Chapter 5

page 160-193

researched: 

Doug Powell

Doug Powell is a designer and studio lead at IBM in Austin, Texas where he is helping to build the vision for IBM Design, a global effort to bring design into one of the largest and most successful companies in the world. Prior to joining IBM in 2013, Powell was an independent designer, strategist and entrepreneur leading successful projects for a wide range of clients and collaborative partners in health and nutrition, including the Robert Wood Johnson Foundation, LifeScan and Pepsico. He recently served as consulting creative director for HealthSimple, working in close collaboration with the Johnson & Johnson Global Design team.

Powell is the immediate past national president of AIGA. He has been a leading force in the successful launch of Design for Good, the AIGA initiative to ignite, amplify and accelerate design-driven social change.

A 1988 graduate of the School of Art at Washington University in St. Louis, Powell is a lecturer, commentator and thought leader on design issues, having presented at a variety of national conferences and forums including “Bright Ideas” on Minnesota Public Radio, the 2011 Mayo Clinic “Transform” conference and the 2012 TEDx ArtCenter. (http://www.aiga.org/about-board-bios/)


Watch Doug Powell speak in TEDx:
http://youtu.be/B-7y23DQurE

Watch Rick Valicenti speak in TEDx:

http://youtu.be/YLJ1ONtaAGo

Sampling and remixing

 Pages 147-159

•This part discusses the legitimacy of design authorship through sampling, appropriating, parodying, or copying.
•Digital media have erased the distinctions between original and copy.

•William Mitchell's definition of :
-Autographic: artforms that are unique, created in a single instance, and difficult to reproduce without degredation, like a painting.
-Allographic: artforms that are notational and performative, like sheet music or a theatrical script, original both in their conception and in their subsequent performance.

Interviewed:
Warren Lehrer
Johanna Drucker

The Art-Design Zone

page 138-145

"All art is quite useless" -Oscar Wilde

The reading discusses the difference between art and design concerning function. Art has no function, and design is useful. The reading questions  whether design is becoming less useful, a desire over need.
The reading includes Ryan McGinnes and Paula Scher's thoughts on design and art functionality.

Critical Design & Design Fiction

page 124-137

High-lighted:Two primary parallels between critical design and design authorship:1- the act of self-initition (acting without client commissions)2- politicized viewpoints of the designers

"Art is the lie that tells the truth better than the truth" -Chuck Palahniuk

Design Advocacy Across Media

Page 111-123

Design advocacy can mean at least thee things. Designers can advocate 1) a cause, 2) certain people, or 3) the concept of design authorship. This reading explores the first two.

This chapter interviews: Mieke Gerritzen and Noel Douglas

Explore:
thestoryofstuff.org
logorama
No logo: Taking aim at the Brand Bullies, by Naomi Klein
Wordcount.org

Cultural Legitimacy

Pages 95-100

Summary:

• The assumption that design needs a client is a common fallacy.
• Designers themselves evolved into a target market; conferences, competitions, paper specimen brochures, digital fonts, and clip art.

Typography and Life: a comparison

 Pages 81- 93

The reading discusses Eric Gill and Jonathan Barnbrook  as designers-as-authors.

Barnbrook's typeface names are hilariously odd; he states " naming a typeface is incredibly important because it is a chance to link the peotry of letterforms with the peotry of abstract shapes with the peotry of language."

This chapter interviewed:

Kenneth Fitzgerald

Anne Burdick

Must know:

Eric Gill

Jonathan Barnbrook

Jan Tschichold

Alexi Brodovitch

Paul Rand

Push Pin Studio

Octavo

Emigre

Ellen Lupton

Stuart Bailey

The Visual Verbal Text

(pages 71-80)

The previous readings explained the importance of typography in a work of graphic design. This reading focuses mainly on typography as a visual product. Typography in graphic design is not only meant to be read, letters with meaning, but also letters that are shaped and positioned for a certain message or idea. The reading also discusses the book as a sculpture.  The examples provided contributed to the concept of "designer as author" as a hybrid; designer, writer, artist, and editor are interlaced.

Ps: I couldn't stop wondering as to why there's an image of a typewriter? I came up to the conclusion that a book is supposed to be for future generations, whom might not probably be fimiliar with  typewriters.

Discover:

Chip kidd- The Cheese Monkeys

Jonathan Safran Foer- Tree of Codes

Chapter 2 pages (61-69)

Chapter 2  pages (61-69)

Typography is inarguably occupies a position in Graphic design and visual communication. Type choice communicates something between the witer and the words written.

William Morris' influenced typography by integrating typographic design, craft and publishing, which was a first. Eric Gill followed in Morris' steps to create successful type designs.

Demonstrated by Morris and Gill, the idea of typographic design authorship emerges from the critical juncture that is:

-desigenrs write to advance social, political, or aesthetic philosophies

-they create typographic forms and graphic designs to visualize their writing

-they print and publish these works for distibution, aiming to further their ideas and influence society

The environment of the digital desktop in the 1980s brought writing, type designing, illustration, imaging, page layout, and printing into a single integrated system.

At the end, typography is a product, a process, and a tool, depending on how it is used.

Pioneers in typographic design:

William Morris

Eric Gill

Edward johnston

Jan Tschichold 

Chapter 2: page 51- 61

Chapter 2  page (51-61)

Typography is an essential aspect of graphic design, as they implement each other.

Vocabulary words:

Syntax: the ordering and arranging of words in sentences

Semiotics: the systematic study of symbols and signs

Legibilty: the ability of each specific alphabet character to be recognized for what it is

Liberature: a genre of literature in which the text is integrated with the physical space of the book into a meaningful whole and in which all elements- from the graphic ones to the kinds of paper and the physical shape of the book

Research Subjects:

N Katherine Hayles

Hrant Papazian's novel

Zuzana Licko

Chapter 1

Chapter 1: Design Authroship Exlpained

I personally enjoy reading design books merely because I get inspired by the page layout and grid format, but this book didnt strike me as a "well" designed book. I guess I will have to continue reading to be able to make a better assessment of the book layout.

The first part discusses design authorship, and points out why the designer should or should not keep his signature in his designs, regardless of how excellent his work is.

The second part: Design Authorship's Enabling technologies dicusses recent design technologies that did not exist with typewriters like curving baselines, overlapping characters, or controlling kerning.

The last pages of the chapter are interviews with designers. It is my favorite part because interviews express the personal characters of the designers.

Website to visit:

Bookartobject.blogspot.com  (Rachel Marsden)

Blog.eyemagazine.com (Felix Pfaeffli)

Imprint.printmag.com