Document and Layout

My concept for my cubes and package was to portray my interest in Asian cultures, in particular the Japanese culture. I wanted to incorporate my love for origami, as well as keeping within my interpretation of Japanese aesthetic. The shape of my package and restraining device is based on a Japanese box in which sweets are displayed and served; the different types of sweets were kept separate by walls within the box. Keeping this in mind I began to think of my cubes as potential representations of the food within the original box. From this I decided to have half my cubes hold and display different origami, as an abstract representation of the sweets, I also decided that for simplicity the other half of the cubes would have a simple design printed on them. By this stage I had decided that the packaging would be made out of black card, to provide a simple backdrop for the origami, which would be the focus. I also did not want too many competing features, so that I could keep the simplicity that is found in the Japanese aesthetic. I then looked into the design that would go on the printed cubes. I wanted them to reference but not overpower the origami. To this end I created for highly simplified designs each relating to a different origami cube. These designs were then repeated on each side of the cube, and printed black on black, again to keep within the simple and clean aesthetic. The lid was also kept very simple and minimal, a flat square lid that would sit directly on top of the box. Having now completed the cubes and package, and seen it all put together I think that it does effectively show my interest in the Japanese style and my love of origami.

Mesopotamia at Melbourne Museum

The Mesopotamia exhibition at the Melbourne Museum was a fascinating insight into the culture and lives of people living in what is present day Iraq. Many of the ideas and teachings of this time have carried through to today. The Mesopotamians invented one of the first forms of writing, now known as cuneiform. It began as small pictographs, which were then transformed into symbols. They wrote using a reed stylus to make the impressions in clay. There are over 600 signs/ symbols that make up this language. This writing covers many of the art works of the time, from statues to wall reliefs to tablets of writing.

A cuneiform tablet

The Mesopotamians were also highly skilled in their art forms. They created incredibly intricate carvings and engravings for various purposes. One example is the cylinder seals, which were stone cylinders that had a design engraved on them in reverse. The cylinder would then be rolled on clay and the design would appear the right way and in relief. Most of the seals were about 2-3cm tall and up to 2cm in diameter, but they were incredibly detailed and intricate in the designs. These seals were also very cleverly made with a hole drilled down the centre, so that the cylinder could be worn on a pin or cord.

Examples of cylinder seals

Herbert Bayer

Herbert Bayer is most well-known for his design of the typeface Universal. It "represents an attempt to construct a sans serif typeface on consistent principles." (Rowland, Anna, Bauhaus Source Book, p. 14) These principles were to construct the entire typeface out of circles and straight lines. This was very much in line with the Bauhaus ideals of modernism and simplicity. The ideals of the Bauhaus stayed with Bayer long after he left the Bauhaus, and travelled to the USA. His later works still had a modernist feel, despite the many years since his Bauhaus enrolment.

Herbert Bayer. One Reversed, 1969, colour screen print on paper

Bayer’s One Reversed, is a colour screen print. Although one of his later works, it still references his work at the Bauhaus, particularly in the use of the circle shape and the choice of colours. The combination of the chromatic colour change and the circular shapes give this print the impression that it could be seen as a colour study or an investigation into colour and shape. Despite being a flat piece of work, there is a sense of movement in the concentric circles and somewhat competing colours. There is a tension in the centre of the composition as the blue cross appears to be on top of the bright white yellow circles, however, the yellow circles move forward in the visual plane as they are warmer than the blue.  This tension gives the print a focal point, from which the eye can continue to explore the composition.

Herbert Bayer. Articulated Wall, 1986

Bayer was commissioned by the Denver Design Centre to design and build the Articulated Wall in Denver, exactly like the original (Bayer designed and built for the 1968 Mexico City Olympics), only taller. The original stood at 60 feet, the new one stands at 85 feet. It was constructed of “32 pieces of pre-fabricated elements each measuring 41' x 5'2" x 2'7".” Two million pounds of concrete were used to create this sculpture. Whilst the sculpture is the one pure, bright yellow colour, this actually adds interest as the shadows of the blocks above create many tonal differences on the blocks below. Because of the inherent nature of shadows this means that the tonalities are constantly changing and creating new designs on the wall.

Brent Harris at NGV

Looking through the Brent Harris Exhibition at the NGV the piece the stood out most to me was The Stations (1989). Having been brought up as a Catholic I am very familiar with the Stations of the Cross, and I remember as a child seeing them depicted around the church. Each scene was depicted in a fairly life-like manner with clear figures and lots of detail. This goes back centuries to the Middle Ages when majority of people couldn't read or write, so to explain the stories of the Bible (in this instance the Stations of the Cross) detailed paintings, drawings and stained glass windows were created to teach people. These were often very ornate with a great deal of colour.

This is quite different to Brent Harris' The Stations. Whilst he takes the same reference story of the Stations of the Cross, his depiction is quite dramatically different, as is his audience. Harris has taken his prints right back to very simple compositions made up of basic rectangles and a few curves, in black, white, and greys with a tinge of red here and there. Through the use of highly abstracted compositions Harris captures the emotion and pain of the Stations of the Cross, and brings them into a new context, for a new audience.

Yayoi Kusama (NGV)

Whilst at the NGV I happened upon Yayoi Kusama's Tender Are the Stairs to Heaven (2004). It is tucked away in a small room in the middle of another. The piece consists of a fibre optic cable bent to create a floor to ceiling ladder. Beneath the ladder is a large circular mirror that holds it to the floor, there is another mirror above holding the ladder to the ceiling. The fibre optic cable of the ladder is constantly changing colour giving the otherwise dark room and ambient glow. When you enter the room there is a buzzing emanating from the ladder; this combined with the changing lights gives the room a unique atmosphere that removes you from the rest of the gallery.

This piece is more than something to look at; it is an interactive experience that depends on your interaction with the elements of the piece. If you stand and look from a distance the ladder appears to disappear a small distance into the ceiling and floor. As you get closer and look down into the mirror the floor appears to drop and the ladder appears to continue eternally into the ground. Similarly as you look up the ladder appears to continue rising and leading up to infinity. To really grasp the power of this piece is has to be experienced, and it is the experience that matters.

Light Works at NGV

Light Works at the NGV is a photoghraphy exhibition, with pieces ranging from photograms to large scale installations and digital light-based technologies. There were a few pieces that particularly caught my eye. The first were two Bill Henson photographs from his Paris Opera Project (1990-91). Untitled 31/85 (1990-91) is a large photograph. In the lower third of the composition is the dark silhouette of a forest, the focal point is a diagonal white blue flash of light, possibly lightning. The photograph is simple but very dramatic emphasised by the movement of the white blue light. The second Bill Henson was Untitled 36/105 (1990-91). The focal point of this photograph are the twilight orange clouds against dusty blue sky. They are obscured by silhouettes of trees and dark clouds in the foreground. This photograph has an almost sinister and drak feel to it, but at the same time it is very peaceful and serene. (click images for a larger view)

Bill Henson Untitled 31/85 (1990-91)

Bill Henson Untitled 35/105 (1990-91)

Another photograph in the exhibition was Adam Fuss' Untitled (1991).  It is a very large rectangular photograph, and the composition consists of many eliptical shapes that begin very large (cropped out by the edge of the frame) and continually get smaller towards the centre of the image, ending in a decent sized round white elipse in the centre of the image. The outer elipses are a very dark blue purple and they gradually get lighter towards the centre of the image. The photograph gives the impression of a tunnel and at the right angle the rings almost look like they are moving.

Adam Fuss Untitled (1991)

Unexpected Pleasures at NGV. Part 2

The next section of the Unexpected Pleasures exhibition at the NGV looked more at jewellery in a creative sense. A number of the artists in this section had developed a signature using the aesthetics of modernism. Simple, clean lines and an absence of decorative detailing is what makes this work powerful. One artist featured in this section was Johannes Kuhnen, whose work I recognised from his talk at AgIdeas. His Interchangeable Pendant System followed the modernist’s interest in modular components. Made out of anodised aluminium and stainless steel his pendants have a wonderful simplicity about them, but they are also very diverse in with so many options for different colours and colour combinations.

Mark Edgoose's Ring and Box no.1 looks at jewellery when it is not being worn. When not being worn the ring becomes part of the box which then forms what looks like a miniature scale sculpture. I found the concept of having the ring constantly seen as a piece of work whether or not it was being worn very intriguing, and in this instance quite successful.

Mark Edgoose Ring and Box no.2 (2010)

Mark Edgoose Ring and Box no.2 (2010)

Unexpected Pleasures at NGV. Part 1

Unexpected Pleasures: The Art and Design of Contemporary Jewellery at the NGV looks at what defines jewellery and what jewellery means to different individuals. The first section looks at jewellery as a reminder of people, experiences and places, with each piece having personal meaning to the wearer, maker or both. Kiko Gianocca's brooches are made of a glossy resin and photographic image. The brooch is to be worn glossy side facing out which reflects the people the wearer encounters, and the inner face has the image which references a place or time with significance to the wearer. I found this piece interesting because it has meaning past the aesthetics of it; here the jewellery becomes a reminder of something rather than a simple accessory, with little meaning.

Moving on from this was a section on turning points with a variety of pieces whose inspiration was pivotal for new expression and redefining ideas. Otto Künzli created his piece Gold Makes Blind for a jewellery prize, which stipulated that the piece must include a gold ball of a specific weight. Künzli complied, but made the fold completely invisible by coating it in rubber. This questions the notion of precious, and the value put on materials such as gold.


Otto Kunzli Gold Makes Blind (1980), rubber and gold

Another piece that caught my eye was Ted Noten's Tiara for Maxima. In 2002 Noten entered a competition among 40 others (21 finalists) to create a tiara for the new Dutch crown Prince's bride Máxima Zorreguieta. Noten's tiara design consisted of a shiny protective polo helmet from which the tiara was cut with profiles of former Dutch Queens cut out of the tiara, as little guardian angels. I liked this piece because it was a bit quirky and not what is stereotypically expected for a royal crown or tiara. 

Ted Norten Tiara for Mazima (2002)

Highlights of AgIdeas

The following are small snippets about different designers and artists who spoke at AgIdeas. These are people who inspired or challenged me, and who gave me a new insight or different perspective into design and the design industry.

Kerrie Stanley, Milliner (Australia)
Stanley's enthusiasm for her work was quite infectious. She spoke about how important it was for her to have a mentor to look up to. As well Stanley also noted how important it is to remain true to yourself in your work, especially when working in collaborations. She also spoke about the importance of relationships and 'playtime'.

Jon McCormack, electronic media artist (Australia)
Whilst I couldn't really grasp the science behind McCormack's work, it did provide an insight into a completely different type of design.

Jeffery Copolov, (Bates Smart), Architect (Australia)
Copolov gave an intense case study of the new Royal Children's Hospital. Much of the building's design revolved around the incorporation of nature into the design as well as making it a family and child friendly environment. It was fascinating to see just how much work and detailed thought goes into the design of such a building. And not only the structural design but also the colour palette and interior design that when put all together really give the hospital a distinct vibe and atmosphere.

Dale Herigstad, graphic, motion graphic and interactive designer (USA)
Herigstad spoke about designing for an interactive screen space. The concept behind his latest work revolves around the content space and the viewer's interaction with this space. I was fascinated by his vision for the potential ownership the user has as interfaces become more and more interactive.

Poras Chaudhary, Photographer (India)
Chaudhary showed such passion and dedication to his photography was very inspiring. I love the use of colour in his photographs, which show such diversity in colour and culture. Chaudhary has 4P's that he remembers in his work; Preparation, Possibilities, Patience and Passion.

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MadeThought from AgIdeas

MadeThought is a multi-disciplinary design consultancy based in the UK. Paul Austin and Ben Parker studied together and then formed the consultancy 11 years ago. The core of their work is to conceive an idea and implement it as singular concept in a simple way. They have a very deliberate and crafted aesthetic; and they always strive to create long-term brand strategies for their clients. MadeThought do a variety of work, including promotional material, exhibition space design (including signage), branding, packaging design and web design.
The following is an analysis of an exhibition designed by MadeThought, based on information gathered at their talk at AgIdeas and from the MadeThought website. (www.madethought.com)

Beauty in the Making Exhibition, designed by MadeThought for GFSmith. GFSmith’s exhibition, Beauty in the Making, took visitors on a journey through the history of paper and the process of its making. The exhibition consisted of public talks, workshops and exhibitions. MadeThought was required to create the signage and information points throughout the exhibition space, invitations and sample bags. The purpose of the exhibition was to show the traditional techniques of paper production and design, and to highlight the authentic heritage of GFSmith’s brand. MadeThought was required to take all of this into consideration in their designs for the exhibition. The audience of the exhibition and the promotional material was designers with and interest in paper, its production and use. MadeThought wanted the final designs to emphasise the qualities of the paper and compliment it rather than overpower it. The final designs emphasised line through cuts and fold of the paper. Stacks of paper were used for the signage with the information laser cut out of a different coloured paper which was then placed on top of each stack.

The simplicity of the signage design is what draws the viewers’ attention, it is effectively used to inform the viewer about the exhibition, rather than ‘become’ the exhibition. The recurring motif of the folded corner, as seen throughout much of the signage and the invitations adds a dynamic element to the compositions individually as well as tying them all together as a complete set. This motif would also help lead the viewer through the exhibition right from the invite through to the end of the exhibition.

I think the work is very effective; it has retained the simplicity that allows the paper to speak for itself, as well as informing and guiding the viewer through the exhibition. The bold colours used in the stacks of paper are effective in drawing the viewer’s eye to both the information and the paper itself. It is a simple, clever and effective way of exhibiting the product and informing the audience.

Studio Access at Watts Design

As part of the AgIdeas Design Conference Studio Access evening, I went to Watts Design, this is some of what I experienced and learnt that evening.

Watts Design, in South Melbourne, is a graphic design studio established in 1988. They are a small design studio with six staff members; three senior designers (including founders Peter and Helen Watts) and three junior designers. Watts Design works predominantly in three areas; branding, packaging and marketing/advertising.  Some of their recent work includes the Fowlers Vacola rebrand, which included redesigning the corporate identity, as well as the packaging and producing some publications such as annual reports. Watts Design also designed the packaging for the new range of Cobs popcorn, as well as the Cobs popcorn campaign, which was implemented across a range of marketing and advertising platforms.

When given a design brief, Watts Design will analyse it and do some preliminary research into what the client is asking for. They will also look at market research to see if there is a potential for a broader, new or different target audience that the client could be reaching, but is currently not. Watts Design will then go to the client with as many specific questions as possible so that they can be sure they know what the client is after. They will also offer suggestions as to other possible options for the client to consider; from looking at a wider target audience, to other possible format options (in the case of print media).

When developing work for a client Watts Design will continue to do further research into the background and history of the client; to gain a complete understanding of the client, and their wants and needs as a business. They will also research the current market for the product/ visual communication that the client has asked for; this includes competitors both nationally and internationally. They rely heavily on the questions asked of the client at the beginning of the process, as they believe that if they ask the right questions from the start the right design answers will come out in the process. Watts Design will then begin generating work, as the work is being generated, developed and refined they are in constant internal consulting, asking other staff members for their opinions, criticisms, and feedback. As they are most often bound by time, this consulting must be done as often as possible so that they do not spend too much time following a concept that isn’t right or appropriate for whatever reason. Only once a final concept is fully resolved do they return to the client and present the single final design. They do not show the client more than one concept as they find it is more effective for Watts Design to resolve one concept as fully as possible rather than half resolve more concepts that will ultimately not work as well for the client.

Over the course of the evening the group of us were also able to ask various questions and get tips about the industry. Overall it was a fun, interesting and informative evening.

William Kentridge Five Themes at ACMI

The William Kentridge Five Themes Exhibition at ACMI featured Kentridge's work from different times throughout his career, categorised into five 'themes'.
The piece I found most interesting at the exhibition was the piece What Will Come (has already come) (2007). It is a 35mm animated film projected onto a round steel table and reflected in a cylindrical steel mirror in the centre of the table. I found this piece interesting because of the many ways it could be viewed; on the steel table top, as a distorted image, or on the cylinder as a rotating film without distortion. The film itself was quite fragmented, with many different images coming up, some with recognisable references to historical events, whilst others seemed to come purely from the artist's imagination. Overall I found this piece looked at the cylindrical nature of history and its potential for distortion.

I also enjoyed Theme 3 – Parcour d'Atelier: Artist in the Studio. This theme was comprised of 7 Fragments for Georges Méliès (2003), a multi-screen projection, Journey to the Moon (2003) and Day for Night (2003). 7 Fragments to George Méliès is a homage to the early French film director, and according to Kentridge is meant to reflect the "invisible work that must be done" before beginning a piece of work. I found these works interesting because of the use of everyday objects to tell the story.