Sorry for the lack of updates - I was computerless for quite some time, and then once I got my computer back, i got really busy with work plus a ton of other exciting opportunities. There's more on the horizon. Summer's almost over and
then
it's
SENIOR YEAR.
wooooo no more tuition payments!
Please enjoy Lee Dorsey in my absence.
Showing posts with label the future. Show all posts
Showing posts with label the future. Show all posts
Saturday, August 14, 2010
Tuesday, August 3, 2010
Tuesday, December 16, 2008
Type Final
This is my favorite thing from the semester. For my Type One final, we had to create a poster which presented four hundred things that had an impact on our lives. These things had to create formula of hierarchy and activate the space within a 20' x 30' poster.
I chose to list the various different models of guitars made by Fender and Gibson, as music has always been of great importance in my life. My family is filled with musicians and I have a certain affinity for guitars. I have an Epiphone SG Special Edition at home, which I bought myself in 6th grade as a promotion to middle school (aka, moving into a new level of teen angst).
Anyway, I'm really proud of the solution, Helvetica Neue Light really lent itself to my endeavor as it allowed me to achieve various different levels of typographic grays and helped to activate the white space. I think that was the most enjoyable part of creating the poster, figuring out the amount of space between the typographic forms and the asymmetrical rhythmic pattern I had developed.
I chose to list the various different models of guitars made by Fender and Gibson, as music has always been of great importance in my life. My family is filled with musicians and I have a certain affinity for guitars. I have an Epiphone SG Special Edition at home, which I bought myself in 6th grade as a promotion to middle school (aka, moving into a new level of teen angst).
Anyway, I'm really proud of the solution, Helvetica Neue Light really lent itself to my endeavor as it allowed me to achieve various different levels of typographic grays and helped to activate the white space. I think that was the most enjoyable part of creating the poster, figuring out the amount of space between the typographic forms and the asymmetrical rhythmic pattern I had developed.
Thursday, November 13, 2008
Rem Koolhaas
I've always been fascinated with the mechanics of 20th century architecture.
Walking around Manhattan as a little kid and seeing, I don't know what to call them, "Buildings of the Future", or something; where beams don't touch what they're holding up, or undulating waves are created by bent glass walls of windows, was a wonderful experience.
It's just so compelling to know that human beings daily lives interact with these mammoth works of art.
There's an exhibition at the MoMA now through March 2009 called Dreamland: Architectural Experiments since the 1970s that addresses these Buildings of the Future. I'd really like to go over Thanksgiving break.
I've been researching Rem Koolhaas.
I love the angularity of his buildings and use of repetition of form in many of them. Not only do I like these elements from a design standpoint, but because they help reinforce the idea of strength. Koolhaas's use of light within this angular buildings is particularly engaging. I am most interested in the Seattle Public Library. I hope I get to visit it soon!
I found this to be particularly interesting
Mr. Koolhaas believes in the idea of social progress. The pace of global change leaves him unfazed and optimistic. His work eagerly reforges the broken link between technology and progress. He revels in the unexpected rather than passively anticipating agony. Perhaps as a Dutchman, imprinted with his country's role as an international trading center, he has fewer problems with global change than might someone of another nationality. The Dutch, a nation of traders, have not surprisingly spawned an architect whose work responds to the silent, nanosecond transnational flows of money and ideas.
Mr. Koolhaas also notes the Dutch pride in the national trait of economy and thrift. He actually likes "the integration of the notion of cheapness to create sublime conditions" and is philosophical about "the client as chaos." "Chaos simply happens. You cannot aspire to chaos; you can only be an instrument of it."
— from "Rem Koolhaas, Post-Nationalist Architect", The New York Times, September 11, 1994.
found here
Walking around Manhattan as a little kid and seeing, I don't know what to call them, "Buildings of the Future", or something; where beams don't touch what they're holding up, or undulating waves are created by bent glass walls of windows, was a wonderful experience.
It's just so compelling to know that human beings daily lives interact with these mammoth works of art.
There's an exhibition at the MoMA now through March 2009 called Dreamland: Architectural Experiments since the 1970s that addresses these Buildings of the Future. I'd really like to go over Thanksgiving break.
I've been researching Rem Koolhaas.
I love the angularity of his buildings and use of repetition of form in many of them. Not only do I like these elements from a design standpoint, but because they help reinforce the idea of strength. Koolhaas's use of light within this angular buildings is particularly engaging. I am most interested in the Seattle Public Library. I hope I get to visit it soon!
I found this to be particularly interesting
Mr. Koolhaas believes in the idea of social progress. The pace of global change leaves him unfazed and optimistic. His work eagerly reforges the broken link between technology and progress. He revels in the unexpected rather than passively anticipating agony. Perhaps as a Dutchman, imprinted with his country's role as an international trading center, he has fewer problems with global change than might someone of another nationality. The Dutch, a nation of traders, have not surprisingly spawned an architect whose work responds to the silent, nanosecond transnational flows of money and ideas.
Mr. Koolhaas also notes the Dutch pride in the national trait of economy and thrift. He actually likes "the integration of the notion of cheapness to create sublime conditions" and is philosophical about "the client as chaos." "Chaos simply happens. You cannot aspire to chaos; you can only be an instrument of it."
— from "Rem Koolhaas, Post-Nationalist Architect", The New York Times, September 11, 1994.
found here
Wednesday, November 12, 2008
Well Deserved Lubalin Post
Since I embarked upon my venture into Graphic Design, I've been predisposed to use Lubalin Graph Book Oblique, for everything.
It's my default font, my baby.
Recently for my Typography I class we've been given the opportunity to research five specific font families.
Perplexed as to which typefaces to choose, I automatically turned to Lubalin Graph. My second choice, was Avant Garde Gothic.
I was surprised to learn that both fonts were designed by Herb Lubalin, one of the founders of the ITC [International Typeface Corporation] and that Lubalin Graph was based off Avant Garde Gothic.
Herb Lubalin did a lot of really interesting design work and art direction in addition type work in the 70s. I was really excited to learn that he made the PBS and Thirteen logos, both of which I've always been thrilled by.
This Tyopgabor has a ton of his work up.
Here are a few things I really love.
It's my default font, my baby.
Recently for my Typography I class we've been given the opportunity to research five specific font families.
Perplexed as to which typefaces to choose, I automatically turned to Lubalin Graph. My second choice, was Avant Garde Gothic.
I was surprised to learn that both fonts were designed by Herb Lubalin, one of the founders of the ITC [International Typeface Corporation] and that Lubalin Graph was based off Avant Garde Gothic.
Herb Lubalin did a lot of really interesting design work and art direction in addition type work in the 70s. I was really excited to learn that he made the PBS and Thirteen logos, both of which I've always been thrilled by.
This Tyopgabor has a ton of his work up.
Here are a few things I really love.
Friday, November 7, 2008
recent-ish work
These aren't fully developed pieces so much as they are working to be part of a whole.
Primarily, my work focuses on the interaction of color and pattern.
Enjoy working methodically to create these forms
especially through the retractive process of cutting away from paper.
I strive to find a rhythm within the pattern to further expand upon.
More Work Soon!
Wednesday, November 5, 2008
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