Workshop analog glitch design, in collaboration with Mike Kokken. Printed at the Extrapool Risograph in Nijmegen.

Pictures by Guus Kaandorp

Just as in Arcane Design I & II this project poses questions on durability within the products of graphic design. Is durability relevant to time? Can a poster that is meant to exist for 10 minutes, be just as durable as one intended to exist for 10 days? I found that Facebook can be seen as a public space, as I believe we no longer only go there on purpose, it's muscle memory and almost obligatory by the wide variety of other online functionality depending on it. Facebook can be used to illuminate distribution time, by experimenting with designing the posters on my iPad I was able to create and distribute within minutes. The posters contain small parts of a bigger message, experimenting with the attempt to grasp the possibilities spaces like these have to offer.

I found that the project started to function almost as a living organism, as it were not the posters that communicated, it is more the page as a whole. Observations like these resulted in more questions than answers, triggering more experiment to come. These questions will be answered as time goes by, and the new public space keeps on living.

Because of the speed in which the posters are created there is no time to make extensive design decisions, so the designs I make are made without thinking. Therefore the visual language is just as much a representation of all I did before and see in my surroundings, as of the limitation of the iPad.

In this project I allowed myself to dig in to silkscreening and the aesthetics that come with it. The whole visual image is dependent on the medium and the event it promoted. Because of the need for a recognisable image I designed a grid, I tried to find a balance between limitations and room for experiment. The possibilities within this grid were then explored in every new event. In most cases the visual language is dictated by a small conceptual decision, based on rational interpretation of the content. Lectures on life and death, result in a mix between flowers and graveyard aesthetics.

The results are 11 colourful posters all printed in 6 variations in different sizes. All were silkscreened in 3 to 4 colours experimenting with different blending possibilities of layers and ink. The total project consist of 4950 handprinted posters.

Pictures by Guus Kaandorp
http://www.ottokaan.com/
Silk screened by Daniel Zsolt Boda

After carefully analysing the results conducted from Arcane Design, this project is a response to some of the questions it gave me. If posters can be created on demand, what does that mean to our perception of them? This project is a experiment on a poster that refreshes itself endlessly to current relevant matter. Unlike Arcane Designe I it can be on constantly, instead of only seen on demand. It asks questions like; can we design a poster that shows an interpretation of the current world at all times? And what happens when you do, can this application be thought of as a representation of the future?

Jaap Giesen and I were asked to make 12 posters to represent the last 12 items of the dutch historical "canon".

What does it mean to capture a representation of history in a poster? The project consists of experiments in how the aesthetics of monuments can function in the online public space by trying to use the folklore aesthetics of the internet in the white cube environment of the museum.

To actualize these images, we created a database based on facts and general emotional attitudes towards the events. We did this to create a universal image of each event which we could use to represent them. The database included questions like: What is known about these events? Is it positive or negative? What made them shape the Netherlands we live in today? These elements are used to create a layered image that reveals new views, with each step the viewer comes closer to it. These layers can either have a subjective meaning or an objective one. The images where built up by rational rules using the created database.

Many thanks to Hanne Hagenaars for giving us this inspiring oppurtunity.

http://mistermotley.nl/Archief/Blog/Geschiedenis/De_lemma_s_van_Gilles_de_Brock_en_Jaap_Giesen/
http://www.depaviljoens.nl/page/51394/nl

Can the editing and curating role of the graphic designer be taken over by the computer just like most of it's visual aspects obviously can? This project is about research in automation of graphic design by algorithms.

A predefined amount of elements stored in a small database can randomly change within the designed parameters. The result is an endless amount of posters. They seem to be random but in fact are carefully created by the parameters.

The project poses questions as to how we consume news, but also to how much of our tasks as designers can be automated.

Application that creates posters endlessly, suggesting the opinion of a designer is useless.

Design of the last printed issue of Mister Motley. The theme of this issue was SEX, I tried to combine the known aesthetics of sex magazines with the young and fresh visual language as seen in the previous Mister Motley magazines.

The issue is still for sale, if you want to order a copy please go to their website.

The magazine is still active as an online art magazine, make sure to regularly direct your clicks at www.mistermotley.com

In this project I visualised the nine circles of hell as they are described in Dante's inferno. All visuals are completely made in photoshop without using existing images and making sure that all the type is still editable, resulting in 9 different photoshop presets.


Fullscreen

http://www.shoottheartist.com/ asked us at Mister Three to design custom typefaces that they could use in the shows they where making for Juanes & Marco Borsato

Juanes:


Marco Borsato: