February 2010 Archives

In Response: Matthew Lyons

From a recent post on ISO50 about Matthew Lyons.

The process post about Matthew's development of this specific image, The Snide of a Scoundrel Man from his project Faux Film Stills, shares with us some of the choices he had to make and why. This involves composition, body language, and narrative. I think it definitely expresses a jerky awkwardness because of the deliberate use of straight edged lines and angles. This works with his aim to create an eerie environment. I've noticed in this illustration and in a few others, Matthew makes use of a strikingly simple horizontal line making everything seem to connect instantly.

Looking at other work of his, this image creates a relationship between what's in the hole of the 'O' and a face hole 'O'. This image has a nice clean message in the flat darkness and as you move to the right we see an experience that's still fresh in any heavy computer user's memory. Some of us lucky ones still get to deal with this every once in a while.

Looking back at your assignment I think I may have misread what your intentions were. Were we supposed to analyze the page layout of some article?

In Response: Anatomy of Design Pt.2

As a continuation of design experiments in color since the 60's, Art Nouveau was revisited heavily and played upon by artist/designers like Rick Griffin, Alton Kelley, and Wes Wilson. Alphonse Mucha is a key figure for popular use of Art Nouveau stylings that typically include women. Currently, John Baizley has become more well known for his work that further pushes this influence by illustrating deathly or non-traditionally beautiful subjects in this style.

In Response: Anatomy of Design Pt.1

The second article on Cyan's poster talks about variable colorways. Variation in prints immediately applies value judgements on the design/artwork itself. It's function to direct a message to viewer has not changed it's objective, but how it is received is changed ever so slightly. This is a practice in printmaking when a certain print has a smaller "special" edition giving it more value compared to the more standard edition that is widely available.

I continue to see designers working with "lost" or "low" art/illustration/design/photographs out of context and sometimes recontextualizing it. Some times for better or for worse. Commercial imagery has been a great interest for source work since the time of pop art. Some random good and bad examples: 1 2 3 4 5 6

In Response: Contemporary Graphic Design of Iran

The article's author identifies many designers in Iran as culturally influenced. However, education in design has brought in many western influences and tendencies. This seems to add to the lack of direct communication and understanding of the target audience.

I do like the point on technological advances during the last half century. It reveals some importance on manual skill driving the design early on and the transformation towards interchangeable graphics quickly and cleanly. The comment, "meaning and communication is sacrificed in favor of aesthetic play," really serves as a reminder to keep intention in mind.

I think the article is a little hard to follow. It is encompasses a lot of topics in such generality. Pointing out positive and negative design issues that are constantly discussed in all graphic design communities. A study in the history of Iranian design may put things into a more solid perspective.

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