Lampost-lottery

The blogging on here is truly taking a back seat as I thought it would *, but my Graphic Interruptions project continues. I got validation this week about its direction in the form of results for the first piece of assessed work on my Masters course, and I’m stumbling across more examples every time I step out onto a pavement.

The above example is one of my recent favourites. The reason I like it is because the graphics aren’t decayed by weather and its form isn’t physically broken. This is the case with a lot of examples I find which could lead to an accusation the project is solely concerned with ‘ruin-porn’, which it isn’t. This piece of graphic design is interrupted because of human interaction as someone has decided, (without too much thought), that health & safety concerns trump communication. This ultimately renders the intention of this item useless when approached from this direction. The question then needs to be asked about the suitability of such a communication device, in the form of pavement signage, if it is liable to have people tripping over it? I also like the irony this implies: the item becomes a lottery—will you or won’t you trip over it?—and I wonder whether there is more chance of financial gain if you were to trip over this and put in a ‘no win no fee’ claim than actually buying a lottery ticket.

Until now I’ve been using Tumblr as an image dump for my finds. However, I’m not convinced I was getting the traffic I wanted and I find Tumblr a little clunky. Now that Instagram have made switching between multiple accounts easy, I’ve created one for this project: you can find it at @graphic_interruptions

Lastly, for now—the undergraduate graphic design course I lecture on at UCS is taking students to New York at the end of this month. Exciting as it is to visit New York, I’m doubly excited to have the opportunity to make this project international.

Console

* It is typical that when I am extremely busy, (as seems to constantly be the case now), an idea for a blog post will throw itself at me that can’t be ignored, as happened recently with the article I wrote for Eye. See previous post. 

image

The UK’s gutters and hedgerows will soon see new graphics on the McJunk strewn there. Below is a link to an article I wrote for Eye magazine blog about an uncritical design press showcasing the new designs, asking whether well respected blogs are just becoming advertising hoardings for big brands trying to ingratiating themselves with those working in the creative industries.

Gutter press on Eye blog

A Dubdog year in music. No favourites, no hierarchy, but a list of albums that have been bought, downloaded or given and have been returned to for more than one listen. Listed in reverse order from December to January.

Recorded  
Julia Holter – Have You In My Wilderness
Thee Oh Sees – Mutilator Defeated At Last
Courtney Barnett – Sometimes I Sit And Think, Sometimes I Just Sit
Eleanor Friedberger – Personal Record
Rocketnumbernine – Two Ways EP
Lynched – Cold Old Fire
Julia Kent – Asperities
Kode9 – Nothing
The Thing – Shake
British Sea Power – Sea Of Brass
Alternative TV – Viva La Rock ‘n’ Roll: The Complete Deptford Fun City Recordings 1977–1980
Roots Manuva – Bleeds
Mogwai – Central Belters
Niney The Observer – Sledge Hammer Dub In The Streets Of Jamaica
Sun Ra and his Arkestra – In The Orbit Of Ra
Various – The Wire Tapper 39
Girl Band – The Early Years EP / Holding Hands With Jamie
John Grant – Grey Tickles, Black Pressure
Sons of Kemet – Lest We Forget What We Came Here To Do
Various – Trevor Jackson’s Science Fiction Dancehall Classics
Arcade Fire – Reflektor (deluxe extra tracks)
Run The Jewels – Meow The Jewels
John Grant – Pale Green Ghosts
King Midas Sound / Fennesz – Edition 1
Low – Ones And Sixes
Jah Wobble – Redux: Anthology 1979–2015
The Bug – Zim Zim Zim
AFX – Orphaned Deejay Seek 2006–2008
FKA Twigs – M3LL155X EP
Various – King Jammy’s: Roots, Reality And Sleng Teng
Various – Rastafari: The Dreads Enter Babylon 1955–83
The Mothmen – Pay Attention!
Singers & Players – War Of Words
Beak> – Split EP
Storm Bugs – HKY502
Sleaford Mods – Key Markets
Chemical Brothers – Born In The Echoes
Various – Studio One Rude Boys
FKA Twigs – LP1
Dr Feelgood – All Through The City
Public Enemy – Man Plans God Laughs
The Nightingales – Mind Over Matter
Githead – Waiting For A Sign
Alternative TV – Opposing Forces
African Head Charge – My Life In A Hole In The Ground
Mark Stewart & The Maffia – Learning To Cope With Cowardice (Director’s Cut)
Alborosie vs King Jammy – Dub Of Thrones
Ezra Furman – Perpetual Motion People
Killing Joke – For Beginners
The Refused – Freedom
The Fall – Sub-lingual Tablet
Killing Joke – What’s This For…!
Linval Thompson – Strong Like Sampson
Burning Spear – Social Living/Living Dub
FFS – FFS
Viet Cong – Viet Cong
The Pre New – The Male Eunuch
Róisín Murphy – Hairless Toys
The Mountain Goats – Beat The Champ
Wire – Wire
Various – Sherwood At The Controls Volume 1 1979–1984
Young Fathers – White Men Are Black Men Too
The Unthanks – Mount The Air
The Special AKA – In The Studio (Remastered)
Polar Bear – Same As You
The Specials – Specials (Remastered) , More Specials (Remastered)
Sufjan Stevens – Carrie & Lowell
Godspeed You! Black Emperor – Asunder, Sweet And Other Distress
The Skull Defekts – Dances In The Dreams Of The Known Unknown
Steven Ball – Collected Local Songs
Bad Breeding – Burn This Flag
Dexys – One Day I’m Going To Soar
The Screaming Blue Messiahs – Good And Gone
The Grubby Mitts – What The World Needs Now Is
Various – The Wire Tapper 38
Andy Moor & Yannis Kyriakides – A Life Is A Billion Heartbeats
Elvis Presley – Elvis Presley
The Pop Group – Citizen Zombie + Versions Galore EP
Sherwood & Pinch – Late Night Endless
Various – Bunny ‘Striker’ Lee’s Early Reggae Productions 1968–72
Vic Godard & Subway Sect – 1979 Now!
Various – Studio One Classics
New Order – Substance 1987
Ragga Twins – On A Ragga Trip
King Champion Sounds – Songs For The Golden Hour
Aphex Twin – Computer Controlled Acoustic Instruments pt2 EP
Björk – Vulnicura
The Decemberists – What A Terrible World, What A Beautiful World
Belle & Sebastian – Girls In Peacetime Want To Dance
Fire! Orchestra – Enter
Panda Bear – Panda Bear Meets the Grim Reaper

And the odd trip to see a band at a venue or festival. In alphabetical order.

Live
Marc Almond
Belle & Sebastian
Martin Carthy
Ezra Firman
The Pop Group
Portishead
The Savages
Sleaford Mods
Wire
…and a friend’s heavy metal covers band whose name escapes me, (sorry Scott)

Venn_001

Since I last posted here about my Masters I have been fine tuning where I’m going with my work. Creating the above Venn diagram for a peer critique this week helped—the first Venn diagram I have ever produced! The problem I’ve had until now was making sense of what appeared to be very diverse aspects in my work and research. This diagram bought it all together visually and helped me explain where I was going to my peers. They got it, and gave me some very good feedback on the trial writing I have done to date.

Today I’ve been developing my written responses to photographs I’ve taken. In order to distance myself from what I had tried before, I used a series of images I shot earlier in the day while walking my dog in a local park. This writing was an exercise in honing the tone of voice I use, and testing the familiarity in my written language. I’m a long way from posting any of my writing for this project here, and I will only give a sneak peak when I do, wanting to save the major content for future printed publications that I produce. However, I now feel I’m starting to get a cohesive balance between descriptive elements, personal reflections, critical analysis and my use of humour.

As it will be some time before I have anything concrete to report here, such as publication details and images of designed work, I thought I’d share some of the photography from today’s session. Please bear in mind I am not presenting this as being in any sense ‘accomplished’ photography; these are purely shots I use to respond to in my writing and text & image will be seen side by side in any final outcomes.

The written context surrounding these images include: familiar scenery; walking to work; exercising the dog; sense of neighbourhood; Ipswich; civic pride; protest; and cat jokes.

streetsign

Street sign coat of arms

Alexander

Ipswich’s Alexandra Park

Dogwaste

Dog waste decal

Bin

Dog waste bin

Bench

Roger MacKay’s bench

bin2

Rubbish bin coat of arms

flw

Front Line Warriors

flwredacted

Front Line Warriors redacted

 

DSCF3376

In my teens in the 1980s, as I was becoming politically aware and active, (going on CND demonstrations and reading radical publications), it is difficult for me not to be very familiar with the work of Peter Kennard. I think I must have held several of his images in my hands as placards and certainly stuck some of his photomontages on my bedroom wall torn from pages in lefty rags. When I heard he was having a retrospective at the Imperial War Museum, titled Unofficial War Artist, I debated whether I should go or not, thinking that I knew what I would get and worried about it being an exercise in personal nostalgia. It wasn’t until I read Art-e-facts’ review of her several visits to the show that I decided to go, and without a shadow of a doubt it blew me away, (no pun intended).

DSCF3390

From the outset it was refreshing to see an exhibition with both process and application on show, as you can see below in the anti-apartheid image for The Guardian.

DSCF3384

DSCF3385

It was equally good to see some sketchbook work that wasn’t ever applied.

DSCF3387

The skilfulness of Kennard’s photomontage is without question. There is an assured confidence and directness in his visual metaphors that makes them work with little-to-no text. His use of imagery isn’t subtle, but then neither are the effects of war. In that respect Kennard’s work creates a powerful message that hits its target again and again. Regardless of this skilfulness of technique, it is amazing that one man can find so many ways to keep attacking power-mongers’ lust for weaponry. For all of Kennard’s sheer determination we should have seen the back of nuclear weapons years ago, and it seems unfathomable to me that Jeremy Corbyn is criticised in 2015 for coming out saying he would not press the nuclear button, but I digress.

Up until I saw the show, what I knew of Kennard’s output was largely confined to his ‘Thatcher’ period. Before attending I considered what it is to be so defined by an era, just as John Heartfield was to the 1930s and Jamie Ried was to the mid-late 1970s. As the 80s moved to the 90s it isn’t surprising that Kennard became somewhat dejected, stating: “a mixture of personal experience, disillusion with organised politics and the use of the media of innumerable digital photomontages,” caused him to, “question the effectiveness of photomontage as a critical, social probe”, (exhibition panel.) Imagine coming to the realisation that such dedication of energy doesn’t appear to have actually won any battles and that the ‘opposition’ then adopt your mechanisms of protest for their own ends. While you could call any faith in art being able to change the world naive, with Kennard you need to remember that he cut his political teeth on the student protests of the late 1960s, when a different world really did seem possible.

DSCF3388

Not knowing much of his work past the 1980s, (save for the infamous Blair Photo-op), it was what Kennard did following this period that really blew me away as he started making work that was even more powerful, direct, and particularly brutal.

DSCF3399

From the large eyes staring out at you from the Reading Room exhibit, and the hands clawing at newspaper columns, you sense humanity grasping and pleading for some sanity in a world full of marginalised desperate people. Then a corridor of paintings suduces you in with ghostly portraits that stop you in your tracks as their mouthless, thus voiceless, apparitions stare back at you. I was stunned into silence also by their power.

DSCF3398

And all this before you enter the room with his most recent work, The Boardroom, an ongoing project of Kennard’s that revisits photomontage but in a 3D space. This room is not for the faint-hearted—the imagery is particularly brutal while equations and statistics about war, hunger and poverty adorn the handrails you just might need to cling to in order to steady yourself against the visual onslaught.

DSCF3409

DSCF3416

DSCF3405

No photograph can do justice to this room—it is truly powerful stuff. If you do not feel emotionally affected by its overload of the injustices of war then you either do not have a soul, or you are a government minister.

DSCF3407

The statistics displayed are as equally an important element of the work as the visuals are. In the exhibition’s accompanying book, Kennard states: “I realise the seed for the idea…was actually planted a quarter of a century ago, … I made a speech at the UN to open my exhibition that began with a series of numbers I heard from Dr Hiroshi Nakajima, Director General of the World Health Organisation. I recounted in the speech how these numbers had been haunting me. For one billion dollars, he had said, or the cost of 20 modern military planes, the world could control illnesses that kill 11 million children every year in the developing world. At that moment, I saw that the connection between children needlessly dying from illness and bloated military spending was concealed in our society; the numbers that are the foundation of our modern world”. (2015, Kennard, IWM.) That phrase is worth repeating as you look at the image below: the numbers are the foundation of the modern world.

Untitled-2

On leaving the exhibition and reflecting on the necessary brutality of The Boardroom, I thought of the bravery of the Imperial War Museum to commission this exhibition. It continues until May 2016, and I hope that when it is taken down, the museum consider making this last room a permanent exhibition in their collection.

Peter Kennard: Unofficial War Artist is free: go see.

Perfect

Graphic Interruption: Perfect Image image

I am embarking on a new venture as of this week; that of starting a Masters. As a result it is unlikely that I will have the time to blog here as much as I have in the past. Dubdog blog is not closing, merely shifting emphasis and directing its attention elsewhere for the time being.

I anticipate I will still add to this blog over the next 2 years that I’m doing the MA course part time, but what with my day job and other commitments, I will have to prioritise rigorously and blogging here will be a much lower priority.

I am hugely looking forward to doing my MA. It is something I’ve been wanting to do for a long time but have had to put it on the back burner over the last 5 years due to work commitments. The irony is that as an academic I am expected to be conducting scholarly activity and researching but the lecturing and administration side of being an academic is the thing that has held me back from doing this in anything but a piecemeal fashion. In the last five years I’ve maintained a regular (ish) activity here; peer-reviewed and written reviews for books for art and design publishers; attended conferences; contributed to other blogs, including that of Eye magazine; and I’ve been actively researching historic typographic and print related publications. I’ve even managed to create the odd piece of graphic design, self-published a book and followed my growing passion for photography with a number of personal projects. However, none of this has had a continued focus or the structure that is needed to truly give any of it real academic merit. The framework of an MA will give me that structure and allow that focus.

Do keep checking back from time to time, there will be the odd new post every once in a while. Thanks for reading thus far.

Readinglist1

book-design-scribble-illustrator-russell-walker-1500x500

Scribble cover. Image courtesy of Three&Me.

When you work with someone on a regular basis you tend to get to know them well. You tell each other stories, you share aspects of your life and you get to know their working nuances intimately. But just recently I’ve been spending time with my work colleague, friend and ex-tutor Russell Walker a lot more than I would normally outside of typical ‘office’ working hours. This is because Russell Walker, designer, illustrator and educator of some 30+ years has just published a book of his creative and educational life called Scribble, and I’ve been immersing myself in it.

Starting from his earliest memories of childhood in his father’s tailor shop, Russell’s close friend Mike Doherty narrates his move through school and on to art school, into the world of being a professional illustrator and times spent teaching generations of design students as a lecturer, course leader and senior lecturer. From the outset the pair proclaim that the intention is to share these memories and experiences in order that others can dip in and benefit from them in some small way.

book-design-colour-illustrations-scribble-russell-walker-1500x856

Fetchaset spread. Image courtesy of Three&Me.

From his days at Hornsey College to describing leaving student life as looking over a bottomless cliff, there is much here for the novice designer stepping out into the world of work to learn from, and all illustrated with the sumptuous and colourful portfolio that Russell has built up over the years. From initial excursions in the world of going freelance, tales abound of interviews, knock-backs, successes, international agents and working for some big name corporate clients. Those that know Russell as well as I do will know that his determination generally wins out in the end and this book is ample proof of a will to not so much stay ahead of the game, but to shape it. The phrase I’ve often heard Russell say to students: ‘if you are hungry for it you will get it’, couldn’t be more true of the man himself.

book-design-cat-illustration-scribble-russell-walker-1500x856

Chairman Meow. Image courtesy of Three&Me.

While knowing much of this work already, albeit seeing it in singular sittings, the collection that Scribble presents brings a personal awe at the vastness of Russell’s output—witnessing this work again but in collected form only reinforces my understanding of his creative talent. From early drawings through to skilful air-brushing; onto digitally rendered outcomes before coming back to collage and the hand-drawn in more recent pieces; Scribble showcases the visual journey of someone who doesn’t like to sit on their laurels.

The fact that Russell has dedicated much of his career to the education of others, and in doing so has potentially sacrificed the fame other illustrators of equal standing may have afforded themselves, I would argue has kept him more creatively relevant. He has avoided pitfalls of stylistic cul-de-sacs and the development of his technical and stylistic approaches in visual attitude is on show here for all to see. To say someone is ‘of their time’ often suggests they are stuck in some distant past glory, but such a phrase used to describe Russell I propose suggests that each stage in his creative journey has been ‘of its time’; a continuous line of constant updating. Russell treads a fine line in remaining alive to nuances in contemporary illustration while keeping a firm grip on his personal visual language—this is in no way an easy task and is in part driven by the requirements of educating others.

book-design-cricketers-illustration-scribble-russell-walker-1500x856

Run’m Up, Run’m Out. Image courtesy of Three&Me.

The importance of line, colour and composition in Russell’s work is present from the start of the book to the closing pages. The inclusion of original sketches, work-in-progress and quotes from others, (typographer and designer Jonathan Barnbrook tells of his time as one of his students, and this rubs shoulders with a portrait of Russell by illustrator Brian Grimwood), alongside his perspectives on design education make this a book that works on many levels for many audiences. The fact that this book has been produced in collaboration with alumni from the Graphic Design course at UCS who now run their own successful design studio, Three&Me—described in the closing pages as ‘design partners’—is testament itself to Russell’s dedication to encouraging and supporting the next generation of creative talent.

book-design-plate-typography-scribble-russell-walker-1500x856

Le Kit Adagio, Viande. Image courtesy of Three&Me.

The one thing that I can’t quite get my head around with Scribble is that to publish a book such as this suggests some sort of end point has been reached. But knowing Russell as I do, this will certainly not be the case. Ever a person to develop and push forward, there are many more chapters yet to be written for Scribble.

To purchase a copy of Scribble, contact Russell Walker via Fetchaset

Eardrum Buzz is an irregular feature looking at key pieces of music that have altered my perception of exactly what music can be. See Eardrum Buzz (intro) for further context. All comments are highly subjective.

Title: Venus In Furs
Author: Velvet Underground
Label: Verve
UK Release Year: 1967

Hearing Venus In Furs was a major musical milestone for me and I constantly wish I could hear it for the first time again for the revelation it caused.

Aged 15 I had at some point taped Lou Reed’s Transformer after borrowing it from my local library. Just seriously getting into Punk at the time, on hearing other’s say that Reed was its godfather, I couldn’t quite make the link with the glam I heard on his second solo LP, (excellent as I thought it was). And older friend with a wider musical knowledge than I had Diana Clapton’s Lou Reed & The Velvet Underground 1982 biography which I loved flicking through whenever I visited. It was this book that introduced me to the Velvets, or at least to their myth, prior to hearing their actual music.

On the back of this, one week I used some of my wages from a Saturday shelf-stacking job and took a punt on buying a 6 track import Velvet Underground sampler. The gatefold sleeve contained a stapled in booklet in either Spanish or Italian, with lots of photos of the band—despite not being able to read it, the photos alone made me think it was worth the £3.99 I paid. Although I wasn’t aware of the Velvet’s discography, I later found out the album collated together 6 tracks from Velvet Underground’s first three LPs. I can’t remember exactly what tracks, but can recall both Sister Ray from their second album and Pale Blue Eyes from their third were on it.

All I can now remember of putting the album on for the first time was the incredible effect hearing Venus In Furs had on me. I had not heard a single thing like it before in my 15 short years and it put my head in a spin. Those viola stabs and background drone, the laconic out-of-kilter drums, the chiming guitar and those ever so strange lyrics that were drawled poetically from Reed’s lips. And dropped into the middle of all of this, that uplifting chorus that all too soon, and seamlessly, reverts back to the repetitive atonal noise of the verse. This changed everything for me. I was unsure whether I liked it or not but felt compelled to listen to it again, and again, and again. As it became more familiar to my ears I became more intrigued with it, and more intoxicated by it.

I am incredibly grateful to this song for opening up my ears to vast new musical possibilities. Literal lyrics and actual tunes suddenly didn’t seem as important as they had moments before. And I now realise as I look back that without this song there is so much that I now appreciate and enjoy that I would never have given a chance, dismissing it simply as tuneless and unmusical prior to this experience. But Velvet Underground’s Venus In Furs didn’t just widen my musical perspective, it also opened my mind to looking at many things from a non-mainstream stance—art, politics, philosophy, you name it. In challenging my perspective on music, Venus In Furs made me question my views on many other things; views that were formed purely on a narrow experience. Ultimately it taught me the value of exploring different possibilities beyond the limitations of what was popular, what other’s deemed ‘acceptable’, and what mainstream society presented as culture.

Follow

Get every new post delivered to your Inbox.

Join 112 other followers

%d bloggers like this: