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The interest from David Carson's fredrag p Rival in Stockholm igr evening was great: the old cinema was nstintill crowded. It was two hours with examples of print and Variable design. But it could have been a truncated evening.
World famous designer David Carson has spent the week in Stockholm to hold workshops with students in the Forsberg School. Yesterday, he delivered lectures to the public, a public that is likely mostly consisted mall of people from the advertising and design industry. The question before the lecture was the relevance of Carson is today. His fame rests heavily on the work he did for magazines like Ray Gun and Beach Culture in the late 80s and early 90s. His personal layouts and typical typographic handling, often cited as an example of dekonstruktivistisk design or called grunge typography, which was groundbreaking in every sense of real sense. In the bottom lay new technical opportunities, with the personal computer in the first place, in the background, perhaps the theoretical design developments that have taken place, particularly during the 80s. Today, almost 20 years later, the possibilities of making this well known and for most designers tried and left land. Instead, mall the Swiss Typography, with breaks and clear rules, have been in vogue for some years. So, why should a designer listen to what Carson had to say? It turned out, however, that Carsons motives both had more depth and greater validity than perhaps mall was to be expected. Via a photo odyssey he guided the audience through his career, from the early works for Transworld skatboard magazine, to commercials for Microsoft. The ID, the different typography management, was there all the way. The message Carson put forward was that it is important that you as a designer position yourself mall in your design. Carson's form has often been interpreted in different ways, a common way to describe his job for Ray Gun is saying that he interpreted the content and presented mall his own interpretation to the reader. Carson became a filter between the transmitter and receiver. What became clear at the seminar yesterday was that it is important to play with the typography, making wild image cropping or to take similar, mall corrugated grip. The important thing is that the design should be based on you and your experience, mall and that together with the brief is what will distinguish the results of your job from the other jobs that design will compete mall with. How was it then with Greger Ulf Nilson? Well, about ten minutes into the preferred, walked mall slide projector with all of Carson's pictures apart. Carson tried to keep their spirits up, but after five minutes it became untenable, and it looked like we would be content with watching the moving material. In the entry Nilson, who most urgently disappears away and quickly returns with a slide projector. And lucky it was, picture viewer then continued for just over an hour.
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