Reflection Journal

Tutors: Matthias Hillner, Martin Schooley, Jeremy Bratt BA (Hons) Graphic Design, Level2 University of Hertfordshire Professional Development Journal Semester B, 2010

Lim Fen Yu, May

Shape of Things to Come

Reviews Frost & Bass 22 300million 26 Editorial/Made in Spain 28

London - The Metropolis London Design Museum Tate Modern

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Barcelona Barcelona Design Hub 18 Outumuro Looks Exhibition 20

Aims and Ambitions Thou Shallt Not Covet Personal Design Manifesto Dissertation Ideas

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The Metropolis

London, with its long-standing design heritage, is a place that provides one with enough sights and sounds to inspire.

If I should pick a feature I enjoy most about London, it would be its architecture; old buidlings adorned with gargoyles and angels retain their air of elegance in spite the fact that many have been converted into retail stores, or used commercially.This fusion of historical and contemporary culture embodied in the streets and buildings of London, makes this city nothing short of inspiring.

“London is a modern Babylon.�

Benjamin Disraeli

Witnessing the Underground logo in the tube station brought back fond memories of Graphic Design History classes back home - London is truly the place to be for a design student. Innovative uses of the Underground logo, particularly one incorporated into a sitting bench, can be observed throughout various tube stations if one just takes the time to observe.

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The Metropolis: Design Museum

As I walked out from the Tube Station towards the Thames River, I am greeted by sky-reaching buildings of glass offices. Nearby in a field lined with trees, many picnickers are seen enjoying a rare day of good weather. I pass by the Tower Bridge and stop to take a photograph, only to realize no matter how hard I try, the image would always turn up really gray., despite the good weather. I reckon London’s charm truly lies in its gloominess.

First stop is the British Design Museum. Sporting a less grand, more laid-back and contemporary-looking facade than its famous Tate counterparts, the Design Museum seems likely to appeal to a younger crowd. As my trip that day coincided with the Brit Insurance Designs of the Year exhibition, I could not have been more thrilled. After purchasing a copy of the exhibition catalogue and taking the time to gush over its elegantly debossed cover page, I proceeded on to the exhibition hall.

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Albeit displayed in a considerably small space, the overwhelming wealth of aesthetically pleasing objects made me almost unsure where to start looking. Divided into different aspects of design such as Product, Graphic, Interactive and Fashion, the exhibition space is organized such that walking through it is almost an adventure - there is something new to discover as long as one is willing to take the time.

Among many of the exhibits, few that truly caught (and held) my attention were the publications of an Indian Type Foundry and the Hope Chandelier. Constructed out of meta-crystal to maximize the amount of light that can be refracted in a single chandelier using only one bulb.Not only does it allow a perfect diffusion of light, the visual effects created by these lenses were undoubtedly breathtaking.

Other exhibits spanned from environmentally-friendly underwear designed to be biodegradable, to encyclopaedias of Russian criminal tattoo designs. These were enough to please even the layman, let alone excite a design student. Finally, surprised at having already spent half a day away, I reluctantly leave and move on to my next point of destination, Tate Modern.

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The Metropolis: Tate Modern The dreariness of the facade of Tate Modern is difficult to ignore, despite having undergone some restoration prior to its second life as a well-known museum. Located just on the other side of the Millenium Bridge, it used to be a former powerstation. Standing outside the entrance of Tate Modern, I felt almost insignificant and miniscule in comparison to the building itself.

The mueum houses many permanent exhibits as well as temporary ones. But having seen the banner outside the building advertising for the Pop Life exhibition, I knew I would not leave without having seen my fair share of Warhol and Lichtenstein. These included the Monroe silkscreens of the former, and the halftone illustrations of the latter.

08 No Ghost Just a Shell The luckiest discovery, though, was the tribute exhibition to the critically acclaimed Japanese animation, Ghost in the Shell. Amongst numerous exhibits were a series of posters designed by MM Paris. Having only ever admired their work from that of a computer screen, this was truly a moment to remember.

I have long admired the work of MM Paris for their innovative and unusual use of typography. Their style borders on craft, but reflects sophistication in terms of visual composition. There is often some degree of visual complexity in the images created, but clarity is hardly compromised. To me, they present a perfect example of how art and design can coincide without contradiction. This is something I hope to achieve in my design, having started from a fine arts background.

Taking the time to admire the posters, I sneak a few shots from my compact camera, carefully avoiding getting spotted by a watchful curator sitting nearby. Being a regular visitor of museums indeed earns you the skill of stealth phototaking, Shortly after, it was already time to head back to home. Next week, there shall be more to see, I assured myself.

Barcelona

Having spent Easter in a place like Spain truly allows one to understand the joys of living. Be it food or fashion, everything in Spain is about invigorating the senses. Barcelona in itself holds never-ending discoveries. More than a week into the trip, just when I thought I have seen all there was to see, I discover new things in streets I’ve already walked on numerous occasions. As I took a turn down Juame I metro station, I was draw into a shop specializing in leatherbound notebooks and intricately-illustrated greeting cards.

“Coming in solemn beauty like slow old tunes of Spain. ” John Masefield

I then proceed on to my mission to find a well-hidden design hub in the crowded narrow streets of central Barcelona.

Walking, one cannot help noticing how open Spanish people are, especially in terms of accepting homosexuiality. Gay and lesbian couples walk the streets holding hands, not unlike any other heterosexual couple. This is a rare sight in Singapore back home, where there is so much unease surrounding even the idea of homosexuality.

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The streets of Spain is littered with graffiti. Yet having seen some truly inspiring ones, it is difficult for me to consider street art nothing more than merre vandalism. It is hard to even imagine the time and skill put into this reproduction of Mona Lisa spotted on a crumbling wall at a far-out corner of Barcelona. While there are many who do it out of deliquency, one has to give artistic credit for a piece such as this.

Barcelona: Montcada Design Hub

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Taking a turn down Montcada not far from Juame I station, I reach Dieseny Hub Barcelona (DHUB). For a design hub, it is surprisingly homely yet simultaneously classy. The design concept surrounding DHUB is non-pretentious and simple, with the use of the same black geometrical shape. This is applied to signage system within the galleries, and also as a repeated graphic pattern on their webpage.

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Outumuro Looks Exhibition Many museums in Spain, unlike London, requires a hefty entrance fee. It almost seems to me that the country intends to fully take advantage of its rich history when it comes to tourism. Fortunately, there is an exception to this on every first Sunday of the month, where the entrance fee is waived.

The exhibition, Outumuro Looks, which celebrates twenty years of fashion photography, was on display. Thia was accompanied by various paraphernalia that traced the history of fashion design.

These include vintage copies of fashion editorials such as Vogue and Harper’s Bazaar. Displayed as whole collection, one can also discern graphic design trends, and how each magazine cover the represents a certain period in history.

One of the editorials included a feature on the Spanish shoemaker company, Camper. The aesthetic of the brand features ‘casual urban simplicity’. The visual style of the company is reminiscent of graphic novels with the use of bright primary colours.

An observation worth noting is how the earlier ones focus more on life-like illustrations of models. This then progresses towards a heavy reliance on the photographic medium. The contemporary approach, however, seem to aim to push the boundaries in efforts to combine both aspects.

Further upstairs the design hub is another exhibition space. A walk-through reveals a photographic exhibition that pays homage to numerous leading ladies in film. Some of these films include Persona and Breakfast at Tiffany’s.

I was relatively glad to be be able to find at least one outlet that reflected the design aesthetic of Spain, especially through the exhibition spaces created. From projected video montages to mirrorframed hallways, these spaces not only compliment, but also indeed do justice to the exhibits there.

Designer Review: Frost & Bass

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Saul Bass

One of the many graphic designers whose influence has withstood the test of time is Saul Bass, best known for his design on animated motion picture title sequences from the 50s to the 80s.

His posters involve the use of contrasting color combinations, with the main subject illustrated almost always in black or white. The use of text accompanied by the image was always simple and effect, but never dull, even lending to his images a whimsical sense of darkness.

This can be seen in one of his most famous title sequences of the animated paper cut-out for Preminger’s The Man with the Golden Arm. While his images are clean and graphic, they retain a craftlike quality that doesn’t leave out the emotional aspect of his images. The adaptability of his clean graphic style is apparent even when paired with black-and-white photographic images from the film – one of the reasons why his distinctive style is being adapted even today.

Constantly imitated by contemporary designers, his influence is evident as seen in the poster of recent film, Precious. The graphic use of a black illustrative silhouette along with intense flattened planes of colors is reminiscent of his unique visual style.

Frost Design – another noted influence in graphic design, is a contemporary design studio first founded in London by Vince Frost around 3 years ago and now based in Sydney. The company consists of an independent studio of 30 people. Design scope includes TV graphics, exhibition design, identities, motion graphics, web designs books and magazines.

One notable characteristic of Frost Design is the ease in which it seems to achieve visual balance and harmony between text and image. Favoring the use of evocative photographic elements paired with the thoughtful use of typography, Frost Design seems to be one that is more than anything intuitive but not over-trendy, which lends their visuals an air of stylish ease. Their images seem to transcend beyond the printed matter because of the use of textures incorporated into what would be an otherwise clean graphic approach.

Frost similarly achieves impact through phantasmagoric photographic images that burst with color and detail.

Despite the differing stylistic approaches of these two graphic designers, they accomplish the similar objectives of how graphic design can intrigue, affect and create emotions through images.

Even in using differing types of images, both successfully create dynamism in image-text relationship, never compromising one for the other.

While Frost Design seems to almost aim to subvert the clean, vector-like approach to making images through the heavy use of photographs, Saul Bass’ illustrative style celebrate s the simplicity of such images without eliminating their emotional appeal. Where he prefers to ‘suggest, not tell’ through these simplified but impactful drawings,

19 Vince Frost

Faculty Talk: 300million

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One of the most inspiring talks that took place within the faculty was during mid-February by 300million, one of the most highly-regarded design consultancies in the United Kingdom. Hosted by two representatives from the company, they provided much insight to the working experience of a designer in the real world.

Some of the aspects covered during the presentation included the design scope of the company, which spans mainly across branding and identity projects and printed media. One that made the most lasting impression on me was the never-ending book which was designed to have looped pages that can be continually flipped. Another notable project by 300million was the very recognizable logo designed for Body Shop’s campaign against sex abuse, which comprised typographically of the words ‘No’ that also formed the shape of a hand. These are two of the numerous projects displayed a sense of ingenuity that is always present in the company’s design solutions.

Other smaller projects also included printed media. One that made the most lasting impression on me was the never-ending book which was designed to have looped pages that can be continually flipped. Another notable project by 300million was the very recognizable logo designed for Body Shop’s campaign against sex abuse, which comprised typographically of the words ‘No’ that also formed the shape of a hand. These are two of the numerous projects displayed a sense of ingenuity that is always present in the company’s design solutions.

The presentation also included a concise visual tour of the office, and the working processes of the creative staff; from brainstorming to crit sessions and the delivery of a concept to the client. Although somewhat similar to what we’ve been taught, these processes happen in a much shorter span of time than what we are given to work with now. Apart from giving the students an idea of the fast-paced working life of a designer, 300million also provided us with invaluable advice on how to improve as a designer.

Accompanied by light-hearted power point illustrations, they proved to us that professionalism does not necessarily mean rigidity and over-seriousness, especially in a creativity-driven industry. All in all, it was nothing short of an eye-opening experience and one cannot help but long to be able to work in an environment as stimulating and engaging as 300million.

Print Review:

Editorial / Made in Spain

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It is easy for a design student to call a design book a favourite - until of course she finds a new one that she likes even better. My latest favourite Editorial/Made in Spain, a newly acquired treasure from a design bookshop in Barcelona, is one that might have just set the standard. At first glance, the book is unassuming yet elegant. The cover of the book consists simply of its title printed in Spot UV on a matt black cover, held closed by a black elastic band, as if like a huge sketchbook of inspirational treasure.

Although published in Spanish (of which I can hardly understand), the editorials presented in this book are nothing short of visually refreshing and indeed, speak for themselves. This book serves to me not only as visual inspiration, but also as a motivation to push the visual boundaries of page layouts – something which Spanish design seems to achieve with great ease.

My aims as a designer are ambitious, but they happen on a personal level of seeking to hone my craft in finding a balance between concept and technical execution. The word “amateur” is a term with an apologetic ring. But that very word from the Latin word meaning “lover” means one who does something for the love of the thing rather than for economic reasons or necessity, and from this, I take my cue for doing what I do. More than anything else, design gives me hope of the possibility of finding a sense of purpose and fulfilment in what I enjoy doing.

25 Looking In:

Aims and Ambitions as a Designer

The realization at discovering the huge gulf between art and design contributed to the numerous difficulties in learning design in my earlier days. Hence, one of my biggest personal endeavours even until today is to seek to reconcile the both in own my personal way.

Not having yet found my own style, I am also constantly seeking to experiment with new ideas and methods of image-making.

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Thou Shalt Not Covet Top 10 companies to work in

(Cont’d, from top) 6.Brand Union 7.MOJOKO 8.Phunk Studio 9.Design Bridge 10.Bibliotheque

(From left top, not in order of preference) 1.Frost Design 2.Made Thought 3.Ogilvy & Mather 4.Asylum 5.Foreign Policy Design Group

Looking In:

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Personal Design Manifesto

1. A designer should not only seek to learn the ropes from the past (our predecessors), but also aim to break new ground by looking within oneself. One can take inspiration from the external world, but should seek insight internally.

2. To never fear perfection, because one can never ultimately achieve it. One can only truly learn through mistakes.

3. Design should never be done for the wrong reasons. The role of a designer as a communicator carries great responsibility in terms of what is communicated and how it affects the world. Design should to bring solutions to today’s existing problems..

4. Never overlook the emotional aspect of design. Design is made for humans by humans – it should never be cold and clinical, but appeal to its audience on the most basic level.

5. Design for the fundamental pleasure of beauty is not an illegitimate function. Part of the designer’s fight in life is the fight against ugliness.

6. Design should always try to be fun, in spite of how difficult that might be.

7. Cultivate a sense of curiosity, and seek to see the world with fresh eyes every single day. To be jaded is to lose all sense of self and one cannot seek to inspire others if incapable of inspiring himself.

Looking In:

Dissertation Ideas

In the upcoming semester, I would like to further my research interest in the Memento Mori tradition. Memento Mori, which refers to the artistic tradition that serves a purpose of reminding man of his mortality, has always been perceived as an archaic theme in art. Yet the concept death as unavoidable and impending has never lost its relevance in our daily lives.

As the visual tradition of death has been overused to the point of trite, I hope to find new and interesting visual approaches to expressing these themes in a more lighthearted and whimsical fashion and incorporate them into design elements that people come into contact with in their everyday life.

One other interest I hope to integrate into this project is also ornamentation as a legitimate visual aesthetic in the postmodern world. Owing to ideals of Modernism, ornamentation has been seen as almost vulgar and superfluous. There has, however been a revival In ornamentation in recent times.

These concepts will also hopefully take the form of alternative packaging. As packaging allows the integration of visuals with tactile materials, I feel that it provides a good channel for visuals to be brought into a more tangible realm. The exploration of materials would be able to provide a new dimension of experience that can simultaneously compliment and surpass the visual.