Friday: [2 hours] carved my block and shellaced it.
Saturday: [30 min] Shellaced block a second time.
Sunday: [1 hour] Did visual webs of packaging to try to brainstorm what I want to do.
Monday: [1 hour] Lindsay and I attempted to go see Matt Shlian at his studio, but he wasn't able to see us. We met at her apartment instead to brainstorm about our projects. We looked at papercut books and papercraft books. She gave me advice to think about fine arts and packaging together, since it strays away from big corporation design that I fell I was falling into a rut with.
[4 hours] printing my block in the print studio and doing exploration of 'poetic packaging' with the print. I used a suggestion from last week to try and use the same template from my "ziplock redesign". I did it by hand on butcher paper, because I love the texture and color of the paper, and because I wanted to work completely by hand without printing off a template from the computer.
Tuesday: My critique ended up making me feel more at ease with my apprehension of 'irrelevant' design.
[3 hours] Reviewed some artists in High Fructose and BlueCanvas magazines.
I also had this irrational urge to send my project to random addresses in central Europe.
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| Christophe Roberts, sculpture of old packaging (Lady shows scale) christopheroberts.com |
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| Kiel Johnson, camera of cardboard |
Also, Beth Johnson was at an art fair with a fellow IPer last week. Beth Origami
Wednesday: [1 hour] Visit to Jim Horton's studio with AIGA members. Saw different letterpress and wood etching techniques.
Meant to visit Matt Shlian's studio with Lindsay as a reschedule, but felt nauseous. Majorly bummed.
Meant to visit Matt Shlian's studio with Lindsay as a reschedule, but felt nauseous. Majorly bummed.
Thursday: [0 hrs] Sick all day.
Read this article Micheal Rodemer sent out in September: Kickstarter Design
Read this article Micheal Rodemer sent out in September: Kickstarter Design
What I discovered
In my critique on Tuesday, I expressed that I felt interested while making the poetic packaging. It didn't seem like a chore anymore. However, it seems irrelevant to me, and it is something I am struggling with because I am used to practical design. I feel happy doing it, but my brain keeps asking me why it even matters. I am going to figure that out.
What to do next
I am going to make an image that has more potential to be narrative in a package, then I will try to use that one print to make multiple explorations of how it is pacing. I also need to keep developing what my project is with brainstorming webs. After that, hopefully the meaning behind all this will appear to me.
I am going to make an image that has more potential to be narrative in a package, then I will try to use that one print to make multiple explorations of how it is pacing. I also need to keep developing what my project is with brainstorming webs. After that, hopefully the meaning behind all this will appear to me.
Lauren,
ReplyDeleteI'm curious to see what's next this week. You've been doing a great job of gathering wide ranging inspiration. It seems like part of your process now is letting yourself really play with ways of working that genuinely interest and excite you. I believe you can trust in those impulses at the moment and run with them.
Have you spent time in the special collections library across the street?
There are some wonderful books by artists and designers. Even though you're not setting out to make books per se, it would be a way to look at how different artist/designers play with a sequence of encounters as each book is opened. Annette Haines can you show you examples from the collection if you're interested.
-stephanie