68oFIVE
reejae / six8ofive
REEJAE
III / six8ofive
INTRO Process, process, process. Good work must be backed up with a process. It’s like an onion, there are many layers. The outer layer is finding one’s interests. What do you like to see, hear, touch, taste or do? After finding out what your visual interest are, disect the visual components to produce a personal manifesto based on “you.” A manifesto? Yes, a manifesto, deep huh? Within those visual components, what specific rules can you develop to set a methodology? Your personal voice can develop your own working methodology by investigating visual interests that influence you formally and/or informally. From here on, let see if there are followers ready to work your methodologies.
V / six8ofive
MANIFESTO
{ Love Design } have a love and hate relationship with your computer. BE clean! HAVE A NOSTALGIC INFLUENCE. USE DESIGN TO MAKE A SOCIAL CHANGE.
VII / six8ofive
METHODOLOGY
{ Image-making } use a polaroid to take photos INCORPORATE HANDRAWN TYPE OR DRAWINGS IMAGES MUST RELATE TO CONTENT { Composition } 4 COLUMN GRID USE UP TO 50% NEGATIVE SPACE IMAGES MAY BLEED OFF THE PAGE { Typographic } MAKE HEADLINES IN ALL CAPS HEADLINES ARE 10 TIMES BIGGER THAN THE “MAIN” BODY TEXT SAN SERIF FLUSH LEFT TO THE COLUMN OUTLINED TYPE MUST OVERLAP EACH OTHER OR IMAGE CUT OUT TYPE FROM IMAGE { Color } A VINTAGE SIGN INFORMS THE COLOR PALETTE THREE COLORS MAX { Social Change } RECYCLE { Medium } ALL PAPER MUST BE RECYCLED OR RESUED PAPER COLOR CAN BE ANYTHING EXCEPT WHITE { Production } INK JET PRINT All polaroids and hand drawn elements must be scanned in. BINDING: STITCH BINDING
IX / six8ofive
TOC// 01.
p 02-07
DESIGN FOR CHANGE
02.
p 08-13
SWISS DESIGN
03.
p 14-19
HANDDRAWN TYPE Ed Fella MIke Perry
04.
p 20-25
POLAROID
05.
p 26-29
VINTAGE COLOR PALETTE XI / six8ofive
DESIGN
FOR CHANGE Organizations, Companies or Individuals that design for a better world.
2 / six8ofive
Massive Change is a celebration of our global capacities but also a cautious look at our limitations. The AIGA Center for Sus-
It encompasses the utopian
tainable Design is dedicated
and dystopian possibilities
to providing
Change Design exists to
promote design-led change to more sustainable ways of living. Formerly known as the EcoDesign Foundation, Change Design is a project of the Society for Responsible Design, Sydney, Australia.
designers with a wide range of information regarding sustainable business practice. Through case
of this emerging world, in which even nature is no longer outside the reach of our manipulation. For many of us, design is invisible.
studies, interviews, resources
We live in a world that is so
and discourse, this site will
thoroughly configured by
encourage and support
human effort that design
designers as they incorpo-
has become second nature,
rate sustainable thinking
ever-present, inevitable,
into their professional lives.
taken for granted. And yet,
the power of design to transform and affect every aspect of daily life is gaining widespread
public awareness.
The Designed To Help project was launched by UK designers iLovedust, earlier this year. The idea was to produce a book of graphic design, illustration and photography, to
raise money to help charities deal with the tsunami crisis in Asia.
iLovedust received an overwhelming response from designers and prospective partners who wanted to support the project ‘A Book Designed To Help’ became a reality. The book is a lavish hardcover of 304 pages, featuring around thousand artworks from over 240 contributors from around the world. The book is a “must have” for a design oriented audience worldwide and all profits from the sale of will go to respected worldwide charity organization CARE, who will use the funds to help the poorest communities recover from the tsunami disaster.
3 / six8ofive
EDUCATION: literacy, educational resources, education for all AID: emergency relief, medical and humanitarian aid POVERTY: extreme poverty, urban poverty, homeless COMMUNITY: gender and race equality, community development and welfare, sports ENVIRONMENT: habitats, sustainable development, biodivers”ity, water, climate change, natural disaster reduction “In the end, good design is the result of good decisions. Fueling informed choices by fostering relationships and conversation is what the Social Design Network is all about. So engage with the power of design and connect to create change.”
COMMUNICATION: freedom of expression, access and understanding of media and the internet, media development ARTS & CULTURE: protection of cultural diversity, art as empowerment PEACE: human rights, genocide, conflict resolution WELL-BEING: health, disease, disability
4 / six8ofive
DESIGN 21: Social Design Network is itself a collaborative project undertaken by the global design and merchandise company Felissimo and the United Nations Educational, Scientific and Cultural Organization, better known as UNESCO.
DESIGN 21: Social Design Network’s mission is to inspire social consciousness through design. We connect people who want to explore ways that design can positively impact our communities ways that are thoughtful informed, creative and responsible. What do THEY want? Social Design!
Q: What is Social Design? A: It’s design for the greater good. We want to use the power of good design for greater purpose.
We believe the real beauty of design lies in its potential to improve life. That potential first manifests itself as a series of decisions that result in a series of consequences. The practice of social design considers these decisions on a greater scale, understanding that each step in the design process is a choice that ripples out into our communities, our world and our lives. These choices are the result of informed ideas, greater awareness, larger conversations and, most importantly, the desire to do good. Social design is design for everyone’s sake.
Felissimo believes that the ultimate goal of any business should be to contribute to the happiness of society. Charity is often factored into their business as a cost item to provide a steady stream of funds for non-profits. Through their product catalogs, for example, they invite customers to be partners in programs such as the Felissimo Forest Fund, which is funded by $1-a-month donations and has helped to plant six million trees, and their Earth Village Fund, which provides emergency food and medical care worldwide. Felissimo also subsidizes manufacturing programs in underdeveloped countries and sells their products in their catalogs. In 1997 Felissimo established the Tribute 21 Plate program with UNESCO, which brings artists, designers and celebrities together to create decorative plates, the proceeds of which are donated to charity. Celebrities such as Julia Roberts and Cindy Crawford and world renowned designers such as David Rockwell and Christian Lacroix have designed plates for this project. To date, Tribute 21 has raised over $800,000 for charities worldwide. A portion of funds is also donated to UNESCO to help fund the construction of DREAM Centers in post-conflict regions with artistic programs (DREAM stands for Dance, Read, Express, Art, Music) that allow children to express themselves in a protected safe environment. UNESCO’s mission is to provide educational opportunities to people worldwide, to make scientific and technical knowledge available to developing countries and to promote cultural understanding among different people. Felissimo wanted to address this effort through a shared online platform and to do it through the medium of design. So the collaboration between Felissimo and UNESCO began anew, and this site, DESIGN 21: Social Design Network, was born.
When do they want it? NOW!
We believe that change happens when we design better, together. DESIGN 21 is a resource to make that collaborative change happen: a freelance designer shares ideas with a green business, an arts non-profit connects with a governmental outreach program, a researcher in England brainstorms with an industrial designer in India. It all starts here. And it starts now. 5 / six8ofive
Think about the whole packageA in its entirety when reducing waste: self-mailer brochure with an insert to be means one piece ofGone detached paper instead of many. are thethat days of superfluous white space: Design is beautiful from the inside out means making good use of the space you have. Pages of blank sheets at the beginning and they end have of annual reports, etc., unless a purpose, are booklets, a waste. Also gone are “like water” brochures: Sending out mass mailings as numerous as Victoria’s Secret catalogs is not a good strategiy. Target and and connect with way, your not audiences in a meaningful qualitative quantitative. Stay on top of current trends in printing and production: They are constantly changing. Look at vendors and their impact on the big picture: wind power, of VOC emissions,Work recycling and reduction make-ready. with them to learn together what you can doWork to make lessvendors impact on environment. with to the reduce waste: Use trim space for additional products, or adjust sizing of projects to reduce trim. Reduce your shipping impact on the enviroment: Use locally produced paper and printers close to the end. dDon’t e l forget i v about e r the y l prepress o c a impact: t i oWorkn ing with monitor a printerfor thatprepress uses a synched calibrated review and reduces the need for overnight and shipping of color proofs. While option and isn’tfor available for everyone, it long-term is in this the works large corporations with printer relationships, a great option that reduces project work time asReuse well. Be innovative when it comes to Reduce, and Recycle: Reuse can be ingenius. For example, menus or notebooks can be removed, made frommost old books when bindings have been inner pages have been removed and replaced with recycled-content sketch pad paper, and new bindings are made with wire binding. Taking items with former lives andand reinventing them can be unique and charming, environmentally responsible.
Tips: Sustainable Graphic Design
6 / six8ofive
Metropolitan Group’s design studio is a leader in sustainable graphic design. We are happy to share the following collection of sustainable design tips. Think about the whole package in its entirety when reducing waste: A self-mailer brochure with an insert to be detached means one piece of paper instead of many.
Reduce your shipping impact on the enviroment: Use locally produced paper and printers close to the end delivery location.
Gone are the days of superfluous white space: Design that is beautiful from the inside out means making good use of the space you have. Pages of blank sheets at the beginning and end of annual reports, booklets, etc., unless they have a purpose, are a waste.
Don’t forget about the prepress impact: Working with a printer that uses a synched and calibrated monitor for prepress review reduces the need for overnight and shipping of color proofs. While this option isn’t available for everyone, it is in the works and for large corporations with long-term printer relationships, a great option that reduces project work time as well.
Also gone are “like water” brochures: Sending out mass mailings as numerous as Victoria’s Secret catalogs is not a good strategiy. Target and connect with your audiences in a meaningful and qualitative way, not quantitative. Stay on top of current trends in printing and production: They are constantly changing. Look at vendors and their impact on the big picture: wind power, VOC emissions, recycling and reduction of make-ready. Work with them to learn together what you can do to make less impact on the environment.
Be innovative when it comes to Reduce, Reuse and Recycle: Reuse can be ingenius. For example, menus or notebooks can be made from old books when bindings have been removed, most inner pages have been removed and replaced with recycled-content sketch pad paper, and new bindings are made with wire binding. Taking items with former lives and reinventing them can be unique and charming, and environmentally responsible.
Work with vendors to reduce waste: Use trim space for additional products, or adjust sizing of projects to reduce trim.
7 / six8ofive
8 / six8ofive
FLUSH LEFT RAG RIGHT
9 / six8ofive
SWISS DESIGN
10 / six8ofive
The style was marked by: 1. The use of a mathematical grid to provide an overall orderly and unified structure
2. Sans serif typefaces (especially Helvetica, introduced in 1961) in a flush left and ragged right format
3. Black and white photography in place of drawn illustra-
tion. The overall impression was simple and rational, tightly structured and serious, clear and objective, and harmonious.
The style was refined at two design schools in Switzerland, one in Basel led by Armin Hofmann and Emil Ruder, and the other in Zurich under the leadership of Joseph Muller-Brockmann. All had studied with Ernst Keller at the Zurich School of Design before WWII, where the principles of the Bauhaus and Jan Tschichold’s New Typography were taught. The new style became widely synonymous with the “look” of many Swiss cultural institutions which used posters as advertising vehicles. Hofmann’s series for the Basel State Theater and Muller-Brockmann’s for Zurich’s Tonhalle are two of the most famous. Hofmann’s accentuation of contrasts between various design elements and MullerBrockmann’s exploration of rhythm and tempo in visual form are high notes in the evolution of the style. In addition, the new style was perfectly suited to the increasingly global postwar marketplace. Corporations needed international identification and global events such as the Olympics called for universal solutions which the Typographic Style could provide. With such good teachers and proselytizers, the use of the International Typographic Style spread rapidly throughout the world. In the U.S., Hofmann’s Basel design
school established a link with the Yale School of Design, which became the leading American center for the new style. Josef MüllerBrockmann was a leading designer, educator, and writer who helped define this style. His poster, publication, and advertising designs are paradigms of the movement. In a long series of Zürich concert posters, Müller-Brockmann used colour, an arrangement of elemental geometric forms, and type to express the structural and rhythmic qualities of music. A 1955 poster for a concert featuring music by Igor Stravinsky, Wolfgang Fortner, and Alban Berg demonstrates these properties, along with Müller-Brockmann’s belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience. The programmatic uniformity of this movement would be widely adopted by designers working in the area of visual identity systems during the second half of the 20th century. Multinational corporations soon adopted the tenets of the International Typographic Style: namely, the standardized use of trademarks, colours, and typefaces; the use of consistent grid formats for signs and publications; the preference for the contemporary ambience of sans-serif types; and the banishment of ornament. While designers in Europe were forging the International Typographic Style into a cohesive movement,
The programmatic uniformity of this movement would be widely adopted by designers working in the area of visual identity systems during the second half of the 20th century. 11 / six8ofive
Showcasing design work across a range of media, including posters, magazines, exhibition displays, brochures, advertisements, books, and film, this essential book shows how many of the
Swiss Designers’ Modernist Elements
remain an indispensable part of today’s graphic language.
12 / six8ofive
Swiss graphic design and “the Swiss Style” are crucial elements in the history of modernism. During the 1920s and ’30s, skills traditionally associated with Swiss industry, particularly pharmaceuticals and mechanica l engineering, were matched by those of the country’s graphic designers, who produced their advertising and technical literature. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication. They chose photographic images rather than illustration, and typefaces that were industrial-looking rather than those designed for books.
Written by noted design authority Richard Hollis, this lavishly illustrated volume looks at the uniquely clear graphic language developed by such Swiss designers as Theo Ballmer, Max Bill, Adrian Frutiger, Karl Gerstner, Armin Hoffman, Ernst Keller, Herbert Matter, Josef Müller-Brockmann, and Jan Tschichold. The style of these artists received worldwide admiration for its formal discipline: images and text were organized by geometrical grids. Adopted internationally, the grid and sans serif typefaces such as Helvetica became the classic emblems of Swiss graphic design.
13 / six8ofive
14 / six8ofive
15 / six8ofive
Edward Fella Ed Fella is an artist, educator and graphic designer whose work has had an important influence on contemporary typography. He practiced professionally as a commercial artist in Detroit for 30 years before receiving an MFA in Design from the Cranbrook Academy of Art in 1987. He has since devoted his time to teaching at the California Institute for the Arts and his own unique self-published work which has appeared in many design publications and anthologies. In 1997 he received the Chrysler Award and in 1999 an Honorary Doctorate from CCS in Detroit. His work is in the National Design Museum and MOMA in New York. His recently published book Edward Fella: Letters on America, Photographs and Lettering gives insight into his idiosyncratic world by combining and juxtaposing examples of his unique hand lettering with his photographs of found vernacular lettering.
17 / six8ofive
M I K E P E R R Y
“
Hello. My name is Michael Perry. I run a small design studio in Brooklyn, NY that has recently celebrated its two year aniversary. I am currently working on my second book with Princeton Archi tectural Press. My first book titled “Hand Job” is out now. I also recently started a magazine called Untitled a… I would love to talk to you about any ideas or projects that you might have coming up. Please feel free to contact me with questions, or for whatever your design, illustration, type, art direction, or art needs may be.
”
19 / six8ofive
POLAROID
20 / six8ofive
21 / six8ofive
22 / six8ofive
Polaroid cameras have found many uses throughout their history. The original purpose of instant cameras can be encapsulated by Jennifer Land’s question to her father (Edwin Land): “Why can’t I see them now?” Many people have enjoyed seeing their photos shortly after taking them, allowing them to recompose or retake the photo if they didn’t get it right. But instant cameras were found to be useful for other purposes such as ID cards, passport photos, ultrasound photos, and other uses which required an instant photThey were also used by police officers and fire investigators because of their ability to create an unalterable instant photo. Medium and large format professional photographers have also used the higher end instant cameras to preview lighting before taking the more expensive medium and/or large format photo. Instant film also has been used in ways that are similar to folk art, including the transfer of the images/emulsion and image manipulation. With the advent of digital photo graphy, much of the instant camera’s consumer appeal has been transferred to the digital cameras. Even passport photo cameras have gone to digital, leaving instant cameras to a niche market.
23 / six8ofive
POLANOID
24 / six8ofive
1st polaroid Polanoid was invented because the magic of Polaroid pictures, the thrilling Edwin Land story and the charme and touch of Polaroid cameras hit us like a sledge hammer. Hungry for real analog, good smelling pictures in a digital world, we decided to swim against the stream and to reset our focus and start the biggest, best and most instant online photo community ever. Stuffed with millions of Polaroids, collected and uploaded by Polaroid addicts all over the planet. It was a long way before we finally write this lines, just a few days before the official launch of Polanoid.net. It all started at the lomographic headquaters back in June 2004 with this first Polaroid that we aber made, using a holga with colored flash and a Polaroid back. Even if this picture will never make it to any art-gallery it opened our eyes and heart for the unique advantages of real analog photography.
25 / six8ofive
Vintage Color Palettes 26 / six8ofive
C: 28 M: 95 Y: 81 K: 27
C: 43 M: 67 Y: 72 K: 41
C: 26 M: 34 Y: 77 K: 2
C: 0 M: 88 Y: 91 K: 0
C: 87 M: 63 Y: 40 K: 23
C: 38 M: 30 Y: 67 K: 3
27 / six8ofive
28 / six8ofive
Vintage signs are not only beautiful and an interesting view of history, they are a popular and often extremely valuable collector’s item. From classic Coca-Cola advertisements to vintage road signs, the possibilities are endless.
29 / six8ofive
31 / six8ofive
01.
RESOURCES
DESIGN FOR CHANGE
http://www.ilovedust.com/ http://www.massivechange.com/ http://www.changedesign.org/index.php/ http://sustainability.aiga.org/
02. SWISS DESIGN
http://www.internationalposter.com/style_primer/ international-typographic.aspx http://yalepress.yale.edu/book.asp?isbn=9780300106763
03. HANDDRAWN TYPE Ed Fella
www.edfella.com www.midwestisbest.com/bio.php Hand Job by Mike Perry
MIke Perry
04. POLAROID
www.polaroid.com www.polanoid.net www..wikipedia.org/wiki/Polaroi http://flickrcc.bluemountains.net/?terms=polaroid&edit =yes&page=1
05. VINTAGE COLOR PALETTE
www.ehow.com/how_2157481_care-vintage-signs.html www.vintagemetalart.com www.vintagesigns.com
33 / six8ofive
35 / six8ofive