Follow the below mentioned steps in order to enable/disable word verification for comments on your blogger/blogspot blogs.
1. Log into your blogger account.
2. Navigate to your blog’s Settings >> Comments >> Enable Word Verification For Comments
3. Set it to Yes and Save your settings.
You are done!
If you want to disable word verification process for your blog comments, then you can also follow the above steps and then set the settings to No.
Dec 12, 2010
GRADING and POSTING
Arrange all your projects appropriately and post the final pieces on your blogs so that Genevieve could go through them quickly for grading.
Please, DO DOUBLE CHECK THAT YOU HAVE TURNED OFF WORD VERIFICATION IN YOUR BLOG SETTINGS. (Gen will not grade if she must deal with word verification on each and every blog entry.)
Make sure you post everything you've done thorughout this semester on your blog including process images in addition to the final pieces.
IF SOMETHING IS NOT ON YOUR BLOG IT DOES NOT EXIST!!!
Please, DO DOUBLE CHECK THAT YOU HAVE TURNED OFF WORD VERIFICATION IN YOUR BLOG SETTINGS. (Gen will not grade if she must deal with word verification on each and every blog entry.)
Make sure you post everything you've done thorughout this semester on your blog including process images in addition to the final pieces.
IF SOMETHING IS NOT ON YOUR BLOG IT DOES NOT EXIST!!!
Dec 11, 2010
Speak Up archives 2002-2009
http://www.underconsideration.com/speakup/
HELLO (AND, WELL, GOODBYE)After nearly seven years of blogging, Speak Up has ceased publication. While this may not be a remarkable amount of time in the world of print and online publishing, the intensity with which we — founders, authors and readers alike — undertook it made it seem as it had been decades. For a thorough description on the reasons to close Speak Up, you may read this post, so as not to take much more space here. This web site is a bare-bones version of the archives for quick and easy perusal of more than 1,600 posts — a replica of Speak Up, as it was on closing day, can be found here, and at any point you can add “as-it-was/” after “speakup/” to the URL to see the original version. Comments on both sites have been closed.
To the right you will see all of our categories with a brief description of what you may find. Above it you can access all archives by month, category or as a laundry list of everything, and you can still search the content.
Below are some highlights from our time spent blogging. In somewhat chronological order.
We hope all this helps maintain the legacy of Speak Up frozen in digital time and that it may be of some use to passersby. Thank you all for your continued support and interest.
Bryony and ArminPrincipals, UnderConsideration LLC
THE RISE AND FALL (AND RISE) OF LOGO DISCUSSIONOn March 25, 2003 UPS announced that, after 42 years of service, it would do away with its bow-tied logo designed by Paul Rand in 1961. In return, Futurebrand gave UPS a glossy shield. The design industry, in return, was vociferous about the change and Speak Up served as one of the most prominent platforms at the time to voice the discontent. From that moment on, reviewing corporate and brand identity changes became a staple of Speak Up. Ironically, this theme and the ensuing conversations about logo changes — that, for the most part, were rarely in favor of the new design — irked many Speak Up readers the wrong way and some complaining ensued. In October of 2006 we launched Brand New, a site devoted to corporate and brand identity redesigns with full-time critiques of logos. Twice ironically, Brand New is now our most popular and trafficked web site.
RANTING ABOUT RANTIn 2003, Emigre magazine changed its physical format to pocketbook and its content to writing and criticism. Co-published with Princeton Architectural Press the first issue in this format was titled Rant, an acknowledged provocation to challenge young designers and writers “to develop a critical attitude toward their own work and the design scene in general.” It worked. A lengthy discussion on Speak Up, representing the new generation, ensued with passion. And retorts from young and previously unpublished designers and writers printed in the following issues of Emigre demonstrated there was indeed a fire to be lit.
A SWIRLY T-SHIRTTowards the end of 2003, as the AIGA National Design Conference in Vancouver approached, we held a contest to design a T-shirt for Speak Up. With a modest 39 entries the public voted and selected the design of then relatively unknown Marian Bantjes (surely you know her now!). Printed on American Apparel in shiny silver metallic, many of us paraded in our Speak Up t-shirts at the AIGA conference and acted like a clique. It was awesome.
SELF PUBLISHING, IT’S HARD!Around the same time as the T-shirt contest, we figured it would be a good idea to pile on the editing, design and production of a little booklet with the best comments of the year. As you may imagine, sorting through all the comments was intensive, but fun in its own right. Among the first round of comments we found one from Kenneth FitzGerald that urged designers to “stop being sheep.” And so was born a four-year run of little booklets that we self-funded and sold. All four can be seen here. And you can still purchase years 2, 3 and 4 here.
WHY SO SERIOUS?For some reason we decided it would be a good idea to organize small events that would be more intimate and conversational than your typical Thursday night lecture. We named them seriouSeries and turned to our friend Rick Valicenti to lead the first one in Chicago. Funny story: Michael Bierut, on a business trip to Chicago the day of this first event, dropped by at the end of the day after all his meetings, he brought a bottle of Glenfiddich whiskey and was as entertained by Valicenti as the rest of us. It was great. And so were the other four with some amazing guests.
A POSTER COMPETITION FOR THE AGESWith the basic premise of designing a two-color poster based on any piece of text whatsoever from the archives of Speak Up, we enlisted judges Art Chantry, Ellen Lupton and James Victore in 2004 to each select a winner from the 153 submissions we received. A fourth winner would be decided by popular vote. Once all selections were made we printed a few hundred of each with Intermark 7, one of the finest silkcreen printers in Chicago and sold the posters online and through Veer, who sponsored and championed the contest quite energetically. You can get a blow-by-blow account here.
DESIGN, THINK, WRITEDuring the Winter 2005 quarter at Portfolio Center in Atlanta, GA Bryony conducted a long distance class, called “Design Thinking,” with ten students looking to their design thinking on. Bryony coached them through the process of formulating an idea and then realizing that idea as an essay. Design students need to write more, and this was one way in which we found we could encourage that. All ten essays can be accessed from this page.
THE LITTLE QUIP THAT COULDWay back in the remote year of 2005 we did our first volume of Quipsologies and for the next 93 weeks we added one more volume until January of 2007 when we spun off Quipsologies into its own blog and opened it up to user contributions. It has been a nice evolution for good ol’ Quips.
SETTING PRIORITIES STRAIGHTIn 2006 the design team — Luke Hayman, Chris Dixon and John Sheppard — at the amazing New York magazine approached us with the idea of doing a contest for their weekly feature called “High Priority” where they recommend the top five things to do in the city and is always guest designed. We received nearly 200 entries, which you can see here and along with the aforementioned team we selected a winner to be published in the year-end double issue. Unlike previous contests, we and New York were accused of asking for spec work and exploiting our audience. A sign that the good faith tide for Speak Up had turned.
BEST. GALLERY. EVER.We conducted various interviews and posted enough bundles of images over the years, but the best combination of these two elements was an interview with Rodrigo Sanchez, art director for the supplement publications of the Spanish newspaper El Mundo. One of his tasks is designing wildly varied covers for their entertainment supplement, Metrópoli. The interview conducted in Spanish and translated to English was accompanied by a gallery of a mere 50 of the hundreds of wonderful covers Rodrigo has art directed.
THE HIT LISTBloggers live for traffic spikes, whether it’s a spike of 300, 3,000 or 30,000 hits in a day, the sense of statistical accomplishment is undeniable. These are some of the biggest traffic draws that we can remember: “This is historic times.” George W. Bush, April 20, 2004 / The Hardest Working Presidential Candidate Logo / 8 Minute Abs / Dark and Fleshy: The Color of Top Grossing Movies / The Powerbook! The Powerbook! The Powerbook’s on Fire!
A CHATTY BUNCHFor better or for worse, Speak Up amassed nearly 43,000 comments. There is no point of comparison, so you will have to take our word for it that it is a big number. These are three that topped the 200 mark: VH1: Behind the Logo [229] / certifiable [256] / London, How do I Hate Thee? Let me Count the Ways, 1, 2… 2012 [326]
AND THAT’S A WRAPSurely we could go on forever with this list, and perhaps we will add more of those colorful modules as time goes on and we remember other things. Or perhaps you would like to suggest something? We will keep a speakup [@] underconsideration [.] com address active if you have any suggestions or even questions. At this point we would like to thank one more time all the authors, guest editorial-ists, commenters and lurkers for making Speak Up a vibrant community during its run.
HELLO (AND, WELL, GOODBYE)After nearly seven years of blogging, Speak Up has ceased publication. While this may not be a remarkable amount of time in the world of print and online publishing, the intensity with which we — founders, authors and readers alike — undertook it made it seem as it had been decades. For a thorough description on the reasons to close Speak Up, you may read this post, so as not to take much more space here. This web site is a bare-bones version of the archives for quick and easy perusal of more than 1,600 posts — a replica of Speak Up, as it was on closing day, can be found here, and at any point you can add “as-it-was/” after “speakup/” to the URL to see the original version. Comments on both sites have been closed.
To the right you will see all of our categories with a brief description of what you may find. Above it you can access all archives by month, category or as a laundry list of everything, and you can still search the content.
Below are some highlights from our time spent blogging. In somewhat chronological order.
We hope all this helps maintain the legacy of Speak Up frozen in digital time and that it may be of some use to passersby. Thank you all for your continued support and interest.
Bryony and ArminPrincipals, UnderConsideration LLC
THE RISE AND FALL (AND RISE) OF LOGO DISCUSSIONOn March 25, 2003 UPS announced that, after 42 years of service, it would do away with its bow-tied logo designed by Paul Rand in 1961. In return, Futurebrand gave UPS a glossy shield. The design industry, in return, was vociferous about the change and Speak Up served as one of the most prominent platforms at the time to voice the discontent. From that moment on, reviewing corporate and brand identity changes became a staple of Speak Up. Ironically, this theme and the ensuing conversations about logo changes — that, for the most part, were rarely in favor of the new design — irked many Speak Up readers the wrong way and some complaining ensued. In October of 2006 we launched Brand New, a site devoted to corporate and brand identity redesigns with full-time critiques of logos. Twice ironically, Brand New is now our most popular and trafficked web site.
RANTING ABOUT RANTIn 2003, Emigre magazine changed its physical format to pocketbook and its content to writing and criticism. Co-published with Princeton Architectural Press the first issue in this format was titled Rant, an acknowledged provocation to challenge young designers and writers “to develop a critical attitude toward their own work and the design scene in general.” It worked. A lengthy discussion on Speak Up, representing the new generation, ensued with passion. And retorts from young and previously unpublished designers and writers printed in the following issues of Emigre demonstrated there was indeed a fire to be lit.
A SWIRLY T-SHIRTTowards the end of 2003, as the AIGA National Design Conference in Vancouver approached, we held a contest to design a T-shirt for Speak Up. With a modest 39 entries the public voted and selected the design of then relatively unknown Marian Bantjes (surely you know her now!). Printed on American Apparel in shiny silver metallic, many of us paraded in our Speak Up t-shirts at the AIGA conference and acted like a clique. It was awesome.
SELF PUBLISHING, IT’S HARD!Around the same time as the T-shirt contest, we figured it would be a good idea to pile on the editing, design and production of a little booklet with the best comments of the year. As you may imagine, sorting through all the comments was intensive, but fun in its own right. Among the first round of comments we found one from Kenneth FitzGerald that urged designers to “stop being sheep.” And so was born a four-year run of little booklets that we self-funded and sold. All four can be seen here. And you can still purchase years 2, 3 and 4 here.
WHY SO SERIOUS?For some reason we decided it would be a good idea to organize small events that would be more intimate and conversational than your typical Thursday night lecture. We named them seriouSeries and turned to our friend Rick Valicenti to lead the first one in Chicago. Funny story: Michael Bierut, on a business trip to Chicago the day of this first event, dropped by at the end of the day after all his meetings, he brought a bottle of Glenfiddich whiskey and was as entertained by Valicenti as the rest of us. It was great. And so were the other four with some amazing guests.
A POSTER COMPETITION FOR THE AGESWith the basic premise of designing a two-color poster based on any piece of text whatsoever from the archives of Speak Up, we enlisted judges Art Chantry, Ellen Lupton and James Victore in 2004 to each select a winner from the 153 submissions we received. A fourth winner would be decided by popular vote. Once all selections were made we printed a few hundred of each with Intermark 7, one of the finest silkcreen printers in Chicago and sold the posters online and through Veer, who sponsored and championed the contest quite energetically. You can get a blow-by-blow account here.
DESIGN, THINK, WRITEDuring the Winter 2005 quarter at Portfolio Center in Atlanta, GA Bryony conducted a long distance class, called “Design Thinking,” with ten students looking to their design thinking on. Bryony coached them through the process of formulating an idea and then realizing that idea as an essay. Design students need to write more, and this was one way in which we found we could encourage that. All ten essays can be accessed from this page.
THE LITTLE QUIP THAT COULDWay back in the remote year of 2005 we did our first volume of Quipsologies and for the next 93 weeks we added one more volume until January of 2007 when we spun off Quipsologies into its own blog and opened it up to user contributions. It has been a nice evolution for good ol’ Quips.
SETTING PRIORITIES STRAIGHTIn 2006 the design team — Luke Hayman, Chris Dixon and John Sheppard — at the amazing New York magazine approached us with the idea of doing a contest for their weekly feature called “High Priority” where they recommend the top five things to do in the city and is always guest designed. We received nearly 200 entries, which you can see here and along with the aforementioned team we selected a winner to be published in the year-end double issue. Unlike previous contests, we and New York were accused of asking for spec work and exploiting our audience. A sign that the good faith tide for Speak Up had turned.
BEST. GALLERY. EVER.We conducted various interviews and posted enough bundles of images over the years, but the best combination of these two elements was an interview with Rodrigo Sanchez, art director for the supplement publications of the Spanish newspaper El Mundo. One of his tasks is designing wildly varied covers for their entertainment supplement, Metrópoli. The interview conducted in Spanish and translated to English was accompanied by a gallery of a mere 50 of the hundreds of wonderful covers Rodrigo has art directed.
THE HIT LISTBloggers live for traffic spikes, whether it’s a spike of 300, 3,000 or 30,000 hits in a day, the sense of statistical accomplishment is undeniable. These are some of the biggest traffic draws that we can remember: “This is historic times.” George W. Bush, April 20, 2004 / The Hardest Working Presidential Candidate Logo / 8 Minute Abs / Dark and Fleshy: The Color of Top Grossing Movies / The Powerbook! The Powerbook! The Powerbook’s on Fire!
A CHATTY BUNCHFor better or for worse, Speak Up amassed nearly 43,000 comments. There is no point of comparison, so you will have to take our word for it that it is a big number. These are three that topped the 200 mark: VH1: Behind the Logo [229] / certifiable [256] / London, How do I Hate Thee? Let me Count the Ways, 1, 2… 2012 [326]
AND THAT’S A WRAPSurely we could go on forever with this list, and perhaps we will add more of those colorful modules as time goes on and we remember other things. Or perhaps you would like to suggest something? We will keep a speakup [@] underconsideration [.] com address active if you have any suggestions or even questions. At this point we would like to thank one more time all the authors, guest editorial-ists, commenters and lurkers for making Speak Up a vibrant community during its run.
Dec 7, 2010
ART DIRECTOR'S CLUB AWARDS
ISSUE 03 2010 
| Q&A | NEWS | DEADLINES | | |
 |  |  | Q&A NEWS DEADLINES | |
| ADC EXPLODING CUBE VIDEO MO BASE DESIGN | | |
 | ||
| | ||
 | ADC contacted Cube Winner, MO BASE DESIGN, about their recent Cube Project submission. Check out their making of videohere. ADC: All of your work has a very vivid quality. How do you create such visceral experiences? MO DESIGN: This idea was inspired by our traditional customs and our childhood memories; the whole process was very fun. ADC: Environment plays a big part in your work, is it important for the work to be tangible? MO DESIGN: We wanted to make this project more realistic, more powerful, the impact of this visual stays in people's minds. Whenever we see this project, we will remember all those sounds and the smells. | |
| ADC: What gave you the idea to have the Cube be an explosion/firework? MO DESIGN: Use of firecrackers is a traditional part of celebrating festivals in China: a combination of explosive strength and aesthetic presentation. ADC: Your design work seems so futuristic/ forward thinking. Why is this? MO DESIGN: We love experimental design as it gives us a fun, creative space to help to explore new things and to keep on our design passion alive. Check out their "MAKING OF VIDEO" here. For more information visit their website: mo-base.com |  | |
| ILLUSTRATION CHAIR | ||
| MARIAN BANTJES | | |
 | ADC: You have evolved with the times from book typesetter in the '80s to having your own design firm in the '90s. It's truly inspiring that you embrace change. Why is this so important to you? MARIAN: Don't forget that I left my firm in the '00s to do this other thing that I do. I have to keep changing because if I don't I get bored. It's also very easy to become pigeon-holed into a specific style unless I constantly move forward. People are so surprisingly unimaginative, so used to picking things out of a catalogue, off the rack, so to speak ... So you can't count on them to imagine new things, you have to constantly show them the possibilities. ADC: How did you get involved in the blog "Speak Up?" That era seems like the golden age of blogging even though it wasn't so long ago. MARIAN: It was the golden age of blogging, and I was very lucky to be there at that time. I discovered "Speak Up?" some time in 2003 or 2004. It was probably recommended to me by someone, and I quickly became obsessed with this vibrant online community. I spent hours on the site, reading and commenting with a certain sense that I was wasting my time, but it really worked out for me. Eventually I became an author for the site, and many of the friends I made there are still friends of mine today: Debbie Millman, Armin Vit, Bryony Gomez-Palacio, Tan Le, Patric King, Sam Potts and to some extent Michael Bierut, Steve Heller, Rick Poynor, Bill Drenttel, Jessica Helfand and others. These were people I "met" there first. | |
| ADC: How do you balance your precise and detailed creative process to create pieces that are very organic in nature? MARIAN: My aim is juxtaposition and surprise, but also while I have an affinity for the organic form, I can't help the way my brain works, which is logically and in a very structured manner. I'm a sort of free-flowing control freak. ADC: You have worked for some traditional publishing houses, magazines, and designers - firms like Sagmeister and recent ADC Hall of Fame inductee, Winterhouse. What are the challenges of dealing with such a varied clientele? MARIAN: Well, most people in design have the challenges of working with a varied clientele. I think we're always trying to make early sense of a client, to get a handle on what type of person or organization they are and respond appropriately. I actually have it easier than most because most of my clients are designers and art directors. We speak the same language, and we already understand each other to a certain extent. I've been where they are and I know what they're dealing with from their end, so I think it makes it easier on both of us when unexpected shit happens. Except I'm very quick to bail on projects that aren't going well. I've learned enough not to jump through stupid hoops when it's clear things aren't working out. One thing I've noticed though is that I never have trouble with the real pros: Michael Bierut, Stefan, Bill Drenttel etc., those projects were pretty easy. It seems when things get fucked up it is invariably with a junior designer, or someone fairly low in the hierarchy and usually it's because they just don't have the communication skills. Same as every other client. For more information visit Marian's website: bantjes.com |  | |
| 90th DEADLINES | ||
| EARLY BIRD SPECIAL RECEIVE 10% OFF ENTIRE ORDER DEADLINE 1/3/2011 DESIGN JAN 21, 2011 PHOTOGRAPHY JAN 21, 2011 ILLUSTRATION JAN 21, 2011 DESIGN SPHERE JAN 21, 2011 INTERACTIVE JAN 28, 2011 STUDENT JAN 28, 2011 ADVERTISING FEB 6, 2011 HYBRID FEB 6, 2011 FEATURED CUBE: JESSE KUHN What was the inspiration behind your CUBE? JESSE: Well, unicorns are the freakin' coolest species known to the universe, and word on the street is that this little cube award you guys keep talking about is sort of a big deal... so it felt like a natural metamorphosis. |  | |
Nov 25, 2010
Another ASSIGNMENTS FOR MONDAY
Create 3 feature openers for a magazine.
You have to create 3 different formats preferably with different text.
The topic, target audience, format, type, colors, layout, etc is all up to you.
But remember that there are really 3 formats for making a magazine layout:
A. picture on one page, text on the other page.
B. picute on one page and it bleeds onto the other page as well, text on the other page
C. picture on both pages, text on top of the picture.
I showed you an example of some work from a friend of mine http://tundiheinrich.com/#517075/Fashion-Magazine-Spreads
you can also look for inspiration on Priest and Grace website http://www.priestandgrace.com/#/work
more inspiration can be found on http://www.spd.org/
Another option for a new project is a PDF or all of your work along with a personal identity.
Pick whatever suits you more.
HAPPY THANKSGIVING!
Much love,
Olga
You have to create 3 different formats preferably with different text.
The topic, target audience, format, type, colors, layout, etc is all up to you.
But remember that there are really 3 formats for making a magazine layout:
A. picture on one page, text on the other page.
B. picute on one page and it bleeds onto the other page as well, text on the other page
C. picture on both pages, text on top of the picture.
I showed you an example of some work from a friend of mine http://tundiheinrich.com/#517075/Fashion-Magazine-Spreads
you can also look for inspiration on Priest and Grace website http://www.priestandgrace.com/#/work
more inspiration can be found on http://www.spd.org/
Another option for a new project is a PDF or all of your work along with a personal identity.
Pick whatever suits you more.
HAPPY THANKSGIVING!
Much love,
Olga
Nov 24, 2010
ASSIGNMENT FOR MONDAY
Hi ya'll!
We need you to create and print a 13"x19" poster for this Monday, November 29th.
It needs to represent something you've done during this semester.
We're gonna place your posters into the display cases in the main building!
If you don't bring anything, you're not gonna be a part of the exhibit!
So please bring the best of your work!
Love,
Olga
We need you to create and print a 13"x19" poster for this Monday, November 29th.
It needs to represent something you've done during this semester.
We're gonna place your posters into the display cases in the main building!
If you don't bring anything, you're not gonna be a part of the exhibit!
So please bring the best of your work!
Love,
Olga
Nov 22, 2010
The Last Newspaper (The New Museum exhibit)
10/6/10 - 1/9/11
Fifth, Fourth, and Third Floors
http://www.newmuseum.org/exhibitions/428/
At the turn of the twentieth century, in the dawn of the machine age, newspapers were everywhere and wire services were feeding their hunger for the latest information. In their rush to embrace the future, the Cubists discovered a rich artistic medium: the newspaper. The Surrealists followed suit, and by World War I newspapers had become an accepted material integrated with painting, collage, and graphic design. Throughout the 1950s, artists such as Robert Rauschenberg and Jasper Johns incorporated newspapers into their work not only for the iconic texture of the printed page, but also as a neural charge from the real world. By the 1960s—when this exhibition’s chronology begins—the use of the newspaper in fine art was no longer a novelty; it had become a standard source for both images and language.
The artists in this exhibition continue the exploration of the newspaper, but their focus lies in the ideological rather than the purely physical properties of the daily press. They use the newspaper as a platform to address issues of hierarchy, attribution, contextualization, and editorial bias. By disassembling and recontextualizing elements of the newspaper, such as the construction of graphics and text, the artists on view take charge of and remake the flow of information that defines our perception of the world. At its simplest, the artistic impulse that largely informs this exhibition is one of reaction and appropriation; the newspaper provides a stimulus and is itself incorporated into the final artwork.
In today’s culture, newspapers have to move as quickly as possible to compete with the increasing barrage of information on the internet. In print, it takes twenty-four hours to issue a correction. Online, credibility is rolled out in nanoseconds. People make and share the news in citizen-powered, peer-to-peer structures that can create and destroy consensus in hours. If artists were some of the first to begin to question the structure of the news, we have now reached an epoch where the public as a whole is empowered to police (and become) the press.
It is in this context that a selection of collectives and agencies has partnered in this exhibition. If the artwork assembled in the galleries is dedicated to deconstructing the power and possibilities of the press, then the invited participants are engaged in finding new (and perhaps more holistic) ways of describing the world. Four partners are in residence on the museum’s third floor inhabiting a set of flexible offices designed by Blu Dot. Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers. The Center for Urban Pedagogy and StoryCorps are both prototyping new models for sharing and shaping discourse. Beyond these four residencies, the exhibition is animated by the Philadelphia-based Slought Foundation with kiosks, a reading room, and a discussion area spread throughout the exhibition and dedicated to a reexamination of Emmanuel Kant’s essay “Perpetual Peace.” All the partners seek to wade through tides of information in order to find new ways of making the contemporary world more legible. Their activities are an example of citizen journalism, as well as forums for the examination and structuring of something aspiring to be truth.
Fifth, Fourth, and Third Floors
http://www.newmuseum.org/exhibitions/428/
At the turn of the twentieth century, in the dawn of the machine age, newspapers were everywhere and wire services were feeding their hunger for the latest information. In their rush to embrace the future, the Cubists discovered a rich artistic medium: the newspaper. The Surrealists followed suit, and by World War I newspapers had become an accepted material integrated with painting, collage, and graphic design. Throughout the 1950s, artists such as Robert Rauschenberg and Jasper Johns incorporated newspapers into their work not only for the iconic texture of the printed page, but also as a neural charge from the real world. By the 1960s—when this exhibition’s chronology begins—the use of the newspaper in fine art was no longer a novelty; it had become a standard source for both images and language.
The artists in this exhibition continue the exploration of the newspaper, but their focus lies in the ideological rather than the purely physical properties of the daily press. They use the newspaper as a platform to address issues of hierarchy, attribution, contextualization, and editorial bias. By disassembling and recontextualizing elements of the newspaper, such as the construction of graphics and text, the artists on view take charge of and remake the flow of information that defines our perception of the world. At its simplest, the artistic impulse that largely informs this exhibition is one of reaction and appropriation; the newspaper provides a stimulus and is itself incorporated into the final artwork.
In today’s culture, newspapers have to move as quickly as possible to compete with the increasing barrage of information on the internet. In print, it takes twenty-four hours to issue a correction. Online, credibility is rolled out in nanoseconds. People make and share the news in citizen-powered, peer-to-peer structures that can create and destroy consensus in hours. If artists were some of the first to begin to question the structure of the news, we have now reached an epoch where the public as a whole is empowered to police (and become) the press.
It is in this context that a selection of collectives and agencies has partnered in this exhibition. If the artwork assembled in the galleries is dedicated to deconstructing the power and possibilities of the press, then the invited participants are engaged in finding new (and perhaps more holistic) ways of describing the world. Four partners are in residence on the museum’s third floor inhabiting a set of flexible offices designed by Blu Dot. Latitudes, the Barcelona-based curatorial office, and a diverse team lead by Joseph Grima and Kazys Varnelis/Netlab, are on site producing weekly newspapers. The Center for Urban Pedagogy and StoryCorps are both prototyping new models for sharing and shaping discourse. Beyond these four residencies, the exhibition is animated by the Philadelphia-based Slought Foundation with kiosks, a reading room, and a discussion area spread throughout the exhibition and dedicated to a reexamination of Emmanuel Kant’s essay “Perpetual Peace.” All the partners seek to wade through tides of information in order to find new ways of making the contemporary world more legible. Their activities are an example of citizen journalism, as well as forums for the examination and structuring of something aspiring to be truth.
National Design Triennial: Why Design Now? (Cooper-Hewitt exhibit)
On view May 14, 2010–January 9, 2011
Inaugurated in 2000, the Triennial program seeks out and presents the most innovative designs at the center of contemporary culture. In this fourth exhibition in the series, the National Design Triennial will explore the work of designers addressing human and environmental problems across many fields of the design practice, from architecture and products to fashion, graphics, new media, and landscapes. Cooper-Hewitt curators Ellen Lupton, Cara McCarty, Matilda McQuaid, and Cynthia Smith will present the experimental projects and emerging ideas for the period between 2006 and 2009.
Underground Gallery: London Transport Posters 1920s–1940s (MoMA exhibit)
July 28, 2010–January 10, 2011
After World War I, striking modern posters began to transform the stations of London’s underground railway system into public art galleries. The posters, designed by significant artists like László Moholy-Nagy, Zero (Hans Schleger), and Abram Games, were the crucial face of a pioneering public transport campaign for coherence and efficiency that also included station architecture, train interiors, and Harry Beck’s iconic Underground map (1931–33). This installation presents over twenty posters that speak to the experience of modern London—from the promotion of culture and entertainment to the anxieties of daily life during WWII.
After World War I, striking modern posters began to transform the stations of London’s underground railway system into public art galleries. The posters, designed by significant artists like László Moholy-Nagy, Zero (Hans Schleger), and Abram Games, were the crucial face of a pioneering public transport campaign for coherence and efficiency that also included station architecture, train interiors, and Harry Beck’s iconic Underground map (1931–33). This installation presents over twenty posters that speak to the experience of modern London—from the promotion of culture and entertainment to the anxieties of daily life during WWII.
John Baldessari: Pure Beauty (Met exhibit)
October 20, 2010–January 9, 2011Iris and B. Gerald Cantor Exhibition Hall, 2nd floor
View images from this exhibition.
Download the complete Audio Guide tour. (40 MB)
Learn about a special event on November 21 featuring a conversation between John Baldessari and David Salle.
Search the calendar for related events.
Visit the online Met Store to purchase the exhibition catalogue.
This is the first major U.S. exhibition in twenty years to survey the work of the legendary American artist John Baldessari, widely renowned as a pioneer of conceptual art.
Baldessari (b. 1931, National City, California) turned from an early career in painting toward photographic images that he combined with text, using the freeways, billboards, and strip malls of Southern California as his frequent sources. In his groundbreaking work of the late 1960s, he transferred snapshots of banal locales around his hometown onto photo-sensitized canvases and hired a sign painter to label them with their locations or excerpts from how-to books on photography. Throughout the whole of his career, Baldessari's sharp insights into the conventions of art production, the nature of perception, and the relationship of language to mass-media imagery are tempered by a keen sense of humor. The exhibition brings together a full range of the artist's innovative work over five decades, from his early paintings and phototext works, his combined photographs, and the irregularly shaped and over-painted works of the 1990s, to his most recent production. A selection of his videos and artist's books will also be included in the exhibition.
View images from this exhibition.Download the complete Audio Guide tour. (40 MB)
Learn about a special event on November 21 featuring a conversation between John Baldessari and David Salle.
Search the calendar for related events.
Visit the online Met Store to purchase the exhibition catalogue.
This is the first major U.S. exhibition in twenty years to survey the work of the legendary American artist John Baldessari, widely renowned as a pioneer of conceptual art.
Baldessari (b. 1931, National City, California) turned from an early career in painting toward photographic images that he combined with text, using the freeways, billboards, and strip malls of Southern California as his frequent sources. In his groundbreaking work of the late 1960s, he transferred snapshots of banal locales around his hometown onto photo-sensitized canvases and hired a sign painter to label them with their locations or excerpts from how-to books on photography. Throughout the whole of his career, Baldessari's sharp insights into the conventions of art production, the nature of perception, and the relationship of language to mass-media imagery are tempered by a keen sense of humor. The exhibition brings together a full range of the artist's innovative work over five decades, from his early paintings and phototext works, his combined photographs, and the irregularly shaped and over-painted works of the 1990s, to his most recent production. A selection of his videos and artist's books will also be included in the exhibition.
AIGA 50 BOOKS/50 COVERS EXHIBIT
December 9, 2010–February 25, 2011Since 1923, AIGA’s “50 Books/50 Covers” competition has recognized excellence in book design and production. This exhibition showcases the best-designed books and book covers published in 2009, selected in the 2010 competition by a distinguished jury that included David Drummond (Salamander Hill Design, Elgin, Quebec), Paul Kepple (Headcase Design, Philadelphia), Peter Mendelsund (Alfred A. Knopf Publishers, New York), Molly Renda (North Carolina State University, Raleigh) and Tracey Shiffman (Shiffman & Kohnke, Los Angeles).
AIGA is committed to using selections from its annual competitions to demonstrate the process of design, the role of the designer, and the value of design to business, culture and society at large. Each year, the competition selections are published in AIGA’s online archives at designarchives.aiga.org, featured in an annual publication, exhibited at the AIGA National Design Center and preserved in the AIGA Design Archives at the Denver Art Museum in Colorado. In addition, selections from each year’s “50 Books/50 Covers” competition are housed in the Rare Book and Manuscript Library at Columbia University.
All selections are searchable and browsable in the AIGA Design Archives, which includes a variety of images, full credits, project statements and jurors’ comments.
Exhibition design: Triboro Design, New York
Exhibition catalogue
AIGA is publishing 50 Books/50 Covers of 2009, an exhibition catalogue featuring each of this year’s selections along with jurors’ comments. The book, designed by Triboro Design, will be available for purchase after December 8 at Blurb.com.
Blurb.com, the on-demand publishing platform, is the Presenting Sponsor of50 Books/50 Covers of 2009, and AIGA’s newest partner.
Gallery hours and location
Monday through Thursday: 11:00 a.m.–6:00 p.m.
Friday: 11:00 a.m–5:00 p.m.
164 Fifth Avenue (between 21st and 22nd Streets) in New York
Nov 4, 2010
A LESSON ON KERNING
Courtesy of Chris Beesley a student of Ed Benguiat.
Link to the original article http://chrisbeesley.blogspot.com/2009/07/lesson-in-kerning.html
Once you have the space between the first two letters established you can kern the rest of the text. This isn't a purely mathematical thing, it's visual. Each letter is unique and the amount of positive and negative space it has is different so you can't rely on using Illustrator to make sure the space is numerically even. The way you do this is by looking at three letters at a time and moving the third letter left or right until it looks like the middle letter is centered between the first and third.
This looks about right
Link to the original article http://chrisbeesley.blogspot.com/2009/07/lesson-in-kerning.html
I've been getting traffic recently from people looking for information on kerning. Seeing this made me remember when I had first started out and was trying to learn as much about design as quickly as possible. I searched for instructions on kerning and I found the results to be pretty disappointing. Even though now I feel like I have a pretty decent understanding of the concept, I've never heard kerning explained as well as Ed Benguiat explains it. The following explanation is derived from his lesson on kerning.
Practical Application
If we were to take three lines of text: AMERICAN, AIRLINES, AROUND and just type it out in Helvetica bold it might look passable but our goal is to fix the spacing so that it doesn't look there are holes of white space in the words.
First decide how tightly spaced you want the words to be and then determine the space between the first two letters If we were to take three lines of text: AMERICAN, AIRLINES, AROUND and just type it out in Helvetica bold it might look passable but our goal is to fix the spacing so that it doesn't look there are holes of white space in the words.
Once you have the space between the first two letters established you can kern the rest of the text. This isn't a purely mathematical thing, it's visual. Each letter is unique and the amount of positive and negative space it has is different so you can't rely on using Illustrator to make sure the space is numerically even. The way you do this is by looking at three letters at a time and moving the third letter left or right until it looks like the middle letter is centered between the first and third. Here are some examples of how the process might go:
This is a little too loose 
This is too tight
This looks about right Consistency Commandments:
Now that we've begun to space the letters there are some guidelines that will make it easier and faster so that you don't have to rethink each pair of letters.
The space between two straights will always be the same.
For example if you have already established the space between "IB" you will know what to do later in a heading if encounter a "NM"
The space between two rounds will always be the sameIf you have already established the space between "OC" you will know what to do when you see "OG"
The space between a straight and a round will always be the same.If you have already established the space between "MO" you will know what to do when you see "HC"
Here is what you might get for a final product if you started off with the "AM" combination above
Nov 1, 2010
App Design Process
App Design Process:
Discover> Define> Design> Develop> Deploy> Document.
Design and Development are interchangeable and should be revisited many times.
The Three most important to initial app development in this class are.
Discovery & Research:
-What are users' primary goals and how can they achieve them?
Define:
-Which information is of higher importance? How do I draw user' attention to them?
-How should I incorporate the user feedback?
Design:
-Prototyping offers a huge opportunity for increasing process efficiency?
For the next class you should prepare: A Discovery Document.
Which includes:
App Brief and Document:
- Introduction to App
- Project Goals
- Application Specifications
User Persona:
- Age, Home, Family Status, Work, Interests, Approach to the App, Wow Factor, & Apps he or she may already own.
Mood Board:
- This functions similar to the persona but is a visual representation of who the consumer is.
- Should be designed and incorporate photographic, illustrative and typographic elements.
WireFrame:
- Simple visual layout apps screens and functions.- Can be very simple, line art and boxes really.
Further Development of the Discovery Document should entail:
- Paper prototypes, sketches with cut out buttons, photographed and used to refine layout possibilities.
- Style screens, one from each level of the app showing design and function details.
- Possible additional features for further updates of the app.
- Further develop wireframe and begin to skin the app based on your style frames.
- Decent style frames can easily be turned into a motion presentation for potential investor.
Discover> Define> Design> Develop> Deploy> Document.
Design and Development are interchangeable and should be revisited many times.
The Three most important to initial app development in this class are.
Discovery & Research:
-What are users' primary goals and how can they achieve them?
Define:
-Which information is of higher importance? How do I draw user' attention to them?
-How should I incorporate the user feedback?
Design:
-Prototyping offers a huge opportunity for increasing process efficiency?
For the next class you should prepare: A Discovery Document.
Which includes:
App Brief and Document:
- Introduction to App
- Project Goals
- Application Specifications
User Persona:
- Age, Home, Family Status, Work, Interests, Approach to the App, Wow Factor, & Apps he or she may already own.
Mood Board:
- This functions similar to the persona but is a visual representation of who the consumer is.
- Should be designed and incorporate photographic, illustrative and typographic elements.
WireFrame:
- Simple visual layout apps screens and functions.- Can be very simple, line art and boxes really.
Further Development of the Discovery Document should entail:
- Paper prototypes, sketches with cut out buttons, photographed and used to refine layout possibilities.
- Style screens, one from each level of the app showing design and function details.
- Possible additional features for further updates of the app.
- Further develop wireframe and begin to skin the app based on your style frames.
- Decent style frames can easily be turned into a motion presentation for potential investor.
Oct 25, 2010
Oct 9, 2010
Info graphics (courtesy of Nicolle)
Here we have a whole lot of good info graphics and 2 that suck! Can you spot the bad ones? Comment below...
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