Monday 31 January 2011
Mischa Haller
Professional practice / 26 Jan 2011
Mischa Haller is a Swiss photographer based in London since 1998. He talked about his career, how each work led to a new one and, the most interesting of all in my point of view, how his personal projects led to commissioned ones.
He started in London, showing a personal project of close-ups of human bodies to a magazine editor. The editor liked it so much, that wanted him to explore it and do a cover and story with it.
Following that, Mischa Haller had this idea of publishing a book by himself with small stories that he had been exploring in the year before. He took a model of it to several shops and galleries that might be interested to sell it. He got some positive answers, so he publish it. Mischa talk about this book as the best investment he have ever done, once it was crucial for the development of his career.
Mischa’s work is related with social and cultural reportage. He looks for details that can tell a story without showing everything. He argues that details make life special. These details can cover as well certain moments, unusual angles, contrasts.
He also concentrates his work on people. Because people animate the places. Therefore when Mischa needs to do some reportage, he spends some time in the place, he talks to the people until they are comfortable and let him do some photos.
On the other hand, when he does portraits, he tries to include some context. It tells more about the person.
Performance & Design
Pete Brooks / Academic practice / 26 Jan 2011
Contemporary theatre and performance tend to be more about form, while Pete Brooks is more interested in exploring the stories. Once the illusion of the theatre is broken nowadays, in his opinion, this is a way of giving the audience the same involvement that cinema does, but with a narrative on stage.
Furthermore it’s also important for Pete to play with the scenography in order to produce “scenographic methaphors”. As dramaturge, he defines the idea, the content of the piece, that is complemented by the scenography. Playing with different components of scenography (lights, actors,…) changes and creates different stories. Pete Brooks sees digital technology and motion graphics as a tool with great potential to tell stories in a different and engaging way, using visual tricks. So he talks about his later work as a mixture that is part performance, part cinema which tries give the audience an “emotional engaging experience”.
I was quite impressed by his later projects. Mainly by the beautiful composition of plans, photography, colours, interaction between back projections and actors. So I decided to include some pictures of Kellerman, one of his latest projects, with some notes from his comments that I found interesting.
Sunday 30 January 2011
Advetising book
Pablo
Some books which might of interest. The Williamson book is the one I mentioned on Thursday.
Barnard, B (2001), Approaches to understanding visual culture. Basingstoke: Palgrave, 2001
Bathes, R selected and translated from the French by Annette Lavers Mythologies (1973) St. Albans : Paladin
Williamson, J (1973) Decoding advertisements : ideology and meaning in advertising New York : Marion Boyars
Victoria
Friday 28 January 2011
I was looking for this video yesterday; finally, I found it.
I think it´s a good idea, it could be useful for James. From my point of view, the simplicity and clarity are amazing.
Project Proposal -SooYoung
I've changed my subject.
I'll add a file which enables you understand my subject on our blog.
I'm looking forward to your any comment and feedback.
also, I try to help you find references and informations related to your subject.
Thanks.
-sooyoung-
Dot, line, space make up of the basic unit of structure and function in typography.
Space is made up of line that consists of lots of dots. This principle is being applied in various eld.
It has wide applications in design as well.
We can come across these applications in daily life .
In my case. I’m ispired by Korean traditional patterns which has been used in
house hold items, clothing, and Korean traditional house( HAN-OAK).
I want the structure of hangul(korean), alphabet(english) take apart and make into the basic unit.
I am asked to concentrate on the understanding of the basic unit of structure (Dot, Line, Space)
It is needed to keep a simple procedure.
A process of development
Fundamental principle : Cognizance of the basic character of dot, line, space.
experiment of how to change dot into line, space.
Advanced principle : The arrangement of dot on the space.
Understanding of the nature of line and the character of curve.
The relationship between the space.
Mixture with each element.
Deformation of the structure.
Application to Korean and English : Study into the basic shape which is made up of letters.
Transform letters into the basic unit.
Combinations of elements.
Soo Young Handwriting
This is just a thought so sorry if it isn't relevant.
But my flatmate Tommy brought up the idea that analyzing someones diary could be a way of determining how someones handwriting changes based on their emotion.
By the text and context of what they are writing about?
x
Chloe Vanitas : Karen Ingham
An artist who deals with Vanitas
http://www.kareningham.org.uk/vanitas.html.
She uses video also in some of her work x
Rita : Alzheimer's
http://alzheimers.org.uk/site/scripts/news_article.php?newsID=585
It's just an article about a documentary that the BBC did about the power of singing in triggering memory in people with alzheimers.Thought it might be interesting signs that sing maybe!
Thursday 27 January 2011
Photography for Design
Mischa Haller
The Swiss photographer had an incredible amount of work to show us, he seemed to have been nearly everywhere in the whole wide world and had been working for many different people already.
Mischa Haller started off by saying "If you want to do interesting stuff, you have to do it for yourself". And this is what he did. He made a little book in the size of a postcard with pictures he likes to make, made a dummy and then went to several book shops like Magma to ask whether they would sell it or not. Haven gotten a positive response from all the shops he decided to produce a small amount of copies to sell. Despite the fact that he had to pay for the productions costs, it turned out to be the right decision as he got his next job offer through it.
He is especially interested in social and cultural documentaries. A tip he gave us was not to show the whole part of the object you want to illustrate, but leave a certain part to the imagination that can tell the rest of the story.
When talking about a documentary he did on an island, he explained how he worked and what he was looking for in a good picture. He told us that he sometimes spends one hour in the same place, for example a fish and chips shop, until people kind of get used to him, then he waits for the perfect moment, usually when something interesting happens, to take a shot. Furthermore he said that people give life to the photograph, therefore you shouldn't take a picture of a place without people in it, as this is "boring".
Mischa Haller
The Swiss photographer had an incredible amount of work to show us, he seemed to have been nearly everywhere in the whole wide world and had been working for many different people already.
Mischa Haller started off by saying "If you want to do interesting stuff, you have to do it for yourself". And this is what he did. He made a little book in the size of a postcard with pictures he likes to make, made a dummy and then went to several book shops like Magma to ask whether they would sell it or not. Haven gotten a positive response from all the shops he decided to produce a small amount of copies to sell. Despite the fact that he had to pay for the productions costs, it turned out to be the right decision as he got his next job offer through it.
He is especially interested in social and cultural documentaries. A tip he gave us was not to show the whole part of the object you want to illustrate, but leave a certain part to the imagination that can tell the rest of the story.
When talking about a documentary he did on an island, he explained how he worked and what he was looking for in a good picture. He told us that he sometimes spends one hour in the same place, for example a fish and chips shop, until people kind of get used to him, then he waits for the perfect moment, usually when something interesting happens, to take a shot. Furthermore he said that people give life to the photograph, therefore you shouldn't take a picture of a place without people in it, as this is "boring".
Performance and Design
Pete Brooks
Pete Brooks started the lecture by showing us sequences of films, starting with his first production in 1984 and ending with one from last years MA-students.
He told us that he was especially interested in telling stories with his work.
Furthermore he compared the theater to the cinema. It is far easier to get lost in the story of a film and even from time to time start crying, which is seldom the case when watching a theatre play. The reason why we don‘t get that emotional is because through Brecht we tend to think more critical about the content of a play and don‘t just lie back and let us overwhelm with emotions.
Also, theater plays tend to tell more intellectual stories than most of the mainstream films do.
Pete Brooks wants to use the digital technology in a narrative context. He gave us an example by showing us a sequence of the performance of "Hotel Methusela". There you could see the actors on stage and in the background you saw a close up of the current situation on stage as a video projection. It was very impressive to see how differently I reacted to the different outputs of the same performance. The video projection made it seem more real for me and I felt closer to what they were saying, even if it was the same performance at the same time. Your eyes where guided to the most important part of the scene and it was even a blown up close-up, it therefore made it easier to follow the piece.
I think it is very important to involve the new technology when it is adequate to the piece you are performing. I wouldn't recommend to use it at any time. It can also be an overload sometimes. Digital technology should support the play and should not cover the real performance.
Pete Brooks
Pete Brooks started the lecture by showing us sequences of films, starting with his first production in 1984 and ending with one from last years MA-students.
He told us that he was especially interested in telling stories with his work.
Furthermore he compared the theater to the cinema. It is far easier to get lost in the story of a film and even from time to time start crying, which is seldom the case when watching a theatre play. The reason why we don‘t get that emotional is because through Brecht we tend to think more critical about the content of a play and don‘t just lie back and let us overwhelm with emotions.
Also, theater plays tend to tell more intellectual stories than most of the mainstream films do.
Pete Brooks wants to use the digital technology in a narrative context. He gave us an example by showing us a sequence of the performance of "Hotel Methusela". There you could see the actors on stage and in the background you saw a close up of the current situation on stage as a video projection. It was very impressive to see how differently I reacted to the different outputs of the same performance. The video projection made it seem more real for me and I felt closer to what they were saying, even if it was the same performance at the same time. Your eyes where guided to the most important part of the scene and it was even a blown up close-up, it therefore made it easier to follow the piece.
I think it is very important to involve the new technology when it is adequate to the piece you are performing. I wouldn't recommend to use it at any time. It can also be an overload sometimes. Digital technology should support the play and should not cover the real performance.
service design
This is part of the Sustainable Everyday Project, by Ezio Manzini (that was the tutor there at Politecnico).
Rita
Please post suggestions, references!
Hi Rita
I saw this link on the Wellcome Trust website and thought it might be of interest. http://www.wellcome.ac.uk/Funding/Public-engagement/Funded-projects/Profiles/WTDV030205.htm
Victoria
Estado Novo
James here are the wikipedia references to the Portuguese dictatorship and the Carnation revolution. Propoganda examples are more difficult to find, but if you are interested in it I can do it after.
Hi James
Here are a couple of books which look at the role of design for propaganda.
Heller, Stephen (2008) Iron fists: branding the 20th century totalitarian state, Phaidon Press, New York
Aulich, James (2007) War Posters - weapons of mass communication, Thames & Hudson, London
McQuiston, Liz (1993) Graphic agitation vols 1 & 2, Phaidon, London
Chloe
I'll talk to my friend. here is the project on her portfolio.
Hi Chloe
The National Gallery has a number of references to vanitas including painting and previous talks. Might be worth a visit?
http://www.nationalgallery.org.uk/server.php?search_word=vanitas&change=SearchResults&changeNav=1
Victoria
Wednesday 26 January 2011
Photography for Design
Professional practise evening lecture 26/01/2011
Lecture Misha Haller see more on www.mischaphoto.com
Context : reportage and photography for design.
Topic : Photography for design.
Misha Heller is a Swiss photographer who lives and works in London.
One of Misha Heller photographic series of his debut was for the Independent Magazine, it was a series of close shots of the human parts that became sensual abstracts, it was untitled “the naked truth”. And, to me, this expression embodies the essence of his work as a photographer. His camera is the extension of his eye and sensibility; it gently captures the beauty of gestures, attitudes, and details of everyday life without any artefacts, only the clever choice of each angle and layout. Modern times are particularly harsh with photography, the technique is often put before the meaning, as a result, there is an over-use of photoshop and pictures aren’t telling their original story. Moreover, with the digital age, everything has to be in motion; therefore, photography is highly discredited.
But what if this motion wasn’t to be found physically but metaphorically? Indeed, Heller’s pictures are fragments of moving narratives that we can construct for ourselves, actually, that what Heller did himself he told us the story of a photographer’s journey presenting us the protagonists and anecdotes. Behind each picture there’s a never ending story, and if I had to keep one lesson from this lecture is that you don’t need to show everything to tell most of the story and that we should leave a bit to this precious gift we have: imagination.
Chloe Belloin
MACD
Lecture Misha Haller see more on www.mischaphoto.com
Context : reportage and photography for design.
Topic : Photography for design.
Misha Heller is a Swiss photographer who lives and works in London.
One of Misha Heller photographic series of his debut was for the Independent Magazine, it was a series of close shots of the human parts that became sensual abstracts, it was untitled “the naked truth”. And, to me, this expression embodies the essence of his work as a photographer. His camera is the extension of his eye and sensibility; it gently captures the beauty of gestures, attitudes, and details of everyday life without any artefacts, only the clever choice of each angle and layout. Modern times are particularly harsh with photography, the technique is often put before the meaning, as a result, there is an over-use of photoshop and pictures aren’t telling their original story. Moreover, with the digital age, everything has to be in motion; therefore, photography is highly discredited.
But what if this motion wasn’t to be found physically but metaphorically? Indeed, Heller’s pictures are fragments of moving narratives that we can construct for ourselves, actually, that what Heller did himself he told us the story of a photographer’s journey presenting us the protagonists and anecdotes. Behind each picture there’s a never ending story, and if I had to keep one lesson from this lecture is that you don’t need to show everything to tell most of the story and that we should leave a bit to this precious gift we have: imagination.
Chloe Belloin
MACD
Performing Arts
MACD: Academic Practice
Date: Wednesday 26th January
Speaker: Pete Brooks
Topic : Performance & Design
Pete Brooks is conducting The MA Performing Arts at Central Saint Martins. He has been in the Performing Arts for seventeen years.
In this “exposé” he wanted to share his professional practise by showing us excerpts of his work and commenting them.
Throughout his presentation you could sense the passion he has for the work he produces and that he was craving to infect the public with the same passion, he told us that his aim was ton invite the audience to ‘invest emotionally ‘ in the narratives he creates. He wants to ‘make them cry’.
He strongly believes that, theatre has lost the power of creating the magical “suspension of disbelief’. Because ‘we are children of Brecht”, the illusion on the stage has been broken. In the postmodern world, it is rather challenging to bring back the enchantment and the pleasure, and this particular challenge is being overcome by the performing arts. You get lost in the narrative, you highly believe the animations to be real and you feel being part of the story, even though you don’t get everything, it’s like living a dream, your dreams aren’t linear there are fragments, bits and pieces of both your memory and phantasms so are Pete Brooks narratives. The theme he evokes and illustrates in his composition are death, loss, rebirth, illness, doubt, and the way he treats these them are quite poetic and obsessive you get contaminated by those in a way you’re both highly attracted and repelled by them.
Chloe Belloin
MACD
Date: Wednesday 26th January
Speaker: Pete Brooks
Topic : Performance & Design
Pete Brooks is conducting The MA Performing Arts at Central Saint Martins. He has been in the Performing Arts for seventeen years.
In this “exposé” he wanted to share his professional practise by showing us excerpts of his work and commenting them.
Throughout his presentation you could sense the passion he has for the work he produces and that he was craving to infect the public with the same passion, he told us that his aim was ton invite the audience to ‘invest emotionally ‘ in the narratives he creates. He wants to ‘make them cry’.
He strongly believes that, theatre has lost the power of creating the magical “suspension of disbelief’. Because ‘we are children of Brecht”, the illusion on the stage has been broken. In the postmodern world, it is rather challenging to bring back the enchantment and the pleasure, and this particular challenge is being overcome by the performing arts. You get lost in the narrative, you highly believe the animations to be real and you feel being part of the story, even though you don’t get everything, it’s like living a dream, your dreams aren’t linear there are fragments, bits and pieces of both your memory and phantasms so are Pete Brooks narratives. The theme he evokes and illustrates in his composition are death, loss, rebirth, illness, doubt, and the way he treats these them are quite poetic and obsessive you get contaminated by those in a way you’re both highly attracted and repelled by them.
Chloe Belloin
MACD
Tuesday 25 January 2011
> For Anna
http://www.gestalten.tv/
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Arabeschi di Latte
Simple Pasta: Present Perfect
Florence-based collective Arabeschi di Latte has taken up the course of new design experiences. Providing a copious supply of inspiration with food-related workshops, exhibitions, and events, founders Francesca Sarti and Silvia Allori, together with Cristina Cortese and Arianna Pescetti encourage adults and kids alike to share their fascination for the power of food.
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Arabeschi di Latte
Simple Pasta: Present Perfect
Florence-based collective Arabeschi di Latte has taken up the course of new design experiences. Providing a copious supply of inspiration with food-related workshops, exhibitions, and events, founders Francesca Sarti and Silvia Allori, together with Cristina Cortese and Arianna Pescetti encourage adults and kids alike to share their fascination for the power of food.
The MA Communication Design talk -1st week / Grace
The MA Communication Design talk -1st week
12.1.2011
Cultural Probes
Dr Claire McAndrew
The lecture was really helpful to me but to be honest it was difficult to me. Because it was fist time to have this kind of lecture and it contained difficult subjects but it was good. I could learn from this lecture how important that cultural probes are in design process.
This lecture showed three different contexts about: Researcher-Psychologist, Information Environments and Design+Social Science methods. Firstly, it showed that what are culture probes and how can we understand it. In this lecture, cultural probes tell us that it help to focus and articulate people’s accounts of their experience. And the stories that emerge are rich and multilayered, integrating and it is kind of unexpected new insights into participants’ lives. This part is difficult to me however it made me have other investigation about this kind of part.
Also, this lecture showed ‘Domestic probes’ part. It said cultural probe pack included ‘Disposable camera’, ‘Set of household rules tags’, ‘Listening glass’ and ‘Dream recorder’.
Firstly, ‘Disposal camera’ is Requests for photographs of a social gathering; spitual centre of your home; something red. Secondly, ‘Set of household rules tags’ is instructions to place in home as indicators of domestic injunctions: explicit “ Don’t put your feet on the table” and implicit “Don’t discuss finances first thing in the morning”. The third one is ‘Listening glass’. It is introductions to hold the ordinary drinking glass to their ear when they heard an interesting sound and write a description of what they heard on the glass itself using a special pen. Finally, ‘Dream recorder’ is pull a tab at the bottom of the recorder when awaking from a vivid dream and to describe the dream in 10sec before it switches off. This kind of experimental could have interpretation like these. Outside community of practice less-biased in terms of issues addressed and produce competent example of genre also, accustomed to building narratives from fragmentary information. It was case study 1 for Domestic Probes.
As well as, this lecture had part 2 ‘Safer Spaces’. The aim of this was to explore the potential for different and more creative understandings and applications of counter-terror communication, with a view to reduce fear and re-engage awareness in communities in public spaces. Part 3 was ‘Designing with Intent and this research uses an innovative blending of social science and design methods to understand how behaviour is shaped and influenced in traditional spaces such as second life.
12.1.2011
How to be a Graphic Designer without Losing Your Soul
Adrian Shaughnessy
Adrian Shaughnessy is an author of the book: How to be a Graphic Designer without Losing Your Soul and he is also a designer. He showed his art works and talked about his design philosophy and he called it design paradox. Here are his lists.
Paradox 01: There’s no such thing as bad clients, only bad designers.
Paradox 01:There’s no such thing as bad clients, only bad designers
Paradox 02:The best way to become a better graphic designer is to become a client.
Paradox 03:If we want to educate our clients about design, we must first educate ourselves about our clients.
Paradox 04:If we want to make money as a graphic designer, we must concentrate on the work, not the money.
Paradox 05: Verbal skill is as important as possessing good visual skills.
Paradox 06:Clients will only listen to us if we bother to listen to them.
Paradox07: Most ideas fail not because they are bad ideas, but because they are badly presented.
Paradox 08: Designer who use the argument “I know best because I’m a professional” are usually unprofessional designers.
Paradox 09:We often imagine that all the good projects go to other people.
Paradox 10: Wrong is one of the best ways to gain respect and trust. A designer’s brain is capable of much more than making things look pretty.
Paradox 13: The best want to self-promote is to avoid talking about yourself.
Paradox 15: A designer’s brain is capable of much more than making things look pretty.
I really agree with his opinion. As well as it touched my heart nevertheless I read his book before. Finally, he said good design studios want your brain not your skills.I think this is an important thing when we have a job.
14.01.2011
Technical practice - Printing
Adrian Sleeman
As we are graphic designer or not we cannot avoid using a computer and a printer. We cannot imagine make art project without a printer.
This lecture showed that now days what kind of printing technologies we have and how different before what we had. With the tremendous advance of computer technology, designer have more choices then ever before. It seems like for every designer there are at least one or more of corresponding printing methods. I am a graphic designer and I prefer a print work so I am interested in printing technologies. This lecture was useful for me.
Digital printing differs from these traditional methods in other ways too; for example, each print run can be different when using digital technology, where as with traditional methods, the same plate cannot be used to create different prints. When using digital printing, there is also no need to waste paper or ink and developing chemicals as there is no need to check that colour, position or registration are correct, as the computer can do this automatically.
The substrate (the material being printed on e.g. paper, fabric and board) is not permeated by the ink or toner. The ink remains as a thin layer on the substrate surface. A fuser fluid or UV curing process may be used to make the ink or toner adhere better to the substrate, but this isn't always necessary. The paper is then exposed to RGB lasers and photographic developing and fixing agents. This method is usually used for printing digital photographs.
The main uses of digital printing are for prototyping, short run printing and variable data printing (also known as personalized printing). This last aspect of digital printing makes it popular with Design businesses as digital printing can be used to print banners, posters and signage using waterproof inks and substrates.
Digital printing can be used on a variety of scales, from small home printing from a personal computer, to the printing on a larger scale for advertising. It is quick, easy and versatile and can be used to print on a variety of substrates, making it one of the best printing processes modern technology has to offer.
Rapid Prototyping | Ben Knezevic
Technology briefing, 21th January 2011
This lecture focused in technologies for model making. The processes covered were Rapid prototyping, Laser cutting and Laser etching.
Rapid prototyping is a process in which a 3D object is created in several layers, out of liquid polymer solidified by a laser beam. The process is characterized by high speed, relatively low prices, and the capacity to produce highly complex pieces with intricate forms.
The outcomes can be solid or hollow, transparent or opaque, and be composed by several pieces within each other or freely organic shapes.
The high quality of the outcomes make this technology suitable for either demanding areas such as prosthesis for medicine, or very detailed ones, such as jewelry.
This technology requires specific kind of 3D files, and its use is only justified for producing really complex or detailed models.
The future of this process might well be Rapid production, with final objects being produced in short time.
Laser cutting and etching is a process in which the laser beam burns the surface of the material to create 2D shapes. The substrates range from paper to fabrics, from wood to plastics.
These technologies allow the creation of models as well as finished productions. Laser cutting can be used to create paper models such as packaging, without the expenses of the die cut.
In all the technologies presented the outcomes are directly produced out of digital files, which allows the design to be improved and testing models to be produced in the different stages. Despite all the advantages that these processes present, their use is limited to small series or one-offs model production.
This subject is of great interest for us as designers, as it provides us with the possibility of testing our projects, presenting them to clients, or even using them as models for final production.
Mind Design
Professional Practice, 19th January 2011
In this lecture the design team focused on showing several projects developed by the studio. The approach was not to present the final works without a context, but rather the work in progress, the ideas behind it and the overall picture.
Despite developing several communication works from print to web based, this studio has been working mainly in branding, pursuing a comprehensive approach. Their clients range from hairdressers to independent artists to restaurants, and focus on different targets.
Each project is developed as a whole and comprises the identity itself, as well as it extension to several communication supports, namely interiors. Each identity seems to be created with a spatial or 3D existence in mind.
Many of the projects are developed in collaboration with architects, and they follow closely the contractors’ work to make sure that the best possible result is obtained.
Their projects are very elaborated and do not restrict to a logo and its application; instead, they create a plethora of visual elements related with the characteristics of the work, and generate a communication system at the same time flexible, diversified and consistent.
Each project reflects a deep understanding of the client and the field. And besides being apparent that a thorough research supports each solution, the team claims that their process is quite loose and the ideas are very spontaneous.
I found this lecture very interesting, not only for the works presented but also for the sharing of the ideas behind each and the process of bringing them to light.
Deconstructing Comics | Roger Sabian
Academic Practice, 19th January 2011
This lecture approached the comics in an analytical way. Several aspects of content, form, structure and intrinsic characteristics were discussed, as well as some differences in comics’ culture in different countries.
In addition to these topics, also the economical context and its relationship with every creative work were discussed.
A comic is a complex piece of work. It comprises illustrations, different levels of text, page composition, construction of a narrative and characters, etc. All these elements coexist in the same place, and must also communicate the sense of time and space, convey emotions and transmit ambiances.
Despite having a sequence, the navigation through the pages is complex and not linear. The reading is active and fragmented, in the sense that the reader must connect and construct the fractions of time, space and action that compose the whole story.
Similarly to the cinema, the scenes in comics are seen from different angles and shots. This becomes more evident in the traditional Manga books, to be read very quickly page-by-page.
Comics highly relate with the cultural context and conventions, but can sometimes be also influenced by the past myths and traditions. It is then important to understand the cultural aspects behind each work, and see it against the background that originated it.
If owned by a major group with several subsidiaries, the work is just a small part of a net of interests, agenda, and mutually supporting companies.
The creative areas are never detached from the economical and political context; they are influenced by but also operate on it.
Monday 24 January 2011
Rapid Prototyping
Ben Kenezevic / Technical practice/ 21st Jan 2011
It’s always nice to hear someone that is passionate about its work. Even if I don’t understand how is it possible to be so enthusiastic about Rapid Prototyping, I liked to hear Ben talking about it. There was always a little proud smile when he showed some complex model he have done. I was thinking that I would like to have the same smile when I’m presenting my work.
As far as Rapid Prototyping is concerned, it was important to understand what we can and what we can’t do with rapid prototyping machines, how to do it and when to use it. There are lots of different machines, each one with its function or appropriate for a specific kind of material. I wasn’t aware of its utility for jewelery although lots of complex jewels are made since long time without its help (I’m thinking of filigree). Rapid prototyping machines are mainly worthy for difficult models, to test its efficiency or to show them to clients, so they can have a clear perception of what they will get. In fact Ben showed some impressive models, that I can’t imagine doing it with other technique.
However I’m not sure how harmful for the environment it can be, as there are lots of plastics and resins involved. I should have asked.
It’s good to know that we have a laser cutting machine in the college. Although it’s a bit expensive, it can be quite useful for future projects. The final product turns up really beautiful.
Mind Design
Professional practice / 19th Jan 2011
I really liked the work of Mind Design. But what impressed me most was their attitude. They know that their work is good but they are not arrogant about it. Instead, they confess that the development of their ideas are quite spontaneous and intuitive. Sometimes designers tend to be a bit vain when they are good. I’m sure they also do a lot of research, but the ideas are genuine and without fear of being wrong. Maybe that’s why their work seem so fresh.
We can perceive by the work and by them that they really enjoy and have fun. They do what they want, and they also suggest new things that the client may want, but didn’t asked. They don’t seem worried about how long (money) they worked on a project since it is as they think it should be. One of them said “invest in quality, save in quantity”.
Moreover, I’ve also admired the fact that each project is different. I mean, often some designers find their own “receipts”. Therefore their projects look similar. They can also argue that is their identity and authorship, and I respect that. However, I find more interesting to challenge your work every time there is a new project.
Deconstructing Comics
Roger Sabian / Academic practice /
This lecture was a surprise for me. I’m not so into comics, but I really enjoyed this lecture. I’ve never thought of analysing comics and the way that Roger approached the lecture was quite engaging. It was good to have the American comic in our hands and analyse it ourselves.
There’s so much to “see” in comics and what is beyond them: format, content, target group, historical context, economic context. All these aspects are equally important in the creation of comics. For instance, the agenda and the owner of a character, as superman, have a great influence in the design and stories shifting it from comics to cinema, toys, TV and so on.
Following that, the format is also quite crucial economically. Not only because of the amount of paper and ink spent, but mainly the possibility of being suitable for collection. This influences the story, that should have continuity between issues. Therefore there is a intricate relation between all these aspects to consider in comics.
It’s interesting how the differences between cultures – Europe, America, Far East (Japan) – are so easily perceivable the and how it shape the stories, the designs, everything in comics.
Moreover, comics also comprise comix (underground comic from the 60s, with themes like drug experiences, sex…), graphic novels (book format) – that are thought to be the most promising future of comics –, small press comics (homemade, photocopy), e-comics (still a lot to explore in this area), manga (Japan).
Comics are an art form, and that makes them special. They can be flexible in space and time, and the structure in panels and gutters makes it possible.
Also, another interesting curiosity: cinema, in the very beginning, got some influences in comics and not the contrary.
We’ve got lots of new references and I’m looking forward to reading some of them.
Rapid prototyping
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A lecture by Ben Kenezevic
Rapid prototyping is a pre-production of rapid manufacturing, also known as the layer technology, the freeform fabrication, or the 3D printer. That time compression process uses additive manufacturing technology, which consists in joining materials layers upon layers to create a 3D object.
It was originally invented in 1980 to create models and prototypes. However it promptly became the cheapest and quickest way of producing high-complexity objects. Rapid prototyping is nowadays renown for 3D constructions, and used by technicians, designers as well as fine artists. 30% of his worldwide production is used by the car industry. But product, medical and aerospace design remains main producers of that layer technology.
It permits to realize shapes which would ordinary be impossible to create. It has no geometrical limitation. Undercuts, hollow forms, thin wall castings…
That fully automated process is everything but time-consuming (70% quicker than any other technology), which helps reducing from half the cost productions.
The stereolythography, the fused deposition manufacturing, the 3D printing or the laminated object modelling are part of a wide range of additive technologies (using the layer system), which means, declensions of rapid prototyping process. Each of them use very specific material: metal, plastic, polymer, paper or even wax.
Except for the 3D printer, they all produce unicolor objects. However it remains possible to inject colours in the resin, and give the illusion of another material (e.g. Metal). A CAD file (computer aided design), which should use vectors, for a fine result, should be saved in .STL before being proceeded by the machine. Everything is automatic, and contingent on the complexity and the size of the object, the process could take from few hours to some days.
Rapid manufacturing is a technology that leads to astonishing results, due to his various applications. From solid to flexible materials, from simple to intricate shapes, used as well by artists and scientists, that cost-friendly process should remains for a while the leader of the pre-production area.
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Visual complexity and crime prevention
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A workshop with Paul Ekblom and Reading University
In education, a workshop is a brief intensive course, a seminar or a series of meetings emphasizing interaction and exchange of information among a usually small number of participants.
Last Thursday, Sadhna Jain and Annegrete Molhave, a former Phd student of St Martins, introduced us to Paul Ekblom, expert in crime prevention. The purpose of the workshop, in addition of meeting the Information design students of Reading University, was to try a representation of the complexity, through Ekblom researches.
The main idea was for him to condense all his researches in a web-based site or in a DVD.
This multimedia application should have contained: Knowledge about crime and safety, knowledge about what works and how to make it happens, and more than all how to involve people in implementing the action.
He introduced us to SARA, a problem-solving model which could be applied for any kind of issues: Scanning, Analysis, Response, Assessment.
Ekblom actually developed and went deeper in that process by creating the 5Is.
-Intelligence
-Intervention
-Implementation
-Involvement
-Impact
Follows a wide choice of innovating solutions
A huge process, which had to organize, represents all his ideas, and which should be both interactive and user-friendly.
He asked us to look in representing an appropriate complexity:
“Theories should be simple as possible but not simpler”, Einstein.
A free-access database website may helps reducing the impact of crime and disorders in the communities.The result of the day was a wide range of approaches and solutions developed by each group, and a nourishing debate with Ekblom on our ideas and a possible sustainability of the projects.
19 January 2011__ Mind Design__ANNA MAGGI
19 January 2011
Mind Design
The guests of the last professional practice lecture was Mind Design Studio.
Mind Design is an independent London based graphic design studio founded in 1999 by Holger Jacobs. Mind Design focuses on integrated design that combines corporate identity, print, web and interior design.
The studio is run by Craig Sinnamon, Holger Jacobs and Claire Huss that collaborate with different partners, among others the interior designer Tom Dixon.
The lecture was really interesting because we had the opportunity to understand how graphic design can join and be contaminated by other different fields like interiors, architecture etc…
They introduced their work by talking of the brand’s identity and giving examples of the interiors they designed for “Circus” featuring Tom Dixon. The piece of work illustrated, in my opinion, was brilliant as we could see how the Tom Dixon’s extravagant and elegant interiors was perfectly related to both logo and identity designed by Mind Studio. Furthermore, It was interesting to see how the interiors were beautifully contaminated by graphic elements. It was also evident the strong collaboration between the two studios.
They also collaborated with Tom Dixon to design the Etch Lamps, Mind studio design patterns applied on Tom Dixon’s lamps, and to design interiors and identity of “Paramount”.
We also had the chance to look at the work of Marawa The Amazing, which takes inspiration from the Hoola Hoop.
Mind Design
The guests of the last professional practice lecture was Mind Design Studio.
Mind Design is an independent London based graphic design studio founded in 1999 by Holger Jacobs. Mind Design focuses on integrated design that combines corporate identity, print, web and interior design.
The studio is run by Craig Sinnamon, Holger Jacobs and Claire Huss that collaborate with different partners, among others the interior designer Tom Dixon.
The lecture was really interesting because we had the opportunity to understand how graphic design can join and be contaminated by other different fields like interiors, architecture etc…
They introduced their work by talking of the brand’s identity and giving examples of the interiors they designed for “Circus” featuring Tom Dixon. The piece of work illustrated, in my opinion, was brilliant as we could see how the Tom Dixon’s extravagant and elegant interiors was perfectly related to both logo and identity designed by Mind Studio. Furthermore, It was interesting to see how the interiors were beautifully contaminated by graphic elements. It was also evident the strong collaboration between the two studios.
They also collaborated with Tom Dixon to design the Etch Lamps, Mind studio design patterns applied on Tom Dixon’s lamps, and to design interiors and identity of “Paramount”.
We also had the chance to look at the work of Marawa The Amazing, which takes inspiration from the Hoola Hoop.
21 January 2011___Rapid Prototyping and Laser Cutting__ANNA MAGGI
21 January 2011
Rapid Prototyping and Laser Cutting/Engraving Etching
Ben Kenezevic
The second lecture of technical practice was about the Rapid Prototyping and Laser Cutting/Engraving Etching.
Rapid Prototyping
The rapid prototyping allows the user to build models from the 3dCAD file, it takes virtual designs from computer aided design (CAD) and transforms them into thin, virtual, horizontal cross-sections and then creates successive layers until the model is complete. The first techniques for rapid prototyping became available in the late 1980s and were used to produce models and prototype parts. The rapid prototyping use polymher to produce 3D models.
Today there are plenty of application of this technology, we can use it to produce concept models, fit and function models, master pattern for moulding and die casting, this way we can have the opportunity to obtain plastic moulds and then producing a certen number of copies of the object (around 100 copies) by moulding it. The rapid prototyping is also used to obtain wind tunnell models, clear model for fluid flow analysis, rapid tooling and rapid manufacturing.
This technique of rapid prototyping is called “stereolitography” and the cost and timing reduction in model process up to 50% are its best aspects. Especially, it has no geometrical limitations, this way every kind of shape can be processed and produced.
In the early 2000s another new technology called “Polyjet” appeared on the market, this new device cures the material by UV light immediately after it is jetted, producing fully cured models that can be handled and used immediately, without post-curing.
The rapid prototyping can only process 3D files, produced with 3D software like Rhinoceros, 3D studio max or Solid Works. There are many new opportunities of development in the future of rapid prototyping like new material development, the chance to produce Bio Material for medical needs, also its performance is expected to get better, it will have a faster producing time and it will become larger this way producing larger components.
Laser Cutting/Engraving Etching
Laser Cutting is a technology that uses a laser to cut materials, it works by directing the output of a high-power laser, by computer, at the material to be cut. The material then either melts, burns, vaporizes away, or is blown away by a jet of gas, leaving an edge with a high-quality surface finish.
This way the user can transfer every kind of pattern or drawings into a specific, selected material.
The best material for laser cutting is the acrylic but it also works very well with paper, card, wood, leather, fabrics, adesives and polyester.
The laser engraving etching is similar to laser cutting, it is the practice of using lasers to engrave or mark an object, the technique does not involve tool bits which contact the engraving surface and wear out.
Rapid Prototyping and Laser Cutting/Engraving Etching
Ben Kenezevic
The second lecture of technical practice was about the Rapid Prototyping and Laser Cutting/Engraving Etching.
Rapid Prototyping
The rapid prototyping allows the user to build models from the 3dCAD file, it takes virtual designs from computer aided design (CAD) and transforms them into thin, virtual, horizontal cross-sections and then creates successive layers until the model is complete. The first techniques for rapid prototyping became available in the late 1980s and were used to produce models and prototype parts. The rapid prototyping use polymher to produce 3D models.
Today there are plenty of application of this technology, we can use it to produce concept models, fit and function models, master pattern for moulding and die casting, this way we can have the opportunity to obtain plastic moulds and then producing a certen number of copies of the object (around 100 copies) by moulding it. The rapid prototyping is also used to obtain wind tunnell models, clear model for fluid flow analysis, rapid tooling and rapid manufacturing.
This technique of rapid prototyping is called “stereolitography” and the cost and timing reduction in model process up to 50% are its best aspects. Especially, it has no geometrical limitations, this way every kind of shape can be processed and produced.
In the early 2000s another new technology called “Polyjet” appeared on the market, this new device cures the material by UV light immediately after it is jetted, producing fully cured models that can be handled and used immediately, without post-curing.
The rapid prototyping can only process 3D files, produced with 3D software like Rhinoceros, 3D studio max or Solid Works. There are many new opportunities of development in the future of rapid prototyping like new material development, the chance to produce Bio Material for medical needs, also its performance is expected to get better, it will have a faster producing time and it will become larger this way producing larger components.
Laser Cutting/Engraving Etching
Laser Cutting is a technology that uses a laser to cut materials, it works by directing the output of a high-power laser, by computer, at the material to be cut. The material then either melts, burns, vaporizes away, or is blown away by a jet of gas, leaving an edge with a high-quality surface finish.
This way the user can transfer every kind of pattern or drawings into a specific, selected material.
The best material for laser cutting is the acrylic but it also works very well with paper, card, wood, leather, fabrics, adesives and polyester.
The laser engraving etching is similar to laser cutting, it is the practice of using lasers to engrave or mark an object, the technique does not involve tool bits which contact the engraving surface and wear out.
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