Showing posts with label graphic design. Show all posts
Showing posts with label graphic design. Show all posts

Tuesday, August 30, 2011

Innsbruck, Austria Street Art - Part 3 of 3


I'm gonna wrap up my blog-series of Innsbruck [Here's Part 1 and Part 2], Austria street art with a potpourri of images that, while lacking a common theme, reflect some of my own aesthetic sensibilities (which admittedly verge toward the absurd). Consider this stenciled kitty playing near the cracks of a sidewalk. Who put it here, and why? Is there a message, or does it simply project the pleasure of placing a soft, cuddly animal in a gritty urban setting? As far as I can tell, much of this stuff seeks to inspire opened-ended questions like these (though beer and boredom no doubt play a role).


I'm no tough guy, and I don't purposely plunge into places where I'm not wanted. At the same time, any seasoned street-art hunter knows that you've sometimes got to skulk along some decidedly unfriendly districts to find stuff that matters. There is, after all, a palpable sense of disenfranchisement that motivates a sprayer's choice to seize property in this manner. That's why I found myself walking alongside an elevated train track while visiting Innsbruck one quiet Sunday morning. All that dismal stone stretching underneath: prime territory for tags, stencils, and the occasionally goofy juxtaposition of a sexually charged advertisement amid a dank enclosure.


Stenciling is the art of repetition, of course. Thus I can rarely travel long during one of my street art searches without spying some version of Banksy's Flower Thrower. This guy is everywhere, an ever-present sign of peaceful revolt transformed into a sort of stuttering shorthand of hip fashion - kind of like those Che portraits you see on t-shirts and the walls of college dorms. That's why I had to smile when I spotted a miniature version sprayed underneath an imposing sign of Innsbruck culture [my rusty Google-Fu translates the plaque into a commemoration for a male choir]. Something about the contest of size and the comparative simplicity of the illegal icon speaks to me.


Let me conclude my Innsbruck series with another motif that captures my attention: spray can mockery of video cameras. These devices are, as you'd imagine, increasingly ubiquitous, constant reminders of our post 9/11 surveillance society. They also signify the inescapable feeling that all public property is somehow privatized. That's one message that many of today's stencil-slingers send, that our shared commons have been supplanted by a simulacrum of public life, a fake agora. These spaces, seemingly open, are closed off to folks who cannot consume them properly; they must be protected against those who would contest their faceless authors. The videocamera is the sleepless sentinel who earns rebuke from the masked tagger. As ever, though, the question remains: does defacing a place reveal anything useful? Or does it merely substitute one injustice for another?



Thursday, August 25, 2011

Innsbruck, Austria Street Art - Part 2 of 3

Following up on yesterday's post, here's some more Innsbruck, Austria street art.




"Our Rise is Your Fall"

"Don't You Want Somebody to Love"


A line from Rumpelstiltskin ("No one knows my little game")


Wednesday, August 24, 2011

Innsbruck, Austria Street Art - Part 1 of 3

During my recent trip to Austria, collecting footage for my forthcoming Salzburg Global Seminar video project, I took a side-visit to Innsbruck. I had no specific agenda for that stop; I just thought it'd be nice to spend a couple days on my own, seeing someplace new. One surprising highlight: the amount of street-art sprayed upon public (and private) spaces. While recent media attention has understandably focused on the upheavals in Greece, it's clear that a sizable contingent of Austrian youth feel disenfranchised and angry; you merely need to read the signs they plaster, stencil, and paint. Of course I found a similar concentration of street art in Vienna during my visit last year, so I guess I shouldn't have been too surprised. Austria is feeling the same pressure that's sweeping through the world. Here's a sample, with more to come:



Anti-fascist Action



"Double-cross the slumlords"

Mordechai Vanunu: a technician who revealed secrets
about Israel's nuclear weapons program


Thursday, October 14, 2010

Signs of Europe

During my summer trip to Germany and Austria, I focused on big ideas and big activities: the Salzburg Seminar, the chance to experience Cafe Culture in Vienna, and the opportunity to deepen my relationship with good friends. But I also concentrated on details such as street art - the kind of stuff that lots of folks tend to ignore.

Along with that ephemera, I also found myself snapping pix of strange and humorous signs (most notably, Austria's surreal Freedom From Fear advertisement for the Polizei). Problem is, I haven't had an excuse to share them. Thus, for no particular reason, here are some goofy signs I saw in Europe. Set your snark detectors on high!

German exclamation points
make child's play look mildly disturbing. Like,
aren't those the girls from The Shining?

Yes, I agree. It's a bad idea to enter the railway facilities.
But why make the guard look like Gort from
The Day the Earth Stood Still?

Maybe it's my Puritan heritage speaking, but sometimes a sign can be
a little too iconic, you know?

Warning: This elevator occupied by slackers with nothing to lose!

Big Brother is watching. Watching you drink!

Not here. Not here. Nope, not here either. And God help you if you stop here!
(Photographs by Andrew Wood)

Tuesday, September 7, 2010

Logos Without Shame


Interested in graphic design? In the mood for some wicked snark?

Take a look at Your Logo Makes Me Barf. There you'll see a furniture store that uses a mustachioed Irish-Canadian taxi driver clown as its mascot, a university that promises "D+ opportunities," and a beauty salon that's actually a booty salon.

You can't make this stuff up. Except, worst of all, someone actually did. Maybe for money!

Oh, and you've got to check out the threats delivered by an interior design company whose lame logo goes under the analytical knife. They're gonna have their lawyer send a "Cease and Assist" letter!

Wednesday, February 3, 2010

Remember Your First Time? (Part 3)

I just had to figure out something called HTML...

My first chance to create a website came when I was an Ohio University grad student, receiving a message from the campus email system. Each student had been allotted a megabyte of space to store web content; they figured we'd like to know. Though written in blandly functional prose, the email nevertheless reminded me of Roy Neary's discovery in Close Encounters of the Third Kind: "This means something. This is important." Hunching over my keyboard, I got busy - wanting to join the revolution I'd read about and begun to see on campus.

I don't remember exactly how I learned enough hypertext markup language (HTML) to get started, but I surely used the Lynx browser that came with OU's telnet-based email system, scouring the web for an online tutorial. Then I set about constructing the creaky beams and girders of my site. One problem with that approach? I had no idea what I was doing. Lynx was (and is) text-only, which meant I could "read" the web but couldn't see it. Only the hours spent playing with Mosaic on campus allowed me to visualize the thing I hoped to build at home.

The process wasn't too hard, though, just a matter of using the Pico editor on the campus PINE system to initialize a public folder and add files to that domain, documents sufficiently "marked up" with HTML to be readable as web pages. The mouse was useless for that job, by the way; Lynx was a keyboard-only app. As I churned through my training, I called the email-system help desk at least once or twice, likely provoking a wry smile among the dedicated campus computer nerds. In 1994, most people still didn't know what the internet was, and I was determined to complete a website that afternoon.

Fiddling around with all those new "tags" (weird stuff like IMG SRC and A HREF) took two or three hours, but somehow I completed my first draft, which included a link to someone's "Under Construction" graphic, just to test the process of adding images to my page. I'd built a website, but I couldn't see how it looked. It was a weird feeling.

Flustered, and not wanting to drive from our rural apartment back to campus, I phoned a pal who lived in Arkansas, reasoning that he - more of a would-be netizen than I - was the only person with easy access to Mosaic's graphics-friendly browser. Practically shivering with anticipation, I asked him to visit my site.

Here's the address, though don't look for it; it's long gone:

http://oak.cats.ohiou/edu/~aw148888

What do you see?

Uh, hold on, it's loading. OK. I see an "Under Construction" sign.

I beamed with pride.

I made that!

It wasn't all that thrilling, I suppose. All the same, the pieces were coming together. The next step was to plan a website around some sort of project, something more useful than a mere "I am here" billboard. The open nature of the web allowed me to build pretty much anything I wanted. There were no gatekeepers and few reviewers, no risk in thinking big.

Since I was interested in utopian literature, I decided to call my site "Andy Wood's Center for Utopian/Dystopian Studies" and then began crafting pages to gather primary sources, cool links, and some pictures of imagined communities throughout history. My page was an ambitious effort - later renamed the "Center for Utopian Studies" - though hardly a professional venture. No matter. CFUS was one of the earliest sites to take an academic look at utopianism. Believe it or not, I received occasional emails from people wanting to work at my "Center."

Along the way, I tried to share my enthusiasm for the web with Jenny. Sure it wasn't scintillating, this clickable internet. It was simply a network designed to deliver knowledge by way of computer (and modem, and browser, and some degree of tech-savvy). At this point, the World Wide Web was the province of a strange few. Yet there was something elemental and profound in its potential. All Jenny needed was to see Mosaic; then she'd know.

I remember driving onto campus one day to visit the computer lab. Among those rows of boxy PowerMacs, I sat Jenny down and made my announcement: "We're going to visit The Louvre." I said it again with flourish, "The Louvre!" With a hush, I typed the web address and we watched the opening graphic slowly assemble itself, line by line. I asked with a proud smile, "So where do you want to go?"

All those links to all those paintings... I figured that Jenny was overwhelmed. She set silently and just looked at the browser and its tiny thumbnail pictures. At last, she rendered her verdict:

"This is it?"

"Of course this is it," I exclaimed, "and it's amazing! It's like watching television for the first time. You're seeing a revolution here. The World Wide Web will change, well, the world!"

Jenny wasn't impressed. And maybe she was a little embarrassed for me, getting all worked up over something so obvious. "I figured that computers could always do this," she explained. And that was it. She'd finally seen the web that I'd been gushing about, but she found it to be less than earth-shattering, if only because it was so inevitable. She asked, what else would computers do but communicate with each other? And pictures? Sure, they'd have pictures - movies, too, right?

After a while, Jenny would admit that this web stuff was actually pretty cool. And in the following year, 1995, she caught enough of the vision to join me in creating Motel Americana, an online homage to roadside Mom and Pop lodging. The site's quirky nature earned plenty of praise in those early years: a notice on USA Today's "cyberlistings" page, a Wall Street Journal shout-out by Walt Mossberg, and even a coveted listing on the original "Cool Site of the Day." We ran Motel Americana (our home page was naturally called "the lobby") for about ten years, managing to publish two books on the topic before moving on to pursue new adventures. It's now an archive that we rarely visit.

In fact, most of my old web pages have disappeared, except for occasional bits and pieces that somehow got saved in the Internet Archive's Wayback Machine [link]. By the time I took a position as a communication studies professor at San José State University, I'd let most of my early pages fade into oblivion. The only real souvenir from those days is a 1996 or '97-era logo from my Center for Utopian Studies. For some reason, an Italian website maintains the image on its servers, like graffiti waiting to be wiped clean.

I'm glad to find some of that history floating around today, because my initial experiences with the web launched a research agenda that led to my current job, indeed to my livelihood. More importantly, those old pieces of detritus remind me of a time when everything - really, no hyperbole here - everything was changing. Many web historians are even willing to lump the early WWW alongside the Gutenberg Bible as an example of transformational technology.

With a broader perspective, we may reveal deeper layers of strata that connect other points of memory, coming to see the web as little more than a middle-ground between broader epochs not yet named. And yet, I still take pleasure in remembering 1994-1995 as a time when I wandered an open frontier of potential and forged worlds of my own on the World Wide Web. That's a memory worth storing.

How often can we say I was there, when anything seemed possible?

Thursday, January 7, 2010

L.A. Dingbats - Part 4

Following up on previous stops in my L.A. Dingbat Tour (1, 2, and 3) here's the fourth installment of my adventures in move-in modernism (ohhh, sounds like the title I might use!). I'll begin with a sign that dingbat owners are fully capable of getting a laugh out of their otherwise bland structures. That's right: This place is called CheeZee Apartments (10617 Woodbine Street). Oh, and take a look at the owner's logo (lower left)...

Another one of my favorite Dingbat names: "Quo Vadis" (1502 Wellesley Avenue). Translated from the Latin, this means (something to the effect of) "Where are you going?" That's an illustration of how some Dingbats work; they transform an otherwise bland situation into something memorable through strategic excess.

Perhaps the goofiest use of strategic excess: A dingbat apartment called "Che" (927 6th Street). Yes, this place comes complete with an icon of the revered and reviled revolutionary. I have no idea why...


Want some more Dingbats? Of course you do! The following are some of my other new favorites, discovered during a delightful December visit that was blessed with clear blue skies and manageable traffic (a rarity in the L.A. metroplex).

11333 Venice Boulevard

5871 South Fairfax Avenue

5871 South Fairfax Avenue (3/4 view)

3550 Jasmine Avenue

3438 Mentone Avenue

1642 Westgate Avenue (dig the faux Asian font, above)

1642 Westgate Avenue (detail view)

1433 9th Street

917 6th Street

917 6th Street (detail view)

Check back tomorrow. I'm posting pix of my absolute favorite Dingbat. I'd waited for a long time to see this one, and it was entirely worth the visit. Beyond that, I'm not sure when I'll return to L.A. But I know I'll keep my eyes open for more Dingbats to share. Any advice on next stops? Please post a comment.

(Photographs by Andrew Wood)

Thursday, August 20, 2009

PowerPoint at 25


Remember the Gettysburg Address PowerPoint? It's the satire of presentation software that distills Lincoln's eloquent call for reverence and transcendence into a mush of empty bullet points and meaningless bar graphs. Who would have guessed it, but the target of that satire, PowerPoint, turned 25 this August. I had no idea it's been one score and five years! I hope bean-man brought a cake.

In honor of this auspicious occasion Max Atkinson presents The Problem with PowerPoint, an article that lays out the most common complaints about this ubiquitous source of sleep-inducing talks. Helpfully, Atkinson formats his remarks in both text and PPT modes. In his critique you'll find old favorites: speakers who read slides verbatim, bullet- and text-laden slides, the droning advance of slide after slide, and the frustration of information overload (the slide into oblivion, one might say).

Me? I'd add one more item to Atkinson's list. PowerPoint is ugly. A handful of exceptions aside, many of its visual and organizational themes are garish or trite or plain boring. The presentations that result are rarely much better. That's one reason I'm a confirmed Keynote nerd. Apple's application just looks better. And good slides lead to good speeches, right?

Well, no.

Indeed, I agree with Atkinson's broader concern (one illustrated by my personal evangelism of Keynote, I must admit): Presentation software invites our emphasis of style style over substance, order over meaning. I can't count the hours I've spent tweaking a graphic or fiddling with a formatting issue, time better spent honing a complex argument or crafting a stronger claim. I've created some pretty cool talks with this software but I can't attest to the brilliance of the ideas I shared.

So why the seeming dependence on PowerPoint, Keynote, and the like? In my line of work it's considered old school -- frankly, ancient -- to simply read a lecture. What about visual-learners? How about chunking information into bite-sized nuggets? Who will speak to the MTV Generation? (Ooops, that's my generation; most of my students are well past that age). These are fair questions, and I don't intend to mock them.

But when I recently saw a Reed College professor read an hour-long lecture, after rewinding my instant recoil at her antediluvian structure I was impressed by the speech's inspiration to listen closely to words, to consider claims carefully and to think deeply about ideas. I was reminded of the work that goes into sharing the right idea, not merely the coolest font.

I'm not ready to abandon Keynote or its lesser cousins yet. Even after 25 years there's too much worthwhile stuff to be found in these tools. Of course maybe I'm just not sure that my words are worth being heard alone. Not yet, at least. Still, I yearn to write a lecture one day that is worth reading word for word. No bullet points. No drop-shadows. No animated transitions. One day I will present that speech. Now I need to earn that audience.

Read Atkinson's article: The Problem with PowerPoint

Monday, August 10, 2009

Pennsylvania Car Guys

While on our New England Diner Tour (story to be posted as I sort through hundreds of pictures) Jenny spotted the ultimate proof that my search for Car Guys is divinely inspired. You remember Car Guys, right? Those angular, solid-color, no-nonsense graphics that typically help lead people to old auto repair shops? Well, it turns out they also lead folks to Jesus, as illustrated by "Car Guy Christ," found in northern Philly. As with all other Car Guys, Car Guy Christ is sharp, simple, and tough; you wouldn't want to pray to Him in a dark alley. Oh, and while Car Guys and Car Gals don't go in for seeing doctors - unless something's broken or gushing - they apparently like chiropractors (see example below from Matamoras, PA). It makes sense, I suppose. Got a problem with your back? Wrench it!

By the way, having found Car Guy Christ and Car Guy Chiropractor I'm sure that my journey will one day take me to the Car Guy Pool Player I saw once but failed to photograph. Any hints on where he might be? Please post a comment.

Friday, April 4, 2008

Car Guys on Route 66

Readers of this blog may recognize my interest in Car Guys, those iconic figures from the roadside that seem drawn by the same artist. I call them "Car Guys" because I've first seen these figures - notable for their thick exterior lines, their impersonal expressions, and their rugged no-nonsense attitudes - on signage for car-related businesses: garages, repair shops, and the like. Here's one I found in Lebanon, MO, a Car Guy who works for Don's Auto Glass:


However, in that same city, I came across a Car Guy (or at least a relative) who does not work in the auto industry. Apparently this guy dreamed of the Old West and found a job selling western goods. I'll still call him a "Car Guy" because of his resemblance to his cousins. But clearly it's time for me to expand the term a bit.


Later in my Route 66 trip I met more traditional Car Guys, those dudes who understand the innards of a new-fangled import. Though they prefer pre-seventies American cars, Car Guys understand more than most the exigencies of globalization, and as long as they can keep a steady paycheck, they're happy to learn new things. This one works for Maxwell Automotive Services in Carthage, MO.


The traditional Car Guy is physically strong. He inspects and observes, of course, but he's ready to lift heavy objects so you don't have to. This Guy, working at Jay's Precision Alignment in Elk City, OK, illustrates the working ethos of his kin.


Finally in Grants, NM, I realized that not all "Car Guys" are men. Spotting a downtown laundromat, I noticed the same thick lines, the same all-business look, the same clear, irony-free life. This "Car Guy" is a woman who knows a thing or two about hard work. Oh, and look in the background. You'll spot a friend. Do they go out after work?


(Photographs by Andrew Wood)