18_TheRedGrass_Presentation

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Red Grass

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Design the design Juan Solano +694 665 3493 js@redgrass.gr

Visual Identity for TheRedGrass

August 02, 2018


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Reflections on the change


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1 How to design a design? How to create the creation? There is a certain creative divinity in our activity.

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Drawing hands, Escher 1948 Juan Solano +694 665 3493 js@redgrass.gr

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“...To signify the divinity a Persian speaks of a bird that in some way is all birds, Alanus of Insulis, of a sphere whose center is everywhere and the circumference is nowhere; Ezekiel, of a four-faced angel that at once goes east and west, north and south...� El Aleph, Borges 1943

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2 Arbitrarily Why do people see the graphic designer so badly? This generation of pseudo designers is to blame.


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Sick perception of graphic design. Visual comunication its not only pencils, colors and computers.

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“Arbitrariness is essentially a response to a whim rather than a discipline, ant it seem to have a life of its own rather than stablished frame of reference to wich to relate. Its capriciousness achieve the most with the least, in favor of more personal objectives. As an extension of the concept of individual freedom, it hits againts the ethics of collective conciousness and eliminates any notion of objectivity to stress subjectivity beyond reason.� TheVignelli Canon, Vignelli 2010


Red Grass

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3 Highlighting Visual Comunication The graphic designer’s job is to manage a visual language like the conventional one.

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“Visual expression is many things, in many circunstances, to many people. It is the product of highly complex human intelligence of wich there is pitifully little understunding.� A primer of visual literacy, Dondis 1973

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A designer is not a person who works as a construction worker, he is a person who works as more complex than an architect. Juan Solano +694 665 3493 js@redgrass.gr

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or like Carson›


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1 How to design a design? 2 Arbitrarily 3 Highlighting Visual Comunication


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No Objectivity

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Yes Subjectivity

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Yes Ideology

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R1801_Conceptual Guide


Red Grass Studio

Juan Solano +694 665 3493 js@redgrass.gr

Conceptual Guide

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Conceptual Guide Research for an approach TheRedGrass Design Studio

July 23, 2018


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ideological structuring, influence

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Metaphorical structure of the studio

the 4 loors + the ground + a window Juan Solano +694 665 3493 js@redgrass.gr

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The purpose of this summary is to condense all the aspects that influence to explain the reason of the existence of the studio. It begins with the physical area where the studio is installed (the red grass, influenced by Vian's novel). Then it goes up to a space dedicated to reflect on the existence of our ideal (analyzing the artistic movements that changed the 20th century). This is followed by the artistic/ideological movements that coexist with modern times. From here, a level is raised about the fundamental bases of condensation in the field of design in modern times. And finally the studio is located on the roof of this whole structure of influences.


Red Grass Studio

ideological structure & influences

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Conceptual Guide

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ideological structuring, influence

the 4th floor Juan Solano +694 665 3493 js@redgrass.gr

the 3rd floor the 2nd floor

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the 1st floor the ground

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a window


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the ground

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The physical space to build


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the ground

L’Herbe rouge

Boris Vian published in 1950. •

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• A novel with pataphysical nuances about man's obsessions, his struggle and his end. A story about the boredom of modern times and the illusion of being able to change something to achieve happiness. • The red grass is the scene where this story of existentialist and surrealist cuts takes place. • One part mentions how sinister red grass is for making the characters submit to an introspective struggle.

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the ground

L’Herbe rouge & the interior travel to the soul Juan Solano +694 665 3493 js@redgrass.gr

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• In the face of the torment suffered by the scientist Wolf: "It is unbearable to have to drag with you what has been the past" the main plot revolves around the machine he has created. • "It is made to forget, -the machine- but first you have to remember everything, without omitting anything. Even with more details, and without feeling what you felt then." • “From there you see things as they were, that’s all.”

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The phisical space to build Juan Solano +694 665 3493 js@redgrass.gr

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• In conclusion, Vian's novel tells us the stories of characters who are subject to change, changes that will completely define their lives (or end them in the cases of Wolf and Saphir). • The red grass is nothing more than the physical boundary where these internal struggles, events of the characters, take place. • "The pluk field was extended on the edge of the Square, behind the southern wall. There the grass was not red, just a beautiful artificial green adorned with copses and cross-eyed rabbit beds." • For the studio and the ideological proposal, the red grass is that space in which we build the ideological structure and where everything really suffers a process of continuous and definitive change, as in the novel.

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the 1st floor

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Invention of influence


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the 1st floor The artistic influence since the beginning of the 20th century Juan Solano +694 665 3493 js@redgrass.gr

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• Sitting at the base, that is, the red grass, as a geographical space where things change. This first level takes the influences of three key movements that marked the history of design. Our profession is new thanks to these movements that make it aspire to a progress and approach to the fine arts. • As a base, De Stijl was chosen for his connection to Morris' Art & Craft movement and his radical proposal with Mondrian and Van Doesburg. • Since Van Doesburg is a pioneer in this field, it is important to take into account his relationship with the Bauhaus as well as the other avant-garde movements of the early 20th century. • It is important to emphasize the importance of the four Bauhaus as their influence in different contexts and moments of history. They are the key to understanding globalized design. • Constructivism, like the other Russian avant-gardes, will be key to understanding the typographic and photographic evolution in our field.

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the 1st floor

De Stijl modern baroque

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& chicago

& the Russian avant-garde

Bau- Conhaus strucweimar, tivism dessau, berlin


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Recommended Bibliography De Stijl Juan Solano +694 665 3493 js@redgrass.gr

Mondrian and His Studios: Colour in Space, 2015 The story of de stijl: Mondrian to van Doesburg, 201 1 Theo Van Doesburg: A New Expression of Life, Art, and Technology, 2016

Bauhaus

Bauhaus: Weimar, Dessau, Berlin, Chicago, 1978

Constructivism Russian Constructivism, 1983

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https://goo.gl/Z1unR3 https://goo.gl/1bmU1i https://goo.gl/AZRZcE

https://goo.gl/JDbTtE

https://goo.gl/WP5xCQ


the 2nd floor

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Ideological Influence 14


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The ideological influence from the beginning of the 20th century to the present • Being the design studio a modern institution, it cannot be satisfied only with the recognized ideology of the avant-garde of the beginning of the last century. And it would also be very difficult to make reference to any contemporary artistic movement because time has not yet shown whether they are transcendental. • The most appropriate conclusion is to assume an intermediate ideological reference between the avantgarde (XX) and the present day. • Three movements have been chosen for this purpose, each of which has a relationship with the ideology behind the studio. • Alfred Jerry's movement in reference to Vian's novel and the absurd critical universe directed by Duchamp. • The Dutch anarchist group for its authenticity and ingenuity to protest in the middle of the 20th century. • And to Zero for his interesting proposal and solution to the trap of artistic dehumanization that influences our context.

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Pata- Provo Zero coun- (art) phys- dutch terculture movement german ics reaction alfred jarry

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to abstract expressionism


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Recommended Bibliography ‘Pataphysics

‘Pataphysics: A Useless Guide, 2015 Juan Solano +694 665 3493 js@redgrass.gr

Zero (art)

ZERO: Countdown to Tomorrow, 1950s-60s, 2014

Provo

Provo: Amsterdam’s Anarchist Revolt, 2007

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https://goo.gl/C8z86R

https://goo.gl/suFK3b

https://goo.gl/PequQo


the 3rd floor

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Technical Influence

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the 3rd floor The technical influence as a modernist reflex Juan Solano +694 665 3493 js@redgrass.gr

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• Already with a strong base of contemporary criticism it is important to base it on technique, on its further development. • To this end, four references from the half-century have been selected, especially for their dedication to teaching the intuitions of the advent of the technological revolution. • These four referential figures of modernism, are chosen by the hard work of standardization of the design and it is there where we want to be able to make works, as a direct and well founded reference.

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the 3rd floor

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Ar- Emil Josef Karl min Ruder MĂź- Gerst ner typography ller Hoffman in Brock programs the design mann illustration reticles and context


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Recommended Bibliography Hoffman

Graphic Design Manual, Principles and Practice, 1965 Juan Solano +694 665 3493 js@redgrass.gr

Ruder

Typography, A Manual of Design, 1967

https://goo.gl/Z43gUH

https://goo.gl/RAJWs8

Müller-Brockmann

Grid systems in graphic design A visual communication manual for graphic designers, typographers and three dimensional designers, 1981 Geschichte der visuellen Kommunikation. A History of Visual Communication, 1971 The Graphic Artist and his Design Problems, 1983

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Gerstner

Designing programmes, 1967

Neue Grafik

New Graphic Design/Graphisme Actuel 1958 – 1965

https://goo.gl/86ytvt https://goo.gl/bBhPbf https://goo.gl/HK9AAK

https://goo.gl/2m6733

https://goo.gl/N2KymV


a window

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Cinema


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a window A window will always be a mirror Juan Solano +694 665 3493 js@redgrass.gr

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• The crisis of modern times and the understanding of it deserves social analysis, we believe that cinema takes care of this. • Three films have been selected that turn around that existential terror, consequent that has caused the dehumanization of this society. The emphasis is on the three-point visions. USA, France and UK / Italy, which give a reflection of modern society.

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a window

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Stan- Mi- Jeanley Ku chel- Luc brick ange- Godobsessive lo ard retailer Anto- nouvelle vague (1950) nioni enriching of neorealism

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A Blow Alphaclock- Up ville work julio cortazar orjorge luis borges ange

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anthony burgess

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the 4th floor

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TheRedGrass Juan Solano +694 665 3493 js@redgrass.gr

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Red Grass Studio

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Conceptual Guide

manifest

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Brand idea for RedGrass

Modernism Nostalgia Juan Solano +694 665 3493 js@redgrass.gr

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1. Industrial 2. Modern 3. Evolutive

Our purpose is to change the vulgar conceptions of design by models of order and standardization, through an internal and continuous submission to a constructivist critique. We are committed to helping change our society under the guidelines of aesthetics, coherence and functionality.

4. Geometric 5. Dynamic 6. Sophisticated


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naming

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The Red Grass Design Studio theredgrass.design

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info@theredgrass.design www.theredgrass.design

xristos@theredgrass.design juan@theredgrass.design angelos@theredgrass.design


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TRG •DS

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The Red Grass •Design Studio

trg.design

trg.studio

info@trg.design www.trg.design

xristos@trg.design juan@trg.design angelos@trg.design


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From the ideological to the representative

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MODERNISM = HELVETICA abcdefghijk αβγδεζηθικλ 0123456789 17

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MORE MODERNISM ~ MORE HELLVETICA

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HELVETICA EXTENDED abcdefghijk ABCDEFGHIJK 0123456789 20

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Pataphysics alfred jarry

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HELVETICA EXTENDED

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HELVETICA EXTENDED

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PROMOTIONAL PACK

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Visual vertigo as proposal

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Typographic system Lausanne by Nizar Kazan + Co ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

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Graphic system: from the basic forms to the vertigo

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Sophisticated version

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Typographic system Pf Regal Text Pro + CF Helvetica ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

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