A PIECE OF SOUND ADVICE + A SINGLE WARNING TO A DESIGN STUDENT
FAVOURITE FOOD THEN
I’ve always kept a very balanced diet. It makes me happy to eat well. When I had little money, food was…
(Cont. opposite – now)
YOUR MOST VALUED POSSESSION THEN
All my Apple products and I am not ashamed to admit it. I love my iPad, iPhone, MacBook Pro. I have had a Mac since I was 13 years old
YEAR OF PROJECT
STUDENT PROJECT BRIEF
This project was set to choose an example of rationalist graphic communication and a contrasted example of its ‘irrational’ counter part. I chose Tufte/Duchamp, Duchamp/Tufte, Esoteric/ Exoteric. Edward Tufte (author of Visual Explanations) represents for me the extreme of the scientific analysis of visual problems. He intends a clarity of expression, an immediacy of communication. Marcel Duchamp intended his Large Glass to reveal its secrets through slow release with a deliberate obscurity of expression. His analysis of visual problems was highly personal, even eccentric.
STUDENT PROJECT BRIEF CONT.
What if Tufte chose to express a visual analysis using Duchamp and vice versa? My study of the two artists suggests that my previous perception of them as extremes was an oversimplification. They share similar methods of creativity.
University of Brighton (United Kingdom)
Daniel Eatock (see also pp. 58–61), Frank Philippin (see also p. 256), Lawrence Zeegen
Helvetica Neue Bold, Helvetica Neue Medium
WHY DO YOU LIKE THIS PROJECT?
This was the beginning of many projects in my last year at Brighton University where I was exploring my interest in conceptual art, reading, gaining knowledge about contemporary art. This was a very positive time.
WHAT DO YOU DISLIKE ABOUT IT?
The visual language of this project is very pragmatic, dry and lacks real feeling; the visualization of the design was not my top priority. It was an exercise in research and dealing with information. Of course now, both the concept and visualization of my projects fit better together, I am more confident designing. My last year at Brighton was a lot about experiments and research and why I wanted to continue my education and go straight into postgraduate studies, as it was clear to me I was still developing, and my very particular way of being a designer, bringing together my interests.
PROJECT SIMILARITIES THEN AND NOW
The strongest similarity is of course the subject matter. I never wanted our studio or myself to develop a distinct visual style; the project is born from research and content that determines its form. For example, each of the projects are approached typo gra ph -ically in very different ways, a justified sans-serif compared with a sans-serif left-aligned book and that is just the beginning. People work with us because of our approach, not because they want a particular visual style. Every project ends up looking so different because they are often very different projects. More importantly, the book feels more confident and uses colour!