Tag Archives: Design

Experimenting with Squarespace: the restless modern

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Last night I began experimenting with squarespace and may move The Eyeslit-Crypt over to the other side, at some time in the “near future.” The only damaging point is that I’ll probably take a hit in terms of traffic as the number of inbound links will be few and far between. If us “moderns” or “post-moderns,” or whatever we are, can be characterized by our restlessness, then I am a prime exemplar of that restless spirit. That said, as per the title of this article, I use the word “experimenting” on purpose, as I am just testing the waters. If I can achieve the design functionality that I crave here at WordPress, then there is no reason to leave, but if I can’t…

What do you think?

Eyeslit-Crypt on Squarespace

Edit: It was Samuel Beckett who, in Westward Ho, wrote, “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” At this juncture, if I do decide to use squarespace, it will be a supplement to this page.

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Branding and Identity: Three Questions with Håvard Gjelseth

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Håvard Gjelseth: Producer/Director

Håvard Gjelseth is a designer. His company is “This Way Design” based in Oslo, Norway. His website is a grid comprised of images of projects that he has worked on. The grid is then divided by project type: Record Covers, Interactive, Illustration, Identity, Photos, Products, Motion, and Art: This Way Design.

Brand identity is created by way of people like Gjelseth. That is, people able to connect with the client’s needs while bringing to the floor something authentic to themselves. Creating a brand that “feels” right, that resonates with the recipient of the product or company. One look at the “grindcore” series of logos that he did for Norweigan noise-unit Jazkamer and it is apparent how special his vision is. Who else uses the images of twisting branches as a representation of “grindcore” music? Now, that’s successful and emotionally satisfying branding.

I asked Havard Gjelseth three questions and present them to you, unedited. If you are looking to work with design or in the creative field in general, I recommend you pay attention to the words of such a tasteful designer:

1. What factors do you take into account when working with the identity of a company or individual?

For me it is about the balance between what reflects the client’s personality and the unexpected twist to make it stand out. Personally I find it inspiring to tell a story when working with identities – to
find unexpected sources of inspiration; to get closer.

On top of all that of course I take pride in – and love – the handcraft part of the work, either it is photography,pixel-perfectness or the details of the typography.

2. What advice would you give to people looking to work in the design business?

1) It has to be in your heart – or it will show
2) Make sure business doesn’t swallow you, keep doing personal projects
3) Work with people better than you

3. In your opinion, what are some key elements to a successful brand?

I think I’ll answer that by saying what factors in my experience make
bad brands: Fear, complexity and similarity.

On behalf of The Eyeslit-Crypt: Thank you, Håvard Gjelseth.

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Design

welcome

We’ve been guzzling gallons of coffee, while working to re-design the identity of The Eyeslit-Crypt. I think we’ve settled on a nice look, a warm and inviting space for you to sink into and hopefully find something of relevance and/or interest. Nonetheless, we are restless, thus we apologize if this site looks a little different the next time you come here.

We are pawns to CSS stylesheets, mere debutantes. That is to say, we stir the waters and watch the emerging patterns. We burn our eyes out trying to craft an intuitive and simple design. Have you any suggestions or recommendations?

JG

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Touch Virtuosi: Examining Bernard Rudofsky’s Approach to “Floors”

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Andrea Bocco Guarneri has done well to have organized and executed such a thorough book as “A Humane Designer.” Guarnerri presents us with unpublished Rudofsky essays, forgotten design projects, his world travels, his history and more. One need only open the book randomly to find some hitherto unknown story about Rudofsky or project that Rudofsky was involved in.

Today I would like to open up his short work “Variations – On a Floor” as presented in “A Humane Designer.” In this short article which was originally published in Variazioni sometime in the 1930s, Rudofsky calls attention to that most often forgot of space, the floor. For him, the floor is a much overlooked part of the living space. He examines the Italian word “pianta,” which means both “floor” and “the sole of the foot.” For Rudofsky this intertwining of the foot and the floor is crucial. That is to say, he wishes to call attention to the tactile importance of the floor and sees the floor as that point where the human is grounded, not to mention its power to affect one’s perception of relaxation and comfort.

When I spent time in South Korea, my modest apartment had heated floors. That is, I had no gas stove or wall-mounted heating unit, but a steady warmth emanating from the floor. At first I was quite skeptical as to the benefits of this method of heating, but as winter approached and the temperatures dropped, I realized that walking barefoot across a warm floor was pure bliss. The warmth seemed to travel from the feet to the head and to the heart. I rarely if ever felt chilly while in the apartment.

Rudofsky also mentions that the word “pianta” also means “that springs from the soil.” For Rudofsky, the melding of interior and exterior was important. Some of his houses included indoor gardens or rooms with grass instead of carpeting. Rudofsky wished to bring nature back into the living space and not disconnect the inhabitant from the tactile freshness of nature. This means that, the floor need not be flat, but alight with bumps and crevices, plants sprouting and perhaps even flowers blooming.

Rudofsky also writes, “Try to persuade yourselves that the floor is the noblest part of the house. Make beautiful floors and respect them (184).” This attention to creating a living floor, a special floor, for Rudofsky would help to illuminate the living presence of the house or building. Again, the sole of the foot connects with the floor. As I sit here and write this I am quite aware of my wooden floor and its cooling qualities, despite its propensity for accumulating dirt and dust. At this point I can only dream of a Rudofskyesque marble floor devoid of rugs, light pink with blue veins (as he mentions), a gentle refreshing coldness perhaps complimented by a nice pair of slippers.

picture by Subramanyan