tag:blogger.com,1999:blog-69111658067212352112024-02-21T00:47:37.720+00:00Design ContextHomepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-6911165806721235211.post-553196077825851392014-01-17T13:34:00.000+00:002014-03-05T17:42:55.359+00:00End Of Module Evaluation: Context Of Practice 31. What skills have you developed through this module and how effectively do you think you have applied them?<br />
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Throughout this module I have looked at two key movements; modernism and postmodernism, focusing on the latter. This process of informing myself on postmodern and modern theory has informed my practice as a graphic designer, and by observing methodologies and aesthetic in relation to the theory looked at, I now feel that I have a rounded knowledge of graphic design in general. I feel that the work I have produced shows praxis in relation to the written element, and my practice as a designer, showing synthesis between the two. Postmodernism has been a very interesting subject to focus on, and although it covers a wide range of subjects and themes, focusing in on my own practice has made it fun and allowed for a successful practical outcome.<br />
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Although academic writing is not a personal strongpoint, learning about postmodern theory and how this has shaped contemporary graphic design practices has improved my creative thought process, and I now look at graphic design in a completely different way. This entire process will inform my next upcoming briefs. As I have produced a critical blog based on 'postmodern formula' and how theory can inform design, this will be carried on throughout the next few months and hopefully this will engage in a kind of dialogue with other creatives, and this will additionally<br />
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2. What approaches to/methods of design production have you developed and how have they informed your design development process?<br />
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The practical element to my context of practice 3 project works to synthesis postmodern theory in relation to graphic design, and because postmodernism is often dismissed as a made up term to describe a plethora of aesthetics and methods, I aimed to convey a satirical and objective take on the term. It is additionally associated with trends in graphic design, and key words used to describe postmodernism in graphic design are used to create a certain 'style', and so in order for this to translate to an audience, I created a platform from which designers and creatives can choose to interact and offer personal opinion on postmodernism in contemporary graphic design. The printed collateral is meant to feel satiric and parody postmodernism in general, though it is up to the audience to translate however they choose.<br />
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The printed material is small in comparison to the digital aspect, and comprises of postcards, sealed in a secretive envelope that the viewer can interact with and rip open to view the content. Each postcard is double sided, that required precision printing methods, and using card put through a laser printer to achieve a coated effect. The digital platform takes the form of a critical blog, using my own personal take on graphic design trends and individual pieces that could be described as postmodern. I learned to make gifs for the first time (and found the process to be far easier than pre-thought) and used them for the blog to promote it. Tumblr has been used for the blog, and although it is flawed in its interactivity, exposure is easily achieved, and so many people have already seen the blog. Development in both print and digital aspects have been achieved.<br />
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3. What strengths and weaknesses can you identify in your work and how have/will you capitalise on these?<br />
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In regards to the written element, I have improved vastly in terms of using theory and applying it to my subject. I have learned to understand the theory I looked at, and although postmodernism is difficult to define in its nature, I managed to apply it to graphic design, and so this made it easier to understand. Looking at the practical work produced, it feels relatively small, but in hindsight, it makes sense when looking at the brief and what I needed to communicated. The overall project feels far more organised than that of past briefs I have done, and the large amount of research undertaken has has positive effects on the entire outcome. Saying this, theres always room for improvement, and I could have experimented more with the practical element, although it was thought of quite late in the project, and I needed to have finished my dissertation in order for the brief to be written in the first place.<br />
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By way of designing from theory, to create praxis, my design process is more informed, and the research methods used for this project will be used for others, as it is thorough, both with primary and secondary research. I used more qualitative than quantitative primary research as this made sense in relation to my chosen subject of postmodernism.<br />
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5.How would you grade yourself on the following areas?<br />
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Attendance- 4<br />
Punctuality- 5<br />
Motivation- 4<br />
Commitment- 4<br />
Quantity of work produced- 4<br />
Quality of work produced- 5Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-61622298257526738872014-01-16T23:36:00.000+00:002014-01-20T16:30:23.887+00:00Final Resolutions<u>Tumblr</u><br />
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<i><a href="http://postmodernformula.tumblr.com/">postmodernformula.tumblr.com</a></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hDabiefSauPc4pnnrXwFmFlDr-gfwva3PYUA87koNzHx1HtYDDl5KgzRxXIaHJdv3PQczYB_yPs_5dPXoPihC9_btw6ZFrz8usARlACaV2Xec4MMePGJ0iJFLqglB-JTyKKejXweVQY/s1600/macbookmockup.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hDabiefSauPc4pnnrXwFmFlDr-gfwva3PYUA87koNzHx1HtYDDl5KgzRxXIaHJdv3PQczYB_yPs_5dPXoPihC9_btw6ZFrz8usARlACaV2Xec4MMePGJ0iJFLqglB-JTyKKejXweVQY/s1600/macbookmockup.jpg" height="246" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cBX6sqsgpL3BMY_cMHf3JDdvLc-Fjb127NUyCfPw0kbbsBRIO0kYfxV_rome_42QDcio_KOJNzL5-B8vbuJUmtQI7Cd3vLUUSG5GgT0S9UHi-CVJNnwpMSe9cF9RbWr08e-yM55oU3U/s1600/postmodernformulamockup1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_cBX6sqsgpL3BMY_cMHf3JDdvLc-Fjb127NUyCfPw0kbbsBRIO0kYfxV_rome_42QDcio_KOJNzL5-B8vbuJUmtQI7Cd3vLUUSG5GgT0S9UHi-CVJNnwpMSe9cF9RbWr08e-yM55oU3U/s1600/postmodernformulamockup1.jpg" height="320" width="320" /></a></div>
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<iframe allowfullscreen="" frameborder="0" height="371" src="//e.issuu.com/embed.html#6611663/6393966" width="525"></iframe>Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-80746940027268261602014-01-16T22:05:00.000+00:002014-01-18T22:05:12.646+00:00Animated GifsAnimated gifs that work to promote the website.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYON6kQEi3ZSIphw8s-3CYOqSURNhC-Sus4Eo4nCrho4opgD4LkQQB4yxRouhgNv4sZYetLtI2CjgsXBHYSxz0FrAHylLoZjgdYj6-UDMOnv2qaKo4ZJiabhEkljWOWU5hrLtsA4QhaA/s1600/pmlogo1.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYON6kQEi3ZSIphw8s-3CYOqSURNhC-Sus4Eo4nCrho4opgD4LkQQB4yxRouhgNv4sZYetLtI2CjgsXBHYSxz0FrAHylLoZjgdYj6-UDMOnv2qaKo4ZJiabhEkljWOWU5hrLtsA4QhaA/s1600/pmlogo1.gif" height="40" width="320" /></a></div>
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-53297541356738869402014-01-15T13:10:00.000+00:002014-01-20T13:43:18.618+00:00Format ResearchResearch into format design that will inform my practical printed products.<br />
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The type of format needs to contain the postmodern formula, and so some element of reveal and conceal needs to be achieved. The format below could work for a colour coded system where the designs are concealed inside the envelopes. The die cut element would show the colour but nothing else of what is contained. In order for information to be hidden, an interactivity aspect would be added to this kind of format.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlT9PUzlj9C66COO4bLx974JE3PFr3UAN2pn2mhe7DNRIFBEW3j9VgkXkIlz_tlGHo5NRlGaSwAbMRY-h_HY4CzFNPFLcDoX7HcjxaJ1qPnRLyk9jwIhu8gUnDe8uFIkSVwFvT2R7PrE/s1600/1bb11f71cd7771d528c67bfbb2cac774.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlT9PUzlj9C66COO4bLx974JE3PFr3UAN2pn2mhe7DNRIFBEW3j9VgkXkIlz_tlGHo5NRlGaSwAbMRY-h_HY4CzFNPFLcDoX7HcjxaJ1qPnRLyk9jwIhu8gUnDe8uFIkSVwFvT2R7PrE/s1600/1bb11f71cd7771d528c67bfbb2cac774.jpg" height="300" width="400" /></a></div>
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Another idea was to use perforation to reveal the information that would be hidden, and so in this case, as publication is opened by the viewer ripping the perforated strip in order to open the book. This could work for an envelope format too.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4STAh3b3ygZ2ScBjMlA43YPRnqttOFnYjpJUegjhO8NE9k70nET6yRK-xsSgYatYPfo42M3R8d59UEemMdYZS7ONrAQmqKBewYTGyGjASA2-AQ1-H4UNfrLfaST5lVPh8HP6wHYOpgTA/s1600/121ad9c041d61760e3a4661bc0df8ecb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4STAh3b3ygZ2ScBjMlA43YPRnqttOFnYjpJUegjhO8NE9k70nET6yRK-xsSgYatYPfo42M3R8d59UEemMdYZS7ONrAQmqKBewYTGyGjASA2-AQ1-H4UNfrLfaST5lVPh8HP6wHYOpgTA/s1600/121ad9c041d61760e3a4661bc0df8ecb.jpg" height="312" width="400" /></a></div>
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Another idea would be to use postcards, that are small and contact. This could work well by storing different categories on each card, and gives an opportunity for them to be double sided. These postcards are held together by rubber band, though cards could be stored or hidden in envelopes or boxes, so this could be an option.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBulMCRH1Cm4coWH5s2QKwBjbZF-i2NpMgyUdFQqC1k2pn3rXtxWaL3gNbRGNk4tS4vpWiq8CVWGHqYJoacVEUg8aUoCvexujryo94TgRAB5vGcSLaG3xc9yDwBJy75QAxyIFu-2RgyNg/s1600/b8e6de5cffbcb8753ee6b3a23d0905d4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBulMCRH1Cm4coWH5s2QKwBjbZF-i2NpMgyUdFQqC1k2pn3rXtxWaL3gNbRGNk4tS4vpWiq8CVWGHqYJoacVEUg8aUoCvexujryo94TgRAB5vGcSLaG3xc9yDwBJy75QAxyIFu-2RgyNg/s1600/b8e6de5cffbcb8753ee6b3a23d0905d4.jpg" height="266" width="400" /></a></div>
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By designing postcards, different information would be stored on each card, and each card could have perforated strips that gradually peel away to reveal more and more information. This would be more interactive than simply having postcards that come out of an envelope. Or the envelope could be perforated itself. The whole point of revealing the formula in this way is that it feels exclusive to the person that opens it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqQ5YZpBn5cErwD_XrL1Uhdxqj0xN3NNjaLcBJ_Tm-0rPWYmoHu9BD2l5jZOHxMzs5NSTN5TULjIeUopMyMX-pDH6Nl6zhBIhW57Hv4UvNFiePURV0qRHeTEI4hAtURlh6_9qlfOBhxVg/s1600/Screen+Shot+2014-01-20+at+13.31.24.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqQ5YZpBn5cErwD_XrL1Uhdxqj0xN3NNjaLcBJ_Tm-0rPWYmoHu9BD2l5jZOHxMzs5NSTN5TULjIeUopMyMX-pDH6Nl6zhBIhW57Hv4UvNFiePURV0qRHeTEI4hAtURlh6_9qlfOBhxVg/s1600/Screen+Shot+2014-01-20+at+13.31.24.png" height="320" width="290" /></a></div>
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In another example, books could be stored in a box, layered up some kind of order. This could also feel interactive.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-50676849782109899652014-01-15T13:09:00.000+00:002014-01-20T13:46:21.967+00:00Animated Gifs Design ProcessThe design process of making the gifs was easy once it was understood how to make them. The difficulty lay in lining the images up so they looked seamless from one image to the next. For the poster gif, I changed the timing from 1 second to o seconds so that the Postmodern Formula logo reveal would 'flash'. The gifs will look good to promote the blog, and the logo gif is subtle enough to be used as the permanent page logo, as you can only just see it change when you look closer.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-10346910586888801752013-12-30T22:29:00.000+00:002014-01-20T13:48:11.812+00:00Trendlist: Postmodernism For A Digital Age?<a href="http://www.trendlist.org/">Trendlist</a><br />
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Trendlist presents itself outwardly as a digital source of information for designers to keep up to date with current trends, though it could also be viewed as a manifestation of digital technology being used to inform designers on what graphic design 'should' look like. It is additionally something that is a kind of by-product of images blogged on sites such as Tumblr, Ffffound and Designspiration, and collated into groups that present aesthetic similarities. Much of the work shown on the site expresses symptoms of postmodern application in relation to graphic design, and display use of deconstruction, pluralism, vernacular and conceptuality, or to use the correct terms; scanned, left, right, up, down, wiggles, stretched and frame.<br />
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Using simplistic language, and drawing basic similarities onto work produced in the last 3 or 4 years poses questions such as what is contemporary graphic design informed by? Can anyone become a graphic designer through using websites such as Trendlist and Tumblr if it largely formed by using a set of rules of purely style over any kind of substance? As designers seem to create postmodern work in a very instinctual way, these kinds of observations have become a second nature, and this may be why this kind of website exists. We accept that this is the way design has progressed.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-44716771664153164642013-12-28T22:14:00.000+00:002014-03-05T17:42:39.121+00:00Steven Heller: The Cult Of Ugly Typotheque Online Article<a href="https://www.typotheque.com/site/articles.php?id=68">Steven Heller: The Cult Of Ugly: Typotheque Article</a><br />
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"How is ugly to be defined in the current Post-modern climate where existing systems are up for re-evaluation, order is under attack and the forced collision of disparate forms is the rule? For the moment, let us say that ugly design, as opposed to classical design (where adherence to the golden mean and a preference for balance and harmony serve as the foundation for even the most unconventional compositions) is the layering of inharmonious graphic forms in a way that results in confusing messages."<br />
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"The layered images, vernacular hybrids, low-resolution reproductions and cacophonous blends of different types and letters at once challenge prevailing aesthetic beliefs and propose alternative paradigms."<br />
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"Does the current social and cultural condition involve the kind of upheaval to which critical ugliness is a time-honoured companion? Or in the wake of earlier, more serious experimentation, has ugliness simply been assimilated into popular culture and become a stylish conceit?"<br />
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"Ugly design can be a conscious attempt to create and define alternative standards. Like war-paint, the dissonant styles which many contemporary designers have applied to their visual communications are meant to shock an enemy – complacency – as well as to encourage new reading and viewing patterns."<br />
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"Extremism gave rise to fashionable ugliness as a form of nihilistic expression."Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-68657046997400763312013-12-26T22:09:00.000+00:002014-03-05T17:42:22.149+00:00Eric Hu: Form Upon Platform, Platform Upon Form Online Article<a href="http://e-r-h.tumblr.com/post/67011213346/form-upon-platform-platform-upon-form">Form Upon Platform, Platform Upon Form</a><br />
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Eric Hu: Form Upon Platform, Platform Upon Form<br />
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Immaterial Materiality<br />
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"For the sake of establishing a common vocabulary to be used throughout this discussion, a medium is the vague intermediary vessel where it can be either reduced to a surface (e.g. screen) or become a platform (e.g. Instagram) once provided with an additional layer of context. The surface is what actualizes a work of graphic design.<span style="background-color: #ffe599;"> A printed poster cannot exist without a physical surface for the work to be displayed, and a website cannot exist without a web browser and server.</span>"<br />
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- Hu's essay is confusing, and multilayered, however he brings up the relevant point of design viewed on a screen, and working across various platforms, both printed and digital. This is how we design and view design today, and so is this process in itself postmodern? Or post-postmodern? It could mean a new discourse that should be talked about more, and could predict the way contemporary postmodern graphic design is going.<br />
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"Content is becoming more mutable, and at the same time, the methods and channels that act as proxies between user and content are becoming more varied and overlapping with each other. Books are viewed on desktops as PDF files, websites contract and expand responsively as they slip through multiple views from laptop to mobile phone. Highly complex infrastructures housing data and information are given ambiguous metaphorical euphemisms such as “the cloud,” that favor accessibility over transparency—when in reality these terms ultimately serve to hinder users from intimately understanding their relationships to these networks. <span style="background-color: #ffe599;">The boundaries between digital and physical manifestations of graphic design are also dissolving."</span><br />
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<span style="background-color: white;">- We may live in a fast turnover culture where trends dictate how we design, and the the everyday use of technology contributes to this mutual feeling of designing in the slipstream.</span></div>
Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-61010040702547402072013-12-23T22:04:00.000+00:002014-01-18T22:01:52.515+00:00BibliographyBaudrillard, J. (1998) Simulacra And Simulations. The European Graduate School [Online], pp.166-184. Available from: <http://www.egs.edu/faculty/jean-baudrillard/articles/simulacra-and-simulations/> [Accessed 16 December 2013].<br />
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Bonke, J and Schumann, S. (2013) Peter Saville "I never had to answer to anyone". The Talks [Online], May. Available from: <http://the-talks.com/interviews/peter-saville/> [Accessed 12 December 2013].</div>
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Bryant, W. (2013) Ill Studio. Design Work Life [Online], August. Available from: <http://www.designworklife.com/2013/08/05/studio-ill/> [Accessed 3 January 2014].</div>
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Burgoyne, P. (2012) Pretty Ugly or plain ugly?. Creative Review [Online], May. Available from: <http://www.creativereview.co.uk/cr-blog/2012/may/pretty-ugly-or-plain-ugly> [Accessed 17 December 2013].</div>
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Crow, D. (2006) Left to Right: The Cultural Shift from Words to Pictures. 1st ed. London: Thames & Hudson.</div>
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Cusack, J. (2012) Ill Studio: 72 Dots Per Inch Dazed Digital [Online], Available from: <http://www.dazeddigital.com/artsandculture/article/12974/1/ill-studio-72-dots-per-inch> [Accessed 19 December 2013].</div>
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Harvey, D. (1990) The Condition Of Postmodernity: An Enquiry into the Origins of Cultural Change. Cambridge MA and Oxford UK: Blackwell Publishing.</div>
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Heller, S. (1993) Cult of the Ugly. Typotheque [Online], 3 (9). Available from: <https://www.typotheque.com/site/articles.php?id=68> [Accessed 10 December 2013].</div>
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Ill Studio. (2013) About. [Online]. Paris: Ill Studio. Available from: <http://ill-studio.com/about/> [Accessed 3 January 2014].</div>
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Jameson, F. (1992) Postmodernism: Or, The Cultural Logic of Late Capitalism. 9th ed. USA: Verso Books.</div>
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Keedy. (1998) Graphic Design in the Postmodern Era. Emigre [Online], 47 May. Available from: <http://www.emigre.com/Editorial.php?sect=1&id=20> [Accessed 19 December 2013].</div>
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Lyotard, J, F. (1984) The Postmodern Condition: A Report on Knowledge. 10th ed. Manchester: Manchester University Press.</div>
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McLuhan, M. (2008) The Medium is the Massage: An Inventory of Effects. London: Penguin Classics.</div>
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Meyer, L. (2010) Ill Studio. Grain Edit [Online], November. Available from: <http://grainedit.com/2010/11/05/ill-studio/> [Accessed 28 December 2013].</div>
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Paradis, L. (2011) Wolfgang Weingart. Typographische Monatsblätter (TM) [Online], January. Available from: <http://www.tm-research-archive.ch/interviews/wolfgang-weingart/> [Accessed 15 December 2013].</div>
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Paradis, L. (2010) April Greiman. Typographische Monatsblätter (TM) [Online], August. Available from: <http://www.tm-research-archive.ch/interviews/april-greiman/> [Accessed 15 December 2013].</div>
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Poyner, R. (2003) No More Rules Graphic Design and Postmodernism. 2nd ed. London: Laurence King Publishing.</div>
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Simmons, C. (2010) Stealing from Paula Scher. Teaching Design [Online], September. Available from: <http://minesf.com/resources/cca/2010/09/07/steal-this-idea/> [Accessed 11 December 2013].</div>
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Sternberg, J. (2013) 15 Stats Brands Should Know About Tumblr. Digiday [Online], April. Available from: <http://digiday.com/brands/15-stats-brands-should-know-about-tumblr/> [Accessed 14 December 2013].</div>
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Thrift, J. (1992) In search of Barney Bubbles. Eye [Online], Available from: <http://www.eyemagazine.com/feature/article/in-search-of-barney-bubbles> [Accessed 12 December 2013].</div>
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Trendlist. (2013) About. [Online]. Available from: <http://www.trendlist.org/pages/about> [Accessed 7 January 2014].</div>
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Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-54812427215380044232013-12-17T21:21:00.000+00:002014-03-05T17:42:11.971+00:00Pretty Ugly Or Plain Ugly: Creative Review Online ArticlePretty Ugly or plain ugly?<br />
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'Poster for one of a series of weekly film nights run by artist Wim Lambrecht at college Sint-Lucas Visual Arts Gent from 2007 to 2008. Designed by Raf Vancampenhoudt with Joris Van Aken<br />
Skewed, stretched type, clashing colours, too little or too much spacing - across Europe a new generation of designers and art directors is breaking every rule. <span style="background-color: #ffe599;">But is their work rebellion for rebellion's sake or does it have wider implications for visual communications?</span><br />
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- Design that creates a shock value may be due to our lessening attention spans, where the internet as a culture gives us the opportunity to objectify aesthetic, and where this occurs, so does boredom, as the fast pace of the creative industry online leads us to want to feel something when we view design.<br />
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The June issue of CR (out May 23) comes with a health warning. It contains content that readers of a nervous disposition and a love of classical typography may find disturbing. Things are going to get ugly.<br />
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Back in 2007, I wrote a piece suggesting that something new and decidedly strange was happening<br />
in graphic design and art direction, based mainly upon the look of two magazines: Super Super (spread shown above) and 032c. <span style="background-color: #ffe599;">In it I referred to an earlier Eye essay by Steven Heller on what he termed the 'Cult of the Ugly'</span>.<br />
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- An essay looked at already that comments on this ugliness that seems to pervade design. It was written pre the age of daily internet use, and so this ugliness will have since grown.<br />
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Heller was writing about the work coming out of Cranbrook Academy of Art in the 90s, work that deliberately sought to subvert our ideas of 'good design'. What I saw in Super Super and 032c could, I thought, herald a New Ugly aesthetic in response to changes in the way younger readers consumed information online and a desire to, once again, challenge the status quo.<br />
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From a series of posters for the Symphonieorchester Des Bayerischen Rundfunks by Bureau Mirko Borsche using a mixture of classical serif type (to represent tradition), and the angular bespoke face Andri12000, representing the orchestra's modern spirit and the musicians in evevning dress<br />
Five years later comes the publication of Pretty Ugly, a new book that brings together graphic design, imagemaking and product design which very much delivers on that promise. In the Pretty Ugly, type is skewed, stretched and set at unreadable angles; images are distorted with a will; colours clash resoundingly. Some of it is beautiful, some interesting, some just awful.<br />
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"It is a new kind of beauty that isn't based upon pure visual pleasure, it is a beauty based upon context-driven design, being transparent with working methods, tools and materials," claim the book's editors, Martin Lorenz and Lupi Asensio of Barcelona design studio TwoPoints.Net, who came up with the Pretty Ugly term to describe the 'movement' and who are interviewed in the new issue of CR.<br />
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CR interviews the editors of Pretty Ugly in the June issue of the magazine<br />
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Die Neue K is the free quarterly newspaper of the Royal Academy of Art at Leiden University. Design: Rob van den Nieuwenhuizen ( of Drawswords in Amsterdam) with Mattijs de Wit<br />
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Contribution to the My Monkey, My Network group exhibition organised by arts group Le Club des Chevreuils in Nancy, France, designed by Pierre Delmas Bouly and Patrick Lallemand of Lyon-based Superscript, 2008<br />
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"<span style="background-color: #ffe599;">There are obvious aesthetic qualities connecting the work," they say, "intentionally 'bad' typography; using system typefaces like Arial, Helvetica or Times; stretching them; having too much or too little letter or line spacing; deforming type on a scanner or a copier.</span> The Pretty Ugly is a movement against the established criteria of what 'good design' is, in order to regain the attention of the audience and explore new territory. Entering the world of 'wrong' freed these designers and made any kind of experiment possible, without worrying about being thought unprofessional. Mistakes turned into virtuosity, a sign of authenticity and humanity. But it isn't a movement that does wrong because it doesn't know better. This is a highly educated generation of designers using their knowledge to break with what they were given as rules. They use intuition as much as intellect in order to enter new territory that is beyond so called 'professionalism'."<br />
Hmmm, so we are into the "if I do it, it's meant to look bad, if you do it, it's just bad" territory, always tricky ground to occupy. Are we, the humble viewers and readers, meant to know the difference? Is there one?<br />
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- Why do lo-fi methods seem to attract viewers to certain types of graphic design that looks deliberately cheap or designed by a non-designer? It could be nostalgia for analog, or a simple trend, where designers copy others to follow for supply and demand.<br />
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German design studio Vier5 was one of the early pioneers of the Pretty Ugly, particularly in its work for French arts centre CAC Brétigny, including this 2003 poster for a show by Dutch artists, designers and architects Atelier Van Lieshout<br />
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Geographically, most of the work featured hails from Belgium, France, Germany and The Netherlands. The latter gives a clue as to the work's intellectual origins too. Lorenz and Asensio say "We would guess that many of the seeds of the Pretty Ugly were sown in the Netherlands around 2000, when 'Default Design' was hot. At the time, the first issues of Jop van Bennekom's Re-Magazine using Times and lo-res images taken from the internet, or the work by Maureen Mooren (at that time working with Daniel van der Velden, who is now at Metahaven) and her husband Armand Mevis (working with Linda van Deursen) were all very influential. Many of the the designers featured in our book studied at the design school Werkplaats Typografie, where Armand Mevis teaches."<br />
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Spread from Super Paper, No. 21, July 2011, a publication on Munich nightlife by Studio Mirko Borsche<br />
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Perhaps the origins of the work also have something to do with the fact that these countries provide the support for young designers to be experimental - it's a rather different matter if you are leaving college with £20,000 of debt. Commercially viable work, in those circumstances, has its attractions and not too many brands, as yet, are in the market for 3D stretched Arial. Indeed, most of the work in Pretty Ugly is for very small-scale fashion, music or cultural clients, or self-initiated. But as the recent launch of Mevis and van Deursen's Stedelijk Museum identity (below) highlighted (see our story here), it is seeping into the mainstream.<br />
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Perhaps even the 2012 Olympics logo was an attempt to pick up on early manifestations of the trend and the intentions behind it? At the time of its launch Wolff Olins creative director Patrick Cox claimed that “Its design is intentionally raw, it doesn’t… ask to be liked very much. It was meant to provoke a response, like the little thorn in the chair that gets you to breathe in, sit up and take notice.”<br />
In the US and UK many young designers have turned toward a retro craft aesthetic and a celebration of archaic print techniques - think of the US gig poster scene, much of the work exhibited at Pick Me Up or the Hipster aesthetic satirised so acutely on this recent Tumblr. In comparison, the mostly Northern European approach of The Pretty Ugly feels much more daring and provocative.<br />
Rather than retreating to the comfort of the past, this work seems calculated to upset as many purist notions as possible. It has great energy and verve, blowing away the cobwebs of the watered-down Modernism-as-style that has dominated our ideas of 'good design' for so long.<br />
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But is there anything more to it than empty rebellion? In Heller's original piece, he stated that "Ugliness as its own virtue diminishes all design" but that it is justified if it is as a result of form follows function. If the 'function' here is to kick over the traces and make us re-examine what 'good design' is then maybe it's working.<br />
We live in an age where everything around us is (to an extent) competently designed: groceries, restaurants, magazines, medicines, all researched and marketed to the nth degree. A professional patina applied. Design as service industry. Compared to the buffed and primped identities of most major organisations, the Stedelijk identity feels refreshingly authentic and honest.<br />
But here's the 'Emperor's New Clothes' rub with the Pretty Ugly - if it wasn't by a famous Dutch design studio and for a major institution, would we give it serious consideration? If we saw it on the side of a builder's van would it transform from Pretty Ugly to just plain ugly?<br />
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There's something undeniably decadent in a group of highly and expensively educated Western designers producing knowingly 'bad' work. Are young designers, seeing their older peers' work becoming more and more devalued, reacting by saying 'these rules you taught us are not going to earn us a living anyway so let's see what happens when we break them all'? Increasingly we are hearing mumblings about a 'post-design world'. Is The Pretty Ugly a refreshing reinvigoration of a visual communications industry that has become too flabby and comfortable, or the outward sign of a profession in crisis?'Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-73101362191659365572013-11-23T22:00:00.000+00:002014-01-10T22:08:36.564+00:00Primary Research | Email ResponsesTwo of the six people gave responses to the questions that were sent out. One came back from Amy West stating that she would email and answer questions when she had the time, and the other two came back from DR ME, and Eric Hu.<br />
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The email sent to DR ME was responded by Eddy, who answered the questions in a personal way, referring to his personal practice as part of DR ME. Here is the reply:<br />
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<i>Hey Emma,</i><br />
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<i>Good questions.</i><br />
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<i>So, do you enjoy using imagery to convey irony or pastiche? and why. </i><br />
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<i>We always like to evoke a small smile (or a laugh if we've really nailed it) when people look at our work, obviously there will be some people that scowl and think it's in bad taste but that's you can't please everyone or at least we hope not.</i><br />
<i>We tend to find that using imagery is the fastest way of doing this, one of my favourite pieces is a single sleeve for Dutch Uncles song 'Face In', it was supposed to be released before their second album to gain a bit of attention but the PR company got fired before the campaign hit the press so the single never happened, which totally sucked as it would've been wicked. It's my graduation picture with the face cut out and replaced with an upside down mountain, we thought it'd be really funny for the photo to have a use further than just sitting on my parents windowsill and of course the removing of the face sat quite nicely with the name of the song.</i><br />
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<i>Here it is in fact:</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipPcaC-ng-J-ugASZzWSJZMH2Kv_vvH22wR9F0keLEfAkIfa8DenxWXrTmimjxJuVO0r_3umksdfcFQjo0nvk3pdI1IhMXz_19YaO_iOqDDI46Vu-csomCXBh8kBsJ5iRUF2pvcf1ZGTs/s1600/DUTCH-UNCLES-FACE-IN-FINISH3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipPcaC-ng-J-ugASZzWSJZMH2Kv_vvH22wR9F0keLEfAkIfa8DenxWXrTmimjxJuVO0r_3umksdfcFQjo0nvk3pdI1IhMXz_19YaO_iOqDDI46Vu-csomCXBh8kBsJ5iRUF2pvcf1ZGTs/s1600/DUTCH-UNCLES-FACE-IN-FINISH3.jpg" height="320" width="318" /></a></div>
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<i>Also, are you influenced by any postmodern designers, such as Tibor Kalman and April Greiman who take a similar approach to you, where collage, bricolage and humour are traits of the work.</i></div>
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<i>I think although we both love design we're more influenced by art, this probably sounds a bit flowery but without people like Richard Prince, Bridget Riley, Gerhard Richter, Sol Lewitt, Miro we wouldn't have created half of the work we've created, that being said Kalman's work on Remain in Light really made me want to make record sleeves (even if the majority of that sleeve is made by Tina Weymouth from Talking Heads). When we met James Victore he introduced us to the work of Henryk Tomaszewski who if you're not familiar is an amazing Polish poster designer, people like him and Roman Cieszlewicz really made us realise that breaking things was the best way to make things beautiful.</i></div>
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<i>Last question, how does technology play a role in your design process?</i></div>
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It's a tool, I cannot think of a single project that we've started on the computer that's been a success, we think a project should start in the mind and grow from there, it will then become clear whether the tool that you should use to realise it is a computer or a pen or a paintbrush or a piece of wood! The most fun you can have with technology is to use it with intelligence and an inquisitive mind, using things the way that they're not supposed to be used whether that is by throwing things onto a photocopier and hitting copy or dropping a disposable camera into bleach and then taking a bunch of pictures.</div>
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So, there you go questions answered, now, you owe us something, don't play it safe, that's all we ask of you, it's scary but please take our word for it, it's worth it, create amazing work that you love and don't concern with the opinions of others, work hard and you will succeed!</div>
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<i>Merry Christmas!</i></div>
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<i>Eddy</i></div>
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The response Eddy sent back was concise, and generally very interesting to read, and although personal to DR ME, he names specific influence and designers. Although they have been inspired by the likes of Tibor Kalman, it is hard to tell whether they would have even thought about postmodernism as a discourse whilst creating their own work, and the context and humour in which Kalman created his own work during the 1980s. It would seem as though due to more conceptual backgrounds in art, DR ME work in a very instinctive way, and are unconcerned in the content or context behind work that has influenced them. The bricolage, and appropriation methods they use are not consciously thought out, and so they are a good example of designers that produce postmodern work, that can have theory applied to in the contemporary.<br />
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The response DR ME came back to me with will almost certainly be integrated into the dissertation, along with a case study on their work.</div>
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Eric Hu was asked questions on postmodernism via his 'process' Tumblr blog. His replies were based on short anonymous questions. He replied to this question:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSmtMjq4aXfeeNTUM3mOSFtNOYs33aawDGby_5CDIBuqvOhvTJ6oW6RL-x0Sd4novoohbL9pXnD0cZauBeFYCGiJQKiLn6lBQa9B-9QeuxBhwaCboevB1sF5nNb-mehfX7wisVdfa0uAs/s1600/Picture+2.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSmtMjq4aXfeeNTUM3mOSFtNOYs33aawDGby_5CDIBuqvOhvTJ6oW6RL-x0Sd4novoohbL9pXnD0cZauBeFYCGiJQKiLn6lBQa9B-9QeuxBhwaCboevB1sF5nNb-mehfX7wisVdfa0uAs/s1600/Picture+2.png" height="427" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfD1uy0oTcqPHDoEwTJj4m__8eFIhVwVa-3D-PW1Kr7SIIGbcOJPIFhKnzZZ-w2KaOjItUEUNorrs6fJ249Ql5D4QJitiTsVRd7W30ebztVwKQhA7iTgDNTOcL571wkCxGxUBog7cqCEs/s1600/Picture+3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfD1uy0oTcqPHDoEwTJj4m__8eFIhVwVa-3D-PW1Kr7SIIGbcOJPIFhKnzZZ-w2KaOjItUEUNorrs6fJ249Ql5D4QJitiTsVRd7W30ebztVwKQhA7iTgDNTOcL571wkCxGxUBog7cqCEs/s1600/Picture+3.png" height="331" width="640" /></a></div>
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Hu seemed to respond in quite a defensive way, and perhaps the utter of the word 'postmodernism' made this so. (There is also the social issue of appearing cool.) He refers to postmodernism as a term with 'baggage' in reference to how the term has been used in the past few decades. Nevertheless he pointed out some nice Wikipedia sub-definitions for postmodernism, that however relevant they are, can still be defined by postmodernism as the metanarrative, or overriding discourse. Though it's unsure as to what 'post-internet' could possibly mean. He went onto say that graphic design's progression is 'non-linear', which, ironically would describe postmodernism, though Hu contradicted himself by indirectly saying that postmodernism is linear. Hu's response was disappointing, as he seemed to appear as if he knew what he was talking about in other text posts, but that does not seem to be the case. Or perhaps in this age of Tumblr meaningless bullshit, it boils down to having 'conflicts in opinion'. Of course there will never be a short hand way of describing postmodernism, and of course there are differing opinions, that is a fundamental characteristic of the term...and isn't that what makes postmodernism so damn interesting?<br />
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Whether this is relevant research to integrate into the dissertation is yet to be seen.Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-33248896764972041952013-11-22T10:35:00.000+00:002014-03-05T17:41:43.756+00:00Primary Research: Survey ResponsesResponses to the survey sent out to collect both qualitative and quantitative research. The results are quite interesting. I devised yes and no answers so statistics could be collected. They were made mandatory and required and answer, the comment boxes were left then open for the audience to either skip or answer.<br />
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68.42% of 19 people answered yes, they did feel they knew what postmodernism is. When asked for a short explanation or answer the responses varied enormously. These results compared to the same question and answer methods used for 'Do you feel that you know what modernism is?' the majority answered yes with 68.42% the same statistic as the yes and no answers asked for postmodernism.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJLN0U0pnwza3GQAL9whtxPoeDH7ssvXs2ca54QanLT87U318pcZBatggdaouAsnu0WBgbmmsxfPHJw6pTrwraQKbUBl6K1FxRlaW-qTULMXvfO29qffU3gQ62f8-S7U4GlBYYuZ1ffJo/s1600/Picture+2.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJLN0U0pnwza3GQAL9whtxPoeDH7ssvXs2ca54QanLT87U318pcZBatggdaouAsnu0WBgbmmsxfPHJw6pTrwraQKbUBl6K1FxRlaW-qTULMXvfO29qffU3gQ62f8-S7U4GlBYYuZ1ffJo/s400/Picture+2.png" height="239" width="400" /></a></div>
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Responses:<br />
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yes: 68.42% 13<br />
no: 31.58% 6<br />
Total Respondents: 19<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
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If you answered 'yes' to the question above then please give your own definition of postmodernism in the box below.<br />
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Attempted controversy, breaking convention, derivative of modernism. Postmodernism is a lot messier, a lot more expressive.<br />
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Anything that came after modernism.<br />
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Opposite Modernism...chaotic, no structure or rules, rebellious, messy etc.<br />
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Movement in art & design, which broke the 'principles' which were defined by Modernism.<br />
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Post modernist art movement, early 20th century, David Carson's work, Andy Warhol.<br />
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the opposite to modernism - design that doesn't follow the rules and challenges structure and legibility<br />
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A reaction to modernism. Intended to break away and sometimes poke fun at the modernist rules and regulations of the past.<br />
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Postmodernism is was a style that went against modernism. It didn't take itself to seriously, it broke out of the rules created by modernism and was a lot more free in it's ideas and recycling other ideas.<br />
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The period in time which comes after modernism<br />
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There period in time after modernism.<br />
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I know some post modern designers. I do think that most 'isms' are just intellectuals needing to create a word to sell another book.<br />
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the opposing force of modernism that challenges what we've come to know as the norm either in physical or political terms. AKA 'alternative'<br />
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I believe that it is a text or medium that is self aware, often referencing or appropriating and traditional texts for the purpose of subversion. Irony, homage, pastiche and parody.<br />
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It's breaking away from Modernism and its conventions, more concerned with form as opposed to function.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNcppPDR8iFkFeZ54cQEiSibjFU4c2oHj4VnJuonMdQ4f-6oiuudVi6w-rrOe0VU23kU1vtFwEQiSxtr3uPWXdQAwnlOIzNyOPem5oFSqYlefzoRRG31LXV-J7S3oE5pTG8scKAD2xwy4/s1600/Picture+3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNcppPDR8iFkFeZ54cQEiSibjFU4c2oHj4VnJuonMdQ4f-6oiuudVi6w-rrOe0VU23kU1vtFwEQiSxtr3uPWXdQAwnlOIzNyOPem5oFSqYlefzoRRG31LXV-J7S3oE5pTG8scKAD2xwy4/s400/Picture+3.png" height="240" width="400" /></a></div>
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Responses:<br />
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yes: 68.42% 13<br />
no: 31.58% 6<br />
Total Respondents: 19<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
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If you answered 'yes' or 'no' to the previous question, then please give a short explanation for your answer in the box below.<br />
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I believe there's a lot of people trying to attempt to recreate that 'postmodern' design style in contemporary design, and if you can class that as postmodernism, then yes. But I believe it is no longer a thing in contemporary design, it's passed it's time, design now is either controversial or not.<br />
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It came after modernism.<br />
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In contemporary design, people just think of post modernism being completely oppose to modernism. You get people breaking rules, experimental design that explore many boundaries. Unusual colours usage for example.<br />
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It's recognisably something that has an aspect of a shock or aesthetic value rather particularly functional.<br />
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Modern artists and designers take inspiration from past postmodern artists, so elements of postmodernism can be found in contemporary design.<br />
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I believe so, however off the top of my head I can't really think of an example.. Possibly if you think about conceptual artists like Tracey Emin - a lot of her work could be described as postmodernist as she challenges rules of art and how you think about her work.<br />
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Any design that doesn't just do things for purist reasons.<br />
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I think that it can be seen in the varying different styles of design around at the moment. Surely everything that isn't modernist has elements of post-modernist design?<br />
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Probably i don't know what it is.<br />
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Postmodernism in design is when people use collage and such like to make existing works into new works through appropriation<br />
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Postmodernism in design is when you add strange colors and textures, doing things that were not there purely for function<br />
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Post modernism exists in the minds of people who have to overthink life to make a living.<br />
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design in this era is contemporary and we are definitely in a postmodern era.<br />
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Again, I think it's noticeable in design when precious texts have been referenced or a text is 'ironic'.<br />
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There are links and influences from postmodernism, but that era has finished.<br />
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There is now a mix between modern form over function and tradition<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVNjRCPRIh0AIKVU4OIcgQXGcbxL9t3k0Yp4biNSRL0_ddeNiCI9VvVm5L5KqQ8VaU2Mmy0YRRzzOR12UP1iXPtWTmDmdA0aLefl3CersXsT6_yjb3FROYakpkw0xYpyROdGE5wqztD4/s1600/Picture+4.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVNjRCPRIh0AIKVU4OIcgQXGcbxL9t3k0Yp4biNSRL0_ddeNiCI9VvVm5L5KqQ8VaU2Mmy0YRRzzOR12UP1iXPtWTmDmdA0aLefl3CersXsT6_yjb3FROYakpkw0xYpyROdGE5wqztD4/s400/Picture+4.png" height="241" width="400" /></a></div>
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If you answered 'yes' to the question above then please give your own definition as to what modernism is.<br />
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Responses:<br />
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yes: 68.42% 13<br />
no: 31.58% 6<br />
Total Respondents: 19<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
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Form follows function. Design which follows specific rules, for the purpose of helping the viewer.<br />
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Design that arose from technological advancement in the first 70 years of the 20th century.<br />
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Clean, Slick and Structural. OCD.<br />
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Movement in art & design, beginning from around the start of 20th Century. It's recognisable by it's form over function style aesthetic and principles.<br />
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Modernist art movement, late 19th - early 20th century. minimal, structured work.<br />
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Form follows function.<br />
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Modernism believes in design being functional and clean. Regimented and structured to create a universal style.<br />
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Modernism is a style of swiss design that uses clean shapes, layout and believes that form follows function.<br />
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The period in time before post modernism<br />
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Form follows function<br />
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Modernism is another ridiculous concept, made up by art dealers to sell things at a higher price.<br />
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minimalistic, form-follows functional design<br />
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Form follows function<br />
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Form follows function.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfW427G4_CSfLUGPw4d7O8X9eTE8vHf4hW6sGElxLUoHGphkg1Wgb2RetNDx1XQx8DMlm0Y-mMB5BQVdggRIIrWQ-Q13ke9v32yKsWoHqlDitVsprrkshvCcWR_7Q42iFbc5vtUfCY1Us/s1600/Picture+5.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfW427G4_CSfLUGPw4d7O8X9eTE8vHf4hW6sGElxLUoHGphkg1Wgb2RetNDx1XQx8DMlm0Y-mMB5BQVdggRIIrWQ-Q13ke9v32yKsWoHqlDitVsprrkshvCcWR_7Q42iFbc5vtUfCY1Us/s400/Picture+5.png" height="240" width="400" /></a></div>
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yes: 10.53% 2<br />
no: 89.47% 17<br />
Total Respondents: 19Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-7279406060628248142013-11-20T13:38:00.001+00:002014-03-05T17:41:55.468+00:00Amy West: Grafik BS: Case StudyI had looked at this project on It's Nice That, and thought it interesting a while back, however looking at contemporary trends in relation to postmodernism lead me to take a closer look. The project itself aims to take active research and focuses on the 'importance of communication in design'. On Amy's site, there are dual explanations for the project. One saying that Grafik BS is a design studio, and the other talking about the project itself.<br />
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Our parodies our culture of graphic design trends, and how the proliferation of blank images creates an environment where we use aesthetic we see, without any context or content.<br />
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The explanation for the project had a rollover feature where the real concept is revealed.<br />
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<iframe allowfullscreen="" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/67627359" webkitallowfullscreen="" width="500"></iframe>
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the project runs across to its very own <a href="http://www.behance.net/grafikBS">Behance page</a> where it keeps its professional facade.<br />
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The professional mask is used to gather active research into how people are taken in by aesthetics alone. She also generated a realistic looking <a href="https://twitter.com/GrafikBS">Twitter account</a> where promotions and networking would take place.<br />
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I emailed Amy on my subject of postmodernism in relation to contemporary graphic design trends, asking her if she agreed with what I was challenging.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5DJJ8aPBrwLjkau1aroCz5eydF_i-hh7w95XUE-pEicCbkt_V7dQgXODodIXYPC3Tgxy3UcQrwW2zVhagpYcRnIUIASawOWjEooQZOaNzujqhV7KZWANJ2X-VnOtAvlLLp6C-uniJcA/s1600/Screen+Shot+2013-11-20+at+13.35.40.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5DJJ8aPBrwLjkau1aroCz5eydF_i-hh7w95XUE-pEicCbkt_V7dQgXODodIXYPC3Tgxy3UcQrwW2zVhagpYcRnIUIASawOWjEooQZOaNzujqhV7KZWANJ2X-VnOtAvlLLp6C-uniJcA/s400/Screen+Shot+2013-11-20+at+13.35.40.png" height="400" width="397" /></a></div>
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Here is the rest of the project:<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-41090670911798922752013-11-20T12:45:00.002+00:002014-03-05T17:41:24.071+00:00Primary Research: Survey ExposureTo give my survey exposure to as many potential people as possible, I posted it to the student notice board, although I would have preferred the course administrator to email my survey as I wanted it to be anonymous, but that is no longer allowed, so this may result in receiving less responses compared to an anonymous post. I also used Pinterest to get my survey to a wider audience, as my postmodernism board has 120 followers, I think realistically at least 10 people may respond, and as my survey isn't aimed at students exclusively I wanted to see if anyone else could respond.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-7150398968633115372013-11-20T12:37:00.001+00:002014-03-05T17:41:04.526+00:00Primary Research: What Is Postmodernism? SurveyI wanted to collect both qualitative and quantitative research from people that are creative, so the nearest and most accessible route that I could take was to generate questions for a survey asking people if they know what postmodernism is, and to give their own definition. To further my research I wanted to go on to ask people what modernism is, and then to give their own definition. I then finished the questionnaire by asking if postmodernism is an easy term to sum up. I tried to make the questions casual and approachable sounding, because although every single student in the college would have had a lecture at some point on both modernism and postmodernism I can understand that these subjects may sound elitist, and hard to sum up from memory.<br />
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Here are the questions I asked:<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-82850352106047881962013-11-09T15:25:00.000+00:002014-03-05T17:40:58.907+00:00Primary Research: Emails To ProfessionalsEmails were sent out to contemporary graphic designers and creatives that will be looked at in conjunction with postmodernism theory research. Catalogue, Ill Studio, Hello Me, Eric Hu and Dr Me.<br />
Some of them are probably quite cringy ways of asking about postmodernism, but the aim was simply to catch their attention so they would at least read what had been asked.<br />
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When postmodernism is talked about in any creative discussion, it feels like a sensitive word to have brought up, and so different methods of approach were used; although all of them sound as if they are setting off a sensitivity bomb, so it was a difficult subject to bring up. Eric Hu has a 'process blog' in the form of a Tumblr, and so the question was asked anonymously to have a better chance of a reply.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-51439689861181863982013-11-08T11:38:00.002+00:002014-01-20T16:31:37.629+00:00Ill Studio Case Study<a href="http://ill-studio.com/works/-/174-le-colette.htm">Le Colette</a>.<br />
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Ill Studio as contemporary practice in relation to Jameson’s theory on blank parody, ‘pastiche’.<br />
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“Curators, art directors, publishers, designers - it’s difficult to pin down exactly what Paris-based collective Ill Studio do.”<br />
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Dazed Digital article on Ill Studio project ‘72 Dots Per Inch’.<br />
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“The Internet has mutated into this infinite area of free creativity built around the notion of amateurism. Anyone can make his own animated gif, blog, photoshop hoax, meme, viral video and this all creates a massive mess<br />
where cultural references which have nothing to do with each other mix, where reality is twisted, where any notion of time has disappeared, where bad tastes become good tastes. We like to mix-up very different cultural references in our work and Internet is an incredible source of inspiration for that.”<br />
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Ill Studio responds to a question Dazed Digital asked about the internet and online content.<br />
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“We wanted to do something about the Internet world for quite a long time and thought this exhibition was the perfect occasion. We've been quite obsessed by all this Internet amateur aesthetic for a while and we spend a lot of time wondering around on many different websites about very random subjects. Bart Simpson next to Marco Van Basten and a pineapple. This is the randomness that we wanted to capture through the exhibition.”<br />
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Ill Studio talks about the internet and how it influenced the content of the exhibition.<br />
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The 72 Dots Per Inch project aimed to depict the random nature in which imagery is compiled, and found on the internet. It also looks at 'free creativity' as Ill Studio label it, and the amateurism it ensues. In an interview with Dazed Digital, a suitably online sector of Dazed and Confused magazine, Dazed Digital asks, "As someone whose day to day work is based largely around the internet, how does the evolving nature of its content and ideas inspire the way you work?" Ill Studio answered, "The Internet has mutated into this infinite area of free creativity built around the notion of amateurism. Anyone can make his own animated gif, blog, photoshop hoax, meme, viral video and this all creates a massive mess where cultural references which have nothing to do with each other mix, where reality is twisted, where any notion of time has disappeared, where bad tastes become good tastes. We like to mix-up very different cultural references in our work and Internet is an incredible source of inspiration for that." Ill Studio simply observe this type of mass culture, rather than theorise it, which would suggest that using the internet to inspire creativity has become second nature. Ill Studio state that 'bad tastes become good tastes' and describe the internet as a 'massive mess' of 'cultural references', and because this statement covers such a large area, it is hard to discuss all of the reasons as to why the internet may have become this hybrid creative reference. Dazed Digital goes onto ask, "What was your idea behind 72 Dots Per Inch?", with the reply, "We wanted to do something about the Internet world for quite a long time and thought this exhibition was the perfect occasion. We've been quite obsessed by all this Internet amateur aesthetic for a while and we spend a lot of time wondering around on many different websites about very random subjects. Bart Simpson next to Marco Van Basten and a pineapple. This is the randomness that we wanted to capture through the exhibition." Ill Studio talk about why the internet inspired them to set up the exhibition, where they talk about their obsession with 'amateur aesthetic', where 'Bart Simpson next to Marco Van Basten and a pineapple'. This juxtaposition they reference as an amateur aesthetic may reference digital moodboards that are perhaps in the form of a Tumblr blog, and if so, it's hard to tell why found imagery complied onto a digital moodboard would be considered amateur. Ill Studio do not state that Tumblr is the source of their observations, but undoubtedly Tumblr does display this kind of random juxtaposition. Ill Studio talk about amateurism, but fail to extend the reason as to why this aesthetic is amateur, which could suggest that they feel that anyone can exude creativity through composition of found imagery. If Ill Studio are commenting on a contemporary culture of found images regurgitated through the medium of a blog, and then placed next to contrasting images, then they may refer to accessibility, rather than creativity in itself. The internet is accessible to anyone and everyone, allowing people to create their own blog where they can generate any kind of content they choose. It could be argued that 72 Dots Per Inch shows symptoms of amateurism itself, where the same method of juxtaposition of found imagery is displayed, where he difference lies in the medium, ignoring Ill Studio as a professional practice. This in turn breaks down the boundary between amateur and professional. As the exhibition is largely a print project, Ill Studio make digital imagery tangible, and take the digital into the real world. Where random Tumblr blogs showcase random imagery, it becomes impossible to separate the concept for the exhibition from the source. This goes to say the project is a direct result of the proliferation of blank pastiche displayed through the medium of the internet. Though the project is a relevant observation, and comment on contemporary culture, it simply repeats an aesthetic that anyone has access to. It takes the accessible into an unaccessible realm, the art world. As Jameson stated in his work Postmodernism or, the Cultural Logic of Late Capitalism, "For with the collapse of the high-modernist ideology of style - what is as unique and unmistakable as yout own fingerprints, as incomparible as your own body (the very source, for an early Roland Barthes, of stylistic invention and innovation) - the producers of culture have nowhere to turn but to the past: the imitation of dead styles, speech through all masks and voices stored up in the imaginary museum of a now global culture." Which would sum up the project, where it uses instinct to repeat, and imitate something that already exists.<br />
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As Ill Studio have curated exhibitions, so they have also art directed for publishing and editorial design, in the form of Le Colette magazine. The magazine has an aesthetic that could be described as playful, and is visually colourful. It takes the content of any usual lifestyle magazine and displays it in a deconstructed manner. A basic colour way is used, in conjunction with an array of surface pattern, to form borders, and create a structure for the randomly placed content. This work mirrors the original aesthetic created by Memphis group, a furniture design and architecture collective, that were founded in 1981. As Rick Poyner points out in his work, No More Rules: Graphic Design and Postmodernism, he talks about Memphis Group, "Memphis objects were most striking for their use of plastic laminates printed with a wild variety of of colourful patterns. Like roadside neon signs, laminates were identified with ordinary, 'undesigned' environments: coffee shops, ice cream parlours, milk bars, fast-food restaurants, and kitchens and bathrooms in the home." The visual style that Memphis had created was partially based on practicality and functionality of everyday environments, and so this took the modernist principle of form follows function, and turned this on it's head. Style over substance was the basis for the objects of desire Memphis would create. Other influences for Memphis were previous artistic movements Art Deco and pop art, and so this mixture of styles created something new and exciting. Memphis chose what they liked visually to inspire their work, and were open in talking about their influences. As Poyner goes onto quote the Memphis chronicler Barbara Radice, "The whole Memphis idea is oriented toward a sensory concentration based in instability, on provisional representation of provisional states and of events and signs that fade, blur, fog up and are consumed. ... Communication - true communication - is not simply the transmission of information ... communication always calls for an exchange of fluids and tensions, for a provocation, and a challenge." This places memphis as a pioneer of hybrid design, creating something new from older practices, aesthetics, and existing surface pattern. The laminate surface pattern incorporated into the furniture design designed by Ettore Sottsass and Nathalie Du Pasquier, have become popular patterns that have been incorporated into creative practices such as graphic design. Perhaps the most commonly used pattern was designed by Ettore Sottsass, which comprises of random wiggly lines, usually monotone placed over another colour. The magazine Le Colette incorporated similar surface pattern once created by members of Memphis, along with the linear shapes that create borders and platforms for the content that mimic the furniture that Memphis similarly designed. Ill Studio have not stated that Memphis have been an influence, though it is perfectly plausible that they have seen something else that mimics the aesthetic Memphis originally created. As Ill Studio make it clear in the project 72 Dots Per Inch, that they are influenced by what they see on the internet, images of Memphis pattern and furniture design may have been viewed online without knowing where their origins lie. Many other examples of graphic design exude Memphis style aesthetic, so another reason for the way the magazine looks and feels is the proliferation of the same aesthetic used by other designer since the beginning of the 1980s, and so Memphis style has become a sort of trend. Of course the Memphis style may also simply evoke a sense of nostalgia for Ill Studio. There could be many factors in the influence and process that Ill Studio went through to create something that mimics Memphis aesthetic so obviously.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPzfESCJZ7FyI93VCPQ_sfHcxtxOnhmjhIsbtSxdnQgC1r7TcWki6Ab3jdsFWT1WNaYcOE-NARn1Op5esh8IbY9X5tsXiccqstfxV629P8QDkZ1pCLuVybKohohutsD1mFqPTGtl9gpjM/s1600/ill_works_174_visuel_1qsj.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPzfESCJZ7FyI93VCPQ_sfHcxtxOnhmjhIsbtSxdnQgC1r7TcWki6Ab3jdsFWT1WNaYcOE-NARn1Op5esh8IbY9X5tsXiccqstfxV629P8QDkZ1pCLuVybKohohutsD1mFqPTGtl9gpjM/s320/ill_works_174_visuel_1qsj.jpg" height="320" width="267" /></a><br />
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Ill Studio, a French 'multi-disciplinary platform' founded in 2007, uses aesthetics originally created by Memphis and to a lesser extent April Greiman. They do not state any of their influences on their portfolio website, and simply state, "The studio evolves in various creative areas such as art-direction, graphic design, photography, typography and motion design, for both personal or commissioned works." Which only states the areas they work in. As Jameson talks about blank pastiche, in Ill Studio's case, their practice suggests that blank pastiche itself has proliferated since the 1980s, and even the 1990s. If Ill Studio are in fact knowledgeable about Memphis, Greiman, and other postmodern forerunners in graphic design and architecture from earlier decades, they haven't made it clear, and public opinion would also confirm that Ill Studio believe that they are forerunners in innovation and new aesthetic. In a short post by Grain Edit, an online creativity blog, they said, "Ill Studio is a Parisian design studio with an incredibly experimental edge. They have just released a massive update featuring some beautiful typography-based projects. I’ve been a fan of theirs for years, and love their effortless propensity for creating an inspiring and very new set of work. With each new iteration of their portfolio they get better & better at honing their craft, while maintaining a very specific nod to the past with classic styling and type choices." They use the term 'very new' to describe Ill Studio's work which would suggest that their type of work has never been seen before. Another short review by blog Design Work Life said, "Dang! These folks in Paris are doing it right. Ill Studio finds a good balance between work and play. Maybe it’s work and play within each project? Whatever the balance, the product is bizarre and fun." Design Work Life have taken it up a notch, describing Ill Studio's work as 'playful, bizarre and fun', with enthusiasm that sounds as though the folks running the blog are astounded by the work. Not to say that Ill Studio have produced some fun and playful work, it could be described as a stretch to call it new, as some key examples of their work would suggest direct influence from Memphis.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-62778179010622807152013-11-08T11:06:00.001+00:002014-01-20T16:16:51.987+00:00Il Studio And Design For Music<a href="http://www.ill-studio.com/works/-/189-para-one.htm">Para One</a>.<br />
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<a href="http://www.ill-studio.com/works/-/60-audible-visions.htm">Audible Visions</a>.<br />
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Africa Samples.<br />
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<a href="http://ill-studio.com/works/-/90-sound-pellegrino.htm">Sound Pellegrino</a>.<br />
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<a href="http://ill-studio.com/works/-/153-marble-music.htm">Marble Music</a>.<br />
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Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-75338665484465227922013-11-08T10:22:00.002+00:002014-03-05T17:40:54.900+00:00Ill Studio: Symptoms Of Contemporary Postmodern Graphic Design?<a href="http://ill-studio.com/">Ill Studio</a>.<br />
<i>'Founded in 2007, Ill-Studio is a multidisciplinary platform based in Paris. Headed by Léonard Vernhet and Thomas Subreville, it also brings together Nicolas Malinowsky, Thierry Audurand, Pierre Dixsaut and Sebastien Michelini.</i><br />
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<i>The studio evolves in various creative areas such as art-direction, graphic design, photography, typography and motion design, for both personal or commissioned works.</i><br />
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<i>So far, Ill-Studio has collaborated with various clients such as Nike, Supreme NYC, The New York Times Magazine, LVMH, Cire Trudon, GQ Magazine, Orange, Sound Pellegrino, Christophe Lemaire, Adidas, l'Officiel Magazine, Uniqlo, Domus magazine, etc.' </i><br />
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Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-31493261665616002962013-10-27T16:18:00.001+00:002014-01-02T21:58:35.942+00:00Hello Me And Memphis Group Imitation AnalysisA contrast and comparison between a contemporary project by Hello Me and the Memphis Milano furniture design from the 1980's.<br />
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<a href="http://tillwiedeck.com/">Hello Me</a> is a contemporary design studio that involves themselves in graphic design projects along with art direction alike.<br />
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About the Critical Objects project:<br />
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'<i>”Critical Objects” is a series of items that balance on the border between functional furniture and sculptural form without taking a definite position within either concept. In this self initiated project, graphic design studio HelloMe explores the curious nature of everyday objects.</i><br />
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<i>From the preface of the catalogue:</i><br />
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<i>”Till Wiedeck has created objects that are only allegedly functional. His Critical Objects are furniture made out of tubular steel, wood, concrete and luxurious Calacatta marble. With their clear, almost constructivist design, their static structure is exposed. But ultimately they are distorted, their function is deferred and contorted. Till Wiedeck’s objects undermine the iconography of design. What had firmly established itself in our visual understanding of a certain type of object is suddenly reduced to absurdity, reversed, warped, travestied, de- and overfuctionalised. (...) The redundancy of statics, playful use of color and material and aesthetic distortion of his Critical Objects render them sculptures. His peculiar objects clear the way for an aesthetic joy that is to be found in the ungrounded, in the artistic.” — Sophie Jung</i><br />
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<i>The underlying concept of ”Critical Objects” is based on the thought that reactions to a matter are not simply derived from the perception of the object itself but attached to said object is an emotional reaction. The immediate action and reaction to a form can be restricted by the conventional ingrained response — you see something with four legs and a surface, your mind tells you it is a table, because you learned it is a table. ”Critical Objects” challenges the perception of the initial disposition to the object by altering the context of the subject.</i><br />
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<i>”Critical Objects” is the result of an experiment without any predetermined goal. Through the re-interpretation of everyday objects and the rearrangement of their functional properties, the fundamental nature of the form is changed. Their function is reduced, amplified, or even annihilated. Hereby a new perspective of their altered potentials is achieved. The real challenge, however, lies with the recipient – the challenge of one’s very own perception of things.'</i><br />
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<a href="http://www.memphis-milano.it/">Memphis group</a><br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-11816835131537904162013-10-27T12:10:00.000+00:002013-10-27T12:10:15.011+00:00Dissertation Progress PresentationA presentation delivered for the progress of the context of practice 3 module.<br />
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<iframe allowfullscreen="" frameborder="0" height="371" src="//e.issuu.com/embed.html#6611663/5388325" width="525"></iframe>Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-80365064938645382012013-10-25T22:20:00.000+01:002014-01-20T04:43:35.768+00:00Memphis Influence On Contemporary Graphic Design Style over substance.<br />
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The Ettore Sottsass pattern:<br />
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Proliferation of the same design used in graphic design today.<br />
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-32458803654440581972013-10-24T21:26:00.000+01:002014-01-20T04:38:01.325+00:00Memphis Group <a href="http://designmuseum.org/design/memphis">Design Museum Article</a>.<br />
<br />
MEMPHIS was a Milan-based collective of young furniture and product designers led by the veteran Ettore Sottsass. After its 1981 debut, Memphis dominated the early 1980s design scene with its<br />
post-modernist style.<br />
<br />
The rule-breaking had begun in December 1980 when Ettore Sottsass, one of Italy’s architectural grandees, met with a group of younger architects in his apartment on Milan’s Via San Galdino. He was in his 60s and his collaborators - Martine Bedin, Aldo Cibic, Michele De Lucchi, Matteo Thun and Marco Zanini – were in their 20s. With them was the writer, Barbara Radice. They were there to discuss Sottsass’ plans to produce a line of furniture with an old friend, Renzo Brugola, owner of a carpentry workshop.<br />
<br />
Originally dubbed The New Design, the project was rechristened Memphis after the Bob Dylan lyric "Stuck Inside of Mobile (With the Memphis Blues Again)" stuck repeatedly at "Memphis Blues Again" on Sottsass’ record player. "Sottsass said: ‘Okay, let’s call it Memphis," wrote Radice, "and everyone thought it was a great name: Blues, Tennessee, rock’n’roll, American suburbs, and then Egypt, the Pharoahs’ capital, the holy city of the god, Ptah."<br />
<br />
Within the design world, Memphis was a watershed. "You were either for it, or against it. "All the boring old designers hated it. The rest of us loved it," recalled Bill Moggridge, co-founder of the IDEO industrial design group. Among the old guard was Vico Magistretti. "This furniture offers no possibility of development whatsoever," he declaimed. "It is only a variant of fashion."<br />
Memphis was seen as equally sensational outside the closed confines of the design community. The packed opening party, cool graphics and hip young designers – male and female, from different countries - proved irresistible to the mass media. Perfectly in tune with an era when pop culture was dominated by the post-punk flamboyance of early 1980s new romanticism, Memphis was also a colourful, clearly defined manifestation of the often obscure post-modernist theories then so influential in art and architecture.<br />
<br />
Like Miles Davis, who resolutely refused to replay old music, throughout his long career, Sottsass always insisted on moving forward rather than reliving past glories. For him, quitting Memphis at the height of its fame was the only logical course of action. "Acclaimed as a symbol and persecuted like a rock star, far from feeling satisfaction or pleasure, he (Sottsass) sank into one of the worst crises of his life," wrote Barbara Radice a few years later.Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-52805218074244847672013-10-21T04:28:00.000+01:002014-03-05T17:40:40.354+00:00David Harvey: The Condition Of PostmodernityHarvey, D. (1990) <i>The Condition Of Postmodernity: An Enquiry into the Origins of Cultural Change</i>. Cambridge MA and Oxford UK: Blackwell Publishing.<br />
<br />
p. 7 Introduction<br />
<br />
"No one exactly agrees as to what is meant by the term, except, perhaps, that 'postmodernism' represents some kind of reaction to, or departure from, 'modernism'. Since the meaning of modernism is also very confused, the reaction or departure known as 'postmodernism' is doubly so."<br />
<br />
p. 11<br />
<br />
"To begin with, modernity can have no respect even for it's own past, let alone that of any pre-modern social order."<br />
<br />
"The transitoriness of things makes it difficult to preserve any sense of historical continuity."<br />
<br />
p. 44<br />
<br />
"I begin with what appears to be the startling fact about postmodernism: it's total acceptance of the ephemerality, fragmentation, discontinuity, and the chaotic."<br />
<br />
"It does not try to transcend it, counteract it, or even to define the 'eternal and immutable' elements that might lie within it. Postmodernism swims, even wallows, in the fragmentary and the chaotic currents of change as if that is all there is."<br />
<br />
p. 46,47<br />
<br />
"Lyotard (like Foucault) accepts that 'knowledge is the principle force of production' these days, so the problem is to define the locus of that power when it is evidently 'dispersed in clouds of narrative elements' within a heterogeneity of language games. Lyotard (again like Foucault) accepts the potential open qualities of ordinary conversations in which rules can bend and shift so as 'to encourage the greatest flexibility of utterance.'"<br />
<br />
p. 49<br />
<br />
"Most postmodernist thinkers are fascinated by the new possibilities for information and knowledge production, analysis, and transfer."<br />
<br />
"Lyotard (1984), for example, firmly locates his arguments in the context of new technologies of communication and , drawing upon Bell's and Touraine's thesis of the passage to a 'postindustrial' information based society, situates the rise of postmodern thought in the heart of what he sees as a dramatic social and political transition in the languages of communication in advanced capitalist societies."<br />
<br />
"There is more than a hint in Lyotard's work, therefore, that modernism has changed because the technical and social conditions of communication have changed."<br />
<br />
"Postmodernists tend to accept, also, a rather different theory as to what language and communication are all about. Whereas modernists had presupposed that there was a tight and identifiable relation between what was being said (the signified or 'message' ) and how it was being said (the signifier or 'medium' ), poststructuralist thinking sees these as 'continually breaking apart and re-attatching in new combinations.'"<br />
<br />
p. 346<br />
<br />
"'In principle a work of art has always been reproducible,' wrote Walter Benjamin, but mechanical reproduction 'represents something new.'"<br />
<br />
"The consequences that Benjamin foresaw have been emphasized many times over by the advances in electronic reproduction and the capacity to store images, torn out of their actual contexts in space and time, for instantaneous use and retrieval on a mass basis."<br />
<br />
"The increased role of the masses in cultural life has had both positive and negative consequences. Benjamin feared their desire to bring things closer spatially and humanly, because it inevitably led to transitoriness and reproducibility as hallmarks of a cultural production system that had hitherto explored uniqueness and permanence."Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0tag:blogger.com,1999:blog-6911165806721235211.post-8321696764471163042013-10-19T13:46:00.002+01:002014-01-20T15:39:21.767+00:00Barney Bubbles<b>Colin Fulcher aka Barney Bubbles</b><br />
<br />
<a href="http://www.eyemagazine.com/feature/article/in-search-of-barney-bubbles">Eye magazine article</a>.<br />
<br />
'It is from this unlikely background that Barney Bubbles came. Now, more than eight years after his suicide in 1983, he is rarely mentioned. Many people who knew his work did not know who designed it, because he almost never put his name to it, preferring to sign himself by his VAT number, any amount of joke names or nothing at all. With only the scantest appearance in the design manuals of his day, even the most assiduous design historian could have remained completely unaware of him.<br />
<br />
Yet many of the British designers who made their names in the 1980s – among them Neville Brody and Malcolm Garrett – cite Bubble’s eclectic appropriation of twentieth-century art and suburban kitsch as a vital influence. It also looks as though Bubbles is at last beginning to find his way into the canon. Richard Hollis, author of a history of graphic design to be published by Thames and Hudson in 1993, will include material on Bubbles. Hollis describes him as ‘much the most interesting graphic designer’, saying: ‘He’s a key figure, he can be put on an international level. He had a direct line to creativity. Designers tend to manipulate imagery, not create it; Bubbles was like a real artist.’<br />
<br />
On the record<br />
<br />
Bubble’s favourite medium was the record sleeve. <span style="background-color: #ffe599;">Trivial, ephemeral, and available to everyone</span>, it suited his lack of preciousness about his work, while giving him almost total creative freedom. Remembered with awe by one generation of rock fans for his foldout album covers for Glastonbury Fayre and Hawkwind in the early 1970s, Bubbles is equally revered for his work for punk and new wave bands on the Stiff, Radar and F-Beat record labels. Superficially, his career might seem to span an unbridgeable gulf from the love-and-peace of the hippies to the hate-and-gob of punk. It is an indication of his intuitive grasp of what was right for the moment, and his seemingly instinctive ability to be in the right place at the right time, that his work is seminal to two such different eras.'<br />
<br />
- As Bubbles created his work for the music industry, have album covers always been ephemeral, or are postmodern ones particularly trivial and ephemeral in this way?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmwt3MizAseujFCCZGEuJf-Gq0WfHNtx4CarYStHtiZgq1r52uObLFdb9oYdKyS4qAPobZF2AWA0JTM-3Sy-6xtCdG_uiyCneF6AQrXD-ZQyMbDD30lf0zSv3uyWZWHuUxIFdzz0uSf8/s1600/748e840809e0cb162da3f52476a0af60.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmwt3MizAseujFCCZGEuJf-Gq0WfHNtx4CarYStHtiZgq1r52uObLFdb9oYdKyS4qAPobZF2AWA0JTM-3Sy-6xtCdG_uiyCneF6AQrXD-ZQyMbDD30lf0zSv3uyWZWHuUxIFdzz0uSf8/s320/748e840809e0cb162da3f52476a0af60.jpg" height="317" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Barney Bubbles, Love The Sound Of Breaking Glass - <br />
Nick Lowe</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MGqj25d_fGNfymTmjX_KkBFjBrKqX4ztrq_m3iyrv8opU6JNgJYMCzKy_5x73VnwwogaGZpTZHdlwJIU-XfJcz0BuHmgK4xqIf3IPBDIsWiMOlJTaPcBTxR_t7wBYFWaZKjIMoKCKEs/s1600/a5038d51f2ae9ded4991922289cf66b4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MGqj25d_fGNfymTmjX_KkBFjBrKqX4ztrq_m3iyrv8opU6JNgJYMCzKy_5x73VnwwogaGZpTZHdlwJIU-XfJcz0BuHmgK4xqIf3IPBDIsWiMOlJTaPcBTxR_t7wBYFWaZKjIMoKCKEs/s320/a5038d51f2ae9ded4991922289cf66b4.jpg" height="316" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barney Bubbles, Elvis Costello Cover</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3vepm2yMA81QD6QmYspKXQU2_3q8OSGGRfgXULy5JL_ziVnQkkqtBgG8_O2LVJKhHfoPk8ZMDiF4-wMTP24Q2KHkBGOvrJrh3Qm6qS0Q7Dw1Ib2ricSVE-ifX5a3Etk85ALRbqkiFrY/s1600/8658555090_29c70d20f1_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3vepm2yMA81QD6QmYspKXQU2_3q8OSGGRfgXULy5JL_ziVnQkkqtBgG8_O2LVJKhHfoPk8ZMDiF4-wMTP24Q2KHkBGOvrJrh3Qm6qS0Q7Dw1Ib2ricSVE-ifX5a3Etk85ALRbqkiFrY/s320/8658555090_29c70d20f1_o.jpg" height="320" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Front, 7″ and 12″ sleeve, Keep Us Together, Sad Café, <br />
Charisma, 1983</td></tr>
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<br />Homepagehttp://www.blogger.com/profile/09564719229796928952noreply@blogger.com0