Sublime

Revue Faire (23, 24, 25, 26) available at actualsource.org Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author. This anthology set, volume 7, includes four issues, numbers 23 through 26: n°23 — A portrait: The Master approving of his own work. By Žiga Testen  n°24 — A theater identity: The Schauspielhaus by Cornel Windlin. By Étienne Hervy and Thierry Chancogne n°25 — Exhibition views: Jonathan Monk. By Remi Parcollet  n°26 — Production process: Print on Demand. By Manon Bruet Published by Editions Empire, 2020 Bilingual, in French and English  100 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inches  ISBN: 979-1-09-599117-5 @revuefaire @empire.b.o.o.k.s

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- The problem is one of content. The misconception is that without deep content, design is reduced to pure style, a bag of dubious tricks. In graphic-design circles, form-follows-function is reconfigured as form-follows-content. If content is the source of form, always preceding it and imbuing it with meaning, form without content (as if that were ... See more

Tim Gambell • Fuck Content

Design as literacy

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Designing is not a profession but an attitude – László Moholy-Nagy, Vision in Motion 1947

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“Taking a fresh look at the simplest forms leads to considering fundamental concepts; and reassessing basic concepts of forms opens up the road to reconsider other views.”

–Éva Forgács’ “The Bauhaus Paradox: Creativity, Freedom and the Long-Lasting Legacy of Bauhaus in Hungary” (2020)

Syllabus • How to Fall Down a Rabbit Hole

Graphic design, the discipline of aesthetic production, is facing a crisis as it reconciles with catastrophic effects of network technology on its profitability. Even prolific designers who produce work with a characteristic original aesthetic are quickly copied. As their work is pillaged and reproduced downstream (leftstream), it becomes increasin... See more

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Design as conviction

Design Literacy

Ours is an economically oriented age. In earlier times, world-view was more important. Today, nobody can exist without considering economics: we are concerned with economic form. Also because the need for rational design necessarily follows the previous overemphasis on emotion or historical forms. (Because, like clothes, forms also wear out.)

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Tim Gambell • Fuck Content

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Syllabus • How to Fall Down a Rabbit Hole

Toby Shorin • Report: The Diminishing Marginal Value of Aesthetics

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Joseph Albers • Teaching Form Through Practice (Werklicher formunterricht)