Category: Criticism
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Forget design?
«Forget Photography» has a clever cover for a book that is a great read.1 Andrew Dewdney believes that the paradigm of photography can no longer explain what he calls the networked image. Photography can’t account for its central role in constructing capitalism, white supremacy, and patriarchy. Dewdney proposes, in short, to forget photography. He does…
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The missing centennial.
W.A. Dwiggins first used the term graphic design in the text “New Kind of Printing Calls for New Design,” published in August 1922 in a special section of the Boston Evening Transcript devoted to the graphic arts. It was a hundred years ago this August. I waited in vain for the fireworks. As a discipline,…
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What about Ukraine?
It has been challenging for me to think about the implications of Ukraine’s war on graphic design. I haven’t read any texts or interventions on the subject. Before writing this post, I took a look at Aiga Eye on Design and Design Observer and found nothing. The same at Futuress. I don’t know if I…
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What Comes After Form? (2)
If Form is not Design’s paradigm anymore, what comes next? If you’d asked art critic Hal Foster around the turn of the Millenium, he would probably answer Design itself succeeded Form. In 2000, Foster published his influential essay “Design and Crime,” which echoed Adolf Loos’ “Ornament and Crime.” Loos’ text was a violent, often racist…
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What Comes After Form?
There was a time when every other design book or magazine had to mention «form» on its title. When did speaking about form in graphic design begin to feel so dated? It’s not that form has vanished, but designers no longer consider it an overarching problem. It’s taught at school using old Bauhaus or Swiss…
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Form is political
What are we speaking about when we speak about the politics of design? The “First Things First Manifesto,” published originally in 1964 and updated periodically, is an excellent place to search for an answer. In brief, the manifesto appeals to designers to do less publicity work for corporate clients, choosing instead to solve public and…
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Louise Brooks, 1986
If not for the year printed on the lower right corner, you could date this small collection of Louise Brooks’ essays designed by Luís Miguel Castro just by the generous letterspacing. In the first half of the 1980s, it was fashionable to space every typographic element forming grids. The blown-out halftone pattern underlines this formal…
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Design’s Lock
I enjoyed Ruben Pater’s Politics of Design. Pater has a knack for engagingly weaving ideas from a vast array of sources. Now I’m reading Caps Lock, his big book on Design and capitalism. It will be a welcome addition to the bibliography of my design criticism course. There is, however, a detail that tickles one…
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Modern Swiss Architecture – Max Bill
Perhaps the most salient feature of being a teacher, researcher, and curator in graphic design history is dealing with images from Philip Meggs, «A History of Graphic Design» – the closest equivalent to a material embodiment of the discipline’s canon. Over the years, I found myself looking for the artifacts that appeared on those pages,…
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Positive Space
This is one of my favorite 80s book covers. Designed by the incomparable Vaughan Oliver and illustrated by Russell Mills. Both are best known for their work on record jackets, especially for 4AD. I love Oliver’s typography, combining very different fonts in a tight geometric composition eased by the swash of the ‘m’ and the…
Unseen by Design 