For you to peruse / from the vault of carolina's memory

hello all,

here's some stuff you can look at during the break if you will, most of these were / are very inspiring to me
enjoy!
c

CINEMA
The color of Pomegranates, by Sergei Parajanov (its a masterpiece)
http://en.wikipedia.org/wiki/The_Color_of_Pomegranates

The Holy Mountain, by Alejandro Jodorowsky (this one you can't breathe its so good, ending i'm struggling with...relevant but a bit displaced, which i think was the intention)
http://www.imdb.com/title/tt0071615/

Andrei Trakosvsky, the master of russian cinema: check out "Stalker," "Nostalgia," " The Sacrifice" " The Mirror" (he has another one called Andrei Rublev which is very slow, so you have to be in the mood...his cinema is exquisite. He also has book called "Sculpting in Time" which is beautiful.

"Time of the Gypsies" & "Underground" by Emir Kusturika, some easter eurpoeans hate him cause they say he stereotypes gypsies, which i can see, but he's a great form-maker....you can see Buster Keaton's trace in his work

Igmar Bergmann (one of my all time favourites)
check "Persona," "Faithless," "The Seventh Seal"

Pier Paolo Passolini:
http://en.wikipedia.org/wiki/Pier_Paolo_Pasolini
very controversial italian artist, great, was banner for many years, check out "Medea"

The Devils, by Ken Russell
http://www.imdb.com/title/tt0066993/

Songs from the Second Floor, by Roy Andersson
http://en.wikipedia.org/wiki/Songs_from_the_Second_Floor
(beautiful, vibnette driven narrative)

Chris Marker, "Sans Soleil"

mmmm, dont remember more at this time...

BOOKS
"The Garden of Forking Paths" by Jorge Luis Borges (masterpiece)
from the book called "Ficciones" (aka Fictions)

"The Invention of Morel" by Adolfo Bioy Casares

"The Inhuman" by Jean-Francois Lyotard

"Dancer" & "Zoli" by Colum McCann (his style is beatiful & ravishing, he works in fictional autobiographies, questioning what is real and what is fcition—which is really one and the same.

"The Varieties of Scientific Experience" by Carl Sagan (he calls himself a scientist, but I thik he's also a poet)

"Memories, Dreams & Reflections" by Carl Jung
"The First and Last Freedom: by J. Krishnamurti ( i read u some of this in our last class)

"Aethetic Theory" by Theodor Adorno (heavy, dense read but sublime)

ARTISTS
uuu, so many
but I like:
-Tracey Emin
- Marina Abramovic

DANCE
posted some earlier, bit I like Anne Teresa De Keersmaeker & Pina Bausch
http://en.wikipedia.org/wiki/Anne_Teresa_De_Keersmaeker
http://en.wikipedia.org/wiki/Pina_Bausch
I also like Butoh, slow slow dance, some think its creepy but I think its also sublime

ok, gotta run, will post I remember others

c

oops

took a nap and overslept so im not gonna make it at 7 to little joy..& .still want to pass by accd...so if you want to reach me call me, we can play it by ear

thxs!
c

little joy celebration

hello hello

so here's my lil suggestion for our celebration tomorrow:
i want to pass by accd to see the grad show around 5:30-6, then dash to the Little Joy bar in echo park..say around 7pm / its a nice divey bar I like and they have a pool table for us amateurs (well, speaking for myself) the only thing is that i have to bail around 10-10:30, if that's ok let's do it, otherwise we can meet saturday, i'm open..and certainly looking forward to a jack..,.it's been 2 difficult days for me but hell, it all passes

here's little joy's address:
1477 W Sunset Blvd
Los Angeles, CA 90026
(213) 250-3417

let me know :-)
c
you can also txt me at 310 948 1766
cheers

Hanging Posters Style

here's a sample of how I want the posters to be displayed:
you can use the black paper clips—don't have to be metal ones unless you fancy that— (we don't want to ruin pricey prints, which btw, should be full scale)... you get the idea.
Tape: use white tape, I don't want the tape to stand out when you adhere to the wall.

and just to clarify: I want the white butcher paper to drape over the tables, reaching the ground, so it looks like white tables.

thxs / c

Invite your friends! I will invite mine, let's make this an open room

+++FINAL PRESENTATION++++SPECIFICATIONS & NOTES

hello all,

So here are the specifications for the final presentation next week:
- bring in your models
- catalogue & process book
-posters
-invites
-web

for the web: contact nancy, we went over it a bit last class but she can give you a rundown on how to set up stuff, she has it figured out.

I wrote what was required on the board but here it is again in this order (for web)
1) LOGO (import from ai as jpeg, or gif)
2) INTRO TEXT (artist statement / project description) you can do in it indexhibit directly or import a pic of set type from AI
3) IMAGES / NARRATIVE: a sequence of images that illustrate your project narrative (remember you are telling a story) I want these broken down into:
--- space, artworks, pics of environmental graphics applications, catalog pics, invite pics
the point of this is for you to walk away with a portfolio piece that documents and presents your work to the public.(I leave the specific arrangement of tehse up to you)

(check out http://www.indexhibit.org/ participants to see what people have done)
the website is a requirement and we will project it in class / sounds scary (maybe) but its quite easy once you have all your stuff done, which you do, just upload images that tell your story.

+++++++++++++++++++++++++++++++++++++++++++++++++++

PRESENTATION STYLE

above is a quick schematic of how I want you to set up the class space for the final review:
-place the tables so that they form an enclosed space in the center of class
- place your models, catalogue, process book & invite on top of butcher paper (on tables of ocurse) let the paper drop to the fround so it looks clean.
- place your posters behind your pieces, taped on the wall. I don't want you to mount the posters on boards, but rather, use clips and tape those to the wall.
- identifying you section & project: print your name & logo separately on 2 sheets of 8 x 8, mount these on boards and lay them on the table next to your pieces.

+++++++++++++++++++++++++++++++++++++++++++++++++++
and just to reiterate the obvious:
I want to see the narrative come to life as a whole, so include any additional material(s) that illustrate your story (so, if you have 3 posters, great, 2 invites, great etc)

I'll probably come by 15-20 minutes later to give you time to set up. Be there on time with all your work ready. Very much looking forward to see the fruits of all your hard work!

Any questions welcome
thank u
c
+++++++++++++++++++++++++++++++++++++++++++++++++++
I am assuming you figured out how to get your materials for bookbinding, if not, do so now.
+++++++++++++++++++++++++++++++++++++++++++++++++++


and some additional inspiration here:
this book is amazing, good reference for design in general & for your process book (also for bold use of type)
karel martens:
http://www.flickr.com/photos/insect54/895394766/in/photostream/

one more: manuel de landa at my school in saas-fee, switzerland

yeh, seems heady—and it is in a way— but his lecture is brilliant (& you get an idea of the bender I lived yodelling my mind in the alps) at your will, maybe when you have more time
http://uk.youtube.com/watch?v=mXzc1V2nTKk

the first part has an annoying noise (when wolfgang speaks) but it fades when manuel begins

Random Inspiration & question: need your feedback

Some stuff I was looking at lately & samples of Fassbinder's "Lola" (for photo gels' use). This one is not that great of a screenshot but you can google it or even better rent it.
Also, did you get the images david shot? if so, are you happy with them? I can have my friend come by class on tuesday and shoot (with us, not at the studio) but I need your feedback on that, if its necessary or not. Let me know.

and here are some interesting links, browse at your will:
slavoj zizek on love (he happens to be in buenos aires on this one, he's from slovenia)
http://uk.youtube.com/watch?v=TJPhA9TGRls

slavoj on toilets & semiotics
http://uk.youtube.com/watch?v=AwTJXHNP0bg
++++++++++++++++++++++++++++++++++++++++++++
For the dance fans (me included, big time)
Anne Teresa De Keersmaeker
http://uk.youtube.com/watch?v=yvtvG3ZL5C4

Pina Bausch: The Rite of Spring (Stravinsky)
http://uk.youtube.com/watch?v=waL0m4h3yx8

++++++++++++++++++++++++++++++++++++++++++++
john cage about silence (makes you flutter)
http://uk.youtube.com/watch?v=pcHnL7aS64Y

c.

Next week: IMPORTANT

here's what's due next week, final review & content specs.

+++++++++++++++++++++++++++++++++++++++++++++++
invite content:

- exhibition name
- exhibition logo
- exhibition dates (exhibitions usually last about 3 months)
- opening reception time & date: Tuesday Dec 4th, 3008 / 7pm-10pm (for example)
- location / place: exhibition address
- kindly rsvp at 310.000.000 (whatever number)
- usually has a little description of what the exhibition is about, one paragraph.
- sponsors? (can be set in type: for instance "Bla" is made possible in part through a grant form the James Irvine Foundation" etc / or include logos...although this sometimes looks crappy)

poster content:
same as above except without the opening night reception info & rsvp

+++++++++++++++++++++++++++++++++++++++++++++++

web / indexhibit:
you need to set up a website for your project. I suggest you use indexhibit, it is very easy to use, maintain & upload:
http://www.indexhibit.org/
and you'll walk away from class with a portfolio piece ready to go, that's the plan.

Nancy is taking the role of figuring out what is needed to set the web up, so Nancy, let's plan on a lil demo next week so we're all good to go on that (I will also contribute) You can also check for yourselves in the link above, and "participants" gives you a sense of what is possible.
We can also use this blog as discussion forum during the week.
To set up mine I used my domain name, an ftp program (cyberduck), a "code" system (simultron) and a webhost (dreamhost)
http://www.dreamhost.com/

+++++++++++++++++++++++++++++++++++++++++++++++
catalogue:

I want you to test printing & binding for next week. So bring in your books bound & trimmed to scale, printed & bound in the actual method and stock (paper) you will be using for the final. The point of this is to avert any problems that might occur, see how the ink falls on the paper etc.

supplies:
Visit Hiromi's in Sta Monica (Bergamot station), you can get all your supplies there (or check the sheet charles gave you) Figure out how you want to split materials (you can get a 1lt. bottle of glue & then split it, you can find small containers for the glue in beauty supply stores or blick)
http://www.hiromipaper.com/

at hiromi's: also check out papers & fabrics, they have really beautiful stuff.
threads: i believe they have them at hiromi's, otherwise you can check Joanna's fabrics or Michaels' (never mind the kitch factor there)

paper: go to kellypaper, you can get sample sheets, test them out & buy a ream if you like it (can split this too to cut costs)
blick also has some nice printable vellums if you're into that.

+++++++++++++++++++++++++++++++++++++++++++++++
process book:
bring all your printouts to class, we'll figure out a structure if you decide not to include this portion on the main catalog.
+++++++++++++++++++++++++++++++++++++++++++++++

photography:
David said he'd leave a master CD with yesterday's shots at Nik's office. maybe drop by, bring a CD and burn a copy, or your laptop or ipod or whatever works best for you. I'd be preferable if you arrange to go together or have someone distribute the CD contents, just so there's not all of you going into nik's office?

Also, in this regard, I'd like to get your feedback on the images. If you are not happy with them we can organize a re-shoot—or shoot it yourselves. If we do a re-shot, I'd do it next week, in class, with my friend Ji who is a pro, she's confimred that with me today, that way we can have a bit more control & I can give you my two cents. Let me know, I will base this on your comments, as this is aimed at helping you.

+++++++++++++++++++++++++++++++++++++++++++++++
environmental graphics:

haven't seen much of this figured out, so use the images to comp stuff out. I want to see this executed for final comments.
should include:
- logo
- intro text, (what the exhibit is about, can be the same text as in the invite, which in turn will translate to the web & catalog)
- object labels (these are pretty easy, usually around 4x 2.5, include pice name, artist name, dimensions, year created) Clearly, these won't show in the space due to scale, but I'd like to see them.
- any overarching message: i.e. big type treatment in the space, quotes etc.


I think that's it.
we'll review the project as a whole next week, see it all come together, so bring all materials.
any questions welcome

Thank you
c

week 12: photo shoot / review catalogue, poster, invite

Hi all,

Next week we will review the catalogue, poster & begin with the invite

for the shoot:
bring your models & artworks, complete.
have a good idea of how you want David help you create beautiful imagery for your book (lighting, angles, gels etc)
nb:if your artwork pieces are detachable (meaning not glued to the space) it could help in shooting them. If they are already glued we'll find a way around it.

for the catalogue:
I want to see a full dummy, folded & trimmed to scale, make sure you have your system & grid down. This entails the typographic language (with set hierarchies for heds. subheds, body copy, column width in relation to type size etc) & the sequential narrative (relationship of text to image & image sequence itself per chapter)
Remember, we are doing a book, not a magazine, so make sure you incorporate more text. think about when you read a book, it is not heavily designed, the text itself (language & typography, use of space in page) is what triggers the imagination...of course, accompanied by images, which should be specific to what you are designing towards: an exhibition catalog & its artworks.

poster:
I want to see 2 designs, two good ones, not roughs. Some of you have begun this and decided to make one poster for each artwork. I think that's a great idea.

invite: we will begin this for next week, bring some rough sketches, 2 minimum.

web:
we will begin this next week as well. The idea is that you walk away from class with a portfolio piece ready to go. I am a fan of simple, open-source sites and I'd like you to build your site using this program:

http://www.indexhibit.org/
it is very easy to use, easy to maintain and upload, look into it so get familiar with the way ot works. Once we get the final imagery next week it'd be simple for you to upload and translate your narrative online.

look at "participants" to see what people have done with the system/ format

question, let me know
bring working files to class, your laptop and printouts of all you have done so far,
This is a chance to get everything streamlined and review the process & design as whole, so the more you prepare the easier it will be on these last weeks.

thank you
c

Photo Shoot: Confirmed

hello hello

so I just received confirmation on our photo shoot for week 12,
We'll be shooting on stage 1, the photographer is David Smith and he specializes in architectural photography. So start thinking about how you want to art direct your shoot: what kind of light, angles & possibly gels you'd like to use. (A good reference for colour lighting are the Fassbinder movies, "Lola" I believe is a good one) We'll have 3 colour backdrops: white, gray & black, so think about that as well, which one works better for the type of image you want... you can also interchange them.

Enjoy!
c

Catalog: Bookbinding Tutorial

Hello,

So our bookbinding tutorial is confirmed for next week. We will have Charles Mohr in class doing a hands-on demo on different types of binding that apply to your projects. He will then provide you with a vendor's contact sheet so you can get the necessary materials (you can share these to cut costs) I have him scheduled from 4-7pm. This is a great chance for you to ask him questions, and it will be very helpful since you will have your book dummies done. He might use one for the demo and you will then be able to make & bind your own book.

This being the case, it means we have less time for crits, so I'll be thorough and precise, and I'll require focus on your side. If need be, I'm happy to stay after class to make sure all questions are answered.

This will be fun!
c

nb: please read the 2 posts below that outline the assignment deliverables & presentation technique in detail.

What's Next: one last thing

For next class I want you to put all your books on a table for presentation. We will have a comments / feedback sheet next to each project in which you will critique your peer's work.
We will spend about 30 min on this and then move to individual crits taking into account these comments.

Bring all your printouts. all the work you've done so far as we will use it to generate the process book structure and also pick up on stuff that is relevant and might need to be brought to light.

This includes shots of your artwork, which I forgot to mention, should be photographed individually as well. Think of each piece as an object you are documenting, like a portrait.

ALSO:
if you know a photo student that can collaborate with us please let me know, I do not have a photographer confirmed for w12 and we need that. I will post an ad tomorrow at the photo dept, but any recommendation from you would be great.


thxs
questions welcome
c

What's Next

hello all,

Lovely to spend time with you yesterday, glad you came out & we had a chance to share our stories. We'll do it again but let's see when

Back to work, here's me being perfectly honest:
The work presented yesterday was incomplete for most of you or not up to the standard I expect after 3 weeks of discussing the catalog. This is a very important piece and you need to show me you're on top of it. It is a great chance to make something relevant & beautiful, don't slack as it will come back to you. We have 3 more crits and need to cover a poster, an invitation card and a web component, so use your time wisely.

Overall you are behind on this process, so for next class I want to see a full mockup of your book; in actual scale, with all content in place (text and images). We're not experimenting anymore, now it's time to get it done.

ASSIGNMENT: Full Catalog comp trimmed to actual scale
this is what this entails:

- A book dummy or mockup is a comp of the entire object, trimmed to scale in the way it will actually be produced. this is how I want you to present next time: no flat printouts, but rather the whole book with all pages / narrative in sequence. So if you're doing french fold for instance: bring all your pages folded as they will appear, this means adjusting your pagination in indesign so that when you print & fold the spreads match. (Same analogy for other binding processes)

- structure:
this is the most important aspect of the book, it is the spinal chord to call it something, and it is your grid in relationship to your storyline. Remember, the grid is not a restraining setup, it is actually mapping in space. Another easy analogy: think of building a house, you plan it first, then you build it and then you put in the furniture. Or a film, divided into acts that correlate to tell a story, editing being akin to section dividers, chapters etc.

- language:
All of your language needs to be in place. We have been working on this for about 4 weeks so I expect it to be close to done by now. This means: you need to define the narrative sequence, your chapters, how they follow each other, how they tell a story in sequence. Each chapter needs to have its appropriate text in place (if you are still writing some of it, then estimate a word count for each chapter, incoporate or make space in your layout by using dummy text which you will then replace with the final. Don't let the text stop you, plan ahead)

- typography:
this is the voice / voices that tell your story. The organism of language, how it behaves, its rhythms, its relationship to space (page) it's weight, scale etc. You have been getting feedback on this, move forward with the insights we've shared and nail this down. Doing the full scale comp will bring to light what is working and what is not, both in structure & sequence.

- imagery / photography art direction:
I want you to document your model in these ways:

a) TOP VIEW: do a schematic of your space, a diagram (line drawing) a floor plan (this is not shot, cleary) but it should include descriptions of its main components: entry, artwork placement, artwork name (if relevant) etc. AND shoot a top view image of your space.
(note: for the diagram you can do this in sketup also)

b) FRONT VIEW: shoot your model in front view mode. The aim here is to see the model as objectively as possible, as an object. Your image should have space around it, this is not a close up.

c) SIDE VIEWS: Do a 360 sequence around your object where you shoot it in all possible angles. Again not a close up but a look into it from all sides.

d) MEDIUM SHOTS: here's where you get closer to your object to reveal its intricacies. Focus on revealing its main components, angles, zoom in on artworks but keep reference of their placement in space etc. You can play more here but I want full coverage and it needs to feel like we are moving into / through the space. Shoot straight on, then tilt your camera up (as in a slight bird's eye view, and tilt the camera low as if you were seeing it form the POV of the audience—cover all pov's)

e) CLOSE UPS: Here's where you focus on details: artworks & exhibition grahics and you open up the space photographically. The aim here is to take the viewer into the space, as if we were walking through it, inhabiting it. (you can achieve some of this in the medium shots but this is a closer look)

f) EXTREME CLOSE UP: the nitty gritty, use a macro lens to highlight specifics. A macro will make your space look huge, so use it to your advantage.

I want at least 20 images MINIMUM per setup. The point of this is to document your spatial narrative photographically, arrange it sequentially in your book (in relationship to text & language content, these would be your placeholder images) and also to determine how you will art direct the photoshoot on week 12. The more you prepare the better off you'll be, the better images you'll get.

Note: In the images above I want to see your environmental graphics, these should include:
- your logo as it would appear in the exhibit (keep in mind scale in relationship to audience)
- an intro text to the exhibition (artist statement, what the exhibition explores, is about)
- object labels that give artist name, name of piece, date created and possibly a small description)
- typographic statements: here's where you place your language / narrative in space. It can be bolder in scale, be allegorical in tone etc but it needs to be directly related to the language & sequence you are using in your catalog. So the walls here are your pages. I need to be able to look at these and follow a storyline.

You will present the environmental graphics in your catalog and in the model. So for the catalog pics you can do this in two ways:
1) shoot the relevant wall where the text will be and comp up the type in photoshop (don't do type in psd, import it from ai)
2) do the type in sketchup and bring screenshots.
Important thing to consider here: the style of your imagery. We want it to be cohesive, so if you do sketchup pics make sure they work with the photographic pics.

Front, spine & back cover:
- I want to see two versions of these, to scale, trimmed. Again, this could lead to your poster so be smart when you create these. Include your logo.

- stock:
do your dummy using the actual sheets you will print the final catalog in. This will help you determine if the sheets are too heavy, too light, how they fold, if the ink chips when you fold, if the ink bleeds or smears etc. If you are combining the catalog with the process book bring appropriate stock for each. You can go to kelly paper to see samples.

- inks:
you will do a 4/4 book (meaning full colour on both sides of the sheet) 4/4 accommodates for your exhibition pictures, which are full colour. You can, for instance, decide that some of your pages will be 1 colour or 2, this will differentiate content structurally, so make sure your choice is appropriate (this would work, for instance, if you combine the catalog & process book in one)


Any questions let me know,
I look forward to seeing your work. No exceptions.
thank u
c

for sole

Schedule, Ideas & Celebration

I think its time to celebrate this country re-inventing itself! so I propose a glass of wine or beer or water or whatever your prefer after class next week, but it would be nice to go out together and just celebrate the fact that we are sharing this point in time; any suggestions welcome, (I prefer dive bars) let me know if you're in.

and on another note, here's what i am projecting for our class:
- I want to bring in a bookbinder for a tutorial, likely nov 18th (week 11), I am making arrangements with steve & nik to pursue this.
- I'd like all of you to have excellent imagery for your catalog, so I am speaking with a photographer to see if she can shoot your models professionally nov 25 (week 12). Will let you know if I can book her and book a space at the photo studio. You guys interested in this?
(clearly this means having you space complete by that time: artworks & graphics)

cheers
c

GO OBAMA!!!!!!!!!!!!!!!!!!!!!!!!!!! & assignments for next week

i know i probably shouldn't show political inclination, but what the hell, i will.

so moving on to our next class, this is what you need to bring (btw, I am very excited about what all of you are doing, i think all of you will end up with some beautiful, strong work)

catalog:
- mapping content: this is the thumbnail page / sequential layout we spoke about yesterday. think of it as doing storyboards for a movie, where you arrange and organize content per section (chapters). This is the blueprint that determines the flow of the book (sequential narrative), the thickness of the book, which in turn relates directly with how you will bind it and construct it as an object, a sculptural-cinematic piece.
So for instance, chapter 1 has 20 pages, 1200 words and 10 images. chapter 2 has 30 pages, 3000 words, 20 images etc....map it all
the most important thing is to create a foundation, a framework that will house your content, this is what this "mapping" is all about (similar to building a house, or a space where characters and stories travel through)

-table of contents: very important also, ties in directly with mapping above. Define your chapters and what content corresponds to each (text & image)

-content: the content of the book is all the work you have developed so far, and the purpose of the catalog is to promote & document your exhibition and its artwork. When generating text you can use your research (everything we've done so far comes together in this piece)

-format: we will do two books for this class, one is the catalog, the other is a process book. These can be combined into one book or be produced separately, I leave that up to you. If combined they need to be differentiated, so for instance you can say: the catalog is full colour on matte paper, the process part is on lighter weight sheets with one ink only and lives in the second half of the book etc... you decide. When figuring this out think of the implications this carries. A polished catalog in itself is more "official" the process book is more experiential, intimate in how it involves the reader into your thinking process. These are not mutually exclusive forms of perception, and you can "combine" the two books in format even if they are separate entities (for example, by giving them the same size or translated aesthetic, easy example: order and chaos within the same identity)

assignment:
A) I want to see 5 spreads per section (chapter). print these out in their actual format (size). Your grid needs to be in place as well as your typographic language, imagery & hierarchy. Here is where we see the book taking form as a narrative through space (in the movement of each page)
B) The covers are usually the last thing you design in a book but playing around doesn't hurt. So bring 3 ideas for front / back / spine. Your grid and assignment A will inform this.
C) Bring 2 rough sketches for posters, can be BW. I want to see what you're thinking as far as imagery & typography. Again, this ties in with your book covers.

if you have any questions let me know
and don't forget the environmental graphics! these will also be informed by the assignments above and will become easier to articulate. Some of you have great ideas for these.

have a great one!
c

and read "the invention of morel" it's a mind bender (author: Adolfo Bioy Casares)

Our presentation, guys!!!!

sorry, I could only up load half of the photos for now. There is more coming...

Bring your laptops to next class

hello, we will work in class next time setting up grid systems and working out editorial design.
I want you to leave next class with a format & grid set up. I think working together will be more beneficial as I believe you need a bit more clarity in this field.

It is important you bring a laptop, or set up time during class to go to the computer lab to work if you don't have one—returning with work to show. I will do a demo, as said before, and will work with you individually.

It is also very important you define a "table of contents" which outlines the content of the book, (chapters if you will) this will help you figure out what goes where and in what order,

in the meantime—as per the class schedule—bring 5 studies for front, spine & back covers.
(5 meaning 1 set per front/spine/back, totaling 5) Use the content, imagery, title you have worked on for these. And the environmental graphics & logo.

let me know if you have any questions
thank you
c

feedback

hello,

i am still crippled a bit so apologies for my brief answers to those who sent the files. please send me your files in one pdf per section, not as individual files, as it is easier for me to review.

for next class we will continue with grids, language, logos & type ( see the class handout for specificatiojns on what's due, if you don't have one, get one from your peers)
from what i've seen so far, you need more help in that field, we will work in class setting up grids, i will do a demo. if one of you can get a projector i'd appreciate it, let me know who volunteers.

for the space: i want to see artworks & environmental graphics, can be in sketchup or in the actual space. bring ALL your files so far, especially for the book design (we need to look at all content)

after next class we will begin the poster design in tandem with the book

thank u
c

have to cancel-postpone class

hello all,

sorry to say i can't make it to class today, i have a brutal back pain and can't really move that much
so send me your wok in pdf's or via "yousendit" and i will review & get back to you as soon as possible

thank u
c

Recap: Assignments For Next Week

For next week bring in the following. I expect to see all the materials listed below. NO EXCEPTIONS. Also, if your pieces (artwork) were not complete bring those as well; these should be figured out by now so as many options as necessary. They are a large part of your catalogue / book content.. Take jason & carol's example, that's the caliber of work I am after, beautifully executed, thought out, cohesive and presented as a"whole."

grid systems / typography
- bring 20 spread printouts total
- each item is a spread (not a page)
- print these in actual size, based on your format choice.

book format
- the format is the size of your book and is a direct reflection to the content within it .It is important that your format accommodates your content as well as the behaviour and sequence of your narrative, so pay attention to your image ratio (are your images 4: 6, 16:9 etc) Do you have fold-outs, gate folds, is it french fold, is it perfect-bind, stitch bind, hardcover, softcover, what is the paper stock etc
- decide on 2 options for size and use these as structure when creating your grids.

type only grids:
- quantity 10 spreads
- design 5 grids and run body copy into them (2 iterations per grid) Here's where you look at margins, gutter, columns, proportions, type size, justified vs ragged etc
- use one typeface only for each execution and one size (the faces & sizes should vary per grid, so for instance: grid 01 is a 3 column grid, set in helvetica 9pt on 12pt leading. Grid 02: 5 columns, set in trade gothic, 10pt on 15 etc

type & image grids:
- quantity 10 spreads
- design 5 grids and run body copy & images into them. (these can be variations on the ones developed above)
- I want to see type & image combinations: meaning, your layout should reflect all the possibilities inherent in your grid for image scale & proportion variations, combined with type. So there might be a spread that is more image heavy, one where the ratio of text & image is 1 to 1 (half & half), one where its 1 to 3, one where you have 20 images and one paragraph etc.

text-based content
- I want to see the content we have been discussing for the past weeks in place, this includes:
title, artists statement, table of contents (5 chapters), all chapters and their names, each with a minimum of 600 words allocated to them.

logos:
- bring 10 logo designs. if you began these already and got feedback from me yesterday, great, then finesse and do 10 variations on the direction we chose.
- print each on an 11 x 8.5 sheet, we should be able to see them from a distance, so they should occupy 65- 70% of your page.

environmental graphics:
- comp up your language into space. Include: logo and text that reflects your 5 point narrative. for example: micael is re-appropriating language and setting it boldly into space with statement / jason & carol's: is the type inter-weaved into the line project? is type on the floor vs the walls? in robby's case: the type is mediated by light, what accompanies that? smaller object-based type? do the pieces themselves create the syntax typographically? how does that translate to print etc... Sketch in Sketchup, photoshop and in your model, cross-reference media so you get to nail it down. I want to see the whole language in place and in sequence.


let me know if you have any questions.

Call for images

If your artwork is not shown in the previous post, please send your images to me so I can include them in the section. Get some rest and be well. We're on for the next adventure in media.
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Today's mid-term

Hello all, here are pics from today's mid-term. (some are discontinuous in sequence, blame my camera) If you need higher-res images let me know and I'll send via "yousendit". Overall I am happy with quality of work you presented and I look forward to continuing our process towards a cohesive, beautiful and meaningful project where each of you presents the best of what you've got, honouring your work, which is really what matters. Some projects fell a bit short today, meaning, not all of the content was there—you know who you are–, but then again, I don't settle for anything other than the best; so push yourselves, you are all on the right track. There were some projects though that were outstanding—I think you know who you are as well—, congratulations! I am inspired by you.

If you have any questions as far as what's due next week let me know.

Here are some "random" quotes from a book called "Short & Extraordinary Stories" by Jorge Luis Borges and Adolfo Bioy-Casares (whom I read at a very early age and who influenced me quite a bit)

(read the first one as a myth—or should we say meta-narrative—, not as religious dogma)
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"According to what's known, God Father is not anterior to God Son.
Son created, the father asked him:
— Do you know how I created you?
The son replied:
— Imitating me."

— Johannes Cambrencis, Animadversiones, (Lichfield, 1709)
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Distraction

"A Hunter, to scare away his pray set fire to a forest. Suddenly he saw a man emerging from a rock. The man traversed the fire calmly. The hunter ran behind him.
— Tell me then, how do you travel through a rock?
— The rock? What do you mean?
— I also saw you moving throug fire.
— Fire? What does fire mean?
That perfect taoist, completely effaced, couldn't see the difference among things."

— Henri Michaux, Un Barbare en Asie




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