saeedi
The subject of this poster is universal peace. As you know the world is full of words about peace but you cannot find any signs of real peace nowhere in the world. In this poster I've used the Iranian calligraphy to draw a new symbol for peace instead of the dove holding an olive branch. As you know crow is usually an ambiguous symbol in the most of cultures and I've used the words as sorrow, suffering, pain, war and death to compose the wings of this crow.
EhdI
aryoush
t
ahmasebi
Design is packaged creativity. Design confirms the reality of creation. Creativity is a gas-like phenomena which desperately needs to find a form. Creativity causes chaos in ones mind, it follows no rules and escapes from all conventions and traditions. The creator is totally free from time and space during the process. A fantasy or an idea is prior to a creation. That is why it makes you both happy and restless. There is a pain which can only be relieved by executing it, the first pencil stroke or the first mouse click starts the healing and creation process. As soon as you find a form and a way to process it, the pain disappears and the joy comes. Probably the same pain as God felt as She created the world, and the only way to heal the pain was to start the creation. So the process of creating had begun. The first issue was the design and He had a 7-day deadline, and naturally made some mistakes. The great thing He did do was to put a very specific thing in the human structure which we call fantasy. Having a fantasy without the ability to create is useless. So He gave us both. That’s it! The difference between humans and all other creatures is the ability to fantasize, create and design. The result of that creativity is our civilisation and our cultures..
Now that we can act as God through our most amazing gifts, our fantasy and creativity, why not make the most advanced product ever created? The concept is: *It must be: timeless, shapeless, powerful, almighty and full of playfulness. It must reflect our way of thinking and acting. It must be so strong that we do not need to protect it. It must contain all of our hopes and desires. The user should be able to modify it as he wishes. *Design: optional. *Quantity: one
THE MAN created THE GOD.
scott
the concept is really simple. a speech bubble behind bars. which automatically says to the viewer that the communication is restricted. also the speech bubble being empty also brings across this message. simple shapes was a inspiration to grab the viewers attention. black and white where used to communicate that this a serious matter. in many countries people are not allowed to express their view and opinions
B. Munari, designer
Quick guide
#4
Take your FAKE Plastic
Scan this page
Draw following the dots
Enjoy typography
Invisibility of typography describes forms that bring up concepts, often leaving behind the shape of the letter itself. The design of a single glyph and its being part of a graphic artifact take part in defining the visual style of the project, but fade out behind their meaning. Behind the words that are perceived by the human eye, a communication discipline full of unperceivable details develops, hidden in the final result of the communication act, whose aesthetic translates itself into functionality. Invisible are the Bezier curves, the countershapes, inktraps, leading, optical corrections the grid, tracking and kerning. The mechanical logic behind the reading process absorbs every detail in an unconscious way. In the reader's mind the scenes created have nothing to do with the real letter forms visible on the screen or printed on the page. The need of typography resides in its own purpose: the standardisation and industrialisation of communication. It reflects itself in the everyday life of a world based on information and diffusion of knowloedge, from newspapers to the web, from car plates to train schedules, from ID cards to price tags in a store.
Thype! starts as a concept and evolves into a goal: hyping types. Design needs awareness of the available tools in order to use them in the best way possible. The creation of a formative and informative event, by students and for students, is the attempt to spread the belief in a design method using the voice of professionists of the graphic field. Thype! has brought to Turin 80 students from all around Italy, for three days of full-imersion in the TypoGraphic design world, sharing experiences and skills. Thype! has begun as a single event but hopefully it will grow and became an annual in the years to come! Nicolò Brusa Francesco Carletto Matteo Pont www.thype.it *The meaning of this artwork is to show the key elements from which a character is built, in order to re-structure the invisible forms of a text. Artwork typesetted in Lucida Std Bold Italic, Lucida Std Roman, Lucida Typewriter Std Roman, Lucida Typewriter Std Bold.
Andrea
Castellett
What is right and what is wrong is a question of framing and communication, resources of those with financial might. What is troublesome, is that some have more might than others. I’ve continued my image mission with this poster supporting a group of individuals opposing a nuclear power plant in Simo, northern Finland. The Simo coat of arms has salmon tails on it, thus the simple imagery. The group of individuals opposing the plant has no budget, no central boss, no pr-agency, lobbyist or skills in politics. By doing this poster (again in a few hours) I wanted to give them a uniform to stand behind, and on the side a clear, easily reproducible image for the media. It cost 700 euros to print the poster. The salmon heads we got for free from the local supermarket. EON, lobbying for the Simo plant, has millions to invest with. Such uneven playgrounds call for action, don’t they?
From galleries to the streets As a design student I grew up to appreciate posters in a way one can appreciate boxing – a way to flex your muscles, but little to do with real life. Two incidences and pieces created for them have forced me to re-think.
I had been following with respect Anna Politkovskaya’s hopeless mission for the oppressed Chechenyans in Russia. The poster of Politkovskaya with the bloody Russia on her chest was done in a few hours after learning about her murder, and getting called to a candle demonstration at the Helsinki Russian embassy the same evening. Two thousand people with candles showed up at the demonstrations, and the modest posters distributed themselves from hand to hand in the crowd, right when the newspaper photographers and the tv-news were present. The poster and people holding it at the evenings demonstrations made it to most of the next day’s major newspaper front covers. All armies need flags or uniforms, even peaceful ones. An image can serve as a flag or uniform, we as designers can create them, and this is still relevant today. Also, the most important issues are often abstract, in need of visual clarifying. With proper timing and a bit of luck the media can and will want to air the image and the issue it carries – if it tells its story well.
to use your time, more wisely.
Make the time, to have the time. Discipline your time, to have more quality time.
Be more aware of time. Enjoy your time. Go with the flow of time. Live life, one day at a time.
Time is the most important thing, that you have.
Treasure whatever time you have left, because time waits for no one.
Time for buying technology. Time for training. Time for calling, voicemail, texting. Time for instant messaging, email, faxes. Time for videos, music, gaming. Time for networking, social whatever. Time for surfing and researching the Web. Time for web sites and blogs and search. Time for processing and work. Time for troubleshooting. Time for more training. Time for technology updates. Time for fixing technology. Time for upgrading technology. Time for re-buying technology. Time for retraining. Our ability to do more work faster, has caused us to do more and more work, with less and less time to do it right, and to keep up with all that has to be done.
It’s only a matter of time, before... time’s up.
Because without time, what does anything else really mean… if you do not have the time to enjoy it?
In no time, times got tough.
Take the time,
Keep technology in perspective.
It’s about time... you simplify your life.
The sign of our times: Most people are, “Time-Poor”... it’s just a matter of degree.
Overtime. Out of time. All the time. Timetables. Time clocks. Time management. Time zones. Time delays. Wastes of time. Pressed for time. Stressed out by time. Can’t keep track of time. Losing time... time and time again.
Lack of time, not enough time... to do all these extra things on time, and have them ready in time.
It’s about time for a message about TIME that says what has to be said about the most important aspect of time in our time, LACK OF TIME. Everyone today is “Time-Poor”... it’s just a matter of degree:
Over the course of time in the good ole times time was on our side. We all had time on our hands: free time, spare time, time off, pastimes, good times, the time of our lives… because we had time to kill. Enter the “Information Age”... a time of technology. Times changed. Time is not what it used to be. Technology promised to save time, simplify our lives, empower us, and make things easier… a lie, too good to be true. Instead, technology stole our time. Technology complicated our lives. Technology imprisoned us in its system. Technology made more demands on our time. Time for sourcing technology.
cott hristoper
TANK MAN 5-6-1989
cs
TIaNAMEN SQUARE
RI G
HT
FOR
F RE E
D OM
Crescita sempre maggiore di prigionieri politici (senza definizione di reato politico), critici e giornalisti con accuse pesanti e inesistenti, attivisti di diritti umani in attesa di appoggio e sostegno nazionale ed internazionale e, ancor peggio, crescita del numero delle esecuzioni e censura totale dei media. Questa è la realtà di quello che succede oggi in Iran: un carcere grande per tutto il suo popolo, senza che il governo iraniano renda note le motivazioni politiche per la quali avvengono queste incarcerazioni.
za
Secondo il rapporto annuale del network “Iran human Rights”, nel 2009 sono state giustiziate 402 persone. Si tratta, comunque, del numero più alto di esecuzioni registrato negli ultimi 10 anni. Tra queste persone giustiziate, ci sono 5 minori che hanno commesso reato, nonostante l’Iran abbia approvato la convezione dei diritti dell’infanzia. Purtroppo si assiste alla negazione feroce dei diritti umani, sia nazionali che internazionali. E’ importante evidenziare che il numero di esecuzioni, nel mese successivo alle elezioni presidenziali (luglio), è aumentato (49 esecuzioni), per creare un’atmosfera di timore e paura e per frenare le proteste in conseguenza dei brogli (presumibili) elettorali. Nel 2010, dall’inizio dell’anno fino al 20 aprile, 59 persone sono state giustiziate, per una media di 1 persona ogni 1,5 giorni, e solo nei primi 20 giorni del mese di aprile ci sono state 25 esecuzioni, cioè più di una al giorno. Questo aumento è preoccupante, anche perché ci stiamo avvicinando all’anniversario delle elezioni presidenziali del 2009 (12 giugno), e quindi alle repressioni avvenute nello stesso periodo. Tutti questi avvenimenti accadono mentre le persone che potrebbero divulgare o analizzare i fatti, o quelle che potrebbero combattere contro questi avvenimenti (cioè i giornalisti e gli attivisti di diritti umani) sono rinchiuse nelle carceri senza essere informate di ciò che accade (circa 50 giornalisti sono in carcere, e quelli scarcerati sono liberi a condizione di smettere la loro attività professionale). Tutti questi avvenimenti si verificano in una condizione di censura totale dell’informazione che si manifesta in diversi modi, dalla difficoltà d’accesso d’internet al filtraggio dei siti contenenti le notizie e blogs, o peggio ancora con l’emissione di onde elettromagnetiche atte a disturbare le trasmissioni dei canali satellitari. In queste condizioni l’Iran è diventato un enorme carcere di giornalisti. Secondo dati dell’organizzazione “Reporters sans
frontières” è il Paese mondiale che possiede il numero più alto di giornalisti ingiustamente detenuti in carcere. Ma la censura non esclude solo le informazioni e le notizie, lo fa anche con l’arte e gli artisti. Jafar Panahi , il famoso regista premiato in numerosi festivals , è incarcerato per un’accusa irreale e i suoi film non possono essere proiettati in Iran. Numerosi musicisti Iraniani non riescono di avere i permessi per registrare i loro cd o organizzare concerti nella propria terra. Secondo Bahman Ghobadi (regista del film “I gatti persiani”), in Iran ci sono 3000 bands di musicisti clandestini (underground). Questa realtà dimostra che non è il pubblico a scegliere quale film o quale musica ascoltare o vedere, ma piuttosto è il Potere centrale a decidere e tutelare le opere artistiche a lui gradite. A questo popolo pacifico è stato negato il diritto di manifestazione, al contrario di quanto previsto nella costituzione iraniana e dalla “Dichiarazione diritti dell’ uomo” accettata anche dall’ Iran, così come non è concesso loro di avere sindacati indipendenti dagli enti pubblici. E’ da anni che, ogni qualvolta gli operai manifestano per chiedere gli stipendi da mesi non pagati, vengono ripagati con una oppressione violenta (Mansuor Hosanloo sindacalista dell’azienda trasporto pubblico di Tehran è da 5 anni nel carcere di Evin sotto tortura). In questo grande carcere ogni giorno si assiste a una lotta terribile tra il coraggio e il timore, e negli ultimi anni il coraggio sta vincendo, perché questo coraggio è la diretta conseguenza della consapevolezza e della saggezza che giorno dopo giorno, pur contro la volontà dei nostri governanti, sta crescendo sempre di più. L’ autorità iraniana teme la crescita d’informazione del suo popolo e cerca di fermare questa crescita con tutti i mezzi. Ma per fare ciò paga un prezzo molto alto e gli iraniani in lotta contro il governo cercano di fare crescere sempre di più questo prezzo. Quindi alla comunità internazionale chiediamo di sostenere il popolo iraniano, per fornirgli la concreta possibilità di ricevere e diffondere le notizie sulla loro realtà quotidiana e sociale, e creare quindi tutti i presupposti per aiutarli ad esprimersi a livello internazionale, chiedendo anche al Governo Iraniano di porre il problema dei diritti umani in Iran al primo posto di qualsiasi programma futuro che riguardi lo Stato Iraniano.
ra
tofigh
This series deals with the memory of those who have lost their lives in war, and crimes against humanity. This digital composite involves screenshots from the internet, and various other images, digitally manipulated, printed on archival paper and then laminated.
TYPOGRAFIKA
ERIK BRANDT
2010
SOCIAL NETWORKING HAS MADE THIS FAKE PLASTIC FOUR MESSAGE REAL I HAVE NEVER MET CHRISTOPHER BUT I LIKE HIM BECAUSE WE SHARE MANY FRIENDS AND FOR WHAT I SEE HIM DOING I HOPE HE LIKES ME
BECAUSE OF WHAT I DO OUR FRIENDS ALSO SEEM TO SHARE MANY OF THE SAME FEELINGS BUT I HAVE NOT MET MOST OF THEM EITHER IT FEELS POSITIVE THOUGH DESPITE THE DISTANCE
dcarmiiesnp Modern / Slave
The slave falls from the sky. It is the resurrection of the avant-garde for nothing at all. No worth. No value. The slave hits the ground, breaks into pieces and lives again. The sound of the slave's body hitting the ground is the sound of the avant-garde and the echo has the same historical strangeness as the word 'modern'. 'Modern' is the condition of alienation from the stream. It is the irrational. It is Charles Baudelaire. A modern artist is compelled to be an artist, and at the same time is deeply ill existing as a commodity. A modern artist resists the commodification of their work, of their existence as an artist and of their existence at large. Modern is an artist breathing difficult thought with disregard for its economic potential. The modern artist breathes resistance with infinite variations but in every variation the idea of a career becomes an awkward joke. It creates neurosis, creates conflict, contradictions, questions. To be difficult. Irrational. To betray your own class. To resist the taste of money as it seduces poetry. To disdain the fatal deadening of art. To contain all of the fractures and contradictions of modern emotion. The work produced by a modern artist contains conflict in its material and conflict in its content. The material and content become resistant to whatever modes of commodification are dominant, pushed to the edge either consciously or subconsciously by an artist.
The modern artist is not a professional. The professional seeks the concrete. Seeks the rational. The investment. The archival material. The next big thing. The ivy league. The correct career path. Seeks to understand their market. Seeks face time. The professional is obstinate in the shadow of art's lineage of transgressive gesture, and adapts corporate modes of production, and produces consistent replicas over the span of a mature career. The professional has no memory of the ocean. The professional is afraid to speak, navigating the art world as if it were any other corporate realm, erasing the object 'self' with business etiquette. The professional is an artist who has given their power away. The professional exchanges life for a career, but art is not a career and fades away in the exchange. Modern is a political state of resistance to commodification of art and commodification of reality as a whole. It is an existential crisis. The modern artist has been taught the underground is dead. The death of the avantgarde is written as an allegory of the end of corporate resistance. Jackson Pollack died as an image on the cover of Time magazine. The truism: resistance is futile – is the anesthesia numbing our bodies and dropping our dreams into a stream of emptiness.
The point is not whether an artist is commodified or not, but that there is poetry in their resistance.
The modern artist understands the popular conception of the trajectory of the underground but understands the lie and still plays with visions deep in the margins and shadows.
The modern artist eats exile; is resistance; seeks visions.
I still see art. Still, I can look at art. Sometimes I feel art. I go out to look and I still find work I can feel.
CONCEPT & DESIGN Christopher Scott Michael Iva Consigliere / Contributing Editor Mehdi Saeedi
www.csgraphi.com csgraphi@hotmail.co.uk ivamichael@hotmail.com mehdisaeedistudio@gmail.com
Timo Berry
berry@both.fi
Zara Tofigh
zara750@hotmail.it
Erik Brandt
eb@geotypografika.com
Thype Carlos LogroĂąo Jesse Draxler Noel Heaney Daryoush Tahmasebi Dan Irvine Damien Crisp
HervĂŠ Matine France Distribution Mehdi Saeedi Iran Distribution Utpal Pande India Distribution
www.thype.it benditoinfo@gmail.com jessedraxler@gmail.com noelheaneydesign@googlemail.com daryoush_13@hotmail.com dannyirv@aol.com damien_crisp@yahoo.com
hm@posterfortomorrow.org mehdisaeedistudio@gmail.com utpalpande@gmail.com
Thype Italy Distribution
www.thype.it
Rafael Vivanco Peru Distribition
rvivanco26@gmail.com
Esteban Salgado Ecuador Distribution Francesca Agate Italy Translation/Distribution
www.grafitat.com esteban@grafitat.com francescagate@hotmail.com
I would like to thank everyone that made Issue 4 possible. Without the designers, writers, distributors and you holding this magazine FAKE plastic would not exist today.
Published by CSGRAPHI
ISSUE 4 PLASTIC