Created by Roland Reiner Tiangco who is a recent graduate student that lives in New York, this design piece is actually interactive with the person that has it. It starts out in an envelope folded up, when you unfold it, you get that black residue on your hands and when you rub if on the paper, that is what you see: "The future belongs to those of us still willing to get our hands dirty. The message is placed very straightforward, centered, and capitalized on the page. It's a message this is simple, but powerful. It is powerful because of the fact that the piece literally has you get your hands dirty in order to read the message. There is good balance throughout the page because of how Tiangco sized the font and arranged it evenly. The piece also becomes visually interesting and breaks up the space when the viewer smears the residue on the paper. A way for the creator to connect to the person on a more intimate level I guess is a good way to look at it. Again, this piece is super simple in it's form, but the content is extremely powerful because of the approach the artist took towards it.
Thursday, April 29, 2010
Form and Content 5 (2000s)
Created by Roland Reiner Tiangco who is a recent graduate student that lives in New York, this design piece is actually interactive with the person that has it. It starts out in an envelope folded up, when you unfold it, you get that black residue on your hands and when you rub if on the paper, that is what you see: "The future belongs to those of us still willing to get our hands dirty. The message is placed very straightforward, centered, and capitalized on the page. It's a message this is simple, but powerful. It is powerful because of the fact that the piece literally has you get your hands dirty in order to read the message. There is good balance throughout the page because of how Tiangco sized the font and arranged it evenly. The piece also becomes visually interesting and breaks up the space when the viewer smears the residue on the paper. A way for the creator to connect to the person on a more intimate level I guess is a good way to look at it. Again, this piece is super simple in it's form, but the content is extremely powerful because of the approach the artist took towards it.
Wednesday, April 28, 2010
Form and Content 4 (1990s)
This is a piece created by David Carson. It is composed mainly of black and white, with a little bit of red up in the corner. The red text is in a clogged typewriter looking typeface. There is a lot of commotion and traffic in the bottom of the piece, and the red name up at the top is a way to bring the viewers attention away from that, without putting an overemphasis on it. There is more of that typewriter like font that is placed either in black squared with white letters, or white squares with black letters. These give contrast and also play with the negative and positive space. There are lots of layers of different sized words and letters in-between the two squares which serve to create a texture and also play off of the overall message and content of the piece. The piece reads "don't mistake legibility for communication" which is a powerful message to the graphic design world. This message is reemphasized through Carson's graphic abstractions. The fact that the "legibility" is broken up on the textured black surface of the repeated message helps to break the viewers thought process while they're reading the message. They have to stop and think about it for a minute, which is exactly what the message is trying to say. Even though you can read the message after concentrating for awhile, that doesn't mean you are communicating it. The piece is very clean and visually interesting. The combination of the negative and positive space playing off of each other helps to create a good balance throughout the piece.
Tuesday, April 27, 2010
Form and Content 3 (1980s)
This is a piece done by graphic designer and typographer Neville Brody. It is a design for the "Fuse" exhibition. Brody became very popular in the 1980s and is still popular today. Looking at this poster, there is a lot of emphasis on the white shapes and forms. Looking closer, it's apparent that the shapes are actually counterforms of letters and abstractions that create a negative space that lets the viewers mind complete the words and what they say themselves. The counterforms and shapes resemble a lava lamp almost, and when you step back and look at the background images, they are very dark vague shapes that also resemble a lava lamp and reinforce that idea. The color scheme is very neutral excluding the white counterforms and shapes. This creates a contrast between forground and background and also creates a hierarchy between the white letters and forms, and the goldenrod shapes behind it, which if observed close enough, say the name "Brody." This piece overall is very abstracted, but done so in a way that it is visually exciting to look at and try and read.
Monday, April 26, 2010
Form and Content 2 (1970s)
This poster was created for the Schaefer Music Festival held in Central Park in 1975. I'm not exactly sure who created the poster because I couldn't find it. The festival featured bands such as Aerosmith, J. Geils Band, and The Bee Gees. The poster is simple, yet still type dominant. The display font is bright yellow on a teal background which creates contrast and is very eye-catching. The display type is also a style which is very fitting for the time. It gives an image and idea of openness and fun. The yellow graphics coming off of the looping P also kind of look like a water fountain, which is a good reference to Central Park. The blue background could also make reference to the blue sky of central park. There is also a thin white like that creates a silhouette of the city of New York. The thin line also outlines the display type which to me is a symbol of unity of the bands and the city itself. Overall, the design is pretty simple, but it gets it's idea across very easily, and is also eye catching and does what it's supposed to.
Saturday, April 17, 2010
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