Joshua Davis uses generative composition programs written in Flash, Python, and JavaScript. He says his main creative input is the code behind his artwork. His Random Controlled Color application enables him to edit out colors singly or generate new iterations. He is into free-flowing consciousness, and he tends to never sketch—planning and sketching is too rigid for his taste. Like many artists, he lets the work lead him instead of the other way around
(http://www.designmuseum.org/design/joshua-davis).
One of his major influences is Jackson Pollock. Davis is not a fan of Pollock’s style per se, but he is interested in the painter’s process. He identifies himself as a painter and admires Pollock’s use of chance and randomness in his work. "I'm going to take that idea further: The painting is never the same from one second to the next." This is a short video of the artist at The Getty Lecture Design Conference: http://www.youtube.com/watch?v=2rCO4pcFsfw
(http://www.wired.com/wired/archive/14.03/joshdavis.html?pg=2&topic=joshdavis&topic_set=).
Joshua Davis doesn’t find inspiration on the net, but from "observations in life." He explains how the urban life shapes its own environment and creates symbiotic relationships between its elements. He gives the following example,"The tree[s] know [their] boundaries and the trucks make sure they remember them. Creating objects or relationships in art, design or programming are no different. I’m inspired by these systems and relationships and try to bring them to my work" (http://www.designmuseum.org/design/joshua-davis).
Despite the apparently unstructured and chaotic nature of his work, Joshua Davis has many corporate clients. According to him, his clients want to use his applications because they are "constantly morphing... so the content always appears to be fresh" (http://www.id-mag.com/article/FlashForward). Each year Joshua Davis Studios accepts a limited number of projects. His main goal is to merge his theories of generative art with commerce and design to create infinite compositions,each "as unique as your fingerprint." Among his clients are: BMW, Kanye West, Motorola, Nike, Volkswagen, Sony, Motown Records, Barneys, Puff Daddy, Bad Boy Entertainment, Universal Records, Atlantic Records, HBO, Canon, Nokia, Charles Schwab and others (http://www.joshuadavis.com/).
Joshua Davis’ personal sites like praystation.com, once-upon-a-forest.com, and Dreamless were crucial to establish his reputation in the design community. "He was no longer viewed as just a clever Web designer, but as an artist using code as a medium" (http://www.wired.com/wired/archive/14.03/joshdavis.html).
Thursday, February 26, 2009
Yugo Nakamura
Yugo Nakamura is one of Japan’s leading web designers who is gaining recognition more and more from around the world. The thing that is getting him recognized is his unique and seamless interface design for websites. He has won various awards for his work in Flash web design and is continuing to find ways to streamline the interface environment.
His approach to creating his sites is to develop alternative methods of visual communication on the web. His interfaces are far from traditional, saying that, “I’d like my work to be a filter that lets the interesting parts of the new media environments – the computers and the people who are involved – become more alive.” His designs force users to reconsider the limits of the online environment. Not only is his work in interface design for websites, but it is also in creating works of art through Flash programming, such as his piece “Entropy”. In this work, he delves into the concept of complexity and how complex things can happen from a large number of very basic things. The piece starts with a single entity that becomes connected to another one similar to it every second and eventually becomes very large and complex. It is also interactive in that users are able to change the way the entity grows by clicking the mouse as it expands.
Another project that he collaborated with another designer named Keita Kitamura is called AmazType. It is a completely new way to browse Amazon.com in which the user inputs their search criteria into the program and then dynamically explores the content that is gathered from Amazon.com. Instead of viewing the results in a particular order, they are all spread out across the screen in a myriad of images that the search brings up. The user can then click on one of the pictures and get more information on the product and even go directly to the Amazon website for more information or to purchase the item. On top of all of this, the images actually spell out the word that you searched for. It’s a truly unique and amazing way to shop on Amazon.
He says that much of his influence is the nature. To get people to reconsider the limits of online environments, he says he “utilizes simple mathematics underlying natural complexity to create online interactions that are useable and familiar because their behavior is modeled on the natural world.”
His approach to creating his sites is to develop alternative methods of visual communication on the web. His interfaces are far from traditional, saying that, “I’d like my work to be a filter that lets the interesting parts of the new media environments – the computers and the people who are involved – become more alive.” His designs force users to reconsider the limits of the online environment. Not only is his work in interface design for websites, but it is also in creating works of art through Flash programming, such as his piece “Entropy”. In this work, he delves into the concept of complexity and how complex things can happen from a large number of very basic things. The piece starts with a single entity that becomes connected to another one similar to it every second and eventually becomes very large and complex. It is also interactive in that users are able to change the way the entity grows by clicking the mouse as it expands.
Another project that he collaborated with another designer named Keita Kitamura is called AmazType. It is a completely new way to browse Amazon.com in which the user inputs their search criteria into the program and then dynamically explores the content that is gathered from Amazon.com. Instead of viewing the results in a particular order, they are all spread out across the screen in a myriad of images that the search brings up. The user can then click on one of the pictures and get more information on the product and even go directly to the Amazon website for more information or to purchase the item. On top of all of this, the images actually spell out the word that you searched for. It’s a truly unique and amazing way to shop on Amazon.
He says that much of his influence is the nature. To get people to reconsider the limits of online environments, he says he “utilizes simple mathematics underlying natural complexity to create online interactions that are useable and familiar because their behavior is modeled on the natural world.”
Paul Rand
Paul Rand was an extremely influential graphic designer, starting his career in the early 1930’s and continuing to design until his death in 1996. He was one of the originators of the Swiss style of design.
http://www.paul-rand.com/index.shtml
http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=40
Growing up in a Jewish household and attending a strict Orthodox school, the creation of images or objects could be worshiped was forbidden. It’s ironic however, that Rand’s career would focus mainly on the creation of logos and corporate identities. At an early age, Rand began painting signs for his father’s grocery store. In an attempt to conceal his Jewish heritage, he alerted his name from Peretz Rosenbaum. Discovering the unity and balance of his new name, “Paul Rand” would become his first true identity, or logo if you will. His career took off and he would soon create some of the most recognizable logos in the last 100 years. After the creation of the IMB logo, impressions that his work was “too simple” began to rise. In his defense, Rand described in his book A Designer’s Art, that “ideas do not need to be esoteric to be original or exciting.”
Rand began to research the philosophies and ideologies of famous artists including Roger Fry, Alfred North Whitehead, and John Dewey. It was noted by many that Rand’s drew the most inspiration from Dewey. Stretching from Dewey’s ideas, Rand felt the need for “functional-aesthetic perfection”. More modern inspiration came from other artists including Jan Tschichold and Paul Cezanne. He desperately tried to find connections between their work, and his design ideas. Quoting Rand:
“From Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artist’s caldron. What Cezanne did with apples, Picasso with guitars, Leger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of the artist is to defamiliarize the ordinary.”
In one of Rand’s writings about design and communication, Rand explains some more of his ideas:
“The lament of the graphic designer that he is not permitted to do good work because good work is neither wanted nor understood by his employers is universal. It is indeed very often true. But if the artist honestly evaluates his work he will frequently find that the ‘good work’ the businessman has rejected is really not so ‘good’. Many times when the ‘square’ client says ‘it’s too far out’, he may be unconsciously reacting to inappropriate symbolism, obscure interpretation of an idea, poor typography, an inadequate display of his product, or simply bad communication.”
http://www.paul-rand.com/index.shtml
http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=40
Growing up in a Jewish household and attending a strict Orthodox school, the creation of images or objects could be worshiped was forbidden. It’s ironic however, that Rand’s career would focus mainly on the creation of logos and corporate identities. At an early age, Rand began painting signs for his father’s grocery store. In an attempt to conceal his Jewish heritage, he alerted his name from Peretz Rosenbaum. Discovering the unity and balance of his new name, “Paul Rand” would become his first true identity, or logo if you will. His career took off and he would soon create some of the most recognizable logos in the last 100 years. After the creation of the IMB logo, impressions that his work was “too simple” began to rise. In his defense, Rand described in his book A Designer’s Art, that “ideas do not need to be esoteric to be original or exciting.”
Rand began to research the philosophies and ideologies of famous artists including Roger Fry, Alfred North Whitehead, and John Dewey. It was noted by many that Rand’s drew the most inspiration from Dewey. Stretching from Dewey’s ideas, Rand felt the need for “functional-aesthetic perfection”. More modern inspiration came from other artists including Jan Tschichold and Paul Cezanne. He desperately tried to find connections between their work, and his design ideas. Quoting Rand:
“From Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artist’s caldron. What Cezanne did with apples, Picasso with guitars, Leger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of the artist is to defamiliarize the ordinary.”
In one of Rand’s writings about design and communication, Rand explains some more of his ideas:
“The lament of the graphic designer that he is not permitted to do good work because good work is neither wanted nor understood by his employers is universal. It is indeed very often true. But if the artist honestly evaluates his work he will frequently find that the ‘good work’ the businessman has rejected is really not so ‘good’. Many times when the ‘square’ client says ‘it’s too far out’, he may be unconsciously reacting to inappropriate symbolism, obscure interpretation of an idea, poor typography, an inadequate display of his product, or simply bad communication.”
Laszo Moholy-Nagy
"My belief is that mathematically harmonious shapes, executed precisely, are filled with emotional quality, and that they represent the perfect balance between feeling and intellect."
Laszo Moholy-Nagy is an iconic figure in graphic design. The Hungarian born artist is synonymous with the Bauhaus, and was at various times a painter, photographer, sculptor, teacher, typographer, printmaker, and industrial designer. Innovative and experimental, he worked with new synthetic materials such as Rhodoid, Galalith and Perspex, and took up color photography when it was in its infancy.
As a painter, he developed an abstract style influenced by Kasimir Malewitsch and El Lissitzky, and is considered one of the most important artists of Constructivism. His paintings imply movement through layering and spatial effects. He uses straight lines and regular shapes in mostly black, grey and red with an occasional blue or yellow. Many of his early paintings appear inspired by mechanical shapes, gears, levers, and typographical characters. Combining Constructivism and Dadaism, he imbues controlled geometric forms with a playful, improvised quality.
Fascinated with the fusion of art and technology, he and his Bauhaus cohorts considered the machine to be a positive instrument for society. An instrument in need of well-considered design at both the industrial and product levels.
Moholy-Nagy apparently considered himself, as an artist, to be primarily a photographer. He said “photography could create a whole new way of seeing the outside world that the human eye could not,” and “it is not the person ignorant of writing but the one ignorant of photography who will be illiterate of the future.”
He experimented with a light-sensitive photo technique, the photogram, in the early twenties. Placing objects on light sensitive paper and exposing the paper to light; the objects on the paper keep the paper from being exposed, and reveal a shape. This experimentation was concerned with the interplay between light, dark, and the two-dimensional paper, creating depth and motion.
Moholy-Nagy’s legacy of surrealism is evident in his photomontages featuring human and animal figures in strange formations, and his black and white Bauhaus balcony photos.
He founded the Chicago Institute of Design in 1938, bringing Bauhaus methodologies to the USA. These methodologies are the modern day Basic Design course that have become some of the key foundational courses offered in architectural and design schools all over the world.
http://www.nga.gov/exhibitions/2007/foto/fullscreen/fig_3.shtm
http://www.artnet.com/artwork/425308900/116447/landscape.html
http://www.mentalfloss.com/blogs/archives/20532
As a painter, he developed an abstract style influenced by Kasimir Malewitsch and El Lissitzky, and is considered one of the most important artists of Constructivism. His paintings imply movement through layering and spatial effects. He uses straight lines and regular shapes in mostly black, grey and red with an occasional blue or yellow. Many of his early paintings appear inspired by mechanical shapes, gears, levers, and typographical characters. Combining Constructivism and Dadaism, he imbues controlled geometric forms with a playful, improvised quality.
Fascinated with the fusion of art and technology, he and his Bauhaus cohorts considered the machine to be a positive instrument for society. An instrument in need of well-considered design at both the industrial and product levels.
Moholy-Nagy apparently considered himself, as an artist, to be primarily a photographer. He said “photography could create a whole new way of seeing the outside world that the human eye could not,” and “it is not the person ignorant of writing but the one ignorant of photography who will be illiterate of the future.”
He experimented with a light-sensitive photo technique, the photogram, in the early twenties. Placing objects on light sensitive paper and exposing the paper to light; the objects on the paper keep the paper from being exposed, and reveal a shape. This experimentation was concerned with the interplay between light, dark, and the two-dimensional paper, creating depth and motion.
Moholy-Nagy’s legacy of surrealism is evident in his photomontages featuring human and animal figures in strange formations, and his black and white Bauhaus balcony photos.
He founded the Chicago Institute of Design in 1938, bringing Bauhaus methodologies to the USA. These methodologies are the modern day Basic Design course that have become some of the key foundational courses offered in architectural and design schools all over the world.
http://www.nga.gov/exhibitions/2007/foto/fullscreen/fig_3.shtm
http://www.artnet.com/artwork/425308900/116447/landscape.html
http://www.mentalfloss.com/blogs/archives/20532
Graphic Thought Facility
Graphic Thought Facility – GTF
Founders: Paul Neale and Andy Stevens
Partner: Huw Morgan
The company’s works are focused around developing and executing their graphic projects. The company is well known for the eclecticism of their works over many off their other aspects. Eclecticism is an approach that considers multiple theories, styles or ideas rather than just one insight on a project. Considering Neale, Stevens and Morgan’s opinions of what has influenced or inspired them this approach is not surprising.
Eclecticism
- Huw Morgan considers his greatest influence to be his mother’s work in artistic print-making he grew up watching. They used the technique of lithography which is a process of print making using wax or similar substance to separate forms on a stone into hydrophobic, which will accept the applied ink, or hydrophilic, which will deter the ink.
- Neale is a bit more simplistic and believe he was drawn to graphic design by his children’s books and toys and that those items continue to influence his work. This form of simple influence can be a positive by keeping the style simple but entertaining and effective, much like how children’s toys and books are designed for their simpler minds.
- Stevens believes that Malcolm Garrett’s sleeve and cassette packaging designs of the 70’s and 80’s were a large influence on him. Garrett was originally trained in typography but later became a fully rounded graphic artist creating album covers for groups like Duran Duran and Simple Minds. With these three styles and influences its easy to see how the works can come out very diversified and not focused around only one central design aspect. Stevens also mentions Derek Birdsall as an important figure head while he was the Royal College of Art. Birdsall’s focus was essentially around hand lettering. He had no real affinity for schooling like his grandfather but had a natural talent for hand drawn letters. He learned typography and had many jobs involved in its stylization.
Graphic Thought Facility
This is Graphic Thought Facility’s main site which contains all of their works, both current and past.
Graphic Thought Facility has created works for many different British companies such as Shakespeare’s Globe Theater Theater Poster
The Design Museum in London for the Peter Saville Show Poster for Peter Saville Show
And the re-branding of the company Habitat
Habitat Bag
Each design serves a different purpose, one is to rejuvenate a theater’s patrons, the second is to promote one of the upcoming artists at the Design Museum and the last is to re-create a theme and “brand” for a company. Each focuses on different emphases of design and does not lend itself to repetition of style, which is probably why this firm is very successful.
Overall, with the wide variety of influences and abilities contributing to the Graphic Thought Facility’s range of designers the firms potential to please their clients seems boundless. In addition it must create a great team full of different processes and opinions that the firm as a team can bounce off each other to achieve their desired end result.
Founders: Paul Neale and Andy Stevens
Partner: Huw Morgan
The company’s works are focused around developing and executing their graphic projects. The company is well known for the eclecticism of their works over many off their other aspects. Eclecticism is an approach that considers multiple theories, styles or ideas rather than just one insight on a project. Considering Neale, Stevens and Morgan’s opinions of what has influenced or inspired them this approach is not surprising.
Eclecticism
- Huw Morgan considers his greatest influence to be his mother’s work in artistic print-making he grew up watching. They used the technique of lithography which is a process of print making using wax or similar substance to separate forms on a stone into hydrophobic, which will accept the applied ink, or hydrophilic, which will deter the ink.
- Neale is a bit more simplistic and believe he was drawn to graphic design by his children’s books and toys and that those items continue to influence his work. This form of simple influence can be a positive by keeping the style simple but entertaining and effective, much like how children’s toys and books are designed for their simpler minds.
- Stevens believes that Malcolm Garrett’s sleeve and cassette packaging designs of the 70’s and 80’s were a large influence on him. Garrett was originally trained in typography but later became a fully rounded graphic artist creating album covers for groups like Duran Duran and Simple Minds. With these three styles and influences its easy to see how the works can come out very diversified and not focused around only one central design aspect. Stevens also mentions Derek Birdsall as an important figure head while he was the Royal College of Art. Birdsall’s focus was essentially around hand lettering. He had no real affinity for schooling like his grandfather but had a natural talent for hand drawn letters. He learned typography and had many jobs involved in its stylization.
Graphic Thought Facility
This is Graphic Thought Facility’s main site which contains all of their works, both current and past.
Graphic Thought Facility has created works for many different British companies such as Shakespeare’s Globe Theater Theater Poster
The Design Museum in London for the Peter Saville Show Poster for Peter Saville Show
And the re-branding of the company Habitat
Habitat Bag
Each design serves a different purpose, one is to rejuvenate a theater’s patrons, the second is to promote one of the upcoming artists at the Design Museum and the last is to re-create a theme and “brand” for a company. Each focuses on different emphases of design and does not lend itself to repetition of style, which is probably why this firm is very successful.
Overall, with the wide variety of influences and abilities contributing to the Graphic Thought Facility’s range of designers the firms potential to please their clients seems boundless. In addition it must create a great team full of different processes and opinions that the firm as a team can bounce off each other to achieve their desired end result.
Assa Ashuach Blog 5: Erin Lee
Assa Ashuach was born in Israel and seems to have a very intriguing style because he deploys stress analysis software to optimize the object’s structural strength using minimal material sculpted into a seductive form. “I try to reduce design to its essential points. You can’t take from it and you can’t add to it. If a few millimeters of surface changed, it would collapse.”(Ashuach). I find this interesting because it reminds me so much of Martin Pierce who looks at trees, roots and leaves and then he begins to design ways that these organic forms can be re-styled to make decorative door handles and such. He takes the beauty he sees in nature and uses it to create functional art like Assa. Both Pierce and Assa use very organic, flowing shapes to create their works. (Image #1)
http://images.google.com/imgres?imgurl=http://martinpiercedoorhardware.com/wp-content/uploads/2008/12/hrowloc-pwy-lvr-bp72-dpi.jpg&imgrefurl=http://martinpiercedoorhardware.com/2008/12/04/organic-themes-become-functional-art/&usg=__-4mssz-sTDef3z4OyKi0bF6x_-I=&h=4183&w=4169&sz=6730&hl=en&start=39&um=1&tbnid=tZ2PifmC2GMa9M:&tbnh=150&tbnw=149&prev=/images%3Fq%3Dfunctional%2Bart%26start%3D20%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7DMUS_en%26sa%3DNefurl=http://martinpiercedoorhardware.com/2008/12/04/organic-themes-become-functional-art/&usg=__-4mssz-sTDef3z4OyKi0bF6x_-I=&h=4183&w=4169&sz=6730&hl=en&start=39&um=1&tbnid=tZ2PifmC2GMa9M:&tbnh=150&tbnw=149&prev=/images%3Fq%3Dfunctional%2Bart%26start%3D20%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7DMUS_en%26sa%3DN
Omi by Assa looks very similar to Alexander Calder’s Lobster Trap and Fish Tail. Comparing them side by side I see definite relationships between form and style. Both are balanced and reduced to simple shapes to create an overall unique quality of form and function. Although Calder’s piece was from 1939 and did not contain a light function, both pieces have kinetic energy that incorporates the space, both solid and empty that is occupied by the works.
(Image #2-3) http://images.google.com/imgres?imgurl=http://farm1.static.flickr.com/83/275160491_cb074a4ef0.jpg%3Fv%3D0&imgrefurl=http://flickr.com/photos/10049648%40N00/275160491&usg=__ZbuYMv4jgPFOWA6OB6KFwMs0RJA=&h=500&w=375&sz=55&hl=en&start=23&um=1&tbnid=z7Zh4s4AyuSroM:&tbnh=130&tbnw=98&prev=/images%3Fq%3DAssa%2BAshuach%26start%3D20%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7DMUS_en%26sa%3DN
This is a very dynamic and energetic piece by Assa. The nonobjective forms give this piece a life of their own through this animated arrangement. Much like Celebraciones by Leonardo Nierman both works of art transform the space they occupy. These free-flowing shapes are transformed into an exciting style continuously moving perceptually. The bright orange helps draw attention to the spikes protruding outwards similar to Celebraciones sharp angles towards the sky. Both are very dynamic and well put together.
(Image #4-5) http://www.britishcouncil.org/kh/cubed-intelligent-interiors-main-image-255x352 http://images.google.com/imgres?imgurl=http://farm4.static.flickr.com/3060/2629977875_1dc14af5fa.jpg%3Fv%3D0&imgrefurl=http://flickr.com/photos/9061377%40N05/2629977875&usg=__XP86ic8HAmfBc5D7hya4T5J6_Zo=&h=500&w=346&sz=101&hl=en&start=79&um=1&tbnid=IZ4gfYoXRQ7P6M:&tbnh=130&tbnw=90&prev=/images%3Fq%3Dleonardo%2Bnierman%2Bart%26start%3D60%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7DMUS_en%26sa%3DN Chez Banc is the “embodiment of seductive feminine curves and designs for pleasure” according to the State of Design website. “The sensual essence of the human form into furniture creates the ultimate ménage e trois between human form, functional design and sculptural art.” It is a sculptural piece to not only serve as a chair, but much like Assa’s 501 Chair both chairs entice the viewer to explore the many curvaceous shapes. Highly simplified shapes allow the imagination of the viewer to wander over the chairs with curiosity and ambition. The negative space produced by both chairs is an interesting and provocative space as well. Both chairs seem to dominate their positions in space regardless. Banc’s chair is very relaxed. It appears to be laying back into space where as the 501 Chair looks as though it is about to stand up. I’m sure it is better for the back to have better posture while sitting in the 501 Chair. After a long day of work and what not, I would prefer Banc’s design because it is very appealing to sit and layback. There is a link to his website at the bottom of the page that contains a chair entitled “The Naked Chair” that is made of acrylic, so check it out!
(Image #6-7) http://images.google.com/imgres?imgurl=http://www.stateofdesign.com.au/sodwr/_assets/main/lib90002/chezbanc%2520image%25204.jpg&imgrefurl=http://www.stateofdesign.com.au/FestivalProgram/designmadetrade/chez_banc%3Fs%3D0&usg=__lq9yaBfePTAm3A5ZuGGlT-501G8=&h=164&w=164&sz=32&hl=en&start=24&um=1&tbnid=fqauM6zlqPPVgM:&tbnh=98&tbnw=98&prev=/images%3Fq%3Dseductive%2Bform%2Bart%26start%3D20%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:*:IE-SearchBox%26rlz%3D1I7DMUS_en%26sa%3DN Assa cares very deeply for perception and use, which influences his art in a different way than Nierman’s or even Calder. What Assa realizes is “that as creators of new things, we have to question design each time again and again.” He is absolutely right, artists and designers are pushing the bar in this society with materials. Humans have the technology to create fantastic things; all it takes is a little imagination.
JOSHUA DAVIS
Joshua Davis is one of the pioneers or fore fathers of web design as an art form. Josh is continually pushing the medium to new limits in a fast evolving media. A unique aspect about Joshua Davis as an artist in the web design field is his eagerness to reveal and share his methods and techniques. Go to the following sites to see some of his works:
praystation.com
once-upon-a-forest.com
cyphen.com
antiweb-chaos.com
kioken.com
In his works Joshua Davis is known to use systems of randomization also known as the chaos theory stemming from a mathematical equation. This chaotic randomization can attribute to his many spiraling and asymmetrical shapes and patterns he uses in his works. I like this a lot about him because he can often go past traditional grid structures and systems to create his designs and patterns. Davis explains his theory or “grid structure” for some of his designs as a systematic yet organic growth or evolution based of a starting shape or pattern. For instance, if he were to start with a oval or circle he would build up a grid off the building up or spiraling out of that circle or oval. From that basic pattern Davis would find a grid to exploit. It is a bit complicated to me, but this is why he is so famous.
From what I gathered Joshua Davis has a couple of major influence for his art style and love for technology. The first is his love for classic video games. The types of classic video games that he mostly is inspired by are sprite based and simplistic like PONG, PAC MAN, or SPACE INVADERS. His second major influence is the modern artist popularized from in the 1940’s and 1950’s Jackson Pollock. The “painter that rarely touched the canvas” used action painting and movement as emphasis to his creative endeavors. Davis admits that he admires Pollock’s artistry in this quote: “Among modern artists, I conceptually identify with Jackson Pollock — not that I'm a particular fan of his visual style, but because he always identified himself as a painter, even though a lot of the time his brush never hit the canvas. There's something in that disconnect — not using a brush or tool in traditional methods.” I belief that is how Joshua Davis views himself as still a sort of painter or illustrator even though his most acclaimed works have no true brushstrokes and are all digital.
Davis’ influences can be seen everywhere on the web and in print design. A few years back a lot of commercial seemed to have a good deal asymmetrical dynamic patterns that can be easily related back to Davis. Also I have noticed that websites seem to move away from the hard mechanically color palettes like black silver grey (“futuristic colors”) toward softer color palettes, and I see that Davis has done that since his earliest designs, which are most vividly captured at once upon a forest and to a lesser extend praystation. I admire his work a lot because what he does seems so fresh and timeless, they’re good designs that would stand alone even if not on the web.
praystation.com
once-upon-a-forest.com
cyphen.com
antiweb-chaos.com
kioken.com
In his works Joshua Davis is known to use systems of randomization also known as the chaos theory stemming from a mathematical equation. This chaotic randomization can attribute to his many spiraling and asymmetrical shapes and patterns he uses in his works. I like this a lot about him because he can often go past traditional grid structures and systems to create his designs and patterns. Davis explains his theory or “grid structure” for some of his designs as a systematic yet organic growth or evolution based of a starting shape or pattern. For instance, if he were to start with a oval or circle he would build up a grid off the building up or spiraling out of that circle or oval. From that basic pattern Davis would find a grid to exploit. It is a bit complicated to me, but this is why he is so famous.
From what I gathered Joshua Davis has a couple of major influence for his art style and love for technology. The first is his love for classic video games. The types of classic video games that he mostly is inspired by are sprite based and simplistic like PONG, PAC MAN, or SPACE INVADERS. His second major influence is the modern artist popularized from in the 1940’s and 1950’s Jackson Pollock. The “painter that rarely touched the canvas” used action painting and movement as emphasis to his creative endeavors. Davis admits that he admires Pollock’s artistry in this quote: “Among modern artists, I conceptually identify with Jackson Pollock — not that I'm a particular fan of his visual style, but because he always identified himself as a painter, even though a lot of the time his brush never hit the canvas. There's something in that disconnect — not using a brush or tool in traditional methods.” I belief that is how Joshua Davis views himself as still a sort of painter or illustrator even though his most acclaimed works have no true brushstrokes and are all digital.
Davis’ influences can be seen everywhere on the web and in print design. A few years back a lot of commercial seemed to have a good deal asymmetrical dynamic patterns that can be easily related back to Davis. Also I have noticed that websites seem to move away from the hard mechanically color palettes like black silver grey (“futuristic colors”) toward softer color palettes, and I see that Davis has done that since his earliest designs, which are most vividly captured at once upon a forest and to a lesser extend praystation. I admire his work a lot because what he does seems so fresh and timeless, they’re good designs that would stand alone even if not on the web.
Amit Pitaru
Amit Pitaru is an Israeli born artist, designer and researcher of Human Machine Interaction (HCI). Born in Jerusalem and raised in Tel-Aviv, he has played instruments since the age of 5. At the age of 23 he moved to New York and began to play in clubs. Pitaru took a loving to the Hammond Organ and it was through this admiration that the Hammond Flower Organ came about. The organ is an alternative interface that lets users interact with the instrument, allowing for a new and unique way of using the instrument. Pitaru does explorations in new forms of musical expression, while at the same time not discarding the overall notions that have revealed themselves over centuries, as to how and why music is listened to.
He began as a musician, but became interested in computers when he had downtime in the studio. He learned Flash first and that has no grown to other languages, including Processing. Being a musician first and then a programmer allows Pitaru to have a great feel for the sound and visuals that he uses. Pitaru has been inspired by conversations he has with people, drawing more from a simple conversation then from their work. He draws this inspiration from conversations with other artists, his father who’s a scientist, and his mother who is also an artist.
As a designer Pitaru’s focus is on assistive technologies. He tries to create new solutions to old problems. His latest project is an attempt at making a game that children with disabilities can play. According to Pitaru games are meant to motivate and challenge us to think, which in the case for children with disabilities games put their disabilities front and center. Through design itself, with a little bit of thought, the barriers can be overcome. His work examines the manner in which our current technologies have hindered our ability to learn and communicate.
By using processing/coding/programming Pitaru is able to create his own tools from scratch which allows for the most freedom. These skills allow for easy adjustment and to reapply of musical knowledge into the medium. Although Pitaru’s work primarily deals with games, his ideas and notions are applicable to other mediums. His work has the potential to change the way we teach children, with or without disabilities, and with that would require a change in design practice. User interface design, game design, computer systems, and teaching methods would all potentially be altered.
http://www.pitaru.com/
He began as a musician, but became interested in computers when he had downtime in the studio. He learned Flash first and that has no grown to other languages, including Processing. Being a musician first and then a programmer allows Pitaru to have a great feel for the sound and visuals that he uses. Pitaru has been inspired by conversations he has with people, drawing more from a simple conversation then from their work. He draws this inspiration from conversations with other artists, his father who’s a scientist, and his mother who is also an artist.
As a designer Pitaru’s focus is on assistive technologies. He tries to create new solutions to old problems. His latest project is an attempt at making a game that children with disabilities can play. According to Pitaru games are meant to motivate and challenge us to think, which in the case for children with disabilities games put their disabilities front and center. Through design itself, with a little bit of thought, the barriers can be overcome. His work examines the manner in which our current technologies have hindered our ability to learn and communicate.
By using processing/coding/programming Pitaru is able to create his own tools from scratch which allows for the most freedom. These skills allow for easy adjustment and to reapply of musical knowledge into the medium. Although Pitaru’s work primarily deals with games, his ideas and notions are applicable to other mediums. His work has the potential to change the way we teach children, with or without disabilities, and with that would require a change in design practice. User interface design, game design, computer systems, and teaching methods would all potentially be altered.
http://www.pitaru.com/
Saul Bass-Commercial Design Guru-Blog 5
There is a lot to be said for Saul Bass, the designer I have selected for my blog. I leapfrog to him, like a fly to light, due to his connection with Alfred Hitchcock, the master film maker and other film makers of his time.
Alfred Hitchock loved to use light, lines, shapes and all else to convey a sense of mood, urgency and cinematic direction. The protagonist and antagonist often in any scene in a Hitchcock movie were usually clearly defined by the use of light and shadows. The bad guy usually was encompassed in darks shadows.
Saul Bass reflects Hitchcock film making in his own print making. In Saul Bass’s Poster for the Alfred Hitchcock film “Vertigo” , he really encapsulates in a single image the message or the movement of the film. Even though there is not a lot going on in the poster as far as multiple ideas, the clearness and conciseness of the idea of the film is laid out in terms that can be understood . Less is more here. The lines, the figures, the color of the poster, all play important factors in helping to tell the viewer what is happening in the poster.
The characters at the center of the poster are identified as black and white, indicating some sort of interplay of characters. The orange color in the Vertigo poster and the spiraling movement of the white lines take the eye straight to these human figures in the center of the picture almost revealing the plot of the movie. Just looking at this Saul Bass piece almost gives too much of the movie plot away as a single image says so much about a story. www.designmuseum.org/_entry/3857?style=design_image_popup)
Saul Bass style would be describe as a modern, or commercial designer and has been shadowed by many artists as he himself has worked on many films. He has worked with Alfred Hitchcock, Martin Scorcese and Otto Preminger to name a few of the great.
Saul Bass seems to design with a “less is more” philosophy that he has picked up from some of these film greats. . The idea that space can be successfully separate by line and color shows in his work.
In Saul Bass’s “the Man with the Golder Arm” poster, (www.designmuseum.org/_entry/3856?style=design_image_popup) even though the poster is a 2-D composite, the poster seems to have a time sequence going on. There are 4 separate visible images that are describing points of view in the story. One of the recognizable human elements of the piece is the mangy, crocked arm in the center of the poster. The style of the poster, which the big black and blue block defining space, is reminiscent of the 1950 and the modernist style of the time, and makes used of dark colors.
Looking at different Saul Bass movie posters, it appears that he has an experimental way of working with his subject matter. He seems to like using black text as well. In each example of black poster text, the text itself has a story into itself in the balanced way the letters in each typographical element add to the concept and story. The way the typography is crafted, the kerning and leading, of the text, all of which ads to the character of the piece. www.designmuseum.org/_entry/3860?style=design_image_popup) when typography is carefully staggered and created, it has meaning unto itself.
Stefan Sagmeister
Stefen Sagmeister has a very unique approach to designing in that they are mostly very organic and sensual in nature. The fact that Sagmeister himself says, "I would say we are probably best known for our hand-made quality," is characteristic of this approach. This can also be seen in the organic approach he takes to laying out letter forms, which are primarily handwritten, and in the found imagery that he uses in his works. According to designmuseum.org he is extremely good in conceptualizing new ideas for solving design problems. His concepts are brutally relevant and straight forward, which can be seen in designs like this.
The AIGA poster he did is a perfect representation of his style and ability to conceptualize. The handmade, grungy quality comes through in the aesthetic that was achieved through carving on his own flesh with an xacto knife; while the concept of him being the subject of a poster that promotes himself is brilliant, as it allows for an immediate emotional connection to the viewer that signals Sagmeister's authenticity to them. His conceptualization is based upon aspects of sexuality and humor, which comes through in this design, as well as in others, and in some cases makes his designs almost inappropriate.
This testing of boundaries of appropriateness is exemplified well in his call for entries, which he did for the 1992 4As advertising awards. It was considered offensive and controversial and offensive by many, but was only so because it featured a four men bearing their asses, a traditional Cantonese image. This clearly demonstrates the humor with which he approaches design.
Another work that shows the diversity of his influences is the cover for Rolling Stones' album Bridges to Babylon. He was inspired by an Assyrian lion sculpture, which would have been symbolic of the concept behind the album as well as a symbol of Mick Jager's astrological sign. Once again his brilliant ability to conceptualize in a way that was impeccable can be seen. The cover design also features organic elements which look hand drawn to offset an almost photographic-like image of the lion.
From looking at many of Sagmeister's works, I have noticed that he draws inspiration from just about anything to keep his style non-existent, aside from having a hand-made quality. "Different influences are always helpful. Most designers I like, have big interests in other fields such as John Maida and his programming abilities, Tibor Kalmann and his political background in the student movement, Storm Thorgeson and his photo montage wizardry; they all stayed away from the typical influence of design annuals."(scene360.com) He uses the inspiration from these other innovative designers to keep his designs fresh and unique.
The only designers that I could find that were directly influenced by him are the designers who worked for him and formed Karlssonwilker. Their designs seem to be tamed reincarnations of his wild concepts, since they are all conceptually apt, but have evolved to have a more modern and refined look. However, it is evident that they have adopted his approach to style, as they seem to have no distinct style of their own either.
The AIGA poster he did is a perfect representation of his style and ability to conceptualize. The handmade, grungy quality comes through in the aesthetic that was achieved through carving on his own flesh with an xacto knife; while the concept of him being the subject of a poster that promotes himself is brilliant, as it allows for an immediate emotional connection to the viewer that signals Sagmeister's authenticity to them. His conceptualization is based upon aspects of sexuality and humor, which comes through in this design, as well as in others, and in some cases makes his designs almost inappropriate.
This testing of boundaries of appropriateness is exemplified well in his call for entries, which he did for the 1992 4As advertising awards. It was considered offensive and controversial and offensive by many, but was only so because it featured a four men bearing their asses, a traditional Cantonese image. This clearly demonstrates the humor with which he approaches design.
Another work that shows the diversity of his influences is the cover for Rolling Stones' album Bridges to Babylon. He was inspired by an Assyrian lion sculpture, which would have been symbolic of the concept behind the album as well as a symbol of Mick Jager's astrological sign. Once again his brilliant ability to conceptualize in a way that was impeccable can be seen. The cover design also features organic elements which look hand drawn to offset an almost photographic-like image of the lion.
From looking at many of Sagmeister's works, I have noticed that he draws inspiration from just about anything to keep his style non-existent, aside from having a hand-made quality. "Different influences are always helpful. Most designers I like, have big interests in other fields such as John Maida and his programming abilities, Tibor Kalmann and his political background in the student movement, Storm Thorgeson and his photo montage wizardry; they all stayed away from the typical influence of design annuals."(scene360.com) He uses the inspiration from these other innovative designers to keep his designs fresh and unique.
The only designers that I could find that were directly influenced by him are the designers who worked for him and formed Karlssonwilker. Their designs seem to be tamed reincarnations of his wild concepts, since they are all conceptually apt, but have evolved to have a more modern and refined look. However, it is evident that they have adopted his approach to style, as they seem to have no distinct style of their own either.
Kerr Noble
%3Ca%20onblur%3D%22try%20%7Bparent.deselectBloggerImageGracefully()%3B%7D%20catch(e)%20%7B%7D%22%20href%3D%22http%3A%2F%2Fwww.designmuseum.org%2Fmedia%2Fitem%2F4960%2F-1%2F118_1Lg.jpg%22%3E%3Cimg%20style%3D%22display%3Ablock%3B%20margin%3A0px%20auto%2010px%3B%20text-align%3Acenter%3Bcursor%3Apointer%3B%20cursor%3Ahand%3Bwidth%3A%20382px%3B%20height%3A%20330px%3B%22%20src%3D%22http%3A%2F%2Fwww.designmuseum.org%2Fmedia%2Fitem%2F4960%2F-1%2F118_1Lg.jpg%22%20border%3D%220%22%20alt%3D%22%22%20%2F%3E%3C%2Fa%3E%0A%0AWhile%20this%20design%20firm%20recently%20shut%20their%20doors%2C%20the%20work%20the%20pair%20(Amelia%20Noble%20and%20Frith%20Kerr)%20did%20in%20the%20design%20world%20under%20their%20firm%20name%20Kerr%20Noble%20is%20impressive%20and%20interesting.%20%0A%0ANoble%20and%20Kerr%20met%20while%20attending%20the%20Royal%20College%20of%20Art%20when%20they%20were%20put%20together%20for%20competitions%20and%20subsequently%20won.%20Noble%20found%20that%20she%20was%20drawn%20to%20Kerr's%20style%20of%20work%2C%20while%20Kerr%20on%20the%20other%20hand%20thought%20that%20they%20had%20two%20quite%20dissimilar%20styles%20and%20even%20viewed%20her%20future%20partner%20with%20mild%20suspicion%20bought%20out%20from%20a%20sectional%20rivalry.%20Working%20together%20they%20found%20that%20Kerr's%20opinion%20on%20their%20different%20styles%20was%20actually%20revealed%20to%20be%20a%20very%20similar%20approach%20to%20their%20work.%20In%20fact%2C%20Kerr%20has%20said%20that%20%22In%20fact%20when%20we%20disagree%20we%20are%20usually%20in%20agreement%2C%20but%20it%20takes%20us%20a%20while%20to%20work%20it%20out.%22%20which%20shows%20that%20they%20come%20to%20the%20same%20conclusion%20when%20a%20problem%20is%20presented%2C%20they%20just%20don't%20always%20think%20they%20do!%0A%0A%3Ca%20onblur%3D%22try%20%7Bparent.deselectBloggerImageGracefully()%3B%7D%20catch(e)%20%7B%7D%22%20href%3D%22http%3A%2F%2Fwww.designmuseum.org%2Fmedia%2Fitem%2F4965%2F-1%2F118_6Lg.jpg%22%3E%3Cimg%20style%3D%22float%3Aleft%3B%20margin%3A0%2010px%2010px%200%3Bcursor%3Apointer%3B%20cursor%3Ahand%3Bwidth%3A%20416px%3B%20height%3A%20330px%3B%22%20src%3D%22http%3A%2F%2Fwww.designmuseum.org%2Fmedia%2Fitem%2F4965%2F-1%Proxy-Connection: keep-alive
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Blog "5": Yugo Nakamura
Yugo Nakamura (born in 1970) is a multimedia designer and one of the worlds most innovative web designers. His websites are www.yugop.com and www.surface.yugop.com. The interactive animations he has on his sites are both simple and user friendly while being very complex in their design at the same time. When Flash 4 came out he was one of the first to use it and showed how powerful it could be through version 2.0 of his MONOcrafts site.
MONOcrafts is the end result of over a decade of experimentation in digital media. According to the site “MONOcrafts is a net-based studio located in Tokyo interested in exploring new expression under this networked situation. And we are creating web-site / net-application with a new concept of interactivity. Our concept and techniques are expressed in every part of this site.” The site is definitely all about interactivity. Even while reading the previous passage you have to move your cursor over the screen to allow the text to appear.
Multimedia design was not Nakamura’s first passion though. While at Tokyo university he studied landscape architecture and civil engineering, and these are the fields that he worked in for the first part of his life. He became obsessed by his relationship with his surroundings and he formed a desire to create an abstract version of that relationship. This background in landscape architecture and civil engineering became an important influence for Nakamura.
Another important influence for him was John Maeda. Maeda is a graphic designer, creative technologist, computer scientist, and theoretician. He is interested in the merging of design and technology. This interest is also present in Nakamura’s work where design and technology have been combined to create user-friendly interfaces. Nakamura was also interested in how Maeda’s work at MIT media lab helped turn the computer into a creative device as opposed to a functional tool. Nakamura states “if I had not encountered his work six years ago, I would never have got into interactive design.”
Yugo Nakamura says he is inspired by everything that surrounds him. He is inspired by “the unique relationship which he can find in literature, movies and architecture.”
He is a craftsman for sure. He likes using his hands and likes to be able to create the feel of craftsmanship even in things such as websites. He believes the feel of craftsmanship can be felt most everywhere. “It is a spirit that has no relationship with media and technology.” He is using his Japanese background to try and apply the detail of Japanese craftsmanship to the things he creates on the web.
It seems as if his place in the design field is slowly falling though. Most of his great work has been done already and we haven't heard much from him recently. He hasn't won an award since his gold at Tokyo Interactive Ad Awards in 2007, hasn't had an exhibition since 2004, and his last workshop was 2006. I'm sure he is still working on projects and coming up with new creative design ideas, but it appears that his true claim for fame is in the past now.
MONOcrafts is the end result of over a decade of experimentation in digital media. According to the site “MONOcrafts is a net-based studio located in Tokyo interested in exploring new expression under this networked situation. And we are creating web-site / net-application with a new concept of interactivity. Our concept and techniques are expressed in every part of this site.” The site is definitely all about interactivity. Even while reading the previous passage you have to move your cursor over the screen to allow the text to appear.
Multimedia design was not Nakamura’s first passion though. While at Tokyo university he studied landscape architecture and civil engineering, and these are the fields that he worked in for the first part of his life. He became obsessed by his relationship with his surroundings and he formed a desire to create an abstract version of that relationship. This background in landscape architecture and civil engineering became an important influence for Nakamura.
Another important influence for him was John Maeda. Maeda is a graphic designer, creative technologist, computer scientist, and theoretician. He is interested in the merging of design and technology. This interest is also present in Nakamura’s work where design and technology have been combined to create user-friendly interfaces. Nakamura was also interested in how Maeda’s work at MIT media lab helped turn the computer into a creative device as opposed to a functional tool. Nakamura states “if I had not encountered his work six years ago, I would never have got into interactive design.”
Yugo Nakamura says he is inspired by everything that surrounds him. He is inspired by “the unique relationship which he can find in literature, movies and architecture.”
He is a craftsman for sure. He likes using his hands and likes to be able to create the feel of craftsmanship even in things such as websites. He believes the feel of craftsmanship can be felt most everywhere. “It is a spirit that has no relationship with media and technology.” He is using his Japanese background to try and apply the detail of Japanese craftsmanship to the things he creates on the web.
It seems as if his place in the design field is slowly falling though. Most of his great work has been done already and we haven't heard much from him recently. He hasn't won an award since his gold at Tokyo Interactive Ad Awards in 2007, hasn't had an exhibition since 2004, and his last workshop was 2006. I'm sure he is still working on projects and coming up with new creative design ideas, but it appears that his true claim for fame is in the past now.
Post 5 R. Buckminster Fuller - Oliver
With the green movement upon us and the need to clean up our carbon footprint everyone should take a look at Buckey Fullers research and design The buckminster Fuller Institute. I had the opportunity to assemble and watch people interact with the space of Buckey's Flysey dome seen as the blue background image for the site mobile-living. Buckminster fuller was a visionary and an inspiration to many around the world for his work and dedication to making the world a better more conscious place.
Wednesday, February 25, 2009
james jarvis
Born in London in 1970, and raised on a diet of Richard Scarry, Hergé, Asterix and Judge Dredd, Jarvis studied illustration at the University of Brighton and at the Royal College of Art in London. He has worked for international clients such as Sony, Nokia and Parco and contributed to a number of international style publications including The Face, Nova and Relax. He has also contributed to a number of art book projects and had a collection of his sketches published by Relax magazine in Japan. A Japanese friend suggested that Jarvis should turn the characters drawn in simple, sparing strokes in his illustrations into toys which he did by creating the engagingly raffish Martin, a moulded plastic model, for the London-based fashion company Silas. Jarvis then developed equally engaging characters to live with Martin in the World of Pain, the imaginary world inspired by Tolkien’s Lord of the Rings which he invented for them and depicted in a book and website. Eager to create different characters, who would not necessarily fit in to the World of Pain, he then invented the In-Crowd series of figures.
Hergé and Richard Scarry , Gary Panter and Gustave Doré were maijor influences to Jarvis. The Bauhaus and the whole of the modern movement has always influenced Jarvis as well.
I found this q&a to be a good one.
This is also a good site that shows some of is illustrations and design projects.
http://www.formatmag.com/features/james-jarvis/
Hergé and Richard Scarry , Gary Panter and Gustave Doré were maijor influences to Jarvis. The Bauhaus and the whole of the modern movement has always influenced Jarvis as well.
I found this q&a to be a good one.
Q. What is the process for developing and producing your characters?
A. When I was at college I was massively influenced by Gary Panter and Javier Mariscal. I spent a lot of time aping their visions. I was encouraged to draw more from reality, so I went out and made a lot of drawings of car parks and other urban environments. When I came to populating these environments I came to rethink and refine the kind of characters I had been drawing. I started to reduce them to the simplest possible shapes and features while still retaining a ‘personality’.
Q. How have these processes evolved as your career has progressed?
A. I am always rethinking and refining.This is also a good site that shows some of is illustrations and design projects.
http://www.formatmag.com/features/james-jarvis/
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