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Se Hacen R贸tulos (We Paint Signs)

MEXICO08


Se Hacen Rótulos (We Paint Signs)

MEXICO (A Typographic Collaboration) Ian A. Victor Mexican “Rotulistas”

(text by) Stefan Sagmeister John K. Victor

08


I could not have dreamt that Mexico would have been an ideal country to study art & design. Although, having a remarkable design professor from Mexico helps to keep the faith. The investigation of typography in this country has proved to have an extrordinary impact on how I think about design. No matter where I went I was overwelmingly stimulated by a variety of colors painted on buildings, walls, restaurants, and cars. Colors so vibrant that they make you want to bathe in them. Colors that turn into a smell that are forever imbeded in your senses. Colors that could stand completely alone, strong and sturdy. This proved, to me, to have the greatest impact on this beautiful hand-painted typography. Not to mention the array of textures that were produced from the surfaces that these colors obsorbed. This is the design element that I found most intoxicating and would like to share this experience with you through my designs. Throughout the development of this book, I researched Stefan Sagmeister, a comtemorary graphic designer. Stefan has influenced my work and these designs in many ways. He has taught me the importance of a direct messege and the significance of experimentation. He is very open about who he is and his experiences and how they influence his work. In addition, I had a conversation with my father, John K. Victor, who is also a graphic designer and was able to get another perspective and view about the importance and role of design in today’s society. Having these experiences has influenced my concept of graphic design and the impact of culture within it. I wouldn’t change the experience of Mexico for the world and this culture will forever influence my design, my life, and my future.


ABSOLUTELY EVERYTHING


Look at the ďŹ ltered drinking straws in 3rd world countries, the targeted information streams worldwide, the elevated consciousness of literate societies, On the balance, I like the designed world of 2006 better than I would have the one in 1906, for surely better than in 1506, and absolutely preferable to 0006. the

but also look at designed propaganda campaigns, the biased messaging

of corporate concerns, or the design for greed and oppression.


DO YOU BELIEVE DESIGNERS HAVE MADE THIS WORLD A LITTLE BIT OF A BETTER PLACE? Considering absolutely everything man made is designed, and considering I rather would live now than in any historical period I could think of, I would say, yes. (S.S.) Of course. I believe design inspires change, good and bad. Designers have the power to persuade, teach and inuence for right or for wrong. (J.K.V.)


WHERE CAN DESIGN GO? WHERE DO YOU SEE IT GOING?

99 00 01 02 03 04 05 06 07 08

Considering absolutely everything human culture produces is designed, this is a fairly large question, akin to: Where is the world going? -S.S. Design is the only differentiator. It compels us to make decisions or feel a certain way. It is endless, inďŹ nite. It will change with the times and merge with mediums. It will engage the senses and emotions to make new discoveries that we will beneďŹ t from. -J.K.V.


A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z This

house

the

second

is

mine,

and

it

isn’t

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z guy

won’t

own

it

A B C D E F G H I J K L M NOPQRSTUVWXYZ They

will

carry

out

the

third

ABCD E F GHIJKLM NOPQRSTUVWXYZ so

tell

me,

my

friend,

whose

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

ABCDEFGHIJKLM NOPQRSTUVWXYZ

a b c d e f g h i j k l m n o p q r s t u v w x y z

A B C D E F G H I J K L M NOPQRSTUVWXYZ

a b c d e f g h i j k l m n o p q r s t u v w x y z

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

mine

house

either,

one

too,

is

it?


“The main reason for all this fluff is that most designers don’t believe in anything...When your conscience is so flexible, how can you do strong design?”


THANK YOU

I would like to thank first and foremost Patricia Cue for all her hard work in making this study abroad program a success, for this amazing opportunity, and for sharing with me the beauty of her home country. Secondly, I want to thank Raul Vazquez de Lara for his friendship, for making sure that everyone was having a good time, for his adventurousness, and for taking us to La Reforma. I would also like to thank my father for his enthusiasm and encouragement along with the staff of Hotel Las Iglesias, seniorita at La Espuma, Jeremey Cody, my mother for everything, the country of Mexico, and everyone else who helped make this trip unforgettable.

28 May 2008 <www.hillmancurtis.com/hc_ web/film_video/source/fof/sagmeister08.php>. Ascher-Walsh, Rebecca, and Kristen Baldwin. “Stefan Sagmeister. (Cover Story).” Entertainment Weekly 385 (1997): 63. Rawsthorn, Alice. “What Sagmeister Has Learned in His Life So Far.” International Herald Tribune 4 Feb. 2008, sec. Design: 12. Sagmeister Inc. 15 Apr. 2008 <http://www. sagmeister.com>. Sagmeister, Stefan. “Socket to Me.” New York Times Magazine 16 Mar. 2008: 146. Shapiro, Ellen. “Stefan Sagmeister.” Communication Arts 41 (1999): 58. Sagmeister, Stefan . Things I Have Learned In My Life So Far. Abrams Books. 1 Feb. 2008. “Stefan Sagmeister.” Design Museum. 2004. 03 May 2008 <http://www.designmuseum. org/design/stefan-sagmeister>.

REFERENCES


The Influence of Color