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"Irma Boom" Tag


Catalogue–as–exhibition


Thursday, January 19, 2017

What do you see when you look at a book for the first time? Is it the title? Is the typeface on a cover? Is it color? Alternatively, material? Why do we still print books if we have internet, computers, e-books, tablets and phones, some of which have a screen of a pocket book? Well, in fact, because we still need a physical medium. It is notably hard to predict the development of technology. Fifteen years ago we could get a DVD exhibition catalog or indeed a movie. It would be a modern and bright solution, maybe quite fashionable.

feeling the book 2

People who are questioning the need for printed books assume that it is easier to read from digital sources. Furthermore, It is simpler to carry, and the digital book does not require physical place. Nonetheless, why do we need a material text? ‘The book, if properly designed can last more than five hundred years’ – says Irma Boom. However, digital data can probably remain longer. Though it is the feeling that makes the book unique. It is the design transformed into a three-dimensional object.

xerox book

book feeling

 Xerox Book (1) and Seth Siegelaub: Beyond Conceptual Art (2)

(more…)

Element, Fifteen


Saturday, November 28, 2015

15-elements_cover2 15-elements_side 15-elements

front of box • side • 15 elements

When I first saw this book..
I thought that books always have similar size and shape before I see this book. For example, a book is made of one piece and has only one cover. When I saw this book at first, I do not know the series are a book that has one package. Also, I liked different colours in a black package and these books have diverse design and layouts. And I discovered that she used only small letters on the package and covers. I guessed small letters mean elements than capital letters. Moreover, when you open the book, you can see two pagination on the top and  under the page. I am not sure that I guessed a number on the top of a page is a pagination of one element(a book of series) and another under the page means a pagination of all elements(15 series). This is because second number start to 100 and finish to1500.  Actually, this book’s contents are very difficult and boring to reader since it deal with the history of architectural elements, the technical and social developments where they come from but this book design helps to vent. In addition, I could see really different layouts each book because these books have very diverse compositions to almost pages. So, it seems like I read a book but it is not a book.

elements-of-architecture

Venice Architecture Biennial

Design of this book..
Title of the book is ‘ elements’ designed by Irma Boom. This book is a series about architecture and the series is consisted of 15 books about 15 elements of architecture. It means this book is not one but it becomes the one as a black package. You can know what is the elements as seeing the 15 book’s titles. Also, you can find how did she show the ‘elements’ in design because it has 15 different titles, colours, books and contents. It is really interesting to me since she gave how to use the book’s title and concept as design. I realised that dividing a book is really effective for showing a small title. The book has 16 titles that is one big title and 15 small titles and you can see 15 elements before open the book ; floor, wall, ceiling,roof, door, window, facade, balcony, corridor, fireplace, toilet, stair, escalator, elevator, ramp. This book was made for the Venice Architecture Biennale by Rem Koolhaas.

Who is Irma Boom..
Irma boom is a Dutch graphic designer and she makes a book more special. This is her website. She has made over 300 books and her books are exhibited in New York City(MoMA). She is very famous designer internationally and she has lectured at Yale University in the USA. Also, she has been awarded a lot and worked as a critic. This is her website.

How does she make a book..
I was wondering when she make a book, how to approach, get a concept and develop. This means process of making a book. I was looking for some interviews(1, 2) for knowing her and her books. She said “Everything revolves around the development of a good idea; everything else – buying paper, production – are skills that one might or might not have, but the concept is what makes a project succeed or fail.” And she does not approach books like a product designer does. She said “I really approach books for what they are, as books, turning the pages. The object. Sometimes I see books, and I think it could have been a PDF. The regular book is not alive anymore. You can put it on a PDF on the internet, or on a Kindle or iPad, and it’s the same. But my books are something else. They have to be this three-dimensional object. Somebody once said that I’m building books. I really like that expression very much. ”

To sum up, I could realise that a book can evoke a lot of interests by design because I have saw books that made to similar size, techniques and feelings. I agree her opinion that her books are remained as three-dimensional objects because her books are truly special. For example, ‘Biography in Books’ is immensely small and thick. When you see the book in the internet or iPad, you can not feel this shape. Although this book is tiny, it gave very strong feeling to me when I saw. In addition, this is another example. Sheila Hicks: Weaving as Metaphor. This book on the work of textile designer Sheila Hicks. You can see different feelings when you touch the book even surface of the book. This means she just did not use the photos in the book and she made to feel real. So, she won the Gold Medal for the “Most Beautiful Book in the World” Prize given at the Leipzig Book Fair through this book. She does not apply the same style in everything when she makes a book. Moreover, searching about Irma Boom was really interesting since her books had very diverse design. I thought books will be able to disappear at one time except some specific books and be produced a small quantity. There were some intriguing points to me in her interview because Irma Boom and interviewers talked about digital books in her some interviews.

Sheila Hicks

Book number(Rietveld library) _ 710.4 bien 14 lll

She put a spell on me


Thursday, October 30, 2014

 

Boezem

The book was staring at me. With its big shiny, purple letters saying BOEZEM, the Dutch word for bosom, and its firm, solid appearance, almost like a brick. What could this book be about? Anyway, this title, the bookmaker must definitely have been aware of the confronting and maybe also provocative impact it has on its audience. Me, in this case. I found it daring. I found it also daring that there was no picture, no nothing on the cover, except for those letters. I felt like touching the book.

I lifted it from the shelves and it surprised me once again. Whereas I had considered the book as quite minimalistic and probably consisting of just the two colours black and purple, it actually had this very subtle grey pattern on the side, looking a bit like stars in the galaxy. When opening the book it had more surprises for me. So much information! Totally not the white, sterile pages that I had expected, with maybe equally sterile pictures and once in a while a minimalistic amount of text. There were drawings, there was text, dark green as well, and both black and white pictures and full-page colour prints…

 

 

 

Yellow-coverred-cover

OrangeDesign-coverNewspaper-cover

“I want to make books with a high amount of density and content.”

Says Irma Boom, the designer of BOEZEM. You can say that in that sense, this one is a very typical book of hers. Just during a first sec google-investigation, I found out that she is probably the most famous Dutch book designer of the moment and that she has made over 250 books. It made me wonder; if I had known this designer Irma Boom, would I have known that the design of BOEZEM was hers? In other words: if a person makes this many books, is his or her ‘handwriting’ visible in every single one of the books? Is it even inevitable? And maybe even more important: would a clearly visible signature of the designer rather thwart or support a proper presentation of what the book is about?

 

It made me wonder about what it specifically is in that makes people like her books so much. I knew that I had already experienced it in kind of an intuitive way, when getting drawn to her design for BOEZEM. And the way I responded to this book must be an experience a lot of people have when seeing one of her books. Otherwise, she would not have been praised so much as a book designer. But what are the more concrete causes for this?

In order to find out more, first I decided to get more informed about her books; about what kind of projects she has done and about the books` appearances. I started searching on the internet for interviews and articles and I also went to the bookshop Nijhof & Lee that has two bookshelves dedicated to Irma Boom`s designs. To get more of an overview, to hold the books, and experience them as the objects they are. Some of her projects that were the most striking to me, seemed to be also the most famous.

For example, there is the SHV Thinkbook (not in the book shop) which is a jubilee book for SHV, a family owned company with interests mainly in the energy-industry and it is a collaboration between Boom and the art historian Johan Pijnappel. It weighs a little less than 4 kilograms, has 2136 pages and is made up of poems, quotes, letters, advertising, interviews, reports, speeches, memos and photographs from the company`s archive. The book has no page numbers, because it is not meant to be read from beginning to end, but as a ‘voyage’; you have to discover things by coincidence. The touch of Irma Boom becomes maybe the most expressed in all the little details: the poem on the side, the text on the cover that only becomes visible after the book is being used, the fact that there are a lot of pictures in it of family members with their dogs…

Another example is N°5 Culture Chanel, a book printed with no ink, because all the text and all the images are embossed. Just like the perfume, you see it, but it`s not there. This book as well has some interesting detail. The book for instance has a height of 5 centimeters, referring to the name of the perfume, and it is fully white and goes in a black box, referring to the relation between Chanel and black and white.
Furthermore, there is Colour Based on Nature, which consists of colour diagrams that are derived from 80 natural locations designated as UNESCO World Heritage sites. The book pages have to be torn open in order to let more diagrams appear. Another notorious example is Sheila Hicks: Weaving as a metaphor. One of the many beautiful details are the rough edges that refer to Hick`s tapestry.
Just some examples, but they already show how varied the projects are that Boom has done. Every book is a totally different object, having an original style adapted to the subject and interesting new details, and with a totally different format.
 

“Perhaps every book I make is kind of a failure that I constantly  want to improve by the next book.”

Book-image_IrmaBoom

But still this does not necessarily exclude that there are some resemblances throughout Boom’s designs, because there definitely are. They differ from returning details – little obsessions maybe – to approach of book design, but one thing is clear: they are indispensable for a Boom-design.
What the books are known for in the first place, is their object-like quality; they are almost like pieces of architecture. This I experienced when seeing BOEZEM and having the association of a brick. Boom sees the book as a container of a lot of information, an ongoing thing, with a permanent quality (of spreading information), in contrast to the internet. And this of course should be manifested in and attained by the design of the book. This is also why the book’s edges are almost always incorporated into the overall design: to make it one whole. Besides, a lot of the books ask for interaction and this way a relation is stimulated between the viewer and the content.
Next to that, attention to detail is what is most essential for a Boom-book. Through those exceptional details, Boom is really able to make –mostly symbolic– links between design and content. Otherwise there is these recurrent little features Boom seems to be fan of, such as embossing, reversed chronological order, and every publishers` worst nightmare: the white cover.
But actually most of all, her books scream uncommonness, everything in it is opposite of what you would expect.
So, the designs certainly have things in common and are in that way sort of connected, very much also approach-wise. You can call this Irma Boom’s signature, but I think it would go too far to define her signature by an obviously present personal ‘imprint’.

But let’s get back to the other questions I raised in the beginning of the article. As a book designer, is it actually desirable to have your signature visible in your designs? And if not, is it even avoidable?
 

“Making a book you should do with your heart, intuitively”

If this is Boom’s belief, how can her own ideas and preferences of aesthetics not prevail? But still, by saying that she wants to make the book for someone and not just a book, you might actually conclude that Irma Boom tries to keep out anything that refers to herself, as a book designer and as a person, so the book can be fully centred around its subject. You could translate this statement of her as the aim for objectivity. But just have a quick look at her books, and you are assured that her books are far from objective. Her taste, her humour, and her willingness to experiment always become apparent.

And the fusion of Boom with a subject, it seems to work. The adding of a little subjectivity, so to speak, seems to lift the subject. It seems to give it a structure, a context, a voice maybe… This effect is also enhanced by the fact that she is often the editor of a book as well. Maybe this kind of ‘subjectivity’ that Boom incorporates in her designs is part of what makes her so successful. So, in case of Irma Boom, she is sort of depending on her signature and thus it is very desirable for her and her audience.

From a different viewpoint, if someone, a publisher, a company, or an artist asks her if she wants to make a book for them, wouldn’t they want, the ‘handwriting’ of Boom, to shine through in the design a little bit? She is so renowned that it is such an honour if she makes a book for you. Let it be visible, they would probably think. Besides, it obviously sells better when people know that she is the designer, or it could mean something very good for one`s career… look at Sheila Hicks. The many awards winning book that Boom made for her, instantly gave her a huge career boost. Of course, you can also question why customers buy one of Boom’s books in the first place. Is it because they are actually drawn to the book itself? Or is it because they are drawn to the fact that the famous Irma Boom has done the design? Looking at it in this way, does Boom’s signature perhaps stand in the way of properly presenting the subject? Anyway, fact is that the people she makes books for are almost always very content with the outcome. And who knows better if the subject is well presented, than the subject itself?

Simple as it is, that is what Boom does: she evokes excitement. At the time, her own wild ideas excited herself, and through realising them she shares with us that feeling. Going for the realization of these wild ideas, it also takes some courage, and I think this is also something a lot of people respond to. Boom is not afraid. She is not afraid to personally connect herself to the subject, she is not afraid to not know at forehand what the exact outcome will be, she is not afraid to take her time (it took her five years to finish the SHV book), and she is definitely not afraid to do the uncommon. But most of all, she is not afraid to disappoint her clients or to not do what they want. The risk-taking in combination with her ingenuity and eye for beauty are always the recipe for a special result. Most people love this specialness, but of course a risk-taker has a lot of enemies as well. In the beginning it took Boom probably a lot more courage to not listen to them than nowadays, since she is a very respected and many awards-winning book designer.

It all started with that very intuitive attraction to a book that turned out to be made by one of the world`s most famous book designers. Now it ends with me feeling like having at least partly unraveled the magic behind it. But even if I might have unravelled the magic a little bit, the spell that Irma Boom`s books put on me, is definitely not broken.

Rietveld library catalog no : 05547

 

the mystery of constructivism


Thursday, September 16, 2010

When we were at the Irma Boom: Biography in Books exhibit, my eyes caught this inconspicuous book. First I walked passed it, I did see the book but didn’t really noticed it. After a while I came back to see it and I found it really interesting. The book is really thin and also not big but not to small too. The book was opened so I couldn’t see the cover of it. I only saw it was an orange cover. It was opened at a page with a constructivistic drawing of a boat, on the other page you saw three lines of text and another drawing that is hard to describe. It looked really graphical, something I really liked!  It was so minimalistic and that was what got my attention. I didn’t really wanted to know what it was about. But I found out it is a poem book. Maybe that broke the mystery of the book a little bit. I’m still thinking about putting the poems in a translatormachine.

The book also has a really interesting index on the right side of the pages. Every page has it’s own little logo with some Russian word above it, it’s probably about the subject of the poem, but still I don’t get the little logo’s. All these little mysteries made the book so interesting to me

The man and the sea


Thursday, September 16, 2010

Sea. Water. Home. Words you said minute ago is gone. It disappeared in an endless space. Somewhere in between 0°55‘.654N 40°25‘.522W and 15°00‘.411N 28°51‘.315W, or maybe somewhere else. It just a spot in a middle of the ocean. You reached that point and went away.


Eleonoras first Atlantic crossing. A kind of logbook“.Two books, different size but the same landscape on a cover. The sea and a small line of the sky, blue color mixed with a calmness and secrets. The coordinates on a book cover looks like a silhouette of a ship on a horizon line, just passing through. Pointing the space. There is something very mysterious about this book. Finger print on a side of the book, its like a signature of a man who went all the way from Gibraltar to Rio de Janeiro, but also it reminds me the look in to the sea from above. Also it shows that this book is personal, and important for a man. It could be a logbook, but somehow it looks like a diary of a man and the sea. What makes this book really interesting, is the difference between two books. At first you may think that small one is the same as big one, just the different size. But the small book has all photos made on the trip, big one only the sea scapes. I imagine how it really looks, for now I cant see that. Just a space where you can catch an image and let it go, into the endless space.

A piece of wood.


Thursday, September 9, 2010

In media res. Irma Boom. Can’t believe she worked on a book for 4 years. 4 years. That’s a lot of time, a lot of energy. A lot of passion. I guess one can easily sense the passion and effort that she puts in the books she makes. I admire her.

But then, there, amongst the passion and well-trimmed books, I find a piece of wood. The book seems hard on the surface. It’s like you can count the growth rings in it. Hard and mushy at the same time. A paradox. It has a story to tell. Kinda like this old grandpa full of wisdom, full of mystery, full of everything you can imagine. Yet it kind of reminds me of those big pieces of cheese. They have also wholes in them, as the book has scratches and bruises here and there. And I guess they, too, have some sorta history. A cheese history, I guess.

I find myself deadly curious about that book. It is enormeous. I wonder how thick the papers are, I wonder how many hands have touched it. I wonder how large the typography is, I wonder how it smells. I wonder if it’s one long story. Oh my, it sure is mysterious. I find myself wondering if it really has pages in it. Or maybe it’s one of those fake-books with a whole inside. No. It is a real book. A modest book. A proud book. A book with a story. I guess that’s kind of ‘meta’. A story that has a story.

The end.

Song Through 21st Century Eyes


Thursday, September 9, 2010

I have to admit, that this was the first time I’ve heard of Irma Boom, although I have already seen a few of the books she has designed before.

Her way of thinking and working has always seemed to me kinda normal/typical for a good graphic designer – passionate, curious, perfectionist and stubborn.

I have chosen the Song book, because it seemed to me like an example of a well designed book. What I liked the most about the book is, that  (like Irma says in the description) the colors of the  pages are based on traditional Chinese color schemes. This detail made the book special/different than a normal book/ to me. It is something I don’t understand. I don’t know about those color schemes, but this made me want to know more.

At first, what caught my eye was the red silk foldable chinese box covered with red silk from the outside, bright pink inside.  The book is about two different chinese ceramics styles – that’s why it’s all white, with a blind-stamped vase on the matte porcelain looking cover. The pages paper is yellowish, about 90gr thick, makes a feel of silk again. I can clearly see, how the paper color works together with the print. It feels exactly like it should- expensive and exclusive. Most of the book’s contents are images, but the text is written in both english and chinese.

Micro-organisms living in these typographies


Thursday, September 9, 2010

Hurry Up. Pick a magnifying glass before you miss it. Before you flip your page and the dust on the left corner falls off. Deeper in that letter. Deeper in the ink there is a whole other story to be told. A story that might or might not explain why these tiny books aren’t bond for the human eyes. It’s something to make you question. Raises up curiosity. Something to make you intrigued to dig deeper for results. You start to question why she wants you to believe that from these tiny dots a new creative perspective can be born. You can almost see yourself behind a microscope. Ready to believe that there is a tiny living organism in the “E” that spells Essence. The essence of what you have been missing with your eyes. It makes you want to wish that Alice’s potion existed.

It makes you want to be your fingertips. It makes you want to slip right through the glass box.  A glass box filled with tiny dots and endless possibilities. Just laying there. Ignorant of your presence. Not for you consumption. While you still look through the lens of the microscope. You can almost imagine that there’s these tiny species living together. Compromising with the closeness of each other. Zooming in, you can see why she wants you to make an effort and research. By discovering this you’ll look back and give credit to what you can’t read with your naked eyes.

Look for the unusual (1)


Wednesday, September 8, 2010

The SHV Thinkbook was the book that catched my eye, because of the passionate story Henk told us and also because of the vitrine that showed some try out versions of the book, experimented with paper, way of binding, the cover size. It made me look up to the wall and back to the vitrine all the time, to try to find out the story of the book and to try to see the problems she met and the way she solved them.
I think it was important to me get get to know the book in some way before liking it. I see books as object were you don’t only look at, you want to feel the weight, you want to feel the structure of the paper went you turn the page, you want to have a close up to see how the ink is printed on the paper, you want to smell the book you might even want to make a little loving fold in the corner of a page you want to remember.

The only think that i had in the back of my head all the time when i looked at the SHV Thinkbook, was this sentence that i read or heard which was the instruction Irma Boom got for making this book and that was; ‘Look for the unusual’
Maybe in settled book, and publishers land this is a very unusual book, but in my perspective books can be way more unusual.

Some thoughts about books being an object that store information, in a handy, clear, protected and unusual way…

unusual books

unusual books 2

History.fairytale.Dream.


Wednesday, September 8, 2010

There’s always something in old books that attracts me. I think it is the way that an old book already can tell you a story without even open it. There is a history going on in that book, many hands touched it, carried it, let them tears drop on the pages, all of that and the leather cover with the gold embellished patterns and the painted flowers on the sides are telling me that this book was special, actually Albert Magnus, a main Dutch bookbinder, gave this book  to his bride for their wedding in 1664. I’m curious what will be inside, but I cannot reach it because of the thick glass that’s protecting it from the world outside. Maybe I don’t want to open it, because now I can dream of beautiful  bedtime stories and fairytales that can be in the book. I can already see the big curled detailed first letter that asks you to take some time to read the lines without putting the book aside for a while.  Well, in this century grooms usually don’t give their brides gifts like this, so for now I can only dream of living in the century when they did…


Every Thing Design


Wednesday, September 8, 2010

When I was looking for some really nice book to look deeply, this thin white line peeler design caught my sight. Also this small black book was in between two big books-It was grey cover with big white letters and two book that can see back and front side-white cover with big black letters and front side, there is blue colour picture). That is why I can see it right away at that moment.

This really thick and nicely painted black colour book is attractive for me who really like simple design with only black and white colour. And drawing of peeler with thin white line on the black colour cover was so amazing, because that peeler seems making me peel-off the page by page and discover new pages afterwards. I have to peel-off one design if I want to see next design. Like I am looking for something through page by page. Even I feel the first page is the oldest one and last one is the latest one.

Also at the side of the book, not the book cover, there is big and thick white letter which interested, too. It can be simple white letters on the black background, but it looks not that simple if I see little bit closer. Because of the paper inside, black background is not same black as book cover. Also when I look at it little bit more closer and closer, I can see there is other colours, not just white and black. It was very funny that I discovered something I don’t really want to discover from that black and white book.

HOT SHOT


Wednesday, September 8, 2010

One of the first things that strikes Me is the enormous amount of love and energy Irma Boom manage to include within her books. The endless dummy samples to find the right presentation format, the anti-commercial printing and binding methods and the endless corrections are all part of it. It almost feels like the books of Irma Boom are from another planet.

For that reason I found it hard to pick out one particular book, so I asked myself the question; what is for Me the most important part of a good book, the reason to just grab the book and get lost in it. For Me a book is really about a good cover at the first place, one that strikes my attention by being unusual or reminds my of something else I’m interested in, so after I realised what is important I picked the CAR GIRLS book by Jacqueline Hassink

Car Girls

That particular book immediately reminded me of the LP “Grand Prix” by the Belgian band Vive La Fête.The cover (and also the cover of the LP) gives me a kind of exciting feeling, the idea that it’s really cool to drive really fast ( I don’t even have a car) and to have a sexy “Car Girl” like girlfriend behind the steering-wheel.

Why is this happening to me?


Wednesday, September 8, 2010

Als je langs de rijen loopt, wat een geweld.

Een boekomslag die je bij de lurven pakt, een boekomslag die je verwonderd, eentje die je doet reageren. Des te groter de reactie, des te intenser het exterieur bij je aankomt.
Ik was niet zozeer opzoek naar het wow-effect, maar simpelweg naar een boek waarbij ik me comfortabel bij voelde. Een middenweg van gevoelens van nieuwsgierigheid en het vertrouwde. Ik vond ik dit bij het boek ‘OMA 2008’. Ik ervoer dit boek als onherroepelijk direct maar niet schreeuwend om aandacht, het evenwicht ervan beviel me. Zonder te weten waar de inhoud over gaat .(Dit is onmogelijk te raden, de voorflap bevat geen text)

Het ontwerp straalt een bepaald soort anonimiteit en helderheid uit die mij niet alleen aanspreekt, maar die mij misschien zelfs fascineerd. Misschien ben ik jaloers op bepaalde kwaliteiten die ze bezit, haar orde en gekristalliseerde duidelijkheid. Misschien word er met me gespot, Zij die pronkt met haar krachtige lijnen en wiskundige precisie.

‘Ah but don’t you know not ever to judge a book by its cover?’

Het boek laat een duidelijk contrast zien. Zowel letterlijk als figuurlijk. Naast het vanzelfsprekende contrast van het patroon aan de buitenkant, is er ook nog een contrast in het opzicht dat het boek een zelfverzekerdheid uitstraalt en wilt opvallen maar tegelijkertijd alles verzwijgt over de inhoud, wat we noemen een ‘tease’.

Langs de rijen…Ik moest stoppen. Maar te lang kijken is ook niet aangenaam. Alweer haar Geweld.

The book that tantalizes me


Wednesday, September 8, 2010
The Braille book is lying behind a glass showcase. There is no information or description next to it. It is opened in the middle, so I can see two silver staples. The book is completely white. The size of it is like a magazine. I can see that the cover isn’t thicker than the rest of the pages. I can’t see the back and front of the cover, so I don’t know what it looks like. I choose the book because, at first, it doesn’t give me any information. I also choose it because it doesn’t have any letters or words on it, so can’t read what it is about. Even if I knew how to read Braille, I wouldn’t know cause I’m not allowed to touch the book. WANT TO TOUCH IT BUT CAN’T!

The Braille also attracts me in another way. When I look at it as if it is some sort of art, I see a beautiful pattern in the little bumps on the white paper. I can only imagine what it will feel like… The way the book is presented behind the showcase, makes me look at it from different angles. When I sit down on the floor, it is as if the book is coming towards me like a big white bird with spread wings. The book also looks empty to me, in a way, but there’s actually a whole story in it. It gives me room to image what the book is about. This book is part of the private collection of Irma Boom, so besides all the books with letters and photos, she also kept this one. I guess, in some way, it interested her. I don’t know if it attracted her in the same way as it attracted me. I guess I’ll never know why the book is lying there.

Passion , Inhumanity + Transformation


Wednesday, September 8, 2010

I was so touched by one book named “ SHOT ‘’, published on 2009 ( I didn’t find the name of the writer ) and it is about hurting pages transforming from green to red and hunting. Men aiming their guns towards the flying birds.. carrying chickens  ..these are the pictures that symbolizes the passion of human. And the transformation of green to red  symbolizes life and death. The voice in writer’s work is speech that passes through us, that comes from another times and place and whose destination is unclear even while its tone is often insistent, perhaps violent

I think the book is very seriously written against the animal killing. I questioned, why don’t they just shoot the clay instead of the real animals? Is it a social or biological passion? I really found that human beings are continuously being away from the line of humanity. What a nightmare !

The cover is red in color ( symbolizes the blood ) with ten holes with some big writing on it and I felt the holes are the eyes of the animals and looks very sad and are pleading human for help. If you look the holes continuously, you can feel the environment of fear, grief amd tears. The book looks like a closed box. Its opening is not like the normal book as we have to open the lock first. And the right side of the book ( from where you starts turning ), is locked by one iron like metal tool in the shape of an arrow. I think this has very special meaning as arrow always kills. The semi round side symbolizes the expansion of the life and the point part, end.

It was a great moment to be the part of an  book exhibition of known artist Irma Boon in Amsterdam.

Little red


Wednesday, September 8, 2010

Adults are used to collecting big toys like cars or antique furniture.
Kids are used to collecting small toys like puppets, useless crystal balls or colorful stickers.
When I was a kid I also collected small postcards and teddy bears.
They lived in an old candy box that I got from my grandma.
Now there is something lying in may hands that reminds me of those dearest small things that are so valuable for every adult.

These fragile memories from the past childhood help grown ups to keep a child in their souls.
Otherwise if a pure and cold rational view of the world dominates it’s going to kill that sparkle.
I think that Irma Boom with her tiny books reminds adults of the small child that still lives in their souls.
Even when it’s buried somewhere deep inside.
Just holding this tiny book in someones hands inevitably brings a childlike smile to their face.
I find these moments very important in someones life.
Even if that book is about Ferrari engines or the latest research in nanotechnology.

My best friend lives in Russia. She is an artist and a photographer.
She sends me these “children’s” gifts that she has made herself.

Take care of your childhood.

everything is design, design is for everybody!


Tuesday, September 7, 2010

Every Thing Design is a book by Hatje Cantz which presents a large number (more than 700) of design works from the collection of Zurich Gestaltung Museum. It mainly shows prints and posters, but includes also a wide range of other objects from many famous designers. The book is, among books designed by Irma Boom (and some of her own library), on display at the Bijzondere Collecties Gallery, in Amsterdam.

everything design!

First of all the cover: it’s all black, with a white cheap potato peeler; visually it makes concrete what the title say: everything is design! Design is for everybody! The layout of the book presents the objects making interesting comparisons and associating them in couples which have a sort of connection. What’s interesting, in this couples, is that they do respond to a logic that can be less obvious than expected, as a time, place or artist order, but very explicit. Mainly, they are similar objects and visuals from very different periods and uses but with the same strength, the same conceptual value, the same way to visualize the zeitgeist of the period. So the cover of issue one of the magazine “Neue Grafik” (1958) showing the text perfectly insert into a square grid, is associated to a typeface from the early 20s’, the “new graphic” of the time. Two more recent comparison: the first shows the (famous) poster from Obey’s art for the electoral campaign of Obama in 2008 and the (as much) well known poster of Bob Dylan drawn during the 60′s by Milton Glaser, while the second present the famous Levi’s commercial with the Michelangelo’s David dressed up with Levi’s jeans short, with a more recent HnM’s poster of a beautiful and sensual girl wearing a tiny bikini. In the first couple is explicit the high moral value of the person represented, with the “Che Guevara alike” glance of Obama in the “hand-crafted”, old school appearance of the poster, and the streamy colorful hair of an outlined-comic looking Bob Dylan which transforms the pacifist songwriter into an icon. In the second there also is an iconic value which is a bit “debunk”, and while 30 years ago this value was embodied by a masterpiece of art, nowadays it is just the body of the women to be sold.

What i liked the most is the comparison that offers, which i think it’s a fundamental way of thinking in art and design, and the general look that encourages, contributing to shape better the word “design”, depicting the spirit of the time and taking it away from the idea of a competition between world known designers to create the most posh version of a lemon squeezer, and giving it the role of a discipline which applies to many levels and fields, a way to better resolve mankind problems. Design must be everything for everybody!


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