amodernpieceofglasswork

[amodernpieceofglasswork]

yuck

feeling so irritated for some reason.

tough monday. or was it tuesday. i cried again at my first therapy session after a year. i need some help.

yes it was tough monday. i went for a brisk walk after dinner, but i feel super tired. i cried about how single i felt. but yet i was doing nothing about it. i want to meet someone that i am crazy about who feels crazy about me.

i did some interesting designs this week and i've been doing well at work, as always. i received some feedback about being more confident. i feel like writing about stuff. but i dont' feel like anymore.

although i receive good feedback at work, i know that i am not just a designer. and i wanted to be appreciate for who i am.

[amodernpieceofglasswork]

geoff mcfetridge

Conceptually, what I’m doing is all the same. The art just gets licensed and becomes corporate projects, and I’ll do logos that relate to drawings. I question if maybe I should make my studio all one room, but the reality is there’s a difference, and I’m interested in how those physical divisions can create a rhythm or a cycle for me between art and design.

[amodernpieceofglasswork]

nonchalant websites

https://eyeondesign.aiga.org/the-era-of-nonchalant-web-design-is-here/

web design research

[amodernpieceofglasswork]

nostalgic arguments

There’s no point in positioning indie sleaze as a more “innocent” time in history, but it does represent a pointed form of resistance against the direction the world is headed in. Renounce the metaverse in favor of shotgunning a warm, scuzzy PBR while listening to Klaxons remixes. If indie sleaze is coming back, long may it reign.

[amodernpieceofglasswork]

funny ipod comments

funny ipod comments circa 2001

[amodernpieceofglasswork]

shopping mallz

mall zine as a place of community building, escape

vintage malls, small malls, neighbourhoody malls. ginza plaza, jurong east entertainment centre, etc.

[amodernpieceofglasswork]

Every creator has different ways of working and not all people are the same, but I always feel like it’s so healthy and also psychologically valuable to be able to have different kind of outlets, so when you can’t do this one thing, then you can pivot and do this other thing for a while. You find that they all inform each other in some way, usually ways you don’t even realize.

Yeah. It must be terribly frustrating for people who are just very good at one thing. I mean, I’ve met a lot of them, just, in the film business. They’re really talented people who sometimes go for three, four, five years without being able to make anything because no one’s interested in their particular thing at the time, even though they’ve proven themselves to be good filmmakers, good writers, or whatever. There’s a look. There’s a body language they all get. They’re fidgety.

[amodernpieceofglasswork]

“This site is updated daily,” read one of the site’s GIFs. There were eleven different font styles and it didn’t use a  grid. It looked active and iterative, a site that reflected the lively nature of a suburban high school experience: not too precious and a little campy, routine but exciting, like your first time driving to the mall.  celebration of web 2.0’s do-it-yourself ethos, and a culmination of online web trends of the time, stylistically similar to Redwood’s own website. It was on MySpace that I first became aware that a website’s design could be punk rock.

Artist Olia Lialina refers to this style as Prof Dr. Style. In her piece, Lialina outlines some of the visual patterns that unify old academic websites and their relevance historically. These websites, she writes, tell the story of the web. “They are actual and timeless. I mean you can open them in Mosaic 1.0 and it will not crash,” she wrote. While each site has unifying factors, the site owners were constantly reimagining what the web should look like, for themselves. others are needlessly stylized in a familiar way.

Limited by the technology of the time, the early internet was vibrant and iterative. Academic sites highlighted both individual and communal experiences in a shared and public digital landscape.

In a web design class that I teach, I often ask students’ about their first memories of being online.

[amodernpieceofglasswork]

But by stripping imagery from its in-situ context, it becomes difficult to grasp the conceptual rationale behind their formal appearance.

Reference images are considered only by era, by subject, or by setting, rather than as a unified amalgamation of ideas and aesthetics.

While curation is undoubtedly an artform in its own right, to borrow critic Fran Leibowitz’s words: a sense of discovery is not equal to invention.

[amodernpieceofglasswork]

When you do talk through the intense pressures of where you are right now, be sure not to discuss it with anyone who hasn’t climbed into a rocket aimed at the white-hot center of the sun before, creatively speaking. Talk to the artists and writers and filmmakers you know who’ve done it. Talk to people who aren’t afraid to discuss the incredibly embarrassing and devastating realms of ego and vanity, of presentation and expression and design, of shame and anxiety and fear in the face of Your Big Moment. I used to be absolutely allergic to these topics and the people who liked them. I shot the vapid squirrels out of the trees and laughed as they bled out.

[amodernpieceofglasswork]

chris ashworth

You’ve previously worked as a Creative Director at Getty Images, Nokia and now Microsoft. Could you talk a bit about the divide between your experimental style and the type of work you do for large companies?

When I left college in 1990, I was lucky enough to be able to do experimental work that paid the bills (just about). Then after Ray Gun ended in late ”98, I had done what I dreamt of doing from a career standpoint and I was at a crossroads.

I chose to stop working by myself. or with one other person and started running a creative team — first at Getty Images — which was something totally alien and new, which I felt was like starting over and super exciting. From that point in 1999, until around 2018 I didn’t really do any personal design work outside of my day job. I lost the itch.

[amodernpieceofglasswork]

ed fella

The wall packed tight with Fella’s 11×17-inch flyers, organized on a grid, seized his attention immediately. They were visually spectacular. They were highly original—the product of a unique mentality. And they were utterly obsessive. Art is always obsessive. It’s the relentlessness of an entirely self-chosen enterprise that helps to set the activity apart as “art.”

I begin an essay about Ed Fella by emphasizing his art side because there is no way to appreciate fully what he was doing in these pieces without addressing both art and design.

Fella used his double-sided, hand-made flyers, which he printed at a local shop, as a space for pursuing his own concerns as a self-styled “exit-level designer.” By this he meant he had reached a point in his design career where he was acting as his own “client,” and no longer had to worry about the routine aspects of communication.

Except he chose not to for the most part and kept the outcome at graphic design scale on a modest printed sheet, which he then gave away to anyone who wanted a copy.

He identifies now and always as a graphic designer. While his later output continues to offer a profound challenge to constrained thinking about what graphic communication can be, he made no attempt to direct this work to a wider audience for art. I asked him recently whether he had a list of his exhibitions. Even the most rudimentary artist’s catalog provides a list; artists build their careers by exhibition. “Sorry to say, I have never kept any comprehensive lists of anything—lectures, exhibitions, publications, awards, etc.,” he replied. “Unlike artists. The typical mindset of a graphic designer from my era: ‘Who could ever possibly want or need it?’” Fella enjoyed two design careers. There was no pressing need for art scene endorsement. (Graphic design as identity vs artist mindset)

I love this essay about ed fella, some bits about originality here and there and particularly the term 'exit designer' and wonder how this can look like for a design in this day and age. i find myself reading and mostly admiring the practice of the (Sadly mostly male) designers from a bygone era. originality. is going to look different for the graphic designer practicing in singapore.

[amodernpieceofglasswork]

Pursuing your truest desires is A DAILY CHALLENGE THAT LASTS A LIFETIME.

[amodernpieceofglasswork]

You two have to dare to be vulnerable with each other even when it’s embarrassing. Instead of insulting each other, you need to say, ‘I want something from you,’ very directly, even when it feels awkward. Because when you practice stating your needs out loud to someone you trust, that’s good for you. I know it’s nearly impossible to do that with new friends and even old friends. That’s why everyone in this family needs to practice it here, where it’s safe, with each other.

[amodernpieceofglasswork]

These things are important for a reason right? why do i collect objects? am i a poser then? When they show up and they know what makes you special, and you’re busy with something else that’s important to you, guess what? what does that even mean? can we all be many things? what is important to me? What doesn't feel right? When a silly kiss didn't go the right way (and what even is the right way)? When my being is reduced to a 'type' or a dynamic? How much intellectual life is now stifled because of fear of what a poorly worded comment would look like if taken out of context and spread on Twitter? but what do you really want at the end of the day? how can i ever be turned on by that shit? came across this article today and i did think, this question again? Fear of the unknown?

https://only-the-questions.glitch.me/

https://uxdesign.cc/the-power-of-seeing-only-the-questions-in-a-piece-of-writing-8f486d2c6d7d

[amodernpieceofglasswork]

I spent 19 years shoving myself into tiny crop tops and forcing myself to go out on awkward and excruciating dates with men because I thought that if they wanted me, then I would eventually want them too.

I thought it was my fault. I am just not good at relationships, I told myself. I am emotionally unavailable. I am not a sexual person. If I just tried harder, then I would find a boyfriend.

It wasn’t until I was with another woman that I realized, for the first time in my life, I wasn’t pretending anymore.

I no longer strategize the way I talk, dress or act to attract my partner. I don’t have to drag myself onto dates or pretend to enjoy myself.

https://temple-news.com/i-followed-the-signs-and-realized-that-i-am-gay/

[amodernpieceofglasswork]