{"id":21465,"date":"2014-05-20T05:05:07","date_gmt":"2014-05-20T03:05:07","guid":{"rendered":"https:\/\/www.antipodes.cafe\/others\/david-carson-en-oslo\/"},"modified":"2018-09-11T10:49:24","modified_gmt":"2018-09-11T08:49:24","slug":"david-carson-en-oslo","status":"publish","type":"others","link":"https:\/\/www.antipodes.cafe\/es\/others\/david-carson-en-oslo\/","title":{"rendered":"David Carson en Oslo"},"content":{"rendered":"

Con el objetivo de compartir nuestras referencias vivientes en diversos temas y latitudes, as\u00ed como para compartir tiempo con ellos y seguir aprendiendo, antipodes caf\u00e9 invit\u00f3 esta vez al reconocido dise\u00f1ador gr\u00e1fico David Carson para una visita corta pero activa a Oslo. Este viaje fue coordinado con \u00abCreative Mornings Oslo\u00bb, quienes invitaron a David y Felipe a dar una charla en Grafill (asociaci\u00f3n de dise\u00f1adores gr\u00e1ficos de Noruega) sobre la creatividad y la libertad. Adem\u00e1s de participar en este evento, antipodes caf\u00e9<\/em> organiz\u00f3 dos conferencias magistrales en lugares espec\u00edficos, uno de ellos en Kulturhuset i Oslo dirigida a todo p\u00fablico y la otra en Westerdals ACT Oslo, dirigida a estudiantes de dicha instituci\u00f3n educativa.<\/p>\n

Poco antes de su visita, David Carson fue distinguido por Apple como uno de los 30 dise\u00f1adores m\u00e1s influyentes en sus 30 a\u00f1os de historia. Tambi\u00e9n en 2014 Carson fue nombrado como \u00abAIGA Gold Medalist\u00bb y The Smithsonian Institute lo destac\u00f3 como \u00abuno de los artistas m\u00e1s importantes de Am\u00e9rica\u00bb. Todas estas escarapelas ayudaron a encontrar apoyo y poder volver a verle y compartir experiencias, sabiendo, y de primera mano, que no es para nada un referente en ternura y facilidad de trato, y que su ego empa\u00f1a a su obra… pero vali\u00f3 la pena como siempre y m\u00e1s a\u00fan en un contexto\u00a0donde el dise\u00f1o gr\u00e1fico y los dise\u00f1adores se ahogan en corrientes timoratas como est\u00e9riles, confundiendo claramente legibilidad por comunicaci\u00f3n. Y no puede ser por falta de referencias.<\/p>\n

\n
Organizaci\u00f3n<\/span><\/h5>\n

antipodes caf\u00e9 +\u00a0Kulturhuset i Oslo<\/p>\n

Poster\/tape<\/span><\/h5>\n

antipodes caf\u00e9<\/p>\n

Photo\u00a0\u00abwipe out\u00bb<\/em><\/span><\/h5>\n

\u00a9 Marcelo D\u00edaz<\/p>\n

\n
Support\u00a0<\/span><\/h5>\n

\u00a0<\/p>\n

\n
Gracias<\/span><\/h5>\n

Creative Mornings Oslo
\nGrafill
\nMarcelo D\u00edaz<\/p>\n

\n

David Carson<\/h3>\n

Texas, USA, 1954.<\/h5>\n

davidcarsondesign.com<\/a><\/p>\n

\u00abRecognized for breaking the rules, nearly untethering legibility from communication and inspiring a generation of young designers with his bold understanding of cultural style.<\/em><\/p>\n

Typography spun into a whirling end-of-century gyre in the 1990s, and David Carson was at its center. The incendiary pages of Ray Gun magazine inflamed the eyes and minds of countless young designers who sought to tap into the freedoms unlocked by his bold new style. Carson shaped everything in his path for his own purposes, endlessly contorting type, layout and grid into new configurations and abandoning design\u2019s established truths of order and legibility. He represented a new breed of visual author.<\/em><\/p>\n

In 1980, Carson was a 26-year-old high school teacher in southern Oregon. He received a flyer in the mail\u2014intended for high school seniors\u2014for a summer program in graphic design at the University of Arizona in Tucson and decided to attend. The workshop was run by Jackson Boelts, who became a mentor and lifelong friend. A few years later Carson enrolled in a summer workshop in Rapperswil, Switzerland, where instructor Hans-Rudolf Lutz challenged him to work experimentally and to find reasons for shaping form in particular ways.<\/em><\/p>\n

By the early 1990s, digital tools were colliding with Modernism\u2019s exploded vocabulary. Designers could now make and manipulate form through direct action in real time. QuarkXPress and PageMaker were Carson\u2019s primary medium of visual authorship, compelling him to work faster and to try more things in a shorter time. The new tools enabled the iterations and accidents that are crucial to experimental work, but they were not magic pills for instant talent. Carson explains, \u201cIt\u2019s the basic decisions\u2014images, cropping and appropriate font and design choices\u2014that make design work, not having the ability to overlap or play with opacity.\u201d<\/em><\/p>\n

In 1995, Carson published a monograph called The End of Print. The title came from a comment made by British designer Neville Brody during a joint interview in London. Brody had said that Ray Gun represented \u201cthe end of print\u201d; everything with type and design had been tried, so it was time to move on to a different medium. Print was spent. At the time, Carson didn\u2019t fully agree with Brody\u2019s comment, feeling that another magazine would soon ignite the collective passions of designers and readers. Looking back in 2014, Carson feels that those seething conversations about form and function in the 1990s never did rekindle, especially not in the medium of magazines. He explains, \u201cGraphic design seems a bit stagnant now, and a lot of people and ideas have gone to other areas of expression.\u201d<\/em><\/p>\n

Although Carson has produced everything from books and ad campaigns to videos, magazines were the crucible of his style. The big, cheap pages and open-ended seriality of the magazine offered an ideal arena for experimentation over time. His first gig as an art director was for Transworld Skateboarding (1984\u20131987), followed by Transworld Snowboarding and the surfing magazine, Beach Culture. When publisher Marvin Scott Jarrett launched Ray Gun in 1992, he invited Carson to be the founding art director\u2014the magazine became more famous as a platform for Carson\u2019s visual voice than for its music content.<\/em><\/p>\n

From 1995 to 2003, Carson ran his own studio in New York City, working with diverse clients in the worlds of fashion, entertainment and beyond, including Nike, Toyota, Quiksilver and MTV. Since then, he has served in a variety of positions, including creative director for the Bose Corporation. His legendary disregard for readerly conventions has made him a hero to some and an agent of ugliness to others.<\/em><\/p>\n

Carson forged graphic design into a cultural force and a medium with its own shape and direction. Although design swims in the stream of commerce, it lives there, in Carson\u2019s work, as its own strange animal.<\/strong><\/em>\u00ab*<\/a>\u00a0(AIGA, 2014)<\/p>\n","protected":false},"author":11,"featured_media":10030,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"locations":[507,505],"listing_categories":[460],"class_list":["post-21465","others","type-others","status-publish","has-post-thumbnail","hentry","locations-norway-es","locations-oslo-es-2","listing_categories-otherprojects-es"],"cmb2":{"listing_others_general":{"listing_title":"David Carson en Oslo","listing_description":"Con el objetivo de compartir nuestras referencias vivientes en diversos temas y latitudes, as\u00ed como para compartir tiempo con ellos y seguir aprendiendo, antipodes caf\u00e9 invit\u00f3 esta vez al reconocido dise\u00f1ador gr\u00e1fico David Carson para una visita corta pero activa a Oslo. Este viaje fue coordinado con \"Creative Mornings Oslo\", quienes invitaron a David y Felipe a dar una charla en Grafill (asociaci\u00f3n de dise\u00f1adores gr\u00e1ficos de Noruega) sobre la creatividad y la libertad. Adem\u00e1s de participar en este evento, antipodes caf\u00e9<\/em> organiz\u00f3 dos conferencias magistrales en lugares espec\u00edficos, uno de ellos en Kulturhuset i Oslo dirigida a todo p\u00fablico y la otra en Westerdals ACT Oslo, dirigida a estudiantes de dicha instituci\u00f3n educativa.\r\n\r\nPoco antes de su visita, David Carson fue distinguido por Apple como uno de los 30 dise\u00f1adores m\u00e1s influyentes en sus 30 a\u00f1os de historia. Tambi\u00e9n en 2014 Carson fue nombrado como \"AIGA Gold Medalist\" y The Smithsonian Institute lo destac\u00f3 como \"uno de los artistas m\u00e1s importantes de Am\u00e9rica\". Todas estas escarapelas ayudaron a encontrar apoyo y poder volver a verle y compartir experiencias, sabiendo, y de primera mano, que no es para nada un referente en ternura y facilidad de trato, y que su ego empa\u00f1a a su obra... pero vali\u00f3 la pena como siempre y m\u00e1s a\u00fan en un contexto\u00a0donde el dise\u00f1o gr\u00e1fico y los dise\u00f1adores se ahogan en corrientes timoratas como est\u00e9riles, confundiendo claramente legibilidad por comunicaci\u00f3n. Y no puede ser por falta de referencias.\r\n\r\n

\r\n\r\n
Organizaci\u00f3n<\/span><\/h5>\r\nantipodes caf\u00e9 +\u00a0Kulturhuset i Oslo\r\n
Poster\/tape<\/span><\/h5>\r\nantipodes caf\u00e9\r\n
Photo\u00a0\"wipe out\"<\/em><\/span><\/h5>\r\n\u00a9 Marcelo D\u00edaz\r\n\r\n
\r\n\r\n
Support\u00a0<\/span><\/h5>\r\n\u00a0\r\n\r\n
\r\n\r\n
Gracias<\/span><\/h5>\r\nCreative Mornings Oslo\r\nGrafill\r\nMarcelo D\u00edaz\r\n\r\n
\r\n\r\n

David Carson<\/h3>\r\n

Texas, USA, 1954.<\/h5>\r\ndavidcarsondesign.com<\/a>\r\n\r\n\"Recognized for breaking the rules, nearly untethering legibility from communication and inspiring a generation of young designers with his bold understanding of cultural style.<\/em>\r\n\r\nTypography spun into a whirling end-of-century gyre in the 1990s, and David Carson was at its center. The incendiary pages of Ray Gun magazine inflamed the eyes and minds of countless young designers who sought to tap into the freedoms unlocked by his bold new style. Carson shaped everything in his path for his own purposes, endlessly contorting type, layout and grid into new configurations and abandoning design\u2019s established truths of order and legibility. He represented a new breed of visual author.<\/em>\r\n\r\nIn 1980, Carson was a 26-year-old high school teacher in southern Oregon. He received a flyer in the mail\u2014intended for high school seniors\u2014for a summer program in graphic design at the University of Arizona in Tucson and decided to attend. The workshop was run by Jackson Boelts, who became a mentor and lifelong friend. A few years later Carson enrolled in a summer workshop in Rapperswil, Switzerland, where instructor Hans-Rudolf Lutz challenged him to work experimentally and to find reasons for shaping form in particular ways.<\/em>\r\n\r\nBy the early 1990s, digital tools were colliding with Modernism\u2019s exploded vocabulary. Designers could now make and manipulate form through direct action in real time. QuarkXPress and PageMaker were Carson\u2019s primary medium of visual authorship, compelling him to work faster and to try more things in a shorter time. The new tools enabled the iterations and accidents that are crucial to experimental work, but they were not magic pills for instant talent. Carson explains, \u201cIt\u2019s the basic decisions\u2014images, cropping and appropriate font and design choices\u2014that make design work, not having the ability to overlap or play with opacity.\u201d<\/em>\r\n\r\nIn 1995, Carson published a monograph called The End of Print. The title came from a comment made by British designer Neville Brody during a joint interview in London. Brody had said that Ray Gun represented \u201cthe end of print\u201d; everything with type and design had been tried, so it was time to move on to a different medium. Print was spent. At the time, Carson didn\u2019t fully agree with Brody\u2019s comment, feeling that another magazine would soon ignite the collective passions of designers and readers. Looking back in 2014, Carson feels that those seething conversations about form and function in the 1990s never did rekindle, especially not in the medium of magazines. He explains, \u201cGraphic design seems a bit stagnant now, and a lot of people and ideas have gone to other areas of expression.\u201d<\/em>\r\n\r\nAlthough Carson has produced everything from books and ad campaigns to videos, magazines were the crucible of his style. The big, cheap pages and open-ended seriality of the magazine offered an ideal arena for experimentation over time. His first gig as an art director was for Transworld Skateboarding (1984\u20131987), followed by Transworld Snowboarding and the surfing magazine, Beach Culture. When publisher Marvin Scott Jarrett launched Ray Gun in 1992, he invited Carson to be the founding art director\u2014the magazine became more famous as a platform for Carson\u2019s visual voice than for its music content.<\/em>\r\n\r\nFrom 1995 to 2003, Carson ran his own studio in New York City, working with diverse clients in the worlds of fashion, entertainment and beyond, including Nike, Toyota, Quiksilver and MTV. Since then, he has served in a variety of positions, including creative director for the Bose Corporation. His legendary disregard for readerly conventions has made him a hero to some and an agent of ugliness to others.<\/em>\r\n\r\nCarson forged graphic design into a cultural force and a medium with its own shape and direction. Although design swims in the stream of commerce, it lives there, in Carson\u2019s work, as its own strange animal.<\/strong><\/em>\"*<\/a>\u00a0(AIGA, 2014)","listing_featured_image":"https:\/\/www.antipodes.cafe\/wp-content\/uploads\/2014\/05\/ae14_dc-oslo.jpg","listing_featured_image_id":""},"listing_others_banner":{"listing_banner":"banner_featured_image","listing_banner_image":"","listing_banner_image_id":"","listing_banner_video":"","listing_banner_video_id":"","listing_banner_video_embed":"","listing_banner_map_zoom":"12","listing_banner_map_type":"SATELLITE","listing_banner_map_marker":""},"listing_others_gallery":{"listing_gallery":""},"listing_others_video":{"listing_video":"https:\/\/youtu.be\/MoDSczWTxos?t=50s"},"listing_others_listing_category":{"listing_listing_category":["otherprojects-es"]},"listing_others_location":{"listing_address":"","listing_locations":["norway","oslo"],"listing_map_location":{"address":"Kulturhuset, Youngstorget, Oslo, Norway","latitude":"59.914423010653735","longitude":"10.749365693254049"},"listing_map_location_polygon":"","listing_street_view":"","listing_street_view_location":{"latitude":"37.81240457820649","longitude":"-122.47607752956912","zoom":"0.8993960590615944","heading":"-18","pitch":"25"},"listing_inside_view":"","listing_inside_view_location":{"latitude":"37.81240457820649","longitude":"-122.47607752956912","zoom":"0.8993960590615944","heading":"-18","pitch":"25"},"listing_venue":""},"listing_others_contact":{"listing_email":"","listing_phone":"","listing_website":"","listing_person":"","listing_address":""},"listing_others_date":{"listing_date":"1400709600"},"listing_others_time":{"listing_time":""},"listing_others_date_interval":{"listing_date_from":"","listing_date_to":""}},"_links":{"self":[{"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/others\/21465","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/others"}],"about":[{"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/types\/others"}],"author":[{"embeddable":true,"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/comments?post=21465"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/media\/10030"}],"wp:attachment":[{"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/media?parent=21465"}],"wp:term":[{"taxonomy":"locations","embeddable":true,"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/locations?post=21465"},{"taxonomy":"listing_categories","embeddable":true,"href":"https:\/\/www.antipodes.cafe\/es\/wp-json\/wp\/v2\/listing_categories?post=21465"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}