The Cave, McKenzie Wark
2. Examine this first work carefully. Ask yourself (now) why you (then) made the decisions you made in assembling it. Consider your answers, and keep them to yourself for the moment.
3. Take at least one full day, 24 hours, between following instructions 2 and 4.
4. Write one compact paragraph (between 5 and 12 sentences) that indicates the answers you arrived at in step 2.
5. Typeset the paragraph that you wrote in step 4 (now) how you would have done it (then) at the time you made the piece of work identified at the start of this set of instructions. The result should sit comfortably on one vertical sheet of 8.5 x 11 inch paper.
From David Reinfurt
2. E blanc
3. I rouge
4. U vert
5. O bleu
which could translate to
1. A black
2. E white
3. I red
4. U green
5. O blue
from Paul Gangloff
by Richard Hollis, from Writings About Graphic Design. Occasional Papers, London, 2012.
Browse one of the “revolutionary” books distributed in class. Take 15 minutes to look for phrases or sentences that could be typeset as a “political poster.” Pick one page from the text and copy it. Highlight the phrases you chose with a black sharpie. Print 25 copies on the risograph, using pink or yellow as the highlight color. Collate and distribute.
Read “Robin Fior” by Richard Hollis. Consider his work and biography and especially the different formal and material senses of revolutionary typography that Hollis elucidates for Fior’s work.
Create a tabloid sized poster that typesets words from #1. Using only typography, develop a revolutionary form for your content, one that takes up a cue from Hollis’ text.
First draft due Monday 11 March
Collect material related to the photoshop exercise “under constraint” from a classmate. This should be one of the prints from the ten iterations, and the sheet which typesets the name of the photoshop tool and a description of the original image. If you want, you can ask your classmate for the digital file.
Draw two cards from our deck of oblique strategies.
Follow the first card to make a new composition using the material you collected from your classmate.
Follow the second card to further to produce a second composition, one which iterates the first composition.
These cards evolved from our separate observations on the principles underlying what we were doing. Sometimes they were recognized in retrospect (intellect catching up with intuition), sometimes they were identified as they were happening, sometimes they were formulated.
They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case,the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident.
Find an image that relates to the concept “under restraint.” Make the image large enough to fit on a letter size sheet, portrait orientation. Choose one retouching or painting tool from the photoshop toolbox and vigorously edit the image using only that tool. Test the tool : make it do something it wasn’t designed to do. Investigate all possible variables and parameters for the tool. Make 10 iterations that each visually communicate a different sense of the concept of freedom versus constraint.
In the spirit of Alison Knowles and Yoko Ono, write a script in a single concise paragraph that specifies an event which might produce — among other things — printed material. This is an exercise in both precision and speculation, in detail and possibility, in material specification and the evocation of social and political lifeworlds in and beyond graphic design.
example code block
border-top: 1px solid black
margin: 0 0 0 0;
padding: 0 0 0 0;
outline: 1px dotted white;
This very short text is from Recollected Work, a retrospective of projects by the Dutch designers Mevis and van Deursen. The text is a sort of transcription produced by Paul Elliman (the editor of the book) after talking with the designers.
Read the text and consider the following:
Mevis and van Deursen describe their design practice as a game playing activity. How does this game work? What do you think of the entanglement of freedom and constraint which their description implies? How can a “living voice” be engendered in this sort of practice?
Think about your own experience as a designer. Consider a specific project — in what sense did restrictions structure the work? How might you imagine future work in which “content”, “form”, and “production” conscientiously become constraint variables which you set in order to play the game of your work?
Write and print a 100 word response on a single letter-sized sheet of paper. Use one typeface that begins with the letter “T”.