work of the director is the work of constructing the shot list from the script. The work on the set is nothing… It is the plan that makes the movie.

The purpose of technique is to free the unconscious. If you follow the rules ploddingly, they will allow your unconscious to be free. That’s true creativity. If not, you will be fettered by your conscious mind. Because the conscious mind always wants to be liked and wants to be interesting. The conscious mind is going to suggest the obvious, the cliché, because these things offer the security of having succeeded in the past.

ex David Mamet, On Directing Film (1991)

process doc 2

a document of research on the animals i drew (whales, turtles, penguins)

https://docs.google.com/document/d/1UIqV4wjfoTuHNpl7xQdHsTYxZK8lny9-wbv5uwfRQ_k/edit

manifesto

1. don't be afraid of change
2. use fonts that communicate meaning
3. the process, not the product
4. design for the audience you want to see it
5. don't use too many colors at once

for Tuesday, 8 December

 
We will discuss the show, and work (new, or process books in progress).

Also, create your own design/art manifesto, minimum five points.

You may want to review other design manifestos we have examined, including

1. The First Things First Manifesto (Ken Garland, 1963)
2. The First Things First Manfesto (2000) and
3. A 38-Point Design Manifesto (Opsys, 2020)

Process books,
need by the day (not yet scheduled) of the end-of-semester evaluations); for those printing via Lulu (Nate, May, Paige) printed version (pdf acceptable if book on order and not yet received).
grades due Sunday 20 December

 

senior show, installations

May Funda

Adrift — Book series
My work is about depicting animals in their natural habitats and evoking feelings of being surrounded by them, as if the viewer is in the image as well. The reason I chose to focus on aquatic animals is because they always seemed mysterious to me. They’re beautiful and complicated, and the ocean they live in is so unexplored. The majority of organisms alive currently live under the ocean, and most of the ocean is unexplored. I wanted to use colors that helped convey the peaceful feeling of each image, and the text in each image is supposed to complement the visuals. I used text taken from spreads in my final book that I printed last semester, to keep some continuity, and I repurposed them to fit the images I’ve added or changed for this book. My goal is to be experimental with the placement of text, using colors and font styles that complement the rhythm of the images from one page to the next.

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Nate Cioffi

Broken Amend/ments
This project explores the degradation of meaning through repetition and reinterpretation over time. Each of these works represents a multi-poster series. The process starts by formally typesetting each constitutional amendment. After this, the font size is systematically increased with each poster causing the language to become distorted.
This is symbolic of the repeated reinterpretation of the laws over the decades, distorting original intents, and covering up racial injustices that are written into those laws. This project raises the question, is it time to rewrite the oldest constitution?

Frustration & Isolation
These works have come out of my own reflections on feelings of anger, frustration, and isolation in 2020.

YOU ARE HERE!
This project explores the idea that we are all together in our shared feelings of loneliness, frustration, and isolation during this unforgettable year.

January 20, 2017 - January 20, 2021
This poster is inspired by the 45th presidential term’s approach to tradition and prerequisite.

Screaming for 60 Seconds
This book and poster combo look to encapsulate the feeling of a good scream.

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Paige Dempster, Nihilist Dogs

Nihilist Dogs There must be a meaning to life, but I have no clue what it is or what it even could be. I was filled with this existential dread about halfway through the semester, making it difficult to take care of myself beyond basic survival, let alone produce any sort of meaningful work. I have a bad habit of letting my emotions bleed into my art, as well as the lifelong artsy quirk of doodling in the margins of my notebook, so I put the two together and began drawing these strange looking dogs and combining them with garish handwritten text expressing a nihilist world view, then I finally cut the images up into small books. The liveliness of the dogs combined with the animated yet existential text create a stark contrast that make them hard to ignore, and the books cut the image up to make them hard to understand, but able to vaguely piece together if meditated on for long enough, just like life. I knew from the beginning that I wanted these to be small books so people could take a little bit of this sentiment with them, so I included a fully pieced together image as a sticker to encourage people
 

Process Book Pass 2

Book link

Played around with type and image placement. Table of contents is a work in progress more than anything else. Still very plain looking.