Archive for the ‘Digital’ Category

Small realities

September 21, 2011

A fascinating exhibition at the Museum of Arts and Design in New York, Otherworldly: Optical Delusions and Small Realities. The introduction makes a case for the small-scale hand-built artworks — sculpture, photography and video — the need to engage directly, in response to our frequent interactions in cyberspace in front of a monitor (sometimes no more than a monitor oneself).

The exhibition includes scale model replicas of city stores, streets and diners by Alan Wolfson (flagged by Steve Heller on his Daily Heller blog).  You can see further examples on Wolfson’s website.

Finally, some miniatures by Slinkachu, Little People in the City, an appealing combination of melancholy and humour, exploring our own relationship with the big city.

Little People in the City is available in hardback with a foreword by Will Self.

Typetoken

May 11, 2011

Typetoken is a new online magazine that discusses and reviews the world of typography, icons and visual language.

A collaboration between graphic designers Mike Sullivan of Mister and Mark Millic of Modularlab, and web developer David Cole of Mayfield Digital, typetoken features contributions from designers around the globe and aims to be a source of inspiration for those drawn to what’s new in mainstream and experimental typography and iconography.

The first post contains a video interview between dezeen magazine and Wim Crouwel for his UK retrospective exhibition at the Design Museum in London. Another post, Spacing system by Jock Kinneir and Margaret Calvert shows typesetting guides for the typeface, Transport, used in 1958 for UK road signage. It also has a video interview with Margaret Calvert. See Eye 78, where the late Paul Stiff explores why Kinneir and Calvert’s road signage has stood the test of time.

ebooks: putting the typo into typography

April 25, 2011

Paul Luna reviews Amazon’s UK Kindle advertisement (from The Guardian) and laments the careless typography of some ebook publishers. By linking to the original printed pages he also highlights the valuable work of the typographer, not to mention the copy-editor, proof reader and commissioning editor.

Graphic Design Examples Worldwide 2

April 5, 2011

Rachel Arandilla’s sequel to her acclaimed blog, Graphic Design Examples Worldwide.

Here she covers Scandinavia, Israel, Russia and Africa.

The Design Directory

March 29, 2011

A valuable resource, the Design Directory is an International design links database covering 50 design categories, running from costume design (7 entries) to graphic design (1,691 entries) and taking in animation, architecture, fashion, furniture, illustration and urban design along the way. The major categories have a list of the Editor’s Choice. The Graphic Design link takes you to a list of sub-categories including magazines, where you’ll find How and Graphis (United States), and the bi-lingual  idpure (Switzerland) and novum (Germany). You can also view blogs, ezines, portfolios and galleries here and in other design areas.

The Design Directory is a good page to bookmark and browse.

The global portal for art and design

March 19, 2011

The Creative Roots archive draws on 140 countries for its inspiring posts covering graphic design, photography, architecture and much else besides.

Thanks to Maria Popova, cultural curator at Brain Pickings, and a noted Creative Roots fan.

Maggie’s — Joy of living

March 7, 2011

London Design author Max Fraser tells Crane.tv about Joy of Living, a charity project that brings together over 100 of the best UK designers to galvanise support for Maggie’s Cancer Caring Centres. The participating designers were tasked with creating an artwork that expresses the Joy of Living – using a sheet of A4 graph paper. The signed works will be on exhibit and on sale at Somerset House from 15-21 March 2011.

Graphic Design Examples Worldwide

February 21, 2011

An admirable overview of graphic and web design style around the world from Rachel Arandilla, demonstrating how nationality is reflected in the artwork. She provides some useful further reading.

Reading matters

December 2, 2010

In a recent issue of Poetry Review, Charlotte Newman took issue with a collection of poems for its shallowness, as she saw it:

Simplicity should not be a negative quality in poetry, but the laid-bareness of the thought processes in these poems does not allow the writer or her personae any space to negotiate with the reader. There is no readerly work to be done; which creates an uneasy feeling of being short-changed, particularly when the easily-reached end result yields very little that can be taken away and remembered.

I’m struck by the phrase, “No readerly work to be done,” the sense that the reader finishes what the writer has begun. There’s a balance to be struck here between lucidity and ambiguity.

In response to a report of redundancies among copy-subs at Northcliffe Media, Alison Harmer outlines the valuable work of sub-editors, which hones the newspaper reporter’s rough copy into a text to engage the reader, maintain quality and even reduce the threat of legal action.

You can read Alison’s latest thoughts on the art of the sub here.

Second-time novelist Edward Hogan discusses the role of his editor in shaping the book, which changed the way he approached subsequent work. Hogan is responding to an article by Stephen Guise, concerning editors overlooked for commissioning editor positions, in favour of applicants with sales and marketing experience, but no editing skills.

The work of a good editor does credit to the writer, earning the trust of the reader.

Stet.

Later than we thought: Will art books become ebooks any time soon?

October 26, 2010

I’m impressed by the arguments of the commentators on this article by Jim Lewis, tackling issues of reproduction, viewing conditions, the hardback art book as a work of art in its own right, the unique tactile experience it offers. At one point they invoke Jean-Luc Picard’s Shakespeare editions on the Starship Enterprise!

I agree with the comments that say ebooks will attract more potential customers because production costs will be a fraction of hardback editions. This will help new artists and photographers, just as the first paperbacks (in the first half of the nineteenth century) helped authors reach a mass-market.