Chapter — Method — new bits of writing

This section follows the description of “in your head” thinking and focuses on collaborations between two people:

Once your interdisciplinary geenie has been unleashed, seek out partners with whom you can create new work, free of artificially imposed restrictions of academia.  (Add more here: we present the work of collaborators: Electroland, Skyrill and MMParis, each doing different things to merge disciplines)

Seeley and McNall are partners in Electroland, an interactive studio based in Los Angeles, California. They specialize in immersive and responsive graphic environments, focusing on the overlap of graphic design, media and architecture, on the way people experience spaces visually, through typography, image and color. A designer and architect by training, Seeley and McNall have fused their respective disciplines with electronic tools, to create site-specific experiences. As a result, they have used motion and scale in fresh new ways.

Motion is usually the domain of the media designer, while architects work with material and space. In Drive By, 2007, Seeley and McNall have given motion an urban dimension, connecting it to traffic. An electronic display along Lankershim Boulevard in North Hollywood tracks the passing of cars by flashing phrases and abstract letterforms. Here, an unremarkable slice of metropolitan life — cars speeding along a thoroughfare — has been transformed into visual play with the merger of architecture and graphic design.

While architects tend to think large-scale, graphic designers usually work smaller. In Author Wall (2009), visitors to the Guadalajara Book Fair enjoyed playing with authors’ names on a touch screen, and seeing their interaction simultaneously projected on a 30-meter wall. This type-driven environment enriched the event by making everyone, and not just the authors, feel like “makers”. The close-up experience of a touch-screen has been writ large, influencing the look and feel of the entire event.

In College Faces (year??? has this been realized?), Electroland took the intimate beauty of the personal photograph and blew it up to architectural scale, projecting a yearbook of sorts on the facade of the Gateway Community College in New Haven, Connecticut. The faces of students, teachers and staff are cast in slow motion on the building’s glass curtain wall, generating a sense of togetherness on campus. To make the project more meaningful to its most frequent viewers, individual faces can be accessed on a website (which one??) or via smart phone.

Chapter — Method_003

The only new section is UNDER the dashed rule, titled “That Can’t Be Done. Can It?”

INTERDISCIPLINARY METHOD

We live in a compartmentalized mind frame. Home is different from office, fun is separated from work, science lives apart from art. We’ve been trained to specialize in one thing and call that our profession, pushing our other interests down to lesser importance. Many of us, however, have several seemingly unrelated passions simmering within us, waiting to be manifested with the right method.

Interdisciplinary thinking turns compartmentalization on its head by encouraging the coming together of disparate interests. As designers, we are schooled to develop techniques and apply them to content in order to make form. What if techniques and content stem from radically different fields? In her map painting series, designer Paula Scher, partner in the eminent studio, Pentagram, combined her passion for lettering, maps and painting to create a series cross-disciplinary works. Similarly, designer Andrew Byrom merged his love of typography and furniture to create typographic furniture, while the ceramicist Stephanie Dearmond cast letterforms in porcelain to make new and unexpected form. These are but a few examples of what can happen when we choose to combine our interests instead of segregating them.

Passions are fluid. They change shape and intensity. Introduce yourself to a new subject matter. Prod into a new discipline in order to give yourself a new perspective. Conversations fuel passions and can lead to new ways of thinking. This is precisely why designer James Victore holds The Dinner Series, an annual week-long workshop where each day culminates in a lavish dinner party, meant to stimulate creative conversation. (Get Victore quote here).

Give another example of stimulating conversation here. 

Conversations can lead to striking collaborations between experts from different fields. Longtime collaborators  Michael Amzalag and Mathias Augustyniak of MM/Paris and photographers Inez van Lamsweerde and Vinoodh Matadin have produced hybrid photo/text works. (Show alphabet here). Likewise, designer Stephen Farrell has worked closely with writer Steve Tomasula to publish novels that bestow equal value on the design and the text. (Need example of designer working with a no-artistic collaborator). 

Add a paragraph on working with community — larger, social issues

How does this work get done? In this chapter, we give you some leads. We attempt here to break down the method of interdsiciplinary design into useful tools—charts and diagrams, tips on inter-personal relations, and tips for testing the work as you go along.

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That Can’t Be Done. Can It?
Most of us have pulled the cord to flip venetian blinds open or closed hundreds of times, without giving it a second thought. But to designer Andrew Byrom, this commonplace instance led to a burst of inspiration, as he envisioned letterforms made of blinds, switching from bold to regular to light with the pull of the cord. This notion has led him to build a series of letters out of venetian blinds, and further, to draw a striking flat typeface based on the idea of the window blind. (show images)

Byrom thinks in an unrestricted way, seeing the magical in the mundane by asking “what if?” His thoughts move fluidly from paper to screen, to metal work, kite construction and neon signage. In doing so, he constantly subverts existing parameters and pushes his way into other disciplines to nourish his creative needs. Byrom’s thinking is effective only because it is backed up by his eagerness to learn, to renounce the comfort of his mastery to for the thorny work of the beginner, failing again and again until a new skill has been learned.

Fluid thinking allows us to see old things in a new way. Find inspiration and possibilities by combining existing knowledge in unexpected ways. Apply an old process to a new material, or inversely, a new process to a well-known material. And when you move from thinking to making, expect obstacles and find ways to overcome them. Experts will insist that it cannot be done, but if you trust your idea and show both your passion and persistence, they may eventually move over to your side and share skills with you. When the level of investment is high, interdisciplinary work comes alive.

 

steven heller: the education of a graphic designer

A collection of useful essays.

Heller, Steven, The Education of a Graphic Designer. Second Edition. New York: Allworth Press, 2005.

Katherine McCoy, Education in an Adolescent Profession, essay from the book:

Design is increasingly in demand in fields of computer science, interactive media, and other disciplines. But we “must retain and enhance graphic design’s core value as a cultural activity. Designers can offer a compensating balance to the coolness and abstractions of technology.” (13)

 

 

project schedule

Created by Zvez

9/15/11

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PHASE ONE: RESEARCH

  • Sep 22 Establish blog, start putting research up
  • Sep 29 Research; draft letter to educators
  • Oct 6 Research; rough book structure and proposal notes
  • Oct 13 Research; rough draft sample chapter
  • Oct 20 Second draft sample chapter; layout; proposal written out
  • Oct 27 Proposal out to Nicola at PAP

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PHASE TWO: CONTENT

  • November Research, work with educators on spring classes
  • December Holidays!
  • Jan 13 Start writing chapter 1; schedule interviews with designers
  • Feb 3 Chapter 1 done; start chapter 2; conduct interviews
  • Feb 24 Chapter 2 done; start chapter 3; conduct interviews
  • March 15 Chapter 3 done; start chapter 4; transcribe interviews (get help)
  • April 5 Chapter 4 done; start into essay
  • April 27 Intro essay done

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PHASE THREE: DESIGN and LAYOUT

SUMMER 2012

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PHASE FOUR: PRACTICUM

FALL 2012

We can use the fall semester to put to practice some of the ideas we will have developed by then. This will give me a chance to test in my classes some of the principles of the book.

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DECEMBER 2012: Deliver final layouts to PAP

Book could be out MAY 2013

Stephanie DeArmond: ceramic letters

These pieces combine ceramics and lettering in a new and unexpected way. They invert the traditional way of making vessels and adorning them, sometimes, with letters. Here, the letterforms become the “vessels” themselves!

Her site has a neat interview that I will add here later.

stephaniedearmond.com

Lettering by Stephanie DeArmond, NYT Article, Tattoo Regret, by William Saffire, September 23, 2007 

An excerpt from an article about her in Ceramics Daily magazine:
http://ceramicartsdaily.org/ceramic-art-and-artists/ceramic-artists/text-and-context-stephanie-dearmond/?floater=99

Best Beast, 27 in. (68 cm) in length, white earthenware, glaze, 2009.Best Beast, 27 in. (68 cm) in length, white earthenware, glaze, 2009.

 

Putting the Pieces Together
by Stephanie DeArmond

After I have created a paper pattern of my design, I flip it over and trace the back of the image with a needle tool onto a prepared and smoothed 1/4-inch-thick wet slab of clay. I flip my pattern so the front of my piece will be flat, lying face down against a ware board. I then cut three-inch-wide strips of clay for the sides of the piece from even wetter slabs of clay, which makes them easier to bend to fit the curves of my pattern. If I am doing a geometric piece, I use leather-hard slabs instead. When the clay slabs have stiffened, I score and slip the side-wall pieces and the face of the piece together. I usually cut the edges of the slabs at a 45° angle so the joint is cleaner, and strengthen the attachments with tiny coils.

A sculpture of the letter E in progress (shown face down), with leather-hard side-wall slabs shown placed on the front slab.A sculpture of the letter E in progress (shown face down), with leather-hard side-wall slabs shown placed on the front slab.
Side view of a completed and scraped greenware piece.Side view of a completed and scraped greenware piece.

Next I have a leather-hard slab ready for the top (back) of the piece. I spray the half-constructed piece down so the top edges of the side-wall slabs are wet and press a sheet of paper onto the piece so it makes an imprint on the paper. After tracing the imprint onto a leather-hard piece of clay with a needle tool, I use an X-Acto blade to cut out the shape. Then I slip and score everything, and flip the back of the piece onto the sides. I press the slabs together with my fingers and a rib, fill any cracks with bits of wet clay, and use a rasp and some silicon carbide sanding screens to scrape away the excess clay until the areas of attachment look clean. I avoid using the sanding screen too much because bits of black silicon carbide can get embedded into the white clay body. I start with the rasp, then the sanding screen, then use a sponge, then a rib to smooth everything. Once smooth, I flip it over between two boards, making a board/fabric/clay/fabric/foam/board sandwich. I flip the piece over onto a piece of foam in case it is not flat on the back, to prevent it from stretching or cracking. I make some pin holes with the needle tool in an inconspicuous place to allow air to escape and then dry the work slowly.