procesfolio jan rutten 2011-2012

2011—2012

JanRutten

Procesfolio

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Manifest vooreen duurzamevormgeving

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Jaaropdracht GV:Error / Illusie

Tentoonstellingbeeldmerken

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Integrated 2011:Intro voor Thomas & MartinPoschauko

Elke spreker op het Integrated 2011 congres zal worden ingeleid of aangekondigd met een kort digitaal filmpje (± 1 minuut). Dit filmpje zal worden vertoond net voor elke respectievelijke presentatie, onmiddellijk gevolgd door een korte inleiding door een ‘gastheer’.

Deze speakers-intro moet dus niet uitleggen waarvoor de ‘speaker’ staat, maar misschien eerder teasen, nieuwsgierig maken, wakker schudden,...De allereerste - belangrijke - stap bij deze opdracht richt zich op (kort)onderzoek.Wie/wat kondig ik aan? Waarvoor staat hij/zij? Wat is representatief, karakteristiek, ...Naderhand formuleer je een invalshoek adhv een storyboard. Deze visuele neerslag geeft een concreter beeld voor jezelf en vergemakkelijkt de feedback. De film-ingrediënten: beeld - tekst - geluid kunnen, maar hoeven niet noodzakelijk samen gebruikt worden. Het is een aankondiging, geen uitleg, een trailer en niet de film. De technische aanpak (in welk programma, hoe je dit uitwerkt) is afhan-kelijk van het concept en de mogelijkheden.

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Samen met Jeroen Los en Joris Van De Perre

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Jaaropdracht GV: Error / Illusie

De klasgroep wordt in geen, twee of drie gelijke groepen verdeeld volgens jullie eigen keuze. De klasgroep bepaalt door eigen keuze het onderzoeksbegrip. Analyseer, documenteer en onderzoek in groep het onderzoeksbegrip. Presenteer het resultaat via een weloverwogen medium of media (presentatie/tentoonstel-ling/website(s)/...). Ontwikkel een individueel project vanuit eigen interesse uit één van de begrippen waarbij je een concrete toepassing ontwerpt en een relevant medium kies.

D.m.v. meerdere ‘brainstorms’ in groep wordt het begrip in al zijn mogelijke facetten ontra-feld. Er wordt een matrix/mind-map om alle mogelijke relaties en verbanden op te zoeken en te verduidelijken. Iedereen onderzoekt - zowel individueel als in team - de diverse geselecteerde deeldomei-nen en/of begrippen en verzamelt de nodige documentatie. Op basis van deze documentatie bepaalt de groep hoe hiermee een boeiende en verhelderende presentatie/tentoonstelling/verhaal kan worden samengesteld. De presentatie (in welke vorm ook) is samen met het te maken boek in de 2de semester (Livin Mentens) de publicatie van het gevoerde onderzoek.

Gelijktijdig buigt elke student zich over zijn/haar individuele keuze die moet leiden tot een individueel uitvoerbaar project. Dit project kan alle mogelijke vormen hebben en is een veruit-wendiging van de eigen persoonlijke visie. Het kan een project zijn, een grafisch systeem, een campagne, een publicatie, een website, een technologische toepassing, een identiteit (corporate identity), een animatie, een generiek, een publicatie, een ... De nadruk ligt hier niet enkel op een eindproduct, maar toont tevens het proces/onderzoek en hoe dit tot stand is gekomen. Beiden zijn even belangrijk.

Error

blooper blunderboo-boodefectfaultfaux pasfluffgaffelapsemistakeslipstumblethinko

foutenniet passenderrare humanum estanomaliënglitch: korte fout in een systeemwaardeloos, uitzondering, onafheden,

nutteloos, niet de norm, marginaalafwijking van juistheiddwalenniet beter wetencultuurschokafwijking van sociale normenverbeteringhistorische foutenvalse geschiedenisfoute geschiedschrijvingmaatschappelijke foutenpropagandaactuele foutenoccupyprotestecologische errorprint = fout?tegen de error in gaanontwerper tegen error

janrutten.wordpress.com

Nick Ut - Phan Thi Kim Phuc cries in pain (1972)C4N4D4 serie - Master glitch (2011)Napoleon tijdens de campagne in 1814 Jean-Louis-Ernest Meissonier (1864)Zonder titel - Bryan MorelloOperation Barbarossa, German Offensive Operations (1941)

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Pollution (portaec.net/library/pollution)Portret Mao Zedong - artiest onbekend Garbage Island (zmescience.com)We are the 99% (catalystmiami.blogspot.com/2011_11_01_archive)I Love Humanity (galacticchannelings.com/english/major_happenings)

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Like all of us I was in a state of shock after September 11th. The trauma and madness of the event stirred up all the fears about annihilation and uncertainty of my earliest childhood. For six or seven weeks I could think of nothing else and spent my time trying not to feel powerless and impotent. I wanted to use my skill and training as a designer to affect the situation. I was not alone in this regard. Many designers in and out of New York, feeling they had a public responsibility, produced images and words to help us deal with this unprecedented event. I felt proud to be part of a profession where serving the needs of the public was considered appropriate and necessary. I’ll get back to this idea later in my talk, for now let me show you a few slides about what I tried to do.

All I ever wanted to do was to make images and create form. This instinct for form-making seems to be something that is very characteristic of our entire species. It’s one of the things that almost defines humankind. I like the idea of cultures that do not have an idea of art as a separate activity from their daily life, such as many African groups, where there isn’t a word that approaches the idea of art. They are very interested in containing magic but that is another thing. Among the v, there is no word for art. They just say ‘we do things the best that we can’, which is a nice way to think about what we all do. I am going to tell you everything that I know about the practice of design. It is a sort of collage of bits and pieces that I have assem-bled over 50 years. It includes a lot of things I’ve said before but I’ve repackaged them rather attractively. This is what I’ve learned. Number 1. You can only work

Milton Glaser—This is what I have learned

for people that you likeIt took me a long time to learn this rule be-cause at the beginning of my practice I felt the opposite. Professionalism inferred that you didn’t necessarily have to like the people that you worked for, and should maintain an arms length relationship to them. As a result, I never had lunch with a client or saw them socially. Some years ago I realised that I was deluded. In looking back, I discovered that all the work I had done that was meaningful and significant came out of an affectionaterelationship with a client. Affection, trust and sharing some common ground is the only way good work can be achieved, otherwise it is a bitter and hopeless struggle.

Number 2. If you have a choice, never have a jobOne night I was sitting in my car outside Columbia University where my wife Shirley was studying Anthropology. While I was waiting I was listening to the radio and heard an interviewer ask “Now that you have reached 75 have you any advice for our audience about how to prepare for your old age?” An irritated voice said “Why is every-one asking me about old age these days?” I recognised the voice as John Cage. I am sure that many of you know who he was - the composer and philosopher who influenced people like Jasper Johns and Merce Cun-ningham as well as the music world in general. I knew him slightly and admired his contribution to our times. “You know, I do know how to prepare for old age” he said.

“Never have a job, because if you have a job someday someone will take it away from you and then you will be unprepared for your old age. For me, it has always been the same every since the age of 12. I wake up in the morning and I try to figure out how am I going to put bread on the table today? It is the same at 75, I wake up every morning and I think how am I going to put bread on the table today? I am ex-ceeding well prepared for my old age” he said.

Number 3. Some people are toxic, avoid themThis is a sub text of number one. There was in the sixties an old geezer named Fritz Perls

who was a gestalt therapist. Gestalt therapy derives from art history, it proposes you must understand the ‘whole’ before you can understand the details. What you have to look at is the entire culture, the entire family and community and so on. Perls proposed that in all relationships people could be either toxic or nourishing towards one another. It is not necessarily true that the same person will be toxic or nourishing in every relation-ship, but the combination of any two people in a relationship produces toxic or nourish-ing consequences. And the important thing that I can tell you is that there is a test to determine whether someone is toxic or nourishing in your relationship with them. Here is the test: You have spent some time with this person, either you have a drink or go for dinner or you go to a ball game. It doesn’t matter very much but at the end of that time you observe whether you are more energised or less energised. Whether you are tired or whether you are exhilarated. If you are more tired then you have been poisoned. If you have more energy you have been nourished. The test is almost infallible and I suggest that you use it for the rest of your life.

Number 4. Professionalism is not enough or the good is the enemy of the greatEarly in my career I couldn’t wait to become a professional. That was my complete aspiration in my early life because professionals seemed to know everything - not to mention they got paid well for it. Later I discovered after work-ing for a while that professionalism itself was a limitation. After all, what professionalism means in most cases is limiting risks. So if you want to get your car fixed you go to a mechanic who knows how to deal with transmission problems in the same way each time. I suppose if you needed brain surgery you wouldn’t want the doctor to fool around and invent a new way of con-necting your nerve endings. Please doc, do it in the way that has worked in the past. Unfortunately in our field, in a so-called creative activity (I’ve begun to hate that word. I especially hate when it is used as a noun. I shudder when I hear can someone called a

creative), when you are doing something in a recurring way to diminish risk or doing it in the same way as you have done it before, it is clear why professionalism is not enough. After all, what is desirable in our field, is con-tinuous transgression. Professionalism does not allow for that because transgression has to encompass the possibility of failure and if you are professional your instinct is not to fail, it is to repeat success. Professionalism as a lifetime aspiration is a limited goal.

Number 5. Less is not necessarily moreBeing a child of modernism I have heard this mantra all my life. Less is more. One morn-ing upon awakening I realised that it was total nonsense, it is an absurd proposition and also fairly meaningless. It sounds great because it contains within it a paradox that is resistant to understanding, but it simply does not obtain when you think about the visual of the history of the world. If you look at a Persian rug, you cannot say that less is more because you realise that every part of that rug, every change of colour, every shift in form is absolutely essential for its aesthetic success. You cannot prove to me that a solid blue rug is in any way superior. That also goes for the work of Gaudi, Persian miniatures, art nouveau and everything else. However, I have an alternative to the proposition that I believe is more appropriate: ‘Just enough is more.’

Number 6. Style is not to be trustedI think this idea first occurred to me when I was looking at a marvellous etching of a bull by Picasso. It was an illustration for a story by Balzac called The Hidden Masterpiece. I am sure that you all know it. It is a bull that is expressed in 12 different styles going from very naturalistic version of a bull to an absolutely reductive single line abstraction and everything else along the way. What is clear just from looking at this single print is that style is irrelevant. In every one of these cases, from extreme abstraction to acute naturalism they are extraordinary regardless of the style. It’s absurd to be loyal to a style. It does not deserve your loyalty.

Just enough

is more

I must say that for old design professionals it is a problem because the field is driven by economic consideration more than anything else. Style change is usually linked to eco-nomic factors, as all of you know who have read Marx. Also fatigue occurs when people see too much of the same thing too often. So every ten years or so there is a stylistic shift and things are made to look different. Typefaces go in and out of style and the visual system shifts a little bit. If you are around for a long time as a designer, you have an essential problem of what to do. Incidentally, it’s popular for designers to claim they have no style but this is generally not true. Most good designers have developed a vocabulary, a form that is their own. It is one of the ways that they distinguish themselves from their peers, and establish their identity in the field. How you maintain your own belief system and preferences becomes a real balancing act. As a career progresses the question of whether you pursue change or whether you maintain your own distinct form becomes difficult. We have all seen the work of illustrious prac-titioners that suddenly look old-fashioned or, more precisely, belonging to another moment in time. And there are sad stories such as the one about Cassandre, arguably the greatest graphic designer of the twentieth century, who couldn’t make a living at the end of his life and committed suicide. But the point is that anybody who is in this for the long haul has to decide how to respond to change in the zeitgeist. What is it that people now expect that they formerly didn’t want? And how to respond to that desire in a way that doesn’t change your sense of integrity and purpose.

Number 7. How you live changes your brainThe brain is the most responsive organ of the body. Actually it is the organ that is most susceptible to change and regeneration of all the organs in the body. I have a friend named Gerald Edelman who was a great scholar of brain studies and says that the analogy of the brain to a computer is pathetic. The brain is actually more like an overgrown garden that is constantly growing and throwing off seeds, regenerating and so on. And he believes that

the brain is susceptible, in a way that we are not fully conscious of, to almost every experi-ence of our life and every encounter we have. I was fascinated by a story in a newspaper a few years ago about the search for perfect pitch. A group of scientists decided that they were going to find out why certain people have perfect pitch. You know certain people hear a note precisely and are able to replicate it at exactly the right pitch. Some people have relative pitch; perfect pitch is rare even among musicians. The scientists discovered - I don’t know how - that among people with perfect pitch the brain was different. Certain lobes of the brain had undergone some change or de-formation that was always present with those who had perfect pitch. This was interesting enough in itself. But then they discovered something even more fascinating. If you took a bunch of kids and taught them to play the violin at the age of 4 or 5 after a couple of years some of them developed perfect pitch, and in all of those cases their brain structure had changed. Well what could that mean for the rest of us? We tend to believe that the mind affects the body and the body affects the mind, although we do not generally believe that everything we do affects the brain. I am convinced that if someone was to yell at me from across the street my brain could be affected and my life might changed. That is why your mother always said, “Don’t hang out with those bad kids.” Mama was right. Thought changes our life and our behaviour. I also believe that drawing works in the same way. I am a great advocate of drawing, not in order to become an illustrator, but because I believe drawing changes the brain in the same way as the search to create the right note changes the brain of a violinist. Drawing also makes you attentive. It makes you pay attention to what you are looking at, which is not so easy.

Number 8. Doubt is better than certaintyEveryone always talks about confidence and believing in what you do. I remember once going to a class in Kundalini yoga where the teacher said that, spirituality speaking, if you believed that you had achieved enlightenment you have merely arrived at your limitation. I

think that is also true in a more practical sense. Deeply held beliefs of any kind prevent you from being open to experience, which is why I find all firmly held ideological positions questionable. It makes me nervous when someone believes too deeply or too much. I think that being sceptical and questioning all deeply held beliefs is essential. Of course we must know the difference between scepticism and cynicism because cynicism is as much a restriction of one’s openness to the world as passionate belief is. They are sort of twins.

Number 9. Solving the problem is more important than being rightUltimately, if we’re lucky, we begin to understand that always being right is a delusion. There is a significant sense of self-righteousness in both the art and design world. Perhaps it begins at school. Art school often promote the Ayn Rand model of the single personality resisting the ideas of the surrounding culture. The theory is that as an individual you can transform the world, which is true up to a point but as someone once said “In the battle between you and the world, bet on the world.” One of the signs of a damaged ego is absolute certainty. Schools encourage the idea of not compromising and defending your work at all costs. Well, in our work the issue is usually all about the nature of compromise. You just have to know when compromise is appropriate. Blind pursuit of your own ends which excludes the possibility that others may be right does not allow for the fact that in design we are always dealing with a triad - the client, the audience and you.Ideally, making everyone win through acts of accommodation is desirable. But self-righteousness is often the enemy. Self-righteousness and narcissism generally come out of some sort of childhood trauma, which we do not have to go into. It is a consistently mischievous element in human affairs. Some years ago I read a most remark-able thing about love, that also applies to the nature of coexisting with others. It was a quotation by Iris Murdoch from her obituary. It read ‘ Love is the extremely difficult realisa-tion that something other than oneself is real.’ Isn’t that fantastic! The best insight on

the subject of love that one can imagine.Last year someone gave me a charming book by Roger Rosenblatt called ‘Ageing Gracefully’ I got it on my birthday. I did not appreciate the title at the time but it contains a series of rules for ageing gracefully. The first rule is the best. Rule number one is that ‘it doesn’t matter.’ “It doesn’t matter that what you think. Follow this rule and it will add decades to your life. It does not matter if you are late or early, if you are here or there, if you said it or didn’t say it, if you are clever or if you were stupid. If you were having a bad hair day or a no hair day or if your boss looks at you cockeyed or your boyfriend or girlfriend looks at you cockeyed, if you are cockeyed. If you don’t get that promotion or prize or house or if you do - it doesn’t matter.” Wisdom at last. A week or two later I read a joke that I haven’t been able to get out of my head. A butcher was opening his market one morning and as he did a rabbit popped his head through the door. The butcher was surprised when the rabbit inquired “Got any cabbage?” The butcher said “This is a meat market - we sell meat, not vegetables.” The rabbit hopped off. The next day the butcher is opening the shop and sure enough the rabbit pops his head round and says “You got any cabbage?” The butcher now irritated says “Listen you little rodent I told you yesterday we sell meat, we do not sell vegetables and the next time you come here I am going to grab you by the throat and nail those floppy ears to the floor.” The rabbit disappeared hastily and nothing happened for a week. Then one morning the rabbit popped his head around the corner and said “Got any nails?” The butcher said

“No.” The rabbit said “OK. Got any cabbage?” My last rule is based on an article I wrote in the AIGA Journal some years ago and also refers to the sense of public responsibil-ity I mentioned in my opening remarks.

Number 10. Tell the truthThe rabbit joke is relevant because it occurred to me that looking for a cabbage in a butcher’s shop might be like looking for ethics in the design field. It may not be the most obvious place to find either. It’s interesting to observe that in the new AIGA’s code of ethics there is

a significant amount of useful information about appropriate behaviour towards clients and other designers, but not a word about a designer’s relationship to the public. In daily life we expect a butcher to sell us eatable meat and not to misrepresent his wares. I remember reading that during the Stalin years in Russia that everything labelled veal was actually chicken. I can’t imagine what everything labelled chicken was. We can accept certain kinds of misrepresentation, such as fudging about the amount of fat in his hamburger but once a butcher betrays our trust by knowingly selling us spoiled meat we go elsewhere. As a designer, do we have less responsibility to our public than a butcher? Our meat is information. Everyone interested in licensing our field might note that the reason licens-ing has been invented is to protect the public not designers or clients. ‘Do no harm’ is an admonition to doctors concerning their relationship to their patients, not to their fellow practitioners or the drug companies. Incidentally, if we were licensed, telling thetruth might become more central to what we do. I went to Las Vegas for the last AIGA con-vention. Someone once claimed that Vegas was the greatest single work of art the human species has yet produced. I was staying in a hotel called the Venetian, which had more clouds painted on the ceilings of the hallways than had ever been executed in 15th century Venice. I went up to the reception desk and I said “I understand that there is a Grand Canal here” and she said “Yes we have one here.” I said “Where is it?” She said “One flight up!” What a concept. The earth reeled beneath my feet when I thought about it. I took the stairs up and there indeed was the Grand Canal with gondolas and gondoliers who will cheer-fully take you to St. Marco Plaza, which was just around the corner in perpetual twilight. If you sit in the plaza even though it is under a plaster ceiling, the waiter will ask you “Would you like to sit inside or outside?” One day the plumbing broke down and the ghastly smell started to fill the game rooms. Actually it was very much like Venice in the summertime.I wondered if they might be doing this intentionally. Is there such a thing as a virtual

smell? I never found out but on the way back I took a flight that I thought might have been influenced by its proximity to Las Vegas. When I got on board a stewardess came from the back of the cabin carrying steaming towels, I had never seen towels steaming that much - they were billowing. I realised as she approached that the steam wasn’t coming from the towels. The source was a wineglass she was balancing on her tray. “What’s in the glass?” I inquired. “Dry ice,” she replied.

“Is that for the drama?” I asked. She said “yes.”So I tried to imagine the meaning of all this and where the decision to do it was made. In the boardroom? The advertising agency or perhaps on the flight? Who benefits? I wondered. Could the thinking be that if the glass were steaming enough people would remember and next time they book a flight they would want to go with an airline that had steaming towels? Because if they paid attention to hot towels they might also be attentive to whether the plane was going to land or not. How about the man in the last aisle who put a steaming towel on his face that was ice cold and immediately thought that he had had a stroke. I don’t know exactly why this bothered me but it did.

One must start with the presumption that telling the truth is important for human survival, but at this moment of relativ-ism and virtuality, I’m not sure how many would agree on what truth is or how important it is in our private and profes-sional lives, but we must begin somewhere. The question becomes a professionalone, because as designers or communicators (the preferred current description), we are constantly informing the public, transmit-ting information, and affecting the beliefs and values of others. Should telling the truth be a fundamental requirement of this role? Is there a difference between telling the truth to your wife and family and telling the truth to a general public? What is that difference? Two years ago, as I was doing the illus-trations for Dante’s Purgatory, I got very interested in the Road to Hell and designed a little questionnaire to see where I stood in terms of my own willingness to lie.

So here it is - 12 steps in the Road to Hell. I personally have taken a number of them.

1. Designing a package to look bigger on the shelf.2. Doing an ad for a slow, boring film to make it seem like a light-hearted comedy.3. Designing a crest for a new vine-yard to suggest that it has been in business for a long time.4. Designing a jacket for a book whose sexu-al content that you find personally repellent.5. Designing a medal using steel from the World Trade Center to be sold as a profit-making souvenir of September 11th.6. Designing an advertising campaign for a company with a history of known discrimination in minority hiring.7. Designing a package for children whose contents you know are low in nutri-tion value and high in sugar content.8. Designing a line of T-shirts for a manufacturer that employs child labour.9. Designing a promotion for a diet product that you know doesn’t work.10. Designing an ad for a political candidate whose policies you believe would be harmful to the general public.11. Designing a brochure for an SUV that turned over frequently in emergency condi-tions known to have killed 150 people12. Designing an ad for a product whose frequent use could result in the user’s death.

The range goes from making a package that seems a little bigger to somebody’s death. The interesting thing is how slippery that slope is and how easy it is to move from stage to stage until you arrive at the ultimate human sin. But then again, why talk about it. This discussion has been going on since the dawn of history. But something occurred to me the other night. Imagine that the butcher goes out shopping one morning and before he makes his first purchase a vision of the rab-bit’s face comes to him. He thinks about how adorable that rabbit was, even though a bit of a pest, and at that moment he decides to buy a pound of cabbage instead of a pound of nails.

How Meat Contributes to Global WarmingNathan Fiala—Scientific American04/02/2009

It turns out that producing half a pound of hamburger for someone’s lunch, a patty of meat the size of two decks of cards, releases as much greenhouse gas into the atmosphere as driving a 3000-pound car nearly 10 miles.

10 mijl (16 km)

I went looking for evidence of graphic design ethics and didn’t find much. Well, that’s not entirely true. When I “Googled” the subject I did find the kind of things I expected, such as graduate-level design seminar courses and undergraduate-level professional practices courses that touch on ethical issues. I also found groups of practitioners and educators creating projects where they’ve used graphic design as an instrument of social change with very positive results. All of these things are worthwhile initiatives, and, by all means, let’s keep them going.

I’m also happy to report that I found some other, very positive efforts out there. The “Design Inquiry” symposium recently hosted by the Maine College of Art gave par-ticipants a rare opportunity to dig deeply into the issues surrounding our roles as persuasive communicators in consumer culture. There are also many initiatives to educate designers to their effect on the earth’s ecosystem, including an excellent publication by the AIGA that clari-fies many of the misunderstandings concerning more sustainable production practices.

I also came across the speech delivered by Milton Glaser at the AIGA 2002 Voice Confer-ence, where he notes that, “In the new AIGA’s code of ethics there is a significant amount of useful information about appropriate behav-iour towards clients and other designers, but not a word about a designer’s relationship to the public.” Likewise, in an interview con-ducted by Martin C. Pedersen, Glaser had this to say in response to a question about the way design is currently taught: “I would change

Paul Nini — In Search of Ethics in Graphic Design

the perception of the purpose of design that is deeply embedded in design education. Because it’s linked to art, design is often taught as a means of expressing yourself. So you see with students, particularly young people, they come out with no idea that there is an audience. The first thing I try to teach them in class is you start with the audience. If you don’t know who you’re talking to, you can’t talk to anybody.”

Somewhat tellingly, I didn’t find much else that acknowledges our profession’s respon-sibilities to audience members or users, specifically those who experience the work we create on a daily basis. AIGA has embraced the concept of “experience design,” which by its very nature requires the involvement of audiences and users in the design process. AIGA has also published the Design Business and Ethics series that addresses a number of topics including “Business and ethical expecta-tions for professional designers,” which is referred to above. However, a quick look makes it clear (as Glaser asserts) that our respon-sibilities to audience members and users has not been substantially addressed in what is otherwise a very well-considered effort.There is certainly nothing wrong with protecting our professional interests and the interests of our clients, and you’ll find content to that effect in most statements of ethical prac-tices created by designer organizations around the world. However, I would argue that our single, most significant contribution to society would be to make sure that the communica-tions we create are actually useful to those for whom they’re intended—and that this concern must be elevated to the same level of importance as those previously discussed.

Many of us are quite familiar with the concepts of “audience-centered” or “user-centered” design, but how many of us can honestly claim to routinely include users or audience members in our process of design? While there are clearly segments of our profession that do practice in a more inclusive fashion, the majority of us do not—and that is, to my mind, where our greatest ethical fail-ure as a profession currently lies. The client’s desire for profits, and our desire for visual

sophistication (and peer recognition) should come after the needs of our audiences and users have been met. By putting our “constitu-ents” first—and ourselves last—we might be able to create a more significant ethical model for our profession to pursue. Further efforts to promote environmental responsibility and to employ graphic design as a means of social change are certainly desirable, but so are more effective everyday messages that the majority of us create.

So, in an attempt to address the issue raised, I’ve taken the entirely presumptuous step of creating language that outlines our respon-sibilities to audience members and users. I envision this text as an addition to the AIGA’s existing publication on ethics, which currently includes sections concerning our respon-sibilities to the profession and our clients. Therefore, I ask the following questions to you, my professional colleagues: What do you think of the sentiments expressed below? Is it necessary for us to have such text included in our code of ethics? Are you willing to join the discussion and help this initiative progress from this point? In the spirit of inclusive design, I personally invite you participate and add your voice to this important topic.

Finally, please note that the fourth and fifth statements below are adapted from the existing Professional Code of Ethics authored by ICSID, the International Council of Societies of In-dustrial Design. As well, the sixth statement is adapted from the Code of Ethics for Pro-fessional Communicators created by IABC, the International Association of Business Communicators. Of the many professional codes of ethics referenced in the process of writing this article, these two groups were among the few to include significant state-ments concerning their responsibilities to the public.

Designers must recognize the need to include audience members and users whenever possible in the process of developing effective communications and to act as an advocate for their concerns to the client.

The Designer’s main concern must be to create communications that are helpful to audiences and users and that meet their needs with dignity and respect. Any communication created by a designer that intentionally misleads or confuses must be viewed as a negative reflection on the profession as a whole.

Designers must not knowingly use information obtained from audience members or users in an unethical manner so as to produce communica-tions that are unduly manipulative or harmful in their effect.

Designers must advocate and thought-fully consider the needs of all potential audiences and users, particularly those with limited abilities such as the elderly and physically challenged.

Designers must recognize that their work contributes to the wellbeing of the general public, particularly in regard to health and safety and must not con-sciously act in a manner contradictory to this wellbeing.

Designers uphold the credibility and dignity of their profession by practicing honest, candid and timely communica-tion and by fostering the free flow of essential information in accord with the public interest.

To conclude, just having such a statement that we may agree with is not enough. We must now actually do something to improve the current situation. We must develop a sus-tained dialog with those who experience the fruits of our labors, and recognize that their needs are more important than our own.

Workers of the world, unite! - Dmitry Moor (192-)The Hand has 5 Fingers! - John Heartfield (1928)Aus Plakatkunst Frankreich ; 1970-... Expo - Grapus (1985)Hurrah, die Butter ist alle! - John Heartfield (1935)Apartheid Racisme le cancer du monde - Grapus (1986)

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Rowan Leaves & Hole - Andy Goldsworthy (2008)Seed Bombs - Kathryn Miller (1991-2002)Lawns in the Desert - Kathryn Miller & Michael Honer (1995)Icicle Star, joined with saliva - Andy Goldsworthy (1995)

1.2.3.4.

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Vanuit het oogpunt van een CO2 footprint in het totale (offset) drukproces maakt inkt 0,5% uit. De andere bijdragen zijn 76% papier, 12,5% machinegebruik, transport 6% en platen 5%. Dit is inclusief de emissie van de productie van de individuele materialen en apparatuur.

De duurzaamheid van drukwerk en inktKatinka Hetem Van Wijk—De Groene Offerte

Earthships (earthship.com)Reverse graffiti voor crisis.org.ukThe Toaster Project - Thomas Thwaites (2011)Grow - Anna GarforthFlat Pack Table - Jeremy Grove

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Paperless Poster for Green Drinks - Craig Johnson & Hunter Marcks (2010) H.O.R.T.U.S. - ecoLogicStudioSteal Like An Artist 2011 - Austin KleonNo Shop - Studio Matthews (1997)

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It’s a yearly tradition, the calendar of Zwaan print media. In 2012 it is made for the 29th time. And every year the calendar is designed by a different designer. For the 2012 edition, Maarten Dullemeijer and Rob Stolte from design agency Autobahn experimented on the boundaries of materials. From their initiative of the Green Quotation (www.groeneofferte.nl) Autobahn felt a necessity to inspire fellow designers and to show wich sustainable choices there are to be made as a graphic designer.

A challenging goalAt Zwaan print media, sustainability and corporate social responsibility are given a high priority. They have several ISO standards and are FSC and PEFC certified. They strive to complete the chemical-free and CO2-neutral production within a few years. A very challenging ambition. An ambition which Autobahn can identify with and wants to con-tribute to by making a calendar that supports and promotes these ambitions.

Sustainability means making conscious choicesIt was never the intention of Autobahn to design the most sustainable calendar ever. That is – in our opinion – impossible and was not our goal. Consciously dealing with (sus-tainable) design choices is the starting point of this calendar. As a designer, this will give you insight into the production of a design. On the one hand you can choose to do some-thing and to not do something on the other hand. It’s to find a balance, because if you produce something you’re bound to pollute anyway. By crossing things of the equation you ‘may’ afford yourself a little: We chose to make paper from natural cutting

waste to ‘allow ourselves’ to be able to lasercut the calendarium. By choosing an appropriate edition of this paper in order to reduce waste we ‘permitted ourselves’ to emboss the writ-ing area on the calendarium. The calendar is printed with organic inks, we tried to produce as locally as possible, minimize material use and we chose papers with unique environmental performances. This makes the calendar a repository of design choices. Choices that are transferred by using the calendar, and hopefully find their way into the practice of the designer.

Papermaking and paper choiceA true inspiration calendar, that challenges to make choices. The idea inspired Autobahn to create completely new natural papers. We have personally collected twelve different kinds of natural products from the City Landscaping Department in Utrecht. With the pruning waste we had a range of materials to create the calendar sheets. Each sheet has its own material related to the months of the year. In the Middelste Molen, one of the last two paper mills still operating in the Nether-lands, Pieter the miller and his team of volunteers used their traditional methods to create twelve very special natural papers for the 2012 Zwaan-calendar.Besides the 12 unique papers produced by the Middelste Molen, we offer a peak into regular paper on sale by vendors. Behind each calendar page is a paper with unique sustain-able performances. One such example is made entirely from recycled paper fibers, another of algae from the lagoon of Venice, a third is completely tree free and made from lime-stone, and so on. You can read on each page of the calendar what environmental per-formance these papers contain. The papers are presented to illustrate the wide range of possibilities in the field of materials for designers nowadays.

Understanding the production of a designWhat we have not (been able) to give insight into, is the production of the calendar. As a designer, we make thousands choices during the design process, but we do not always dwell on all the actions that must be

Autobahn — Zwaan Print Media Kalender

completed to achieve a particular design. This is because many printers are working with subcontractors such embossers, binders, lasercutters and others. Designers often do not have time to stand around the machine. Therefore we made a film to show what actions are taken behind the scenes to achieve the result of the Zwaan-calendar 2012. By making this film, it gave us more insight into what certain choices meant as our design was being produced.

Sustainable choice as a userThe calendar is designed so that it can be used in two ways. It is up to the user to make the following choice: “Will I use it as a reminder note calendar for 2012 or do I use it as a birth-day calendar?” If the note calendar is chosen, then you can put the calendar on the wall straight out of the box. The days, weekends and holidays are visible and have their own color code.However, for the birthday calendar you’ll have to rotate the back covers 180 ° so the colors that indicate the weekends and holidays are not used and the calendar can be used for many years in a row.

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Cradle to grave

Cradle to cradle

Stop recycling.

Start repairin

g.

1. Geef producten een langer leven!Repareren is niets meer of minder dan de kans pakken producten een tweede leven te geven.Kapot betekent nog niet het einde. Repareren is niet tegen consumptie. Het is tegen onnodig dingen weggooien.

2. Elk product moet te repareren zijn.Ontwerpers: zorg ervoor dat dingen hersteld kunnen worden. Zet aan tot doe-het-zelf reparaties op een simpele, uitnodigende wijze.Consumenten: koop dingen die te repareren zijn. Of zoek uit waarom je ze niet kunt vinden. Wees kritisch en nieuwsgierig.

3. Repareren is niet hetzelfde als vervangen.Vervangen is het kapotte deel weggooien. Ja. Dat is dus NIET het soort repareren dat we bedoelen.

4. Als het er niet dood van gaat, wordt het er alleen maar beter van.Iedere keer dat iets gerepareerd wordt, wint het aan potentie, historie en schoonheid.Het krijgt een ziel.

5. Repareren is een creatieve uitdaging.Repareren stimuleert de verbeelding. Maak gebruik van oude en nieuwe technieken,gereedschappen en materialen en ontdek de vele mogelijkheden.

6. Reparatie overleeft mode.Repareren gaat niet over styling of trends. Producten die herstelbaar zijn, hebben geenhoudbaarheidsdatum.

7. Repareren is ontdekken.Tijdens het repareren van producten krijg je veel cadeau. Zoals de kennis hoe iets in elkaar zit en hoe het werkt - of niet werkt.

8. Repareer – ook in goede tijden!Wie denkt dat dit manifest met de recessie te maken heeft, zit er naast. Dit gaat niet over geld, dit gaat over een mentaliteit.

9. Gerepareerde dingen zijn uniek.Zelfs fakes worden originals nadat ze zijn gerepareerd.

10. Repareren maakt onafhankelijk.Laat je niet afschrikken door technologie. Verdiep je in de mogelijkheden van reparatie.Doe het zelf of laat het doen, maak het beter én geef je kennis door.

11. Alles is te repareren. Zelfs een plastic tas.Maar we raden aan om een tas te nemen die wat langer meegaat. En herstel ’m als het nodig is.

Stop recycling. Start repairing.

Platform 21— Repair Manifesto

The Free Universal Construction Kit - F.A.T. (2012)NewspaperWood - Mieke Meijer(2003)Font of the Loom - Studio Bertjan Pot (2011)Paper Frames // NewspaperWood frames - OntwerpduoA Wheatfield, with Cypresses (Living Wall) - ANS (2011)

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Environmentally responsible design should be like dark chocolate: delicious and sensual, yet still good for the health of body and soul.

States of design 09Paola Antonelli—domusweb.it

Wat kan ik betekenenen vooral hoeen vooral waarom

Prints oude druktechniekenPrints gevonden materialenQuotes: meer met minderMosgrafittiBoekje met droge infoNatuur in trekken: vormgeven met wat te vinden isBoek-alternatieven: maken, catalogiserenHow-to-boek voor flatpacking‘Politieke’ pamflettenEssayreeksBlog cureren over grafisch ontwerp en ecologieInfographics over toestandHandleiding: hoe error te fixenVgl. analoog-digitaalFilmpje: wat kan ik als ontwerper doen(Simpele) beelden: wat kan ik betekenen als vormgever?

Denken vanuit restmaterialenHet boek als fysiek productInsnijding-affichesInkten maken uit natuurlijke materialenMet plantengroei tafereel makenKlimplantentypoAlternatieve graffiti (bloem) (ontwikkelen toestel)Print zonder printenFotogevoelig papier in de zonOntwerp dat niet voor de eeuwigheid ontworpen is (spelen met vergankelijkheid)Hoe kan het in een cyclus komen?Installatie die doet denken over groen ontwerpenP21 repair manifesto vormgevenSeed-bomb product & verpakkingFSC: wat is het/doet het?Iets met Buckminster FullerVerschillende principes uitschrijven op postersZeefdrukken op ramen

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Manifest voor eenduurzame vormgeving

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Nieuwe problemen, nieuwe oplossingen

1

De vormgever accepteert dat er een probleem is: de wereld zit momenteel in een ecologische crisis. Deze crisis blijft niet beperkt tot enkel ecologie: er zijn gevolgen voor de gezondheid, sociale implicaties en economische gevolgen.

De vormgever is bereid om zijn criteria aan te passen aan de huidige en toekomstige (ecologische) situatie.

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Kunnen kiezen is moeten kiezen

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De vormgever beseft dat hij een unieke positie inneemt: omdat hij aan het begin van een productieketen staat, kunnen zijn keuzes een enorme impact hebben op de ecologische voetafdruk van een product.

Dit is een grote kans, maar ook een grote verantwoordelijkheid: milieubewust ontwerpen is bewust keuzes willen maken.

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Vormgeven is produceren3

De vormgever staat stil bij de handelingen die moeten gebeuren om tot een afgewerkt product te komen. Hij kent het hele productieproces, informeert zichzelf over bestaande ecologischere productiewijzen en zoekt zelf naar alternatieven.

Het eindproduct is meer dan een virtuele pdf, het is een product met fysieke, materiële consequenties.

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Begin bij het begin4

De vormgever ziet milieu-vereisten van bij het begin van een project als noodzakelijk criterium.

Hij ziet in dat het beter is om een product duurzaam te ontwikkelen dan een product dat er niet voor ontworpen is later in de productie te moeten ‘vergroenen’.

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Een product is een cyclus5

De vormgever ziet in dat produceren een cyclisch proces moet zijn. Het afgewerkte product is geen eindpunt: de vormgever plant ook de gebruiks-, afval- en hergebruiksfase mee in.

Hij beperkt het aantal niet-herbruikbare en schadelijke materialen zo veel mogelijk.

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Elke keuze heeft gevolgen6

De vormgever stelt het product en zijn relatie met de omgeving constant in vraag: is de manier waarop de gebruiker met het product omgaat schadelijk voor het milieu? Bevat het eindproduct stoffen die schadelijk zijn voor de gebruiker of het milieu? Kan het kwaad als het product in de natuur beland?

Hij denkt aan de gevolgen op lange termijn: draagt het product bij aan een betere toekomst of doet het er net afbraak aan?

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Net genoeg is meer7

De vormgever produceert zo weinig mogelijk, maar niet niet. Dit doet geen afbreuk aan het einddoel: kwantiteit garandeert geen communicatieve kwaliteit.

Zo weinig mogelijk is genoeg: geen overschotten is een streefdoel. Niet langer ‘less is more’, maar ‘just enough is more’.

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Economisch ecologisch8

De vormgever weegt ecologische, economisch en sociale factoren af om tot een duurzaam maar realistisch eindproduct te komen. Waar nodig probeert hij compromissen te zoeken, maar hij blijft op lange termijn denken.

Wat hij vandaag doet mag niet ten koste gaan van morgen.

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Bewust vormgeven is bewust leven

9

De vormgever probeert om zijn ecologisch duurzame attitude door te trekken in zijn verdere leven: wanneer hij van zijn klanten verwacht dat ze zich ecologisch verantwoord opstellen, moet hij dit ook doen wanneer hij zelf klant is.

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Experimentele typografie

Ontwerp een experimenteel lettertype binnen het gekozen thema ‘error’ of ‘illusie’. Maak een analyse van wat een experimenteel lettertype kan zijn, gebruik het onderzoek over ‘error’ of ‘illusie’ als bron van inspiratie.

Maak een ontwerp-voorstel: dit moet worden gepresenteerd aan de hele groep. Maak een digitale versie van dit lettertype in FontLab Studio. Afhankelijk van het concept is deze digitale versie een adaptatie van het concept binnen de mogelijkheden van FontLab.Vindt een toepasselijke manier op jouw letter-type te presenteren en voeg uitleg bij. (A4)

Kijk naar de referenties en zoek naar andere re-ferenties. Kijk hoe de resultaten zijn veranderd over de laatste 15 jaar: formele oplossingen lijken gedateerd. Zoek naar een onontdekt gebied binnen het veld.

aa aaaaaa aaaaaa aaaaaa aaaaaa aaaaaa aaaa

The quick brown fox jumps over the lazy dog.The quick brown fox jumps over the lazy dog.The quick brown fox jumps over the lazy dog.

CalibriCentury Gothic

DollyThe quick brown fox jumps over the lazy dog.QuadraatThe quick brown fox jumps over the lazy dog.MetaThe quick brown fox jumps over the lazy dog.Helvetica Neue�e quick brown fox jumps over the lazy dog.Adobe GaramondThe quick brown fox jumps over the lazy dog.Gill SansThe quick brown fox jumps over the lazy dog.BemboThe quick brown fox jumps over the lazy dog.BaskervilleThe quick brown fox jumps over the lazy dog.GeorgiaThe quick brown fox jumps over the lazy dog.FuturaThe quick brown fox jumps over the lazy dog.JoannaThe quick brown fox jumps over the lazy dog.Myriad ProThe quick brown fox jumps over the lazy dog.Trade GothicThe quick brown fox jumps over the lazy dog.Univers

ecofont.otf

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Line-o-type

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Line-o-type is een grid-stencil,gelasered uit metaal, waarmee letters kunnen ontworpen worden.

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De stencil is voorzien van een publicatie waarin meerdere mogelijke fonts staan. De inhoud van deze publicatie staat op de volgende pagina's.

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Tentoonstelling Beeldmerken

Conceptualisering, ontwerp en uitvoering van een tentoonstellingsvorm die (mede)studenten informeert over beeldmerken. Meer dan ooit tevoren worden we belaagd met beeldmerken, terwijl de herkomst en achtergronden van die beeldmerken ons meestal ontgaat.Deze tentoonstelling heeft als doel om die informatie op een compacte en heldere manier aan studenten te communiceren (en behandelt klassieke en hedendaagse beeldmerken die aansluiten bij de leef- en studiewereld van onze studenten).Elke student ontwerpt hiervoor een affiche A0 (of A1) formaat (volgens overeengekomen titel, info, etc). (Indesign) De tentoonstelling zal "plaatsvinden" op campus Sint Lucas op 17 maart 2012.

De organisatie gebeurt in drie groepen (twee klasgroepen GO en een klasgroep RV).In deze drie groepen wordt een tentoonstellings-concept uitgewerkt dat naderhand wordt samengelegd.Na overleg wordt een tentoonstellingsproject uitgekozen en gerealiseerd.

Belgisch Grafi sch

Een tentoonstelling over Belgische logo’s en hun ontwerpers.

Sint-Lucas AntwerpenSint-Jozefstraat 35, Antwerpen

17 maart 2012

Belgisch Grafi sch



17 maart 2012

Belgisch Grafi sch



17 maart 2012

Belgisch Grafi sch



17 maart 2012

Belgisch Grafi sch



17 maart 2012

Belgisch Grafi sch



17 maart 2012

Belgisch Grafisch


Une exposition sur deslogos Belges et leurs graphistes.


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Une exposition sur deslogos Belges et leurs graphistes.

Sint-Lucas AntwerpenSint-Jozefstraat 35

17/03/2012

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Belgisch Grafisch/ Belgique Graphique

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Tentoonstelling

14 bekende kwalitatieve Belgische logo’s worden verdeeld over de hele campus uit-vergroot op muren aangebracht, zowel binnen als buiten. (Meest realistische is het gebruik van sjablonen, maar tracen van een projectie is eveneens mogelijk. Geen spuitbussen wegens milieuonvriendelijk.) Voor de rest is er niets extra aangebracht bij deze logo’s. Geen tekst, geen beeld. Er is wel een publicatie die bij het betreden van de campus mee genomen kan worden.Deze publicatie is een boekje, A5 formaat, geplooid en geniet in zwart-wit (om kosten te drukken). Op elke pagina wordt 1 logo toegelicht, aan de hand van een of meerdere relevante foto’s van het logo in gebruik, en uitleg over logo en ontwerper. De logo’s staan chronologisch geordend.De cover fungeert tegelijk ook als index.

Er op staan alle logo’s in zwart-wit gedrukt, voorzien van een jaartal. In het binnenwerk is de paginering het jaartal. Hierdoor moeten de logo’s visueel herkend worden, om meer uitleg terug te vinden via de index. De enige kleur op de cover is de titel van de tentoonstelling, die transparant gezeefdrukt is (in dezelfde kleuren als de affiches) over de logo’s, zonder ze onleesbaar te maken. De publicatie is op gerecycleerd papier gedrukt.

Concept

De logo’s zijn groot aangebracht, verspreid over de campus, zonder meer.

▸ Verspreid, aandachtstrekkend, kan overal opduiken. Vergelijkbaar met de functie van logo’s in de praktijk: de mensen zijn aan-getrokken, komen dichterbij.

Tentoonstellingsconcept

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Maar, waar in de realiteit logo’s na een tijdje genegeert worden, zijn hier de beelden die men normaal al voorbij loopt, terug interessant. Door middel van de grootte van de beelden wordt er terug aandacht gevestigd op beelden die als banaal werden gezien.

▸ Groot, uitvergroot, er ontbreekt initieel uitleg: men kijkt naar het beeld zelf, het bedrijf of de instelling komt pas in tweede instantie op de proppen. Kijken naar het logo als kunstwerk an sich, de ontwerper als volwaardig 'kunstenaar'. De functionaliteit wordt echter niet uit het oog verloren door middel van de publicatie.

▸ Als een soort teaser voor de tentoonstelling kunnen de verschillende logo’s gedurende de week voor de opendeurdag geleidelijk aan verschijnen op verschillende plekken op de campus, zonder veel extra uitleg. (Bijvoor-beeld: elke nacht 3 logo’s gaan aanbrengen)

Publicatie

▸ Educatief: men kent de belangrijke Belgische ontwerpers niet. Zelfs wij als 3e bachelor-studenten kennen ze te weinig. Alleen laten zien is niet genoeg, te vluchtig om te blijven hangen, maar het is wel een aanleiding. Om iets echt te doen herinneren geven we de toeschouwer fysiek mee, een soort (zeer) klein naslagwerkje. Het kan zelfs een aanleiding zijn voor mensen om later meer op logo’s en ontwerpers te letten.

▸ Praktisch: de opendeurdag is een dag waarop mensen komen en gaan, en de logo’s zullen ook op drukke plekken, zoals gangen, hangen. Als de gehele uitleg daar hangt is dit lastig om te lezen en kan het een gemakkelijke doorstroming belemmeren. Door de uitleg mobiel te maken is het veel makkelijker voor mensen om plaats te maken of zelfs later de precieze details te bekijken.

▸ Deze publicatie kan zelfs een visitekaartje of een soort goodie zijn van de afdeling grafische vormgeving van Sint Lucas. Mensen houden het bij en zullen het later terug zien, wie weet kan het zelfs een rol spelen bij de schoolkeuze?

Naam

▸ Teasend, er wordt ongeveer gezegd waar het over gaat maar grafisch is op zich te breed. Im-pliceert ook dat het logo meer is dan alleen een afbeelding (logo in de praktijk, huisstijl, ...). Bij de affiches staat de afbeelding erbij als een verklaring, beeld is belangrijker dan tekst. (Naar analogie met logo’s)

▸ Tweetalig Frans-Nederlands: is een zeer Belgisch gegeven. Het is dan wel geen letter-lijke vertaling, het drukt wel eenzelfde idee uit, en heeft een gelijkaardige klank.

▸ Catchy, er zit rijm in en dat blijft altijd beter hangen.

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Een tentoonstelling over Belgische logo’s en hun ontwerpers

Omdat de tentoonstelling over Belgische logo’s zelf niet kon doorgaan, moest er een manier worden gezocht om de gevonden informatie bij de posterexpositie te presenteren, zodat de posters een context kregen.

Hiervoor heb ik een A6-boekje ontworpen, gebaseerd op het boekje dat ik voor mijn tentoonstellingsconcept had ontwikkeld.

In het boekje is een greep uit de logo’s die onze klasgroep had geselecteerd gepresenteerd.Elk logo is vergezeld van een foto van het logo in gebruik met daarbij een korte tekst over logo en ontwerper die ik geschreven heb.

procesblog op janrutten.wordpress.com

Jan RuttenProcesfolio 2011-2012

Teksten & beelden door Jan Rutten,

tenzij anders vermeld.

Lettertypes:Quadraat door Fred SmeijersUnivers door Adrian Frutiger

www.janrutten.be

procesfolio jan rutten 2011-2012

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