bloggish

Da har jeg finnet ut en del av mine sterke inspirasjoner til mitt arbeid og kreative prosesser når det gjelder dagen´s grafikk. Det meste jeg gjør barer preg av dagen´s moderne visjon og estetikken som går ut på å tenke “outside the box” som noen liker å kalle det. Jeg er veldig opptatt av ting skal se fresh ut , og ikke minst ekte. Radikal men pent er alltid noe jeg prøver å oppnå når jeg setter ned arbeid. Når det gjelder hva som inspirerer meg fra dag til dag kan det variere fra en japansk leketøy butikk skilt til en cover av en moteblad.

Er veldig opptatt av stiler som er å finne i postpunk konsert og album coverarts fra 1976 til 1983 , New York gatekunts , Latin Amerikansk Anarkisme, Japanske skilter, Vintage science fiction plakater, dagen´s flyers til indie og elektronisk musikk rundt i verden, og veldig mye annet som jeg kunne bruke en hel dag på å skrive om.

Store inspirasjon´s ikoner og kilder eller ismer som jeg har skrevet om :

Terry Richardson :

Early life

Richardson was born in New York City, the son of Bob Richardson, a fashion photographer who struggled with schizophrenia and drug abuse. Richardson was raised in Hollywood, a neighborhood of Los Angeles, California, where he attended Hollywood High School; and Ojai, California, where he attended Nordhoff High School. He was shy as a teenager and at some times deemed “completely lacking in social skills”. He played bass guitar in the punk rock band The Invisible Government for 5 years. Richardson began photography when the band broke up and his mother introduced him to Tony Kent, a photographer who hired him as an assistan

Richardson’s photographs often contain graphic sexual subject matter. Richardson has shot advertisements for fashion designers and editorial photographs.

Richardson has produced several award winning campaigns for Diesel, including the ‘Global Warming Ready’ which won a Silver Lion for Print at Cannes Lions International Advertising Festival in 2007.Throughout the years he has also produced several private portraits for the company’s founder, Renzo Rosso. In September 2011, they hosted a mutual book launch together with fashion editor Carine Roitfeld, at Colette in Paris.

His alleged attitude towards models has been criticised by Danish model and filmmaker Rie Rasmussen and others, who have accused Richardson of exploiting and sexually abusing the models he photographs. But model and actress Noot Seear has defended him, pointing out that he does not pressure those he works with into doing anything they are uncomfortable with, while designer Marc Jacobs, although admitting problems within the industry, has said that as a person Richardson is “not ill-spirited.”

Keith Haring :

(May 4, 1958 – February 16, 1990) was an artist and social activist whose work responded to the New York City street culture of the 1980s.

Born in Reading, Pennsylvania, Haring grew up in Kutztown and was interested in art from an early age. From 1976 to 1978 he studied graphic design at The Ivy School of Professional Art, a commercial and fine art school in Pittsburgh. At age 19, Haring moved to New York City, where he was inspired by graffiti art, and studied at the School of Visual Arts.

Futura 2000 :

Futura (formerly Futura 2000); born 1955, is a graffiti artist. He started to paint illegally on New York‘s subway in the early seventies, working with other artists such as ALI. In the early eighties he showed with Patti Astor at the Fun Gallery, along with Keith Haring, Jean-Michel Basquiat, Richard Hambleton and Kenny Scharf. Futura began painting “legally” as the live on-stage backdrop painter for British punk rock band The Clash‘s 1981 European tour. More recently, he is a successful graphic designer and gallery artist. One of the most distinctive features of Futura’s work is his abstract approach to graffiti art. While the primary focus, during the 1980s, of the majority of graffiti artists was lettering, Futura pioneered abstract street art, which has since become more popular. Conversely, his aerosol strokes are regarded as different from those of his peers, as they are as thin as the fine lines achieved only through the use of an airbrush.

Helvetica Fonts :

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.

When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.

In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. It was initially suggested that the type be called ‘Helvetia’ which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn’t be appropriate to name a type after a country. He then decided on ‘Helvetica’ as this meant ‘Swiss’ as opposed to ‘Switzerland’.

Svart og Hvit :

Black-and-white, often abbreviated B/W or B&W, is a term referring to a number of monochrome forms in visual arts.

Black-and-white as a description is also something of a misnomer, for in addition to black and white, most of these media included varying shades of gray. Further, many prints, especially those produced earlier in the development of photography, were in sepia (mainly to provide archival stability), which gave a richer, more subtleshading than reproductions in plain black-and-white, although less so than color.

Movies and animated cartoons. While some color film processes (including hand coloring) were experimented with and in limited use from the earliest days of the motion picture, the switch from most films being in black-and-white to most being in color was gradual, taking place from the 1930s to the 1960s. Even when most studios had the capability to make color films, they were not heavily utilized as tinting techniques and the Technicolor process were expensive and difficult. For years color films were not capable of rendering realistic hues, thus mostly historical films or musicals were made in color and many directors preferred to use black-and-white stock. For the years 1940–1966 a separate Academy Award for Best Art Direction was given for black-and-white movies, along with one for color.
Photography was black-and-white or shades of sepia. Color photography was originally rare and expensive, and again often less than true to life. Color photography became more common in the middle of the 20th century, and has become even more common since. Black-and-white remains a niche market for photographers who use the medium for artistic purposes. This can take the form of black-and-white film or digital conversion to grayscale, with optional digital image editingmanipulation to enhance the results. For amateur use, certain companies such as Kodak manufactured black-and-white disposable cameras until 2009. Also, certain films are produced today which give black-and-white images using the ubiquitous C41 color process.
Television programming was first broadcast in black-and-white. Several Japanese electronics manufacturers in 1969, standardized the first format for industrial/non-broadcast videotape recorders (VTRs) called EIAJ-1 Some color broadcasts in the USA began in the 1950s, with color becoming common in western industrialized nations during the late 1960s and then standard in the 1970s. In the United States, the Federal Communications Commission (FCC) settled on a color NTSC standard in 1953, and the NBC network began broadcasting a limited color television schedule in January, 1954. Color television became more widespread in the U.S. between 1963 and 1967, when the CBS and ABC networks joined NBC in broadcasting full color schedules. Canada began airing color television in 1966 while the United Kingdom established an entirely color system in November 1969 known as PAL. New Zealand began color broadcasting in 1973, and Australia kept airing black-and-white broadcasts until 1975. While no longer used professionally, many consumer camcorders have the ability to record in black-and-white.
Most newspapers were black-and-white until the late 1970s; The New York Times and The Washington Post remained in black-and-white until the 1990s. Some claim that USA Today was the major impetus for the change to color. In the UK, color was only slowly introduced from the mid 1980s. Even today, many newspapers restrict color photographs to the front and other prominent pages since mass producing photographs in black-and-white is considerably less expensive than color. Similarly, daily comic strips in newspapers were traditionally black-and-white with color reserved for Sunday strips.
Color printing has traditionally been more expensive. Sometimes color is reserved for the cover. Magazines such as Jet magazine was either all or mostly black-and-white until the end of the 20th century, when it became all-color. Manga (Japanese or Japanese-influenced comics) are typically published in black-and-white although now it is part of its image. School yearbooks are still entirely or mostly in black-and-white.