He is an american graphic designer and illustrator. He has studied painting, typography and illustration and wanted to become a comic-strip artist which is why drawing is a key element in his graphic design background. He has designed advertising as well as print media where Glaser’s work became a fashionable cult. In the 1960s his work became flatter and brightly coloured, which was inspired by Pop and Op art. Glaser was art director of New York Magazine, which he helped to introduce into the industry. Another interest he followed in was furniture, consumer-products and interior design, as well as widening his involvement in print. He has been involved in many works and has designed numerous sign systems. I feel that his work is very much inspired by pop art and is not something I tend to enjoy. This tends me to not like his work but appreciate the design talent he has. I am not aware of many of his pieces although I can see his sense of style within the ones I have previewed online. I may grasp a full enjoyment of his work but I can understand how he has progressed and diversified over his lifespan. Although you may not recognise his name you may have seen his works such as the I 'heart' NY because it is a very iconic piece.
Friday, 6 September 2013
April Greiman
April Greiman is a designer and someone who is recognised for her particular style. She uses computer technology as a tool to aid her in creating this style. Greiman is someone who tests the boundaries, which is something I like within a artist. Her work typically uses a space like theme which you can see in many of her works like "Does it make sense?" 'Since the 1960's she had been attracted to the ideas of Carl Jung and Eastern Religion, and these informed her to use colour, myth and symbol.' (A century of Graphic Design, book, P204, 2001.) you can SCI - ARC where colour is thought about very much. I really like the way that Greiman's work is quirky yet she uses the technology available to her, changing with time. I think that the pixilation of the image above really gives the piece a sense of space alongside the shapes given and placed in the certain places.
Stefan Sagmeister
"I am mostly concerned with design that has the ability to touch the viewer's heart." (taken from GRAPHIC DESIGN NOW, book, Charlotte and Peter Fiell 2005.) This quote is something that I am interested in, and would love to do in my own work. Stefan Sagmeister is one of my favourite designers and I love the way he uses text over the human form. I feel that I have the same style and views as him which makes me appeal to his work more than others. I really want to touch people with Art/ Design because of how people perceive the subject and Sagmeister is someone who does this with his work. The pictures are my favourite pieces of his. Gerhard Richter
A german painter, someone that has been highly recognised within my education in Art. Richter has used a diverse range of techniques and ideas including realist paintings based on photographs, colourful gestural abstractions such as the squeegee paintings, portraits, subtle landscapes and history paintings. I really like his work not only because he has a range of ideas but he also has a sense of colour within his squeegee works; something I enjoy.
He applies many layers of paint on top of each other whilst scrapping and working back into his works. Whilst he was creating these pieces he was listening to the music of John Cage, who inspired him to create the work the way he has.
I have found a video within the Tate Modern's website which shows Gerhard Richter and the Tate coming together for his new exhibition called Panorama. This is an amazing video and really opened my eyes not only to the work put into the exhibition but the ideas and history of him his self. My favourite work of his has to be his squeegee prints because I love the layers of colour. They really seem effortless but for an 80 year old man to be holding such tools is inspiring to think how much an artist puts into their works.
I have previously visited the Tate and seen the works in person; I was truly inspired as the huge pieces empower the room striking you with every glance. I have also used a squeegee before on a small scale and understand how hard it is to get the technique correct with the right amount of paint and pressure with also leads me to wonder how he has been able to draw upon such a large scale.
Marian Bantjes
She is a designer, typographer, writer and illustrator where she works internationally. She is a member of Alliance Graphique Internationale (AGI) meaning that she is able to comment and give her views on topics all around the world. She started as a book typesetter however decided to open her own design firm where she employed up to 12 people. In 2003 she left this and began to experiment through personal works.
Marian’s work crosses boundaries of time, style and technology. She is known for her detailed, precise vector art, her obsessive hand work, her patterning and ornament. She is often hired to create type for magazines and advertising. Her work uses a structure which presents an organic fluid approach, something you would not expect.
"Among her international clients, she counts Saks Fifth Avenue, Penguin Books, GRANTA, Wallpaper*, The Guardian, WIRED, Stefan Sagmeister, Winterhouse (Bill Drenttel & Jessica Helfand), Maharam, Ogilvy & Mather Chicago, Young & Rubicam Chicago, Random House, Houghton Mifflin, Print Magazine, GQ Italia, andThe New York Times, among others from Europe, Australia and South America." Bantjes has many clients which are incredibly famous within their industry showing how successful she is as a designer/ artist.
Marian Bantjes also has her own book where she shows off her wonderful styles of work and well as the ideas and processes of typeface and design. I like her work because it is very structured and neat but also expands outside of this and explores the page with a life of its own. Her pattern work also appears as an organised mess, but when you get closer you can see how well designed it is.
Stefanie Posavec
The website above is a useful one in the sense of providing me information as well as providing an interesting video.
'The Thing hates accounting more than any other crime, because it is the opposite of Wilding. The more men account the world, the less wild it will be'.
Stefanie Posavec visualised many of the time periods featured in the story for the V&A Memory Palace. She measured the world using Google World and created the image based on the distances between all of the capital cities. In the Withering, this is when nature has begun to take over, the figures begin to break up. Her final image shows the plants growing out of the data and expanding upwards.
Posavec is an American graphic designer and has been based in London. She is interested in exploring the concept of 'data illustration' and turns figures into a range of beautiful visual elements. For many years she has worked with text, ranging from book covers and book layouts to interface design. I love the way her work has a meaning as well as taking something so confusing and turning it into something beautiful is inspirational. I love this commission she has done for the V&A however I also enjoy her other typography work she has completed such as sentence without words.
Day 3: Timeline, Reflection and selection
I was to create a timeline of the events that had happened during my first week of starting Ravensbourne. My initial thoughts were how was I going to present this timeline? Was I going to keep it simple or make it more creative and fun? I chose to keep the idea of Ravensbourne being my creative adventure and started to sketch out an idea that was sparked in my head. The drawing used the idea that I was to use a drawing of each task I achieved and then put together like a puzzle. My thought process on the idea was that each task I took was building the bigger picture of my future until it becomes one big picture itself. 
Whilst starting the timeline I realised that I'd used a range of materials over the past couple of days and I wanted to convey this in the piece; therefore I drew the V&A museum in charcoal. Once finishing drawing everything I could remember doing over the course I knew that I could have missed parts due to how fast everything had been going. To show this on my timeline I decided to cut the drawing up and place it together again but with gaps to symbolise the idea that the week had been a blur of a lot of memories created. Overall, I think the timeline was a very good way to document my first week at Ravensbourne. I also liked the way that I did not have to use the traditional layout of a timeline and made it my own unique experience. I feel that I have overcome my fear of my work being perfect and by cutting up my work has been a choice that paid off.
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