We set out to do something slightly unorthodox for our NMP, and it turned out a lot different than I expected. But just like when we have worked together in the past, our deviations of ideas and themes throughout the development process became incorporated into our final outcome, Dogma 14. And to put it simply, Dogma 14 is a manifesto about graphic design culture, not even a manifesto, but a series of statements. Initially we wanted to produce something solely typographical, an animated typeface of sorts, and I still don’t know how we ended us doing a ‘manifesto’, because both of us, early on, were hell bent on focusing around typography. But the way we saw it, we wanted to get away from the ‘after effects culture’ of animation and go a bit more grassroots, a bit more hands on. And it was certainly more hands on than we expected. We experimented with numerous OHP’s, lighting, backdrops, design approaches and techniques, photography, printing and sound, and we wouldn’t have been able to do all those things if we had stuck to our initial idea of producing an animated typeface (in a contemporary scene).
The final outcome may not have the highest production value, and its designs that formed its aesthetics may have not been what is expected from modern day design, or even motion graphics, but that approach gave the messages we wanted to communicate within the manifesto more transparency and honesty.
Dogma 14, as we see it, is a whole of many different parts sandwiched together that don’t necessarily fit, Frankenstein esque, none of it is particularly easily digestible. And because now is the time for reflection and summary, I would have liked to explored a narrative with a bit more structure to it. A bit more, not a lot more. Something a bit easier to latch onto. I say that because even I sometimes struggled to make scene of all of the visual messages we crammed into Dogma 14. And we could have also got more feedback and response from our peers in the development process, which fell entirely on our shoulders. Not in a scene that we didn’t get enough feedback from the tutors, but working on something for so long, you start to get tunnel vision. If we stepped away from the project a little more often I think it would have helped iron out some of the creases, that, or giving our selves another project to do. 14 weeks is a long time to spend on one thing. But we have worked on many different aspects of Dogma 14, it is not just a 2 minute animation of folding acetates, we have done posters of statements from the Dogma 14 manifesto (Simon) and speared them around campus, which created its own attention and buzz. One of the funny things is that we never indented to spread it around like we did, even if it was only on a very small scale within a closed network. But the attention that it did get lead to no wear, there was no #D14 or whatever, there was no facebook page or online presence, even though Simon did create a ironic facebook page (I refused to join it). And what is something now without a true online presence? Does that mean that it does not exist in the way of 21st century culture? Or does it mean that it exists even more so because of it?
Well, enough of that. Working together with simon again, was pretty easy. I mean, its easy now to shear ideas, makes changes to things and act on them without wasting time, which is important, especially on tight deadlines.
With the NMP, because it was our last project, we wanted to do something that we had never done before (not to sound cliché) and It seems unlikely that we will have this sort of freedom to do this sort of thing again. And for all its faults that I seem to find with Dogma 14, it is what it is, and nothing is perfect. And I think that is what a lot of contemporary design does not acknowledge enough (myself included), that perfection is nothing to strive for. If you ask me, perfection is bloody boring.
I think this post also acts as me stepping down from my role as a tumblr blogger, a sort of semi-retirement, which i welcome with open arms! I will be sure to post bits and bobs of personal work here, but it will not go further than that. I can only call my relationship with tumblr… toxic, so its for the best.
Managed to upset somebody…would have preferred it if they had properly defaced it, or even ripped it down.
I’m pretty sure Bill Hicks didn’t actually mean to kill yourself, he loved life to much for that.
qUITE LIKE IT. gritty , layer back, cultural bondage.
NMP research - links
in correlation with the tone of voice essay
What does media, advertising and our culture/sociality sound like? what is its typographic voice?
Modernism is the matrix of the graphic design world
Huw Williams 22:02 10/3/14
Cleaning out the drafts…
… thought it was funny at the time…
Deconstruction notes Vol.2.
Could be good? could be bad? I Don’t know.
Fell free not to inform me of any spelling or grammar errors.
This piece of design isn’t necessarily deconstructing the typographic forms themselves, but more the space around the type to create the fuse of typographic forms.
what is the typeface used?
the differences between the thick and think stroke weight decreases illegibility and put more focused upon what the compressed space between the letter create and not the types traditional communicational elements. This is empasied by the how the type has been staggered?
communicational properties have been shifted and reversed.
Lengthens and compacts the page.
UP TOWN COS MIC
How does it relate to my question?
think about how the launguage has chnage in the image and how the decontion, mybe of not thr tyoe forms themsleves, but the spaces between the letters as changed it communitionla abilities
this possibly an exmaple of how deconstion is used tday and how it is used in difrent form, and not how it use to look ion the 90s/80s
deconstruction can take many forms, either subtle, clean, or minimalistic. one cannot just look at deconstruction as a aesthetic of the past that. Looking at it in its visual form during its evolution though the 80s and its main stram peak in the 90s that put it on the map, that sort of visual and interpretation of deconstruction is forgone conclusion, as it is virtually extinct in professional designers. but when you step back and look at it now, into days graphics, deconstruction is a huge part of graphic design even if it has taken a different visual form. the designer who use deconstruction graphic shapes, pictures and what i am going to be focusing around type and it subsequence effects on its form and language may not take the orignal theory of deconstruction proposed by JD in the mid 60s, but even in its peak as a visual aesthetc only a handfull of noted designs did. that was just used as a building block for other designers who took comfort and personal assostion with the aesethic value of deconstion and how it was interpreted.
Looking at it like this may shine the overall work produced with this aesthetic a scene of hollowness?
ASK QUESTIONS OF THE IMAGE
‘The Reality Show’ magazine issue four, ‘Beauty is the New Fashion’ is a close-up on the magic of makeup and the influential personalities that drive the industry. The iPad application is a motion magazine. The entire issue exclusively features motion photography to create an identical, moving version of the print magazine. This engaging, hypnotic and unparalleled digital magazine ushers in a new era in photography and a high-tech, ultra-modern editorial experience.
Look at the magazine it is from.
look at the design in relation to the others around it in the publication.
Look at the format of the publication? (digital publication) (motion publication) how does the type reflect what the photos are saying
what does that say about the deconstruction method? (what publication it is used in)
Image used a combination onregular and italic forms, why? What does that do to the design? Makes it more chaotic. Gives the design an unstable rhythm?
WHERE CAN IT FIT WITHIN THE ESSAY?
THE GOAL IN TYPOGRAPHY HAS ALWAYS BEEN TO CONTROL AND REGULARIZE SPACE BETWEEN LETTERS, WORDS, LINES…
_Deconstruction Notes… On technology, how it has changed and the different methodology’s / processes producing the same sort of visuals (ball park)
Initial ideas/notes to my essay.
Some of it makes scene, most of it does not. Some of it is makes me sound like a genius, most of it makes me sound like an idiot.
Navigate at you’re own calamity.
Intro (get a better idea of what to write and how it will be structured)
Jacque Derrida / Cranbrook Academy of Art (Katherine/Michael McCoy and their students)
Philip Meggs’s misconception about deconstruction
QUOTE ABOUT ARCHITECT / TECHNOLOGY
This architect could look at a building and tell exactly what programme was used to design it. The same could possibly be said for the early stage of typographic deconstructiuon. The programmes that were made redialy avalible gave of a style, an almost fixed sort of outcome, regardless to waht degree of manipulation the typograohic form had been through.
Did this eventually lead deconstruction into a state of platue? What made deconstution new and intreaging to the audience and its designers became, generic, almost. Not saying that this happened to all of the designers work.
Evo 8/ Octo 8? Look at their transition between print based work into the digital world. They said it help speed up the process…
The New Aesthetic. How has the advance on technology in the 21st centuray (and over the past few years when this NA term was coined) had an effect on typographic deconstruction.
Used alot, has real life application…..
its original use.
how it has been used in design and stand alone art.
not traditional deconstruction. but in its original uses the deformed (deconstructed) letters where used to throw computers.
^^^^^ this is face value, huw. what else can be said? you need to look deeper.
history. when it was first used.
zxx might have the underling use, the use that the designer intended (to stop computers recoginsing tht face and/or destrup it) But who uses the typeface for that application? Its has featired on the front of a magazine, not its original puropse or appliaction. It then loses what makes……
Try and find up to date typograohic texts about its communicational abboilites that i could possibly oppose/apply/contrst with the theory/ mind set of decontration in typograohy
New wave typography
procrastinated in Europe in the mid 70s, almost the same time as deconstruction when was the term coined? april…. populrised it in america. wolfgang weingart in Europe. he was the founding farther.
does new wave typography hold similar properties to deconstruction?
is New wave typography a form of deconstruction? i belive it is. Carnbrooks approach and there process of looking at deconstruction can relate to New wave typography in a number of diffrent ways, even thought the visual outcome are worlds appart.
grid deconstruction essay ^^^^^ simon johnston
Thought/Question- Deconstruction that does not follow the theory. Is it Just face value?
Seeing that ‘deconstruction’ now in the 21st century does not follow the theory of it like the members of Cranbrook academy did in the 70s? 80/90s, you can even say that about new wave typographer Wolfgang around the same time period. Does this work then reduce its self to just the face value of deconstruction? does the typographic design just become an aesthetic with lost meaning detaching itself from what it originally sort after and wanted to accomplish? or do these pieces of work that can still be associated with deconstruction on a visuals level still hold more meaning to them? even though the originals and methodology are not associated with each other?
This way of thinking and looking at the aesthetic reveres the process and its methodology, by not actually taking into account the deconstruction method brought forward by JD, but instead looking at the visual aspects of the typographic outcomes first, its face value, and then peeling away the layers to showcase and delve into communicational elements and how they have been changed by this experimental process.
I believe that they, the deconstruction practitioners and other designers (select few) who have visually experimented with the aesthetic hold similarities and connections that lie beyond there differences in design methodology. Maybe, and most probably they will be different. But the typographers work i will be looking into wil be by those that have shown, vocalised and depicted their understanding of the typographic form giving there own interpretation and insight into there reasons for there visual outcomes, and more importantly, how the typography elements and forms communicate on many different levels because of this visual aesthetic.
This way of looking at it, you can argue played a massive part in the dilution of the origins of deconstruction and its purest form in typography giving a helping hand in its ridicule from designs (name) and its ultimate demise and deconstruction from its theory it was originally based off. But that does not man that the work produced with the aesrhic that did not follow its JD’s theory lacked purpose and meaning.
Carson popularised it, and he did not use the theory of deconstruction, for instance, he just used the aesthetic and his own interposition on it to give his work purpose, meaning and in a lot of case, enhanced visual and typographic communication
This has been sitting in my drafts for a while.
Being relevant (modern?) should not require that a designer blindly follow the requisite style. “Relevant” simply means being true to the time in which you live, true to the tools and the media with which you work, and the truthful to the people with whom you are communicating (Fawcett-Tang & Jury, 2007, p.11)
last time i used a grid was in high school math