Design Museum, Shad Thames, London SE1 2YD
0207 940 8790 http://designmuseum.org/contact
Design Without Boundaries
On Fridays, starting in September, the Design Museum is hosting a series of lectures by designers that whose work has made a significant contribution to design.
Advance tickets from: http://designmuseum.org/contact or by telephone: 020 7940 8783
Derek Birdsall Graphic Designer
6.30pm Friday 2nd September
Birdsall’s evolution as a virtuoso book designer is the clearest indication of the principle of transparency that he attaches to design. He is troubled by what he calls the notion of ‘the designer as It’ – as an egocentric expressionist (or Author as current discourse has it) – which is unsatisfying in practice, ephemeral in effect and ultimately even ‘tragic’. The preface to his
2004 book notes on book design – part reflective treatise, part technical manual – introduces
‘simply the decent setting of type and the intelligent layout of pictures based on a rigorous study of content’. This is the organising sensibility of all great graphic designers, who manage to contrive tension and sublimity within the exercise of reason.
i love the old photography look mixed with the printing design, giving it a old look but still quite modern some howl, gives a smooth affect within it
6.30pm Friday 9th September
Many of the most beautiful books to have been designed in recent years are the work of Irma Boom. Born in Lochem, the Netherlands in 1960, Boom has won international acclaim for the iconoclastic beauty of her books. Her most ambitious project to date was a book celebrating the centenary of the Dutch conglomerate SHV in 1996 to which she devoted five years of work.
With this Boom book, it looks massive but in reality its quite small, its interesting, i think, around us 2day we are more interested in the abstract designs !
6.30pm Friday 16th September
Co-founded in 1993 in Amsterdam by the product designer Gijs Bakker and design historian Renny Ramakers, Droog has defined a new approach to design by mixing materials and interacting with the user. They called the collection Droog Design after the Dutch word
‘droog’, which translates into English as ‘dry’ as in the dry wit, or wry, subtle sense of humour that characterised all the pieces they exhibited.
i remember seeing this in london, and thinking this would look brilliant in my room ! where its so different u just want to keep looking at it
Graphic Thought Facility Graphic Designers
6.30pm Friday 23rd September
By defining a distinctive graphic style to a diverse range of projects, Graphic Thought Facility has emerged as one of the UK’s most influential – and productive – graphic design teams. Founded in London in 1990 by Andy Stevens and Paul Neale, GTF now works for such
clients as Habitat, Shakespeare's Globe Theatre and the Design Museum.
The work of GTF is defined less by a distinctive visual language than the rigour with which the designers approach the process of developing and executing graphic projects.
Love the design within this outcome, its like one big light drawing, u have to use ur own opinion to work it out
Hella Jongerius Product Designer
6.30pm Friday 30th September
The Dutch designer works on the cusp of design, craft, art and technology to fuse traditional and contemporary influences, high tech and low tech, the industrial and artisanal.
Standing in the Design Museum Tank on the riverfront was a wooden table laden with food and illuminated by five lamps with ceramic bases and silk shades. On closer inspection it was apparent that the 'food' - a loaf of bread, fish, fowl, sausages and artichokes - was made from hand-blown glass and the lamps were embroidered with images of the animals, inspects and birds printed on the silk. Stranger still, the floor was covered in rich brown soil.
The furniture and book designs are brilliant, well looked into, and thought about !
6.30pm Friday 7th October
Through their work as graphic designers and creative directors in the fields of art, fashion and music, Michael Amzalag and Mathias Augustyniak have established M/M as a powerful force in contemporary French culture.
After meeting at art school in Paris, Michael Amzalag and Mathias Augustyniak founded M/M in 1992. They have sinced worked together as graphic designers and art directors on fashion and art projects mostly for longstanding clients and collaborators – such as the fashion designers Yohji Yamamoto and Martine Sitbon, and the photographers Craig McDean, Inez van Lamsweerde and Vinoodh Matadin.
Alought this design and a lot of M/M's designs are quite gothic and dark, there in a sutle way so there not creepy, there designed in a way that u want to know more!
Jonathan Barnbrook Graphic designer
6.30pm Friday 14th October
Barnbrook is one of the UK’s most active graphic designers. Pioneering the notion of graphic design with a social conscience, Barnbrook makes strong statements about corporate culture, consumerism, war and international politics. Working in both commercial and non- commercial spheres, Barnbrook combines originality, wit, political savvy and bitter irony in equal measures.
I love the plain use of fonts, the block style really works within the design
6.30pm Friday 21st October
Combining commissioned work – typically from fashion, music and art clients – with self- initiated projects, the British graphic designers Damon Murray and Stephen Sorrell have worked together as FUEL since 1991 from a studio in the Spitalfields area of London.
Stefan Sagmeister Graphic Designer
6.30pm Friday 28th October
Sagmeister is among today’s most important graphic designers. Born in Austria, he now lives and works in New York. His long-standing collaborators include the AIGA and musicians, David Byrne and Lou Reed. Striking to the point of sensationalism and humorous but in such an unsettling way that it’s nearly, but not quite unacceptable, his work mixes sexuality with wit and a whiff of the sinister.
I have come across Sagmeister before, it takes skill, courage and a proper designer to do what he does with his work, the design where he attally cut into his skin with type, makes me fill a little cold though.
I think the time we spent in the arcade was just so fun the this photo just made me laugh
from these pictures I need to choose which one shouts the most about paper!
for lunch we all gathered and went the Wetherspoon's, where I sat happily with fish, chips and mushy peas and appoint Guinness!( this was kind running junk, as a friend told me never squeeze a lemon with a fork, always use a knife but it wasn't until I taken the picture and looks that it dawned on me that the picture portrayed shouts Margate)
another moment in time was when a group of us drifted off and went into town, after taking pictures of the architecture around and told them to pose, and they all chose something funny which made the phone to personal and also a moment in time!
I wanted to start off with the title of my animation in a boiling effect, I found the boiling affect effective, it really made the workflow market was moving, but unfortunately the fund I allocated, many people found confusing and unreadable, the reason why I have left this in is because after speaking to the tutor and peers in the class, most of them said that if it was unreadable they could read it if they squinted their eyes or if the image slightly smaller, and if it wasn't readable it was still visually appealing to the eye.
The next scene was based on my original idea, which was based on a pattern that grows and then disappears slowly again, I felt that this would not be as strong design for the whole animation, I wanted something nice and loan from, that I could try loads of things with, and have the font to experiment, but I felt the azide tested the passive idea I wanted to put in as well.
The story really starts where the bear looks like he's bored he just sits on the shelf all day with the books and does nothing, over 1st stop motion shots I slowly moved his arm to make it look like he was thinking, and the idea was was that I read slowly changing to memories of me and him having a good time together, to make killer like he wanted to be with me rather than the with my parents just sitting on the shelf.
The next step of his escape is to somehow get off the top shelf of the bookcase, with small amounts of masking tape, I slowly moved him down in a position, that I thought a humans could easily do, making him more lifelike, once I got to the TV I had no grip so the only way he could get to the floor was by dropping, from this I found that it was easier to film him drop and then take screenshots from what had just been filmed, which also gave it a more shaky affect, and more real.
Once he had got his bearings back from falling on the floor, he sits up, and moves back to the bookcase gets up and then vanishes….
The next scene is him driving off in the car don't halls, I have to confess this was the hardest scene to animate, I felt that the background is that I was creating wasn't working for the style that I was going for, he was living in a crowded bookcase, and the scene I was looking for was free, green and open. Once I managed to get the background how it should look I then animated a friends car in detail (to make it look like my car driving to halls with him in the back of it) which took me near enough a day to do, and then after that it was the matter of getting the bear to wave before going off into the distance.
The final scenes the bear is when all of a sudden he arrives in the room, it's simple that someone just walks in the room opens the door and he sitting on the side waiting for someone to come.
I decided to reverse the pattern that I played at the very beginning to make it feel like the story come to the end, so it starts off with a really busy picture going into a blank white page.
