Manuel Osterholt (a.k.a. Superblast)

            Manuel Osterholt (a.k.a. Superblast) is a graffiti artist turned graphic designer who brings his personal street style into everything he does. No matter the medium or project his style always shows, it’s Osterholt’s personal mark on everything he does. For Osterholt the need to express a style wholly different from anyone else drives him. It comes largely in part from his experience as a graffiti artist where one had to compete with other street artists to get their name known.   To date Osterholt has worked for clients such as Echo Unltd., Sony Playstation Portable and Converse and continues to tag (make up graffiti art) whenever he can. 

            What’s interesting with Osterholt is that he came into graphic design from a unique background. Brought up by a German father and a Greek mother Osterholt was introduced to two different cultures at an early age. As he grew older Osterholt found himself interested in the graffiti art scene and made friends with many well-known artists. He spent his adolescent years becoming acquainted with this underground art scene and met fellow artists from around the world. It wasn’t until his college years that Osterholt began studying graphic design and typography (of which he discovered a love for the latter).

            All of Osterholt’s designs draw heavily on his background in graffiti art as well as from other influences such as punk and skater subcultures. In this way we can argue that Osterholt is an amateur turned professional, one who creates because he loves doing so. For Osterholt graffiti has always come first and design is a byproduct of his style, which he uses to make his mark. Whether its on tee shirts or snowboards he uses that medium to express himself (much like an artist). It can be said that Osterholt lacks (or rejects) the formal training of the Bauhaus and modernism for a more personal style. What he didn’t learn from Bauhaus he picked up from graffiti art, which included a respect for letterforms. 

            Osterholt believes that in order to create great tags one must first have solid letterforms, first comes the letters and then the style. He also advocates having knowledge of artists past and their history not with the intention to imitate but to turn it into something new. Osterholt’s style is founded by these rules, which is why it is so solid and unmistakable. It is all at once a personal expression of who he is and what he thinks of the world around him.

            While this style is very compelling it is not universal, Osterholt himself acknowledges this. It would not have the same effect if it were applied to a bank or research center in fact it would seem out of place. Osterholt succeeds within a niche that allows for such expression. However this does not diminish the boldness of his style and even though Osterholt knows it is not universal he would still accept a bank as a client if the situation arises. He’d do it for the challenge and the opportunity to see how far his style can go. That’s very much Osterholt’s character, always pushing himself to do something fresh and new that is his own.

Citations:

Osterholt, Manuel Neo Utopia: The Art and Work of Superblast Publikat; First Edition, April 1, 2008. Paperback (160pg)

Osterholt, Manuel Superblast 2009. Web. 30 November 2010

            http://www.superblast.de/

Modernist Design and Films

            Out of every movement comes another movement that rejects it. It’s an endless cycle of one generation carving out a concept of reality different from the one before it that will ultimately be replaced by another concept in the future. The film documentary Monterey Pop and Jacques Tati’s satire Playtime both reject the concepts behind modernist design. At the core of both of these films is a focus on individuality and democracy. Where modernist design upholds neutrality, simplicity and hierarchy Playtime and Monterey Pop (especially) encourage personality, expressiveness and spontaneity.

            Although these two films are similar in their motives they are presented differently and react towards the principles of modernist design in different ways. Playtime directly pokes fun at modernist design by emphasizing the fallacies behind it. Tati shows the viewer a highly modernized city that appears orderly and structured but at the same time confusing, unemotional and inhuman. It’s this lack of humanity that Tati emphasizes as the film switches between scenes of modern Paris and old Paris (which still retains its charm and liveliness). Where modern Paris is a wash of dark and light greys with cold geometric shapes old Paris is a cacophony of vibrant sounds and colors.

            The film documentary Monterey Pop (named after the festival it details) does not directly object to modernist design like Playtime however the way it was filmed and the culture emphasized in the film separate it from modernism. Monterey Pop is a documentary about the legendary Monterey International Pop Music Festival held in Monterey, California in the summer of 1967. Boasting a number of well-known folk, blues and rock artists as well as up and coming acts like The Jimi Hendrix Experience and Janis Joplan this festival was a focal point for the hippie counter culture that was emerging alongside modernism.

            The film was shot in a raw unedited fashion that focused on the crowds watching the bands as much as the bands themselves. D. A. Pennebaker (the director of Monterey Pop) captures the chaos and energy of each band as they perform coupled with candid shots of the crowd and fairgoers. It is all at once spontaneous and frenzied, which differentiates itself from the controlled and clean rules of modernist design. Monterey Pop comments on modernism not by bringing it into question but by existing as an alternative.

            There is one other theme that unifies the two films and that is the democratic way in which characters are portrayed. There is no one thing to focus on in both Playtime and Monterey Pop because the action is always moving from person to person and scene to scene. There is no formula or guideline (like in modernist design) it’s just a stream of events. It is this disregard of convention that sets these films apart and that is why they are a breath of fresh air. There are many advantages to establishing rules and after the turmoil of WWII order and stability were highly appealing. But too much order kills individuality and in response to this loss of humanity films like Monterey Pop and Playtime rose up in defiance.

Week 7

            If there is one thing the article on April Greiman that has stuck with me it’s this: technology is advancing faster than we actually realize. This article was written around the late 80s and it has been 20 years since then, that’s almost a quarter of a century. In almost one quarter of a century ago digital art was just emerging (pioneered by artists such as April Greiman who continues to experiment in the digital field). By today’s standards the digital tools used to make this art are primitive to say the least.  The program Greiman uses is not familiar to me (it’s called Graphic Paintbox) but they do mention the application of Photoshop in her work. One of the most surprising things to me was the cost of this program: $400,000!  That is at least 40 times the price of similar software today, something that I integrate so much in my work used to cost the price of a small mansion.

            The reason I find this leap in technological advance so surprising is because (as I have just stated) digital art is my forte. Photoshop, Illustrator, InDesign, and all the others; these are the tools I use most often in my work. Therefore I find this article amusing in it’s excitement over a digital design that could be made (all processes of layout and printing included) in minuets with today’s technologies. It’s worth mentioning that the article actually does emphasize the fact that the emerging digital tools sped up the design process. However, this only pertains to the process of layering the design and later on Todd Hays (the author of the article) mentions that the printing aspect is still complicated and time consuming.

            At the same time this was still faster than any other design method and was actually revolutionary. Although Greiman sounds like she doesn’t know exactly how Graphic Paintbox works she nevertheless used the relatively new tools she had and experimented. I myself work in that way, playing around with the program before actually learning how it works, and for Greiman it was a step into new territory. Although I don’t quite agree with the poster she designed, which feels so much like early 90s graphics (something I have come to dislike over the years), it’s worth some merit that this was a style not seen before.

            Even as I discuss this article and marvel at the gap between technological advancements I realize that in another 20 years I’ll look back on today and find the CS5 set amusing. “Photoshop and Illustrator?” I’ll say with a nostalgic grin, “wow that was back in the day when we actually worked on a computer. It’s so much better working from a brain chip computer implant.” There will always be something new to replace the old with new technologies that outstrip the previous models. The best I can do as a designer is keep an open mind and experiment with the tools I’ve got.

Museum Piece:

·      Computers have made design faster and more fluid.

·      Greiman was one of the first designers to experiment with this new digital field.

·      Such technologies at the time were rather expensive but limited in the commands they included.

·      Greiman pioneered the use of hybrid imagery (whatever that means).

·      The emerging digital process (although faster in the layout process) still required time and effort when it came time to print.

Week 6

            I have never really cared for the relationship between design and art. In high school when I was deciding on the path I would take as an artist I came to two different conclusions. On the one hand I could become a studio artist and create work that I wanted to create and most likely not make any money. Or I could go into design (which was more business oriented), make art for clients and still not make any money (but just a little bit more than a studio artist). I thought about it for a while and finally decided on design but not because it would make me a little more money. What I realized is that I enjoy helping others more than myself and design is all about using one’s artistic talents to solve another’s problems. That’s all that matters to me, I don’t really care if my work is never shown in a gallery or written about in textbooks all I care about is using my talents to help others.

            But there is debate over this and many designers bemoan the fact that design has always been undermined by art. Many wish for a level playing field where art and design exist in equal respect. This lack of respect is evident in the interview between the two designers Michael Amzalag and Mathias Augstyniak where one gives the account of their removal from a guest list they had added themselves to, a guest list for an art show. Although now they are hosting their own art exhibition which shows a change between the relationship of art and design. Design is beginning to become as well known as art and actually affects more people, as writer Rick Poynor argues.  Poynor also gives examples of designers who have used art-like qualities in their work and argues that those who reject such design for being too artistic represent one design aesthetic. There are countless ways to approach art and design and segregating the two only leads to close-mindedness and unnecessary bickering.

            I also do not care for sides or labels as they restrict and cause people to separate the “us” from the “them”. Art and design has been like this and whenever artists and designers have attempted to cross over they have been met with criticism. But there is no need for this line between the two because nothing is ever set in stone. Kees Dorst argues that artists and designers work like the other without even realizing sometimes. When the artist is planning towards a finished product or the designer is subconsciously expressing himself through design the line blurs. In my experience the line is always blurred and definitions are never solid because it is such a difficult thing to categorize an ever-changing idea; that is why I don’t agree with siding on art or design. I call myself a designer but only because I use my talents to help others. But who’s to say that I can’t create for myself sometimes either? All of this arguing over the lack of respect design receives could be solved if the boundaries were just torn down.

Sketches for sustainability redesign project:

Sustainability List

10 things graphic designers can do to conserve paper

1. Explore materials outside of paper.

2. Make use of digital media.

3. Make your design count. Wasted design is wasted materials. 

4. Design from the cradle to the cradle. Make your designs useful in their afterlives.

5. Spread the word. You can do a lot by saving paper but you can do so much more by convincing a nation to do the same. 

6. Print sparingly. If you need to view the design on paper print it in a small scale. 

7. Bigger is not always better. However if it is necessary make use of recycled paper to reduce waste.

8. Recycle old sketch books. If you really want to save them use a computer to scan the images into a digital format.

9. Reuse old sketch books. The erasure is a powerful tool.

10. If printing in bulk invest in the recycled papers available. 

Week 5


             I love amateurs. By amateurs I don’t mean those who are naïve and untrained but those that do something for the sake of doing it. Amateur designers create for a variety of reasons (advertisement, personal identity, just for the hell of it, etc.) and they do it all naturally. Do it yourself design is as much a part of our environment as professionally crafted design however we may not notice it as much because it serves a more practical purpose. Take a local storefront sign for example; it serves little purpose other than informing passersby the name of the store. However, as time goes on the sign becomes ubiquitous with the store and after a while it eventually becomes a staple part of the visual culture not because it’s an excellent piece of design but because it is integrated into the environment. Its vernacular design; the everyday images and structures designed by non-designers, the amateurs. Our culture is shaped by the vernacular as much as flashy attention grabbing professional design.

            My favorite amateurs are the rebels. They are the people who do their own thing because they don’t want to follow. Tibor Kalman and Karrie Jacobs must feel the same way. Their article “We’re Here to be Bad” calls out for rebellion so much so that the article itself seems to be rebelling against the reader. Designers have been caught up in the soul sucking yes-man world of big business, Kalman and Jacobs argue. The cure? Take a look at vernacular design where the inspiration comes not from getting paid but from filling a need or solving a personal problem. I agree with them and I also agree with their argument about the role of the designer, not as a corporate lap dog but as a cultural agitator, but I feel torn. Part of me wants to be “bad” (as Kalman and Jacobs put it) but the other part keeps reminding me of my position. Right now I’m at the bottom and to be honest not much will come of me rebelling against the system other than getting fired and replaced.

            That’s why I admire the amateur (and in some ways envy them). They design to fill their own needs without any pressure; it’s a venerable sense of simple practicality. What’s even more impressive is that such design plays a role in shaping our culture (much more than we may realize). Gerry Beegan and Paul Atkinson’s article chronicling amateur design through the years shows just how this “invisible” design contributes to culture in a subconscious way. It’s the self-buildings and homemade furniture that are so much a part of our daily life that they become ingrained in our memory. It’s more than just conveying a message; it’s about creating a niche within one’s environment. It’s expression through design that over time becomes part of our visual culture.

Professionalism, Amateurism, and the Boundaries of Design

by Gerry Beegan and Paul Atkinson

• Amateur designers have existed alongside professional designers for many years and recent technological advancements have further blurred the line between maker and user.
• Amateur design has been used as an alternative to consumerism.
• Everyday objects and buildings that become a part of daily life fall under the term Vernacular Design.
• Vernacular Design has subconsciously influenced other fields of design (such as Modernism which ironically rejects vernacular design)
• The amateurs are the “ghosts” of the design world who contribute silently and subconsciously.

We’re Here to be Bad

by Tibor Kalman and Karrie Jacobs

• Bad design is not poorly made design but design created to be rebellious.
• Designers have been bought into and subdued by corporations who opt for the “safe” method of design.
• Designers need to make design that shakes our notions of good and bad design.
• Vernacular design is design in its purest form.
• Design schools teach too much about their perception of good design and not enough about vernacular design.