The End Of Print English Language Essay

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An artistic contribution which questions the role of the typeface in the age of digital design, breaking with convention. The problems on the readability of the work of David Carson, supposed by many critics in the field of Graphic Design, is the main point on which this book focuses. The Request from a degree student in electronic graphics at Shaffordshire University, provide Lewis Blackwell, editor of "The End of Print", the preconditions for the introduction to the book. The Student asked if the work of Carson started a degenerated style trend influencing the young graphic designers. Blackwell answered that "the Carson influence has caused anything degenerate. Rather, it helped regenerate them away from the dry and remote theories that no longer seemed relevant and encouraging graphic designers to dream that they are makers who can question and change the world a little. [...] What you see everywhere are graphics that, for the most part, don't look a whole lot different from those we saw a decade ago. The visual revolution is still to come. What we see around us follows genre or corporate rules, pays lip-service to some hand-me-down modern ideas of typographic constuction, ideas rooted in the mechanism of earlier print culture."

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(ct. Lewis Blackwell - "The End of Print")

During an interview made by Lewis to David Carson, he said that "it isn't exactly the readability to communicate is not said a thing because it only communicates clearly and legibly, there is also the emotional communication". In some criticism has been claimed that the strong personal influence in the graphic design of Carson lacked respect for the author of the text, he says exactly the opposite. "I would take issue with any comment that says my work is disrespectful of the writing: in fact, I think it's the opposite. I read the copy and then I try to interpret it. That is exstremely respectful. It is a disservice to the writers and the readers if that is not done."

(ct. Lewis Blackwell - "The End of Print")

Carson tries to find a new way to deliver the

information, he search for new forms of communication on a wide variety of media, "try to involve the graphic language of the video and the web and experience a new form of use of the text, making it picture".

(ct. Lewis Blackwell - "The End of Print")

This is because the television, radio, web, and new media are moving towards a super enhanced communication, interactive and relies on many more resources for those that still have the printed graphics.

Essential information on the designer/studio

(where, when, field of activity, approach)

David Carson was born in Texas in 1956, with a degree in Sociology and professional surfer (that he define an influence useful in overcoming the habit rules too tight), he understood his true vocation after attending a two-week course on graphic design. Perhaps because of a lack of specific academic training, was one of the pioneers of alternative editorial design. He currently works as the owner and chief designer of his study "David Carson Design", which has offices in New York and Los Angeles.The beginnings of his career dating back to the times of surf magazine Beach Culture, published in San Diego. The order graph typical of that period (strongly influenced by technical sales and marketing) was destroyed by him and rewritten.

Despite only 6 outputs, these enough for him to win the prize for "Best Design" and "Best Cover Design" of the Association of Illustrators Publishing of New York. Thanks to this recognition became art director of Ray Gun, alternative music magazine for which he started a new form of interpretation of the drawing. Carson said that at the time earned little, but had 100% creative freedom. After drawing a copy, led directly to the printer without having to ask permission to the content.

For him, a good design, is the one that causes an emotional reaction in the receiving, and for this reason, his work is based more on intuition than on purely rational thought. In his designs, he tries to be very expressive and for this, sometimes, he has to break the rules, making it more difficult to read,even if, for him, is not a problem. Infact he always says "Don't mistake legibility for communication", he supports the ideas that If something is readable, not necessarily communicating. The graphic language expressed through his posters, which in some cases may be considered essential because on it he uses only two colors and typography, shows how Carson has worked at a level beyond words, being, however, very expressive. He makes reading more difficult by breaking the traditional rules of typography:

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- "The words are arranged on the page in a messy

position".

- "He mix and overlaps printing, sizes and colors.

Change the font and size, use, even in the same

word as bold and italic, uppercase and

lowercase".

- "Sometimes he uses a blank line excessive or

negative".

- "He uses colored texts even when the

backgrounds are colorful, this forces the reader".

- "Sometime in the texts you can find errors

corrected by hand".

- "The punctuation marks, parentheses, plus and

minus signs are used as graphic resources of

expression and not only for the their ortographic

value. Also the numbers assume an aesthetic

use, for example, using the number 5 to replace

the letter S or the number 3 for the inverted

letter E".

- "Text blocks of different forms. Breaking the traditional structure that provides dimension of columns"

- "The head of the magazines changes each

output".

Most of all the work of Carson, is the result of a very spontaneous approach in which taps into any handy tool to create, the basic concept is to be guided by intuition rather than by the rules.

For him "Design is what you do, not what you think. Master a few practical, technical things, then start thinking about all the other things that realy make difference and underpin doing design well. We need to think about all the other incredible information out there that has a bearing on what a designer does, not on what some previous designer did."

(ct. Lewis Blackwell - "The End of Print")

Theme and Goal

"The End of Print" is a monograph on the graphic design of David Carson, which for the first time summarizes the various graphics facets distinctive of the author.

With this book, Carson, questioned, some points of the graphic. Deconstructing structures and basic elements, calling into question the importance of typographic grid, he wants to show how the readability is overrated. For this reason he says that "the debate of "style-over-concept" is a false one. it comes down to this: style that works is a concept, and a concept that doesn't work has not been styled effectively".

(ct. Lewis Blackwell - "The End of Print")

"The end of print" "can be seen, on one side, as the death of typography, on the other side, as the birth of a new graphic language inspired by the web".

Description of the design solution (and technical characteristics if relevant)

How we said before in the essential information on the designer, with the help of some particular pictures who represent Carson's typography characteristics, this book attempts to show the career of Carson, who wants, throught this project, promote himself, with the same graphics that characterize all his works, as you can see from the below images taken from the pages of the book "The End of Print".

The creative use of Carson's typography is perceived as an object, not as single words.

- Different fonts in the same text

- Phrases "accidentally" underlined

- Misalignment of words in the sentence

- Line spacing excessive or negative

- Excessive spacing between letters and between

words

- Different alignments of the text (justified, ragged

left ..)

- Entering "accidentally" the symbol of "beginning

of the paragraph" (¶)

- Misalignment of the columns and overlapping of

phrases and letters

- Sometimes the ortographic rules aren't

respected (eg, after the point the capital,

interruption of sentences and lack of sense to be

found in the following sentence.)

- ...

Critical evaluation: Why is this project interesting? what can we learn from it? Relevance of the design solution for the given theme

This project, for me, is interesting because, Carson's work has drawn criticism that define it unreadable and say that only communicate with his target, regardless of the fact that the information should be understandable to all. For this reason we can say that the style, as well as provide information, attracts the attention on how the work is presented. In other words, it's a matter of "choice" of the reader, because communication is communication in any way it presents itself and communicates with all when is displayed. The reader must decide to stop and observe, make it own and receive the message; think about why there is a thing in one way rather than another, and if that means anything. So, we can speak about the relationship between the visual and verbal language. Care must be taken as a thing, depending on how we are told, can take on many more meanings. I refer to the simple fact that being told one thing by one person rather than another, in one way or in a context rather than others, has an unvoluntarily strongly impact on the concept. So, it is up to the interpreter of the message, give meaning to the concept they perceive.

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We can say that, from the work of David Carson "The End of Print", we can learn how even in the case of the expression of ideas through the distortion of typographic standards, prove that it is possible to create a unique artwork, and despite the criticism of "not readable", confirms that the concepts expressed by an artist, can be understood by the interpreter, always in a subjective manner. The above, leads us to understand that, allow free interpretation by the emotion without "imposing" their point of view by fixed rules, is the central pivot of all the work of David Carson.

Connections - if any - with other historical or contemporary projects

In my opinion the philosophy of David Carson's graphic, was inspired by the Futurist of Marinetti of beginning century, at least ideologically. Marinetti already at the beginning of 900, was criticized to create nodes for clarity and transparency of the graphic messages, as you can see from the Manifesto of 1913, Filippo Tommaso Marinetti where he affirmed his typographic revolution: "Io inizio una rivoluzione tipografica diretta contro la bestiale e nauseante concezione del libro di versi passatista e dannunziana, la carta a mano seicentesca, fregiata di galee, minerve e apolli, di iniziali rosse a ghirigori, ortaggi, mitologici nastri da messale, epigrafi e numeri romani. Il libro deve essere l'espressione futurista del nostro pensiero futurista. Non solo. La mia rivoluzione è diretta contro la così detta armonia tipografica della pagina, che è contraria al flusso e riflusso, ai sobbalzi e agli scoppi dello stile che scorre nella pagina stessa. Noi useremo perciò nella medesima pagina, tre o quattro colori diversi d'inchiostro, e anche 20 caratteri tipografici diversi, se occorra. Per esempio: corsivo per una serie di sensazioni simili o veloci, grassetto tondo per le onomatopee violente, ecc. Con questa rivoluzione tipografica e questa varietà multicolore di caratteri io mi propongo di raddoppiare la forza espressiva delle parole".

(ct. Tommaso Marinetti - "Teoria e Invenzione Futurista")

Carson declares the attempt to bring, in the static of the printed page, the video motion. The press, as a means of communication, suffers from a lack of interactivity present in the other media, its expressive power is the typeface, the attempt to represent the rhythm of the video with the text printed becomes experimental features.

The Italian Futurism wanted to express the forces that moved in modern society through the concepts of dynamics, rhythm, and with a certain aggressiveness communication, breaking with the conventional rules of art and communication until then in use. Just like Carson approaches all his work, the futurists claimed that "sullo spazio pittorico dovevano imprimersi contemporaneamente tutte le sensazioni e gli stati d'animo".

(ct. Daniele Baroni&Maurizio Vitta - "Storia del Design Grafico")

To conclude, I would like to bring a quote by Fortunato Depero on the self-promotion of his work, having published a book "Depero Futurista", also called "Libro Bullonato" for the purpose of self-promotion. It was the first example of a book object.

"L'auto-réclame non è vana, inutile o esagerata

espressione di megalomania, ma bensì indispensabile NECESSITÀ per far conoscere rapidamente al pubblico le proprie idee e creazioni. In qualunque campo al di fuori di quello dell'arte è permessa e ammessa la più strepitosa réclame; ogni industriale può e fa la più ardita pubblicità ai propri prodotti; soltanto per noi produttori di genialità, di bellezza, di arte, la pubblicità è considerata cosa anormale, mania arrivista e sfacciata immodestia. EÌ€ ora di finirla con il riconoscimento dell'artista dopo la morte o in avanzata vecchiaia"

(ct. Fortunato Depero 1927 )