Recently I was lucky enough to get the opportunity to travel to Bucharest, Romania, for work. The trip was so that I could attend an art and design education fair and to talk at a couple of high schools about our courses. This was my first such recruitment trip abroad, and I’m told you often only get to see a city from a car window and in the evening before flying back the next day. Thankfully though, because of the timings of our itinerary, I managed to get a little time to myself to wander the city and soak up Bucharest’s visual culture.
This was my first visit to Eastern Europe, and one, given the timing of the trip, that was over-shadowed by Brexit. Our host, locals and delegates from other countries all had an opinion, with none of them positive. The majority of Romanians I spoke to about it, (and Romania isn’t a country afraid of change, it could be argued), all thought Britain was putting itself in a ridiculous position.
One of the things that struck me about Bucharest from the outset, was that it is a country that is happy to wear its history on its sleeve—it is there in plain sight for everyone to see. Our hotel was very close to Revolution Square, the site of the uprising that saw Nicolae Ceaușescu toppled from power nearly 30 years ago.
Monuments to these tumultuous times have seen better days, and the local anarchists appear to show little respect for those that lost their lives fighting against the dictator. Some locals said the current government is the most corrupt in 100 years, so it appears a struggle continues. Given we were a week away from national celebrations of 100 years of independence for Romania, this is some claim given their more recent history. Continue reading →
As I prepare to give the first talk about my Graphic Commons research project next month, I have started a new Instagram feed to host some of my photography. For those that follow my general Instagram account, some of these images will be familiar to you. Over time, older research photographs will give way to new images as the project develops.
To date I haven’t created a dedicated space for these images, but posting to a specific Instagram feed makes sense within my research as I am able to add category hashtags, which helps to focus my thinking around the images, and more widely, where I may go next with this.
If you are new to Field Readings and unfamiliar with what Graphic Commons is all about, then the basic premise is that it is an investigation into how graphic design imposes itself on shared public environments, and the wider impact this has on society. I have posted to Field Readings about it several times in the past and you can catch up with those here, and there are still some Proposing the Graphic Commons pamphlets left if you would like one. They are free, but for a small postage charge—details are available here.
Proposing the Graphic Commons
A Field Readings Publication | Nigel Ball | August 2017
Numbered—edition of 300
10pp | 134 x 300mm
1750 word text | 7 full-colour photographs
This pamphlet introduces the term Graphic Commons as an identifier with which to discuss graphic design within shared public environments. It sets out why a new linguistic term in contemporary graphic design discourse is required, and situates this as part of wider discussions surrounding urbanism and social responsibility.
It’s good to have a side project on the go. Of the many I have, they usually just languish somewhere on a hard-drive, or occasionally get posted to Instagram without anyone being any the wiser that they are part of a themed project. However, I’ve just launched a Tumblr of Glasses off, a completely pointless exercise where-by I photograph my glasses laid over an image of someone’s face. *
Being shortsighted I have to take my spectacles off to read, and last year when flicking through the August issue of the British Journal of Photography, I noticed that as my glasses lay next to the magazine they almost perfectly fitted the image by Debashish Chakrabarty on the cover. The fact that I shave my hair short made it doubly fitting, and this image formed my social media profile picture for sometime after that. Continue reading →
Distance: 4.2 miles
Steps taken: 9,687
Start time: 09:37
Ground covered: Small town centre, surrounding residential areas and seaside promenade
Any talk of Southwold and psychogeography is duty bound to include a mention of W.G. Sebald’s Rings Of Saturn. I must, however, admit to not being a fan of the book; the tangents and diversions within his writing are too long-winded for me. My drift around Southwold yesterday, as part of my continuing Graphic Commons project, did take me up Gunhill, and past both The Reading Room and The Crown, all of which Sebald discusses in his text. These though, are as much of a mention as Rings Of Saturn will get here.
I completed another Graphic Commons walk this week, and I chose a location I’m not overly familiar with: Lowestoft—the Easternmost point in Britain. Like other Graphic Commons posts here, this serves as an immediate document of my drift, and the photos, (only crudely edited at this stage), will feed into a write-up of the walk I plan to do soon. The writing that accompanies the photos will form a key part of any final outcome, but for now I won’t be posting what I write on Field Readings as that aspect is very much a work in progress.
Walk duration: 2.7 miles
Steps taken: 6,077
Start time: 09:17 (train from Ipswich)
Ground covered: Town centre and side streets onto a main road that divides the town from port. Then on to the Ness, the most Easterly point, and back into town via an industrial area and what is known locally as a ‘score’—a narrow alleyway.
Graphic Interruptions is a photographic project that investigates graphic design in shared environments that has been interrupted in some way. These interruptions can come in many forms and be the result of a variety of sources. What interests me in these observations is how meaning may be changed from that intended by the hand of the originator. This essay, first published in May 2016 as an introduction to a limited edition book of research photographs, sets out to explore the contexts behind the project.
Graphic Interruptions is an ongoing project: for updates follow the @graphic_interruptions Instagram feed or the hashtag #graphicinterruptions on Twitter.
Graphic Interruptions: the essay
As a graphic design educator, practitioner and academic it is difficult for me not to notice items of visual communication that I am surrounded by on a daily basis, especially given the ubiquity of graphic design in our society. Such a broad statement could demand a list of examples to qualify it, but to provide one would make this an endless essay. If proof is needed, a quick glance around your current location should provide many examples of informational or persuasive messages trying to communicate something through the use of type and / or image. Whether these are produced by a creative design studio or by an untutored hand on a home computer, numerous graphic communications insert themselves in to our lives in a pervasive manner.