Sunday, February 26, 2006

flashsites of interest

I like this flashsite because it really tries to experiments with the conventions of website navigation. The news paper is the container for its information, the user navigates its content by mouse {clicking and scrolling}. After you get to the destination specified, a pen animation circles the heading of the location. Its a coincidence that the posters that I am designing have a lot in common with this flashsite, whereas both deal with new media and old media and how it communicating to its audiences through its use digitally and traditionally. It is also pretty interesting that the buttons for the photography is in the content of the photographed newspaper.

This site is very clean and professional, whereas the use of white space is designed in a modern form that follows the function of it. The photos are displayed in sequential fashion but have subtle thing that goes on with the photo that entails a screen that disappears with ever consecutive photo shown. I really like navigating the photos, because the space that the information occupies changes in different ways and which keeps it dynamic. Structure plays a interesting part with the axis lines that are created with the characters and are used to organize and group the information that one navigates. This flash-site makes me want to learn Japanese so I can understand its valuable content.

Saturday, February 18, 2006

Modular grid deconstruction via chance operation

It may seem like it is a random three- dimensional effect with spaces, texts, and images but it is built on a master grid that contributes to its intuitive organic quality. This project was completed for a exhibit entitled "Universal/Unique." The focus of the exhibit was the relationship between structure and freedom in design and the exhibitors were asked to submit work using predetermined kernel elements in mind: grid, the word "word", and the image of an eye. A modular grid within a square format was set up by the designer using the horizontal, vertical, and isometric (45˚) axes, and then systematized to each of the kernel elements, plus excerpts from the design process like essays, photographs that would interact with the grid as well. The master eye grid directs the segments' placement from page to page, by employing a triangular dissection based on this master grid. On one side of the spread the excerpted texts, all refer to the idea of universality, which come into juxtaposition with the opposing concept of uniqueness when the pages are cut and folded together.

Because of its structure, the grid forces the deconstruction, the material ends up doing whatever it will because it is made to conform to the predetermined criteria. Upon closer inspection, the result is a college of texture, shadow, light and type that reveals a hidden order.

Chance operation and deconstruction is a interesting methodology to employ to you projects to get unpredicted results. These unpredicted outcomes should be a result of a predetermined methods. Predetermined methods being the systemization of the elements used and formated within a structure.

Saturday, February 11, 2006

modular grid deconstruction, project: {recycled calender}

This calendar addresses the issues of construction, deconstruction, waste and creation, this inventively produced calendar is printed on recycled printed matter. Each month's calendar matrix pushes and pulls at the under lying grid structure that contains the days and weeks. In some cases, the intervals between the modules are expanded and contracted. The secondary logic, is produced with a superimposed grid of geometric shapes that interacts with the typography, alternately building shapes around it and obscuring it with invisible forms. Each individual months and their deconstructions gain added meaning in the context of the printed preexisted image underneath that has been appropriated.

This calendar is a example of what can be done when remixing and appropriating images from different sources. These preexisted images adds a layer of information that reveals a process in the making. I feel in this case that most any appropriated image would work because of the conception of recycled paper and the theme of the calendar being things that are recycled. I think this application of appropriated imaging can be brought over to about any concept you see fit. Another thing I would like to add is that this process yields unexpected results because images are found, and it allows a chance operation to take place.

Sunday, February 05, 2006

Michael Worthington {true experimentation} p.115 Radical Type Design

Michael Worthington is a experimental with is work in design.He believes that true experimentation is about taking risks and I agree with him on that assumption that you have to be inquisitive, believing that you can create something that does not already exist, being willing to make mistakes, take those mistakes as learning experiences that can move you into a process that allows you to create something unfamiliar. Their should be no expectations what form should in be in the experimentation of the form. I think that should be applied in design in general because if not you allow yourself to create a form that probably been seen before or even worse cliche.

Poster {2001-02}, based on The Jam's "That's Entertainment', from a series of typographic landscapes' by Worthington

Its pretty interesting how the type forms a gestalt with typography. I like how he visually interprets the sounds and translates it to the hierarchy of the type. By this I mean if you look at A POLICE CAR and A SCREAMING SIREN it really communicates what it says visually. The play on hierarchy with the typography is rhythmical, in that in seems to escalate and diminish in pitch corresponding to the action that is occurring. Sound waves manifest themselves through visual communication in this piece.

The Smiths' Reel Around the Fountain' the other piece

The layering of typography and the transparency of the type is very appealing to me. The asymmetrical composition is more interesting to me because its not centered and its not symmetrical, I find that the more interesting designs are asymmetrical. His understanding hierarchy is apparent in his use of typography, and it has a very strong dynamic feel compositionally. This dynamic is shown through the primary information because it seems to cut wright into the secondary information and overlay it at the same time. And it tends to become almost illegible and complex where the information merges together by the layering of the transparencies of type.