Deconstructing Comics | Roger Sabian

Academic Practice, 19^th 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.

A very interesting topic covered in this lecture is the influence that the owners and publishers of this kind of book may have on the story itself.
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.

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.

Finally, they don’t believe in internships because nowadays design industry is getting “sick” on that issue. Although they accept interns (and they pay them), their suggestion is not to do it. We don’t have to be afraid to work by ourselves. We will certainly do lots of mistakes but if we are honest since the beginning with the client, we will learn from them. They ended in a positive way: it doesn’t matter if the work is boring, we can do lots of nice design with boring stuff.

Deconstructing Comics

Roger Sabian / Academic practice / 19th Jan 2011

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.

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.