Okay, so my blog title today is jumping the gun slightly, allow to rewind slightly.
Today I had my first day of my new subjects this semester. The first, Propaganda, PR and Misinformation, will get covered in later posts I’m sure.
The second is ‘Digital Media Practice’, which sounds pretty nondescript at first, but it’s all in that last word: Practice.
It’s effectively a module to motivate us to decide what industry we want to aim for and how we’ll achieve employment in that field. The first major outcome is a 5 minute presentation, worth 40% of our final grade, describing how employment in the industry works and how we’ll set about working our way through that system.
It feels a bit vague to say “I want to do graphic design and motion graphics”, but I think it’s better to be multi-talented in today’s industry. Agencies have less and less slots for employees nowadays, so they really have to make those few employees they do have count. Therefor designers need to dabble in a bit of everything to seem employable in modern industry. At least that’s the way I see it.
We’re meant to look at how the design industry is currently dealing with modern economical and technological climates, and I think one great area to look at in design in relation to this is print.
Traditional print is making a comeback in a big way. In fact vintage things are making a comeback in a big way in general (thank you indie hipsters) with things like vinyl records having newly increased sales. It’s a similar case with print, and Time Magazine recently did a brilliant article about ‘indie’ magazines, called ‘Think Ink’, which you can read here.
[Courtest of LittleWhiteLies and The Church of London]
The article itself actually centres around my favourite magazine, a cinema and film publication based in London called LittleWhiteLies. If you’re into design you probably already know about LittleWhiteLies and its creators, a design house called The Church of London.
In many ways you’d think that magazines in general were dead, that people would just want to read publications from the News-stand app on their iPhones, if at all. Yet this saturation of digital media and seperation from physical print seems to have created a newfound appreciation for physical magazines, particularly ones as beautifully crafted as LittleWhiteLies. I think it’s an interesting and unpredicted dynamic within the design industry, and also something I’d like to become involved in as a professional, helping revitalise the tangible side of design.
I’ll also be covering how designers brand themselves and their portfolios for this module, and also looking at some publications I was lucky enough to recieve for Christmas, called Graphic Design: A User’s Manual and How To Be A Graphic Designer Without Losing Your Soul, both written by Adrian Shaughnessy.
Also a big thank you to my big brother and his wife, Ewan and Caro for getting me the first of those two titles AND a subscription to LittleWhiteLies for Christmas and my birthday respectively. What can I say, the folks know what I like!!
The 10 of ’11
5: The Quickening by RememberRemember
Post rock is often considered a tired and recycled genre nowadays. Whilst the focus on crescendo-centred soundscapes was bold and exciting in the 90s, when being pioneered by Tortoise and Godspeed You! Black Emperor it’s been explored to what often feels like it’s fullest extent. People are now finding 10-minute songs without singing boring again, which is frankly pretty tragic.
Well RememberRemember are here to prove those people wrong. Their superb 2008 self-titled debut showcased a refreshingly unique brand of post rock, incorporating a variety of instruments few had explored in the genre previously, and never with the unique focus on hypnotic loops and cyclical melodies explored here. The entire album was effectively the brain-child of Glasgow-based artisan Graeme Ronald, and it exceeded what hordes of bands had attempted before him.
The follow-up to this fantastic record came this year in the form of The Quickening, which somehow manages to improve on everything explored in the debut and add so much more.
Clearly more of a group-produced record it feels more jam-based at many points, and this loose structure helps keep songs as long as 9-minutes feel constantly captivating. The same unusual range of instruments returns, with saxophone and glockenspeil often taking dominance over guitars, giving RememberRemember more character than any other band within the genre for years. Whilst the album isn’t without its weaker moments (particularly the piano-driven songs like single ‘Scottish Widows’) the album as a whole is one of the most vibrant and infectiously toe-tapping released in the genre. Post-rock bands take note…