LP. 21 - creativity= ability to perceive + imagination (gestalt). Allows art to be taught, not only the technical skill
Pedagogues: Froebel, Montessori, Decroly. School reformers, Rudolf Steiner, John Dewey. Great modern theorists of art: Herbert Read, E.H.Gombrich, Rudolf Arnheim.
- p.22 The difference between talent and creativity is that the former is unequally distributed and the latter universally.
- p.23 - the difference between metier and medium is that the former has a historical existence and the latter a transhistorical existence.
- p.24 - the difference between imitation and invention goes without saying. Whereas imitation reproduces, invention produces; whereas imitation generates sameness, invention generates otherness; whereas imitation seeks continuity, invention seeks novelty.
Working on AA, a series of drawings instructed by random numbers. Spray paint, pen and ink, chalk, charcoal, collage.
Drawings done during Miscontinuum opera at Barbican, February 2015. Biro pen, A4 paper sheets.
“I have dealt with hand-eye coordination all my life – it’s another kind of language for me. To see is to think and drawing is another way of thinking"
(The artist on his drawing retrospective at the Metropolitan Museum of Art, in an interview with Charlie Rose, 21 April 2011).
Drawings from Salto gig in Moscow, February 2015. Biro pen in 10X15cm pocket sketchbook.
The value of multiple entry points
Any universe simple enough to be understood is too simple to produce a mind able to understand it
John D Barrow, p. 56
The rewards of black and white
- Yosemite: one of the "565 world's 565 largest photographs", p. 63
- p.64, color was considered less real, truthful
The use of parallel narratives
- Glazer: I'm convinced the re's a link between all things... you could take two of the most random objects... a chair and a skyscraper... and you will discover an uncanny series of relationships between them. p.68
It's his creative methodology,free associating in order to uncover hidden interconnections.
-Crossing words out, erasing
The difference between What and How
- p.83 Designers have to think about What, not How.
- P.84. African creation myth in which God gives Man a choice between a happy life as a cattle rancher and "What" - but His refuses to define what illusive "What" is. It's up to man to figure it out. Those who choose to pursue this question must leave their ancestral Africa forever, the same way Adam and Eve had to leave the Garden of Eden.
- p.121 Eike Konig, Hort: Every job is a completely new situation and needs to be considered in a new way. The is no room for self-actualisation, or giving your personal design profile a boost. It's about performing the task, learning from it and enjoying yourself in the process.
- p. 127, Vince Frost: Get used to being invisible. Never treat projects as if they are 'bread and butter'.
Art direction goes digital, Khoi Vinh
Art direction has traditionally meant controlling the narrative.
Art director's talent is ... high level of control. Good at direction is good storytelling. P.163
- options transform an audience of consumers into a constituency of users. Users want to retain at least some level of control. p.165
- the need for an art-director is not lost,... it has been re-distributed across many different fronts.p.166
- it is now a form of conversation, many-to-many paradigm
- see Roland Barthes, 1967 essay The Death of the Author
- good narrative gives rise to great conversation, p.169
- great digital art direction lets users shape their own experiences. P.170
At directing myself, Ross MacDonald
- p. 173 personal work - code for "I don't get many paid jobs these days" . Wow! What about rather "I have found an opportunity to finally do something for myself?!"
- p. 178. It would make life a lot easier if I worked digitally, but what fun would that be? Oh, my!
- p.199. Any aspiring art director, no matter what you do or where you work, should read the book Allure by Diana Vreeland
- Movies on my list : Zelig, Shampoo, Sleepers, Day for Night, Andrei Rublev, My Favourite Year, Touch the Sound, Three Umbrellas of Cherbourg, Broadway Danny Rose, Once Upon a Time in the West, Death in Venice
- p.212, Annette Lens, Selina Konig.
I don't think that being creative should ever require me to 'direct' people and deprive them from certain inalienable rights.. Among them Life, Liberty and the Pursuit of Happiness
So i don't want to be called an art director. I would never want to work with people who would agree to follow my directions.
-p218- so that's how i meet David Bowie, genius music legend and world's worst at director. Having said that, i worked with several hundred horrible art directors, and not one of them can sign "rebel, rebel" worth a damn.
-p232- 'the possibility of future work' - If you'll let us take advantage of you now, you'll win a chance for us to take advantage of you in the future.
-p246- Milton Glaser likes to say his role is "to inform and delight" - an expression he borrowed from Horace
Going through the maze in Crystal Palace park, following the rule that on every corner we should take left turn.
Pedro Almodovar's latest film backgrounds almost exclusively consist of iconography:
Bicycle torch, mirror, A3 white paper sheet, four matchsticks, photography.
Again, thank you for sending this over!
Strictly speaking, there are seven parameters from which a quote for infographics is constructed:
1. What is the usage? (Unpromoted blog post of a smaller client is priced differently from the publication on the front page of a major media portal).
2. Area of Use or Territory (I'm still looking to understand how this applies to web distribution)
3. Duration of License (digital licenses are offered on a 1,3,5 years and on Perpetuity. I think it was mentioned before that most work done on Contently is done as a work-for-hire, but in cases where it's not, it's best to build quotes based on the length of time the work is seen on client's website).
4. Client’s Profile (life dictates that it works both ways: big companies have bigger budgets, and especially advertising (!). On the other hand, elite clients who are a prestige to work with, often pay little because there are too many high profile designers willing to work for them, even pro bono).
5. Client's Budget (connected to previous one).
6. Deadline (urgent jobs cost more than the normal priority ones. Also, different clients see urgency very differently, so it's worth considering something fixed, like number of days per amount of work?).
7. Expenses (travel and accommodation obviously do not apply to online freelance work, but there might be some - in your examples, there are costs for photography, where it is used).
Apart from that, are of course the very reasonable considerations that you listed - complexity of data, number of visuals to be created/number of entries, how prepared the data is (how much additional research is needed).
I agree that for most cases the quotes you list in the pdf are quite realistic, but it is hard to assess them because we don't know much about their production. Illustration on page 4 is easy to do visually and probably wouldn't require much research, but we don't know what were the deadlines and how much the photographer charged for his picture. Besides, usage rights for this image by now should be sky high, because it is so well-known! Authors who came up with such a brilliant idea should have quoted a lot, despite of visual simplicity.
- The categorization is another potential threat, because not all timelines are the same, and the prices for them vary greatly - the same goes for maps, comparisons, and other genres - some of them take weeks to do, others are very easy.
- The other important point with regards to the pricing is that the boundary between the writer, the producer and the designer in the infographics are very vague. The writer creates the text, and does research for that, but the production of the visual story is a completely different thing. Text for the infographic has to be cut down to a few dozen words (that's editor's work, which is often done by designers), and there has to be an approved wireframe in place before any design work starts. Producers often do the wireframes, but in those cases where they only manage and research, the fees for design work has to compensate for creation of wireframes. Often designers have to do research, too.
Hope this helps - wanted to thank you again for working on this! Very much appreciated your efforts!
13-jan : Iconography+crumpled paper tracing - at which point the sign is not working anymore?
- drawing with light: how can shadow from a 3d part of drawing be a part of the drawing, too?
- drawing breaking out to space: a mix of drawing and 3d objects of line- like quality: thread, paper cuts, matchsticks.
- Rorschach tests, ink drawing by bending the paper.
11 jan: Folding the paper: a sequence of drawings made througholding the paper 1,23 times, etc. What the algorithm for such folding could be?
9 Jan : Family tree: connecting standing matchsticks with thread, add names of relatives to matchsticks.
8 Jan: resistance of form. Fold the letters, tie the paper on which the letters are printed with thread and test how these forms resist the tention. (This te had been completed. Outcome: there is also a tension when you physically hold a resulting object, a strive to open and see the letter fully, without the bend. Feeling of psychological discomfort).
I spent yesterday evening at The Showroom gallery, drawing as we listened to a sound piece from Graeme Thomson and Silvia Maglioni.
It took forever getting ready to exist: UIQ (the unmaking-of) - non-existent film by Felix Guattari
In the artists' words:
“A small community of envisionaries are invited to inhabit a zone of autonomous temporality where they become the hosts, receivers and transmitters of UIQ, contaminating each other in turn with their own visions and ideas of Guattari’s film and of UIQ’s possible manifestations, both within and beyond its limits.”
The soundwork recombines fragments of recordings of these “seeances” in a composition of myriad voices and electronic signals, elements that circulate in the Showroom gallery space, offering visitors glimpses of a missing film and universe that, though invisible, may begin to affect their own vision.
Source: The Showroom
A day of drawing and electronic opera from Mouse on Mars and Oval in Barbican.
P 114 - Pestalozzi, Table of Unit
P. 209 - Vojta Naprstek and Alois Studnicks divided collections into 20 groups:
A. Machines and apparatuses.
B. Metalworking in Industry.
D. Processing of clay, earthenware, ceramics and porcelain.
F. Wood processing
G. Clothmaking and weaving, laces
H. Animal Products - leather, leather goods, hat-making
K. Stationery, book binding, papermaking
L. Small items - miscellaneous
M. Chemical industry
N. Food stuffs and delicatessen
O. National industry
P. Household goods - tools, instruments, common furniture.
R. Civil Engineering
S. Light, heat, magneticity
T. Graphic art - book binding, photography, pencils, drawing tools.
U. Commercial section - measures, weights, international currencies.
V. Education - school aids, templates for drawing and modeling.
Z. Art and applied arts: a) assorted arts and crafts items; b) collection of artworks and assorted casts; c) arts and crafts antiques.
Paul Elliman’s ‘Beyond Police Call’ 2014, comprises of all the equipment
required to turn a car into a police car (radios, sirens, lights etc). The
resulting stack of equipment (purchased from internet retailers) is
presented on the gallery floor as an informal sculpture. The lights have
been slowed to the frequency of an average human pulse.