‘THE BOOK AS A PRINTED SPACE’, 2015 Course duration – Two weeks Curator – Bernard Cella Typeface – Akzidenz-Grotesk BQ, Sabon LT Std Printer – Risograph Photography by Maria Rudakova The course dealt with the current status of the printed (analogue) book and concomitant questions. It enabled participants to design and develop their own publications, from the initial idea through the conception and right up to the finished product. My intention was to show the possible application of materials typically used in art processes, in a format of an educational manual. The textbook is intended for art students. This project explores how graphic design and considered use of typography can facilitate the educational process and assist better understanding of the topic. The structure of the book (brochure) and its content are based on the information taken from the website of Department of Material Science and Engineering University of Illinois. The brochure is supposed to be first (under the theme of Concrete) in a series of publications united by the theme of materials and its exploration.
D&AD COMPETITION – MONOTYPE BRIEF The task – Create a new visual language for film advertising, without using any imagery. Chosen director – Gualtiero Jacopetti
Festung Hohensalzburg (2015).
The idea,which underpins my project, in my opinion, corresponds to the main Jacopetti’s goal. He aimes at highlighting the provocative features of the reality that we’re surrounded by. My concept is entirely based on the idea of framing the reality.
While visiting the retrospective each guest gets a set of two print editions: a book and a booklet. The Mondo Cane gave rise to a production of numerous vulgar mondo imitations, owing to the incorrect interpretation of Jacopetti’s work. In this connection, I wanted to create a piece which will let the viewer form his own view of this film maker, based on what he proclaimed himself. At the heart of this book lies the full two-hour interview with the author himself (Godfathers of Mondo). Including typography in a form of subtitle string, I tried to show the importance of textual information and its self-sufficiency, when its coming to such strong narration. Many facts which were announced in this interview, especially those which are dedicated to Africa Addio are unheedful of any visual support.
C# MAGAZINE FOR CHRISTIE’S EDUCATION Made in collaboration with Tatiana Ermolaeva Typeface – Open Sans, Stanley The C# Magazine reflects the unique interests, engagements and ambitions of those who have made the issue. The publication is divisible into critical writing, features, essays and interviews, which map and explore the ecosystem that makes for contemporary art and its varied practices and positions.
Perforated rectangles serves as a ticket control. I created three different ticket designs, where in each case the format of perforated rectangle equals the screen format of a certain film. The film Mondo Cane opens with the phrase “All the scenes you will see in this film are true and are taken only from life”. I used it as a slogan for my project, as an important assertion. The design is hidden. After a viewing a person gets back only a frame.
Our principal ambition was to find the balance between the academism of the well-established discipline of modern curatorial practices and freshness of the voices of only emerging yet to be curators. By adding some functional hand drawn elements (page numbering, logotype of the magazine, highlightings) to the classical layout, based on the combination of serif and sans-serif typefaces, we tried to let both of these trends within the magazine speak.
‘FLOORCUT – INTERVENTIONS IN WOOD/ LINOLEUM’, 2014 Course duration – Two weeks Curator – Tomas Kilper Print size: height – 5m, width – 3m.
https://issuu.com/mariarudakova http://www.christies.edu/news/news-archive/23-october-c-hash.aspx
For this course , we tried to get access to an empty building, sheduled for demolition in Salzburg. The aim was to cut pictures into the exiting flooring, then cover it with letterpress ink and make prints on paper and fabric. I based my work on the architecture of the room.
DOMA – ARCHITECTURAL MAGAZINE Typeface – Minion pro Languages – English, Russian ‘Doma, which translates from the Macedonian language as house, or home, aims to open a series of discussions to ultimately situate diverse perceptions that define and shape the cultural geography of home. This is not a proclamation or something new, nor is it the end of history or the beginning of another dehistoricized manifestation; rather, we wanted to focus on the present and liberate critique from history to activate potentials for contemporary questions — without an aesthetizised (fetishized) history, or an idealized future — that can help us grasp the foundation of what makes home, or how we identify (with) cultural realities.’
WORK IN PROGRESS
ISDT COMPETITION – EYE WITNESS BRIEF Place – Multimedia Art Museum, Hall 6 Text – ‘As we may think’ by Vannevar Bush The task – translate a written, first person account of a significant event, into a typographic experience that is designed as a site-specific exhibition.
The exhibition proposal:
‘As we may think’ consists out of 8 parts. 5 of them are dedicated to the speculation and only the 7th part is devoted to the description of physical object Vannevar Bush had produced as a result of his research. The article is linear in its structure. The author follows one though after another, what structurally and ideologically contradicts the central idea of the text. The exhibition is composed of two exhibits. It starts from the narrow embrasure you enter and continues with the plinth you immediately face. It is located straight after the entrance. The top of the plinth is covered with the book, which is partly joined to its base. I tried to release book design from any particular characteristics, to make its outlook featureless. The task was to underscore the mediocrity of an object against its active background. A visitor has to experience the collision with a material object before he learns about its conceptual background. By finishing each paragraph with a hyphen, I tried to convey an impression of the total wholeness of the body text. Book starts with a description of Memex and ends the tail-end of the essay. When a viewer raises his head from the book, he sees textual structure constructed out of statements and reasonings, which provoked the appearance of Memex. I decided to deconstruct the framework of the initial text thoroughly by showing it in the format of the massive mind map; I have extracted the central idea, which had been placed at the end of the text, to its beginning. I put each idea that could be possibly connected with another on the same level. I tried to construct the totally chaotic structure, with its internal logic. The text does not amenable to a linear reading. A viewer has to shift his gaze from one point to another, which serves as a representation of associative thinking.
Floor plan 1:100
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Floor plan 1:100 Multimedia Art Museum, Hall 6
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Made by Maria Rudakova