Bjork in straight long hair and oversized coat. Oh buddha she’s just so pretty. Her facial features are combined together just so well and creates a unique look that everyone will never forget about her.
After discovering her inspiration of music, you’ll find it true when you look at her styling in music videos and album covers. Mostly are related to Icelandic landscapes(white, light blue colors), the nature of iceland, and the culture there. Diamonds, water, cold colors etc. Even make ups too. People in cold weather countries have fair skins, slightly pinkish cheeks and lip color.
Stefan Sagmeister designed a mailer, announcing his new partner Jessica Walsh to audiences. This mailer is a photograph showing the past and the present of Sagmeister Inc to Sagmeister & Walsh. Stefan and Jessica were naked in the photo without covering their private parts and it creates another attention to the society. In his point of view, the intention is to show their clients only one concept, so they showed themselves only one too. He also claims that this is a functional design, as mostly of arts do not serve a function. They both successfully made everyone talks about it and recognize them subconciously. (Sagmeister & Walsh, 2012) I would say that, not much designers have such ideas and courage to do so, Stefan is insane, in his own way.
Based on an interview, by Designboom with these 2 epic graphic designers, I find this 2 questions are useful, to graphic or any design students studying under the roots of design.
what piece of advice should every graphic designer remember?
stefan: if you are fresh out of school, look for a design company
that does the kind of work you want to do.
try really hard to get a job with them.
work your ass off.
then start your own place.
jessica: do work you love and are passionate about,
look outside of the world of graphic design for inspiration.
what piece of advice should every graphic designer ignore?
stefan: ‘the computer is just a tool’ if you believe that, you are a tool.
MADNESS AND CIVILIZATION: A HISTORY OF INSANITY IN THE AGE OF REASON
Chapter 4: Passion and Delirium
In this chapter Foucault discusses the relation of madness to the passions, to reason and language, to dreams and delusions, and to confinement—especially as these issues were understood in the age of reason. In the first place, it seems only natural to assume that there would be some sort of relationship between madness and the passions. Sometimes, when a person has been in the thrall of some violent passion, like anger, they may later speak of having“blown a gasket.” Once they calm down, they are conscious of having been temporarily “out of their mind.” In a similar way, one could conceive of a person becoming so gripped by a passion that they are driven out of their mind for an extended period of time. In short, they are driven to madness. This seems to be what Foucault is driving at in the initial section of this chapter.
Even more interesting, however, is his discussion of the relation of madness to reason and language. Although many people probably think of madness as a form of severe irrationality, Foucault cites evidence showing that, for at least some of the insane, there is in fact a “method to their madness.” For example, he cites a study by Paul Zacchias, who found syllogistic reasoning among the mad. A man engaged in self-starvation reasoned thus: “The dead do not eat; I am dead; hence I do not eat”. Clearly, the problem here is not the man’s inability to reason; rather, it is his acceptance of a faulty second premise (i.e. “I am dead”).
Apparently, in some cases, embracing a false proposition as true can, via a process of flawless reasoning, lead to the adoption of certain behaviors which can only be described as “mad” (since they are ultimately grounded in what is false, illusory, and unreal). This, if I’ve understood him correctly, seems to be what Foucault is gesturing at when he claims that “the essence of madness can be ultimately defined in the simple structure of a discourse” .
The chapter concludes with a discussion of the relationship of madness to confinement. Here, in the rather obscure style that Foucault occasionally adopts throughout this book, he confidently tells us that “ultimately, confinement did not seek to suppress madness,” but to manifest its true essence as “non-being; and by providing this manifestation, confinement thereby suppressed it, since it restored it to its truth as nothingness” .
Nice Guys Finish First
“I was never that interested in picking the right typeface,” he says. “It seemed a tedious exercise. When we needed something that was beyond the general form, I felt the need to create it ourselves. Much of the type usage out there seemed so cold. I felt that the audience outside the design industry wouldn’t even know a person was behind it.” In fact, Sagmeister is famous – or perhaps notorious – for making it clear exactly who is behind his work by featuring his own scantily clad body in memorable posters. Yet for him, there is nothing outrageous or even self-aggrandising about this approach. “It’s actually quite logical,” he says. “In all those pieces, the project was about myself. So using a picture of me in a lecture by me is the most conservative possibility that will work.” (Stefan Sagmeister, n,d.)
**For Sagmeister, design must make a direct, immediate, and logical connection. **
Things we’ve learned so far in life
A magazine spread of Stefan Sagmeister and his works.
Instead of showing computer graphic typography, he used real objects to form them and photograph them. Stefan Sagmeister wanted to break the cold bond between audiences between a design piece. He explores, learns different medium, and combine them all, remaking another possibility in Graphic Design. He has great individual aspects of the creative process and self-disciplines that affects his works. In the 90’s, it was the era of modernism, computer graphics and technology etc evolving and floaded the whole design industry. In an interview(Computer Arts,2008), Stefan feels that many sleek, cold designs left audiences untouched, by these robotic machine-like computer graphics. That is how he started his handmade designs and set his motto as an designer. For him, design has to be direct, functional, unlike art. And graphic design have to work, art doesn’t. (Saville, L. n.d)
**CA: Do you feel computers have made all mainstream design look too similar?**
SS: I think many designers get lost within the incredible, endless possibilities of the computer. Because it can do so much, we are often overwhelmed by the choices and there is the danger that we take the easy way and do what is easiest, and consequently get stuck with some silly, multilayer Photoshoppy look. Brian Eno acknowledged in an interview that the electric guitar became the dominant instrument of the 20th century because it’s such a stupid instrument that can do so little, thus encouraging players to go to the edge of its possibilities. - Stefan Sagmeister.
Part of Bjork’s album Biophilia, Crystalline as one of the songs of the album. Oh it is just so fantastic. I am so in love with the typography.
Biophilia is an interdisciplinary exploration of the universe and its physical forces—particularly those where music, nature, and technology meet—inspired by these relationships between musical structures and natural phenomena, from the atomic to the cosmic. The Independent on Sunday calls it “brilliantly original and ambitious.” The BBC raves: “An amazing, inventive and wholly unique eighth album from an artist without peer.” NPR calls it “astounding.”
(nonesuch records, 2008)
The lyrics to “Crystalline” talk about the process of crystallization in minerals and rocks but taking a more personal point of view, relating the growth of a crystal structure with the growth of relationships in people’s hearts. Björk took inspiration for the song from cities and buildings.