Issue #1

Tech-
Check
FEATURING:

perpetuallytiredthen
ittygrittycaffei
nepoweredragemach
ineweaponsofchoice?ge
toffthep
hone!
 oh my god and holy heck, how are we using
so much tech? why are we spending so many-
hours online, what are we doing with all
Perpetually
contents tired
4
get off the phone!
that time? phones, computers, tablets and
screens, we are morphing out of our bodies
and into digital dreams.is being constantly
connected to endless streams making us all

8
mindless drones, slaves to the machines?
cranky, tired, exhausted, insane, is this
our faults or could tech be to blame? more
connected than ever as part of a world-
wide clan, but never more further apart;is
The Nitty-

12
this part of their plan? is this the begin-
Gritty ning of the digital takeover or is it time
for a lifestyle makeover? could this simply
be the next step in human evolution, or it
is time for an anti-tech revolution? un-
weapons of
6
choice?
happy with but lost without, we are a peo-
ple imprisoned - of that there is no doubt.
do you own your tech or does it own you?
theres a question for you to think through.
an array of devices that promise to serve
CAFFEINE POWERED and to please, slowly bringing our humanity

20
RAGE MACHINE to its knees. look beyond the zeros and the
ones, beyond the mask, beyond convenience
and comfort; that is the task.question re-
ality, reflect and ponder for a sec; is
your life in some need of a tech- check?
 As the semester progresses
the tiredness compounds...
“i am tired
postmodernism is not a description of a style;
it is the term for the era of late capitalism
starting after the 1940’s and realized in the
1960’s with neo-colonialism, the green revolu-
adam rowe is
tion, computerization and electronic informa-
tion.
Postmodernism didn’t have much impact on graphic
design until the middle of the 1980s. Initially,
many designers thought it was just undisciplined
Perpetually
self-indulgence. A hodgepodge of styles, with no
more
unifying ideals or formal vocabularies, dreamed
up by students in the new graduate programs.
But in fact it was a new way of thinking about
one that instigated a new
design,
way of designing.
Tired
Designers began to realize that as mediators
than
of culture, they could no longer hide behind
the “problems” they were “solving.” One could
describe this shift as a younger generation
of designers simply indulging their egos and
refusing to be transparent (like a
crystal goblet). Or you could say they
were acknowledging their unique position in
the culture, one that could have any number of
political or ideological agendas.
The vernacular, high and low culture, pop
i am happy”
culture, nostalgia, parody, irony, pastiche,
deconstruction, and the anti-aesthetic represent
some of the ideas that have come out of the 80s
and informed design practice and theory of the
90s. After the 80s designers may still choose
to be anonymous, but they will never again be
considered invisible.
We are part of the message in the media.
In the postm odern er a we are not
mediators of information, but individuals
4 5
who think creatively and visually about our
Although Jan Tschichold has been celebrated
as an early proponent of m odernist
asymmetric typography, designers have
come to respect his
increasingly
earlier calligraphic and latter
classical work.Tschichold’s body of
work is an important precedent for today’s
postmodern typography in that it represents
diversity in ideology and style.
t was one that ranged from craft-based
calligraphy and machine-age modernism to
neoclassicism.Another important precursor
to postmodernism was W. A. Dwiggins, a
designer who translated traditional values
and aesthetics into a modern sensibility.
He was a tireless experimenter with
form, who tookinspiration for his work
from eastern cultures, history,and new
technology. Unlike Tschichold, Dwiggins
neverembraced the Modernist movement
nor was he deifined by it. However,
he was absolutely committed to beinga
modern designer. their work wasinitially
misrepresented.
It was a typically postmodern strategy
for a work to call attention to the flaws
and artifice of its own construction.But
I never thought of it as being
illegible, or evendifficult to
read. I have never been very interested
inpushing the limits of legibility for
its own sake. Absoluteclarity, or extreme
just distortion, is too simplistic a goal,
andit is ground that has already been well
covered. I wantedto explore the complex
possibilities that lie somewherein between
and attempt to do something original or
aleast unique.
“stolen
R e s i s t a n ce i s n o t f u t i l e ;
resistance is a very successful
advertising strategy. The advertising
world co-opted our desire for resistance and
has been refining it in pop culture since the
60s. After the 60s, advertising was never the
same. It was the end of the men in the gray
flannel suits. To this day ad agencies are full
of middle-aged “creative directors” who talk
and dress like twenty year-olds.
They exploit an endless supply of new, cutting
moments of sleep
edge design talent to sell the same old stuff.
By comparison, graphic designers were less
successful at using resistance as a vehicle for
changing attitudes in their profession in the
most designers did
80s. That is because
not want anything to challenge
their continuity with a design canon
they had so recently constructed. The only
thing that the design establishment in the 80s
was interested in resisting was new ideas.
are few
That is why ultimately the strategies of
resistance to Modernist dogma and the critique
of the status quo, from the late 80s, only led
to what is currently referred to as the ugly,
grunge, layered, chaotic, postmodern design of
the 90s. Only now there is little opposition
and no resistance to what is an empty stylistic
beginning been intertwined with
What I had hoped would
cliché.
pop commercialism, but that does not
be an ideological victory over mean that our values and ideals, or the lack
the tyranny of style mongering, of them, have to be dictated by the commercial
devolved into a one-style-fits-all marketplace. Just because thinking about design
and far between”
commercial signifier for everything that is
youth, alternative, sports, and entertainment-
oriented. The “official style of the hip and
cool” will probably be with us for some time,
as it is easy to do and little has been done
to establish any standard of quality.
6
One of the reasons Jan Tschichold went back to
traditional center axis typography was because
when it was done by less skilled designers, he
thought it resulted in less offensive work than
when the more demanding asymmetrical modernist
typography was poorly done. Unlike traditional
typography
or Modernist typography,
of the postmodern era has not
up to this point been clearly
articulated, much less canonized, making
that type of qualitative judgment difficult at
best. This situation has led some designers to
simply dismissing it all as garbage.
Even though the current publishing craze may be
helpful as self-promotion for a few designers
and a design aid for the creatively challenged,
it may have done more damage than good to
thepromotion of typography as
a sophisticated or discriminating
craft. Fortunately, on a much smaller scale,
some critical and historical ideas are still
being disseminated, in spite of the smaller
financial rewards. Some design history,
criticism and theory has managed to get
published in recent years, but compared to the
picture books, graphic designers aren’t buying.
The practice of graphic design has from the
Perhaps the Internet will simply co-opt graphic Gr aphic d esig n’s ephe m er al n ature h as
design, incorporating it into its operating practically disqualified it from serious
system. Maybe graphic design will cease to consider ation as an important cultur al
isn’t a popular activity doesn’t mean it isn’t exist as a discreet practice and just become practice. For most non-designers, historical
an important one. another set of options on the menu. Or is graphic design is valued as nostalgic ephemera,
Graphic designers love new things, and new
graphic design just a lubricant that keeps while contemporary design is
everything on the info highway moving - are
things love graphic designers - like fire
we just greasing the wheels of capitalism
viewed as sometimes amusing,
loves wood. Graphic designers loved the new
with style and taste? If graphic designers but mostly annoying, advertising.
international corporate culture. But it was the Graphic design is not generally accepted as
play a major role in building the bridge to
advertising industry that ultimately won the having the cultural significance of other less
partnership with multi-national corporations.
will they be
the twenty-first century,
ephemeral forms of design like architecture,
7
Then graphic designers loved the new desktop recognized for their efforts? Do industrial design, and even fashion.
publishing. But it took away a lot of our low end you remember typesetters?
 Unlimited calls means

get
Emma Horbury needs to
I just talk for too long!
There have never been as many
books published on contemporary
“The most frustrating part of
the week was being in Rod
typography as in the past few years.
Laver Arena. The mobile phone
Ironically, in spite of all these new
signal gets jammed in there!”
type books, there has never been
less of a consensus as to what is
This new cornucopia of type
of interest or value in typography.
books is not the result of a sudden

off
“Going to the Katy Perry
concert with my daughter
meant much more camera
time on my phone”
Although these books are fun to
look at, you would be hard pressed
to find any significant discussion,
criticism, debate, or even
explanation in most of them. They
renaissance in typography, but the
result of the publishing industry’s
ability to recognize and develop a
commercial market. They have no
interest in “separating the wheat
from the chaff,” so all this new work
has just become “more grist for the
publishing mill.”
“I spent 6.03 hours
on my phone in

the phone!
include everything except critical, one week!”
informative, and qualitative analysis.

8 9

“Netflix on my phone is
a great way to burn time
when waiting for the
kids at school pickup”
One of the reasons Jan Tschichold
went back to traditional center axis
typography was because when it
was done by less skilled designers,
he thought it resulted in less offensive
work than when the more demanding
asymmetrical modernist typography
was poorly done. Unlike traditional or
Modernist typography, typography
of the postmodern era has not been
clearly articulated.
“Phone calls, Facebook
and the Apple watch
app make up 53% of my
phone usage!”
Even tthough the current publishing
craze may be helpful as self-promotion
for a few designers and a design aid
for the creatively challenged, it may
have done more damage than good
to the promotion of typography as a
sophisticated or discriminating craft.
10
Fortunately, on a much smaller scale,
some critical and historical ideas are
still being disseminated, in spite of
the smaller financial rewards. Some
design history, criticism and theory
has managed to get published in
recent years, but compared to the
picture books, graphic designers
aren’t buying it.
“I really do rely on my
phone to connect me to
the rest of the world!”
The practice of graphic design has
from the beginning been intertwined
with pop commercialism, but that
does not mean that our values and
ideals, or the lack of them, have
to be dictated by the commercial
marketplace. Just because thinking
about design isn’t a popular activity
doesn’t mean it isn’t an important
one. But maybe this time we should
stop and ask: “Does the Internet love
graphic design?”
“Maybe the time has
come to unfriend my
put down the phone!
technology...”
11
 complexities, contradictions, and possibilities. It is complexities, contradictions, and possibilities. It is
an unwieldy and troublesome paradigm. However, I still an unwieldy and troublesome paradigm. However, I still
think it is preferable to the reassuring limitations of think it is preferable to the reassuring limitations of

ONE WOMAN, ONE WEEK AND

Modernism. Modernism.

Unfortunately most graphic designers are Unfortunately most graphic designers are
currently not up to the challenge. A few currently not up to the challenge. A few

amanda swanson dishes 54 HOURS OF SCREEN TIME

postmodern ideas like deconstruction, multiculturalism, postmodern ideas like deconstruction, multiculturalism,
complexity, pastiche, and critical theory could be complexity, pastiche, and critical theory could be
useful to graphic designers if they could get beyond useful to graphic designers if they could get beyond
thinking about their work in terms of formal categories, thinking about their work in terms of formal categories,
technology, and media. technology, and media.

Graphic design’s ephemeral nature has practically Graphic design’s ephemeral nature has practically
disqualified it from serious consideration as an disqualified it from serious consideration as an important
important cultural practice. For most non-designers, cultural practice. For most non-designers, historical

THERE ONCE WAS

The
historical graphic design is valued as nostalgic graphic design is valued as nostalgic ephemera, while
ephemera, while contemporary design is viewed as contemporary design is viewed as sometimes amusing, but
advertising. advertising. Graphic design
is AnotLITTLE BIRDIE,
sometimes amusing, but mostly annoying, mostly annoying,
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as having the cultural significance of cultural significance of other less
other less ephemeral forms of design like AS BUSY
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forms of design like architecture,
architecture, industrial deT MUCHsign, industrial deT MUCHsign, and even fashion.
and even fashion. This is due largely to BEE,
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to its short
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ubiquity. Will the even more ephemeral COMPUTER,
even more ephemeral andMOBILE,
span and its disposable ubiquity. Will the
ubiquitous media

theTABLET ANDgreater
TV.awareness and
and ubiquitous media of film titles, of film titles, television graphics, and

Nitty
television graphics, and the Internet Internet create
create greater awareness and respect for respect for graphic design, or will such
graphic design, or will such familiarity familiarity only breed contempt?
only breed contempt?
New media is a practical embodiment of the theoretical
New media is a practical embodiment of the theoretical paradigm established by poststructuralism. It was an idea
paradigm established by poststructuralism. It was an idea about language, communication and meaning before it was
about language, communication and meaning before it was ever a technology. even though somehow the old consumers
ever a technology. even though somehow the old consumers do. Curiously, the new media has not yet developed a
do. Curiously, the new media has not yet developed a new theoretical paradigm, or even a new lexicon, to
new theoretical paradigm, or even a new lexicon, to the new
comprehend this ideological shift. Ironically,

Gritty
the
comprehend this ideological shift. Ironically, buzzword is a familiar old standby from
new buzzword is a familiar old standby grammar school art classes - it’s all a
from grammar school art classes - it’s all matter of “intuition.”
a matter of “intuition.”
SHE USED HER BIRDIE SPENDS LOTS

complexities, contradictions, and possibilities.

raphic design’s ephemeral nature has practically

like architecture, industrial deT

respect

by

paradigm, or even a new lexicon, to comprehend

It is an unwieldy and troublesome paradigm.

graphic

the challenge. A few postmodern ideas like

econstruction, multiculturalism, complexity,
astiche, and critical theory could be useful

isqualified it from serious consideration as

s nostalgic ephemera, while contemporary

n important cultural practice. For most non-
esigners, historical graphic design is valued

esign is viewed as sometimes amusing, but

advertising. Graphic

having the cultural significance of

even more ephemeral and ubiquitous

media of film titles, television
graphics, and the Internet create

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poststructuralism. It was an idea about

language, communication and meaning before
hinking about their work in terms of formal

the old consumers do. Curiously, the new

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designers are currently not up to

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other less ephemeral forms of design

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due largely to its short life-span
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for graphic design, or will such

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uzzword is a familiar old standby

rom grammar school art classes -
COMPUTER TO STUDY, OF TIME USING TECH

t’s all a matter of “intuition.”

familiarity only breed contempt?

established
LEARNING NEW AS WE CAN AGREE;
reassuring limitations of Modernism.

this ideological shift. Ironically,

ategories, technology, and media.
FACTS, HER MOBILE BUT WHEN IS SHE

and
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TO COMMUNICATE, MOST ACTIVE? READ

paradigm
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HER TV TO RELAX. ON TO SEE...
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12 13

theoretical
annoying,

greater
ostly

the
 early bird o r night owl?
complexities, contradictions, and possibilities. It is

media of film titles, television graphics,

Will the even more ephemeral and ubiquitous
life-span and its disposable ubiquity.
fashion. This is due largely to its short
architecture, industrial design, and even
other less ephemeral forms of design like
as having the cultural significance of
Graphic design is not generally accepted
sometimes amusing, but mostly annoying, advertising.
nostalgic ephemera, while contemporary design is viewed as
non-designers, historical graphic design is valued as
consideration as an important cultural practice. For most
nature has practically disqualified it from serious
technology, and media. Graphic design’s ephemeral
thinking about their work in terms of formal categories,
useful to graphic designers if they could get beyond
complexity, pastiche, and critical theory could be
postmodern ideas like deconstruction, multiculturalism,
currently not up to the challenge. A few
Unfortunately most graphic designers are

Modernism.
think it is preferable to the reassuring limitations of
an unwieldy and troublesome paradigm. However, I still
complexities, contradictions, and possibilities. It is
is an unwieldy and troublesome paradigm. However,

like deconstruction, multiculturalism, complexity,

their work in terms of formal categories, technology,

Graphic design’s ephemeral nature has practically

disqualified it from serious consideration as an
important cultural practice. For most non-designers,
historical graphic design is valued as nostalgic
ephemera, while contemporary design is viewed as
sometimes amusing, but mostly annoying, advertising.

fashion. This is due largely to its short life-span and

ubiquitous media of film titles, television graphics,

and the Internet create greater awareness and
complexities, contradictions, and possibilities. It

I still think it is preferable to the reassuring

Unfortunately most

designers if they could get beyond thinking about

paradigm established by poststructuralism. It was an

idea about language, communication and meaning before

new lexicon, to comprehend this ideological shift.

the new buzzword is a familiar old
graphic designers are currently not
up to the challenge. A few postmodern ideas
pastiche, and critical theory could be useful to graphic

Graphic design is not generally accepted as having the

cultural significance of other less ephemeral forms of
design like architecture, industrial design, and even

its disposable ubiquity. Will the even more ephemeral and

respect for graphic design, or will such

New media is a practical embodiment of the theoretical

it was ever a technology. even though somehow the

old consumers do. Curiously, the new media has not
yet developed a new theoretical paradigm, or even a

standby from grammar school art classes -

an unwieldy and troublesome paradigm. However, I still Unfortunately most graphic designers are
think it is preferable to the reassuring limitations of currently not up to the challenge. A few
Modernism. postmodern ideas like deconstruction, multiculturalism,
complexity, pastiche, and critical theory could be

it’s all a matter of “intuition.”

Unfortunately most graphic designers are useful to graphic designers if they could get beyond

familiarity only breed contempt?

currently not up to the challenge. A few thinking about their work in terms of formal categories,
postmodern ideas like deconstruction, multiculturalism, technology, and media.
complexity, pastiche, and critical theory could be
useful to graphic designers if they could get beyond
thinking about their work in terms of formal categories, Graphic design’s ephemeral nature has practically
technology, and media. disqualified it from serious consideration as an

news THE EARLY BIRD THE NIGHT OWL important cultural practice. For most non-designers,
newsis valued as nostalgic
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relaxation
RISES WITH THE advertising.
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ephemera, while contemporary design is viewed as MORNING SUN.SHES as having the cultural significance of EVENING STUDYING
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communication

limitations

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and media.
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an unwieldy and troublesome paradigm. However, I still
ubiquity. Will the even more ephemeral think it is preferable to the reassuring limitations of
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are Unfortunately designers
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graphics, and the Internet are currently not up to the challenge. A few social
New media is a practical embodiment of the theoretical currently not up to the challenge. A few
create greater awareness and respect for postmodern ideas like deconstruction, multiculturalism,paradigm established by poststructuralism. It was an idea postmodern ideas like deconstruction, multiculturalism,
graphic design, or will such familiarity complexity, pastiche, and critical theory could be usefulabout language, communication and meaning before it was complexity, pastiche, and critical theory could be useful
living in, a time that is full of complexities,
Looking at much of today’s graphic design one

“sampled” parts from the past, and decorated with

and ironic nostalgia. This electronic

still think it is preferable to the reassuring

Ultimately what we are

it means swimming against the current now and

it’s an idea about the time we are

How we communicate says a lot about who we are.

would have to conclude that graphic designers

are twelve-year-olds with an attention deficit
disorder. Designers today are representing our
present era as if they were using a kaleidoscope
to do it. Or more precisely, a constantly mutating
digital collage machine, filled with a bunch of old

left with is a feeling of aggravated

Maybe now it is time to dive below all the hype

and sound bites of the advertising industries
media stream, where graphic designers can have
the autonomy to set their own course, even if

Postmodernism isn’t a style;

contradictions, and possibilities. It is an

unwieldy and troublesome paradigm. However, I

only breed contempt? study to graphic designers if they could get beyond thinkingever a technology. even though somehow the old consumers
studyto graphic designers if they could get beyond thinking
about their work in terms of formal categories, technology, do. Curiously, the new media has not yet developed about their work in terms of formal categories, technology,
Deja-vu-doo is getting old, again.

and media. a new theoretical paradigm, or even a new lexicon, and media.
to comprehend this ideological shift. Ironically, the
Graphic design’s ephemeral nature has practically Graphic design’s ephemeral nature has practically
disqualified it from serious consideration as an importantnew buzzword is a familiar old standby disqualified it from serious consideration as an important
cultural practice. For most non-designers, historicalfrom grammar school art classes - it’s all cultural practice. For most non-designers, historical
graphic design is valued as nostalgic ephemera, while graphic design is valued as nostalgic ephemera, while
contemporary design is viewed as sometimes amusing,
a matter of “intuition.”
contemporary design is viewed as sometimes amusing, but

complexities, contradictions, and possibilities. It is an

unwieldy and troublesome paradigm. However, I still think

cultural practice. For most non-designers, historical graphic

it is preferable to the reassuring limitations of Modernism.

are
A few
postmodern ideas like deconstruction, multiculturalism,
complexity, pastiche, and critical theory could be useful

media. Graphic design’s ephemeral nature has practically

to graphic designers if they could get beyond thinking about
their work in terms of formal categories, technology, and

disqualified it from serious consideration as an important

design is valued as nostalgic ephemera, while contemporary

design is viewed as sometimes amusing, but mostly annoying,
advertising. Graphic design is not generally
accepted as having the cultural significance
of other less ephemeral forms of design like
architecture, industrial design, and even

life-span and its disposable ubiquity. Will

the even more ephemeral and ubiquitous media
of film titles, television graphics, and the
Internet create greater awareness and respect
fashion. This is due largely to its short
but mostly annoying, advertising. Graphic design is not
generally accepted as having the cultural significance of
advertising. Graphic design is
mostly annoying,
not generally accepted as having the cultural
limitations of Modernism.

other less ephemeral forms of design like architecture,

industrial design, and even fashion. This is due largely significance of other less ephemeral forms of design like

Unfortunately most graphic designers

currently not up to the challenge.
to its short life-span and its disposable ubiquity. Will architecture, industrial design, and even fashion. This
the even more ephemeral and ubiquitous media of film is due largely to its short life-span and its disposable
ubiquity. Will the even more ephemeral and ubiquitous media
create
special effects.

titles, television graphics, and the Internet

of film titles, television graphics, and the Internet
greater awareness and respect for graphic awareness and respect for graphic
create greater
design, or will such familiarity only breed design, or will such familiarity only breed
contempt?
business
contempt?
then.

New media is a practical embodiment of the theoretical

New media is a practical embodiment of the theoretical
paradigm established by poststructuralism. It was an idea
paradigm established by poststructuralism. It was an idea
about language, communication and meaning before it was
about language, communication and meaning before it was
ever a technology. even though somehow the old consumers
ever a technology. even though somehow the old consumers
do. Curiously, the new media has not yet developed a new
do. Curiously, the new media has not yet developed a new
theoretical paradigm, or even a new lexicon, to comprehend
theoretical paradigm, or even a new lexicon, to comprehend
the new buzzword
this ideological shift. Ironically,
this ideological shift. Ironically, the new buzzword
is a familiar old standby from grammar

14 15
is a familiar old standby from grammar
school art classes - it’s all a matter of school art classes - it’s all a matter
“intuition.” of “intuition.”complexities, contradictions, and
possibilities. It is an unwieldy and troublesome paradigm.
However, I still think it is preferable to the reassuring
limitations of Modernism. It is an unwieldy and troublesome
paradigm. However, I still think it is preferable to the
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HOME TYPEY TYPEY
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MACHINE
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their peers is not. At this

“instincts” and “intuition”

we could reinstate history,

discourse, and inspiration.

discourse in graphic design

families of type: Oldstyle,

Egyptian, and Contemporary.

terminology devised by type

classifications used in the

to our furry friends; then

Theoretical and conceptual

and continue to be taught,

the history of type design
at the end of history, is

postmodern times. But the

needs a more rigorous and

more established cultural

this Or youp can blow wit’ that You can blow wit’ this Or you can blow wit’ that You can blow wit’ thisOr you can
indescribable, after the
death of the author, and

unwillingness of graphic

juncture in its history,

for critical reflection,

all designers have been,

unknowable, or at least

understandable in these

history, education, and

graphic design practice

naive compared to older

practices. For example,

This nineteenth century

out of sync with period

designers to recognize

responsible discourse.

practice as our center

founders is completely
blow wit’ that Or you can blow wit’ us TYPEY
You can blow wit’ thOr you can blow wit’ that You can blow wit’ this Or you
their indebtedness to

Maybe we should leave

education and current

has always been a bit

Transitional, Modern,
SMALL
That one’s source of
inspiration could be

in terms of the five

can blow wit’ that You can blowTYPEY wit’... Walk without rhythm, it won’t attract the worm walk without rhythm, and it
MACHINES
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never learn Don’t be shocked by the tone of my voice Check out my new weapon, weapon of choice Don’t be shocked by

humanities.
the tone of my voice Check out my new weapon, LARGER TYPEYweapon of choiceBe careful, we don’t know them Be careful, we don’t
know them BeBe careful,
careful, we we don’t
don’t know know them
them
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16 17
be shocked
shocked by by
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choice yeah Don’t be shocked by tone of my voice It’s the new weapon, the weapon of choice yeah You can blow wit’
this Or youp can blow wit’ thatYou can blow wit’ this Or you can blow wit’ that You can blow wit’ thisOr you can
Don’t be shocked by tone of my voice Check out my new weapon, weapon of choice Don’t be shocked by tone of my
voice Check out my new weapon, weapon of choice yeah Listen to the sound of my voiceYou can check it on out,
it’s the weapon of choice yeah Don’t be shocked by tone of my voice It’s the new weapon, the weapon of choice
yeah You can blow wit’ this Or youp can blow wit’ that You can blow wit’ this Or you can blow wit’ that You can
blow wit’ thisOr you can blow wit’ that Or you can blow wit’ us You can blow wit’ that you can blow wit’ that
As such, it disconnects type

Graphic designers are caught

or slower according to their

not very deep. The only way

through history and theory.

predisposed to going faster

experience and inclination,

but mostly they are getting
You can blow wit’ this Or you can blow wit’ that You can blow wit’... Walk without rhythm, it won’t attract the
surprise that contemporary

is very wide and fast, but

to navigate in it is to go

both of which are changing

architecture, literature,

up in a media stream that

faster or slower than the

at an unprecedented rate.
this type of foundation,

design discourse is also

out of sync with that of

To go slower you need an

understanding of context
worm walk without rhythm, and it won’t attract the worm Walk without rhythm, and it won’t attract the worm if
design from our general
cultural history. Given

technology and fashion,

be at the forefront of
To go faster you must

Graphic designers are

you walk without rhythm, huh, you’ll never learn Don’t be shocked by the tone of my voice Check out my new weap-
it should come as no

on, weapon of choice Don’t be shocked by the tone of my voice Check out my new weapon, weapon of choiceBe care-
ful, we don’t know them Be careful, we don’t know them Be careful, we don’t know them You can blow wit’ this Or
you can blow wit’ that You can blow wit’ this Or you can blow wit’ that worm Walk without rhythm, and it won’t
attract the worm if you walk without rhythm Don’t be shocked by tone of my voice Check out my new weapon, weapon
and art.

stream.
of choice Don’t be shocked by tone of my voice Check out my new weapon, weapon of choice yeah Listen to the sound
of my voiceYou can check it on out, it’s the weapon of choice yeah Don’t be shocked by tone of my voice It’s the
new weapon, the weapon of choice yeah You can blow wit’ this Or youp can blow wit’ thatYou can blow wit’ this
Or you can blow wit’ that You can blow wit’ thisOr you can blow wit’ that Or you can blow wit’ us You can blow
wit’ thOr you can blow wit’ that You can blow wit’ this Or you can blow wit’ thatYou can blow wit’... Walk with-
out rhythm, it won’t attract the worm Walk without rhythm, and it won’t attract the worm Walk without rhythm, and
it won’t attract the worm if you walk without rhythm, huh, you’ll never learn Don’t be shocked by the tone of my
voice Check out my new weapon, weapon of choice Don’t be shocked by the tone of my voice Check out my new weap-
on, weapon of choic Be careful, we don’t know them Be careful, we don’t know them Be careful, we don’t know them
You can blow wit’ this Or you can blo wit’ that You can blow wit’ this Or you can blow wit’ that worm Walk with-
out rhythm, and it won’t attract the worm i Don’t be shocked by tone of my voice Check out my new weapon, weapon
of choice Don’t be shocked by tone of my voice Check out my new weapon, weapon of choice yeah Listen to the sound

olds with an attention deficit

industries media stream, where

graphic design one would have
says a lot about who we are.

more precisely, a constantly

machine, filled with a bunch

the past, and decorated with

Maybe now it is time to dive

below all the hype and sound

own course, even if it means

swimming against the current
of my voiceYou can check it on out, it’s the weapon of choice yeah Don’t be shocked by tone of my voice It’s the

swept along in the currents

era as if they were using a

of old “sampled” parts from

special effects. Ultimately

of pop .How we communicate

Looking at much of today’s

designers are twelve-year-

what we are left with is a

graphic designers can have

kaleidoscope to do it. Or

feeling of aggravated and

the autonomy to set their

new weapon, the weapon of choice yeah You can blow wit’ this Or youp can blow wit’ thatYou can blow wit’ this Or

to conclude that graphic

representing our present

mutating digital collage

bites of the advertising

you can blow wit’ that You can blow wit’ thisOr you can blow wit’ that Or you can blow wit’ us You can blow wit’

Designers today are

thOr you can blow wit’ that You can blow wit’ this Or you can blow wit’ that You can blow wit’... Walk without

ironic nostalgia.
rhythm, it won’t attract the worm walk without rhythm, and it won’t attract the worm Walk without rhythm, and

now and then.

it won’t attract the worm if you walk without rhythm, huh, you’ll never learn Don’t be shocked by the tone of my
voice Check out my new weapon, weapon of choice Don’t be shocked by the tone of my voice Check out my new weapon,

disorder.
weapon of choiceBe careful, we don’t know them Be careful, we don’t know them Be careful, we don’t know them You
can blow wit’ this Or you can blow wit’ that You can blow wit’ this Or you can blow wit’ that worm Walk without

18
rhythm, and it won’t attract the worm if you walk without rhythm Don’t be shocke d by tone of my voice Check out
my new weapon, weapon of choice Don’t be shocked by tone of my voice Check out my new weapon, weapon of choice
yeah Listen to the sound of my voiceYou can check it on out, it’s the weapon of choice yeah Don’t be shocked by
tone of my voice It’s the new weapon, the weapon of choice yeah You can blow wit’ this Or youp can blow wit’
19
 CRANKY, MURDER
I had always been a shy ANGRY, CRANKY, M

Mellow to psycho in 0.2 second

STAB BY, ANGRY, C

and meek person, MURDERY, STAB BY

CRANKY, MURDER
sarah micallef is a until one fateful day...
ANGRY, CRANKY, M
STAB BY, ANGRY, C
I’m fa i r ly c e r t a i n t hat I ca n a r ow, some t hi ng wi t hi n my 8 year
MURDERY, STAB BY
pi npoi nt t he ex a c t mome nt i n t i me old b ra i n ju st sna pped, a nd I CRANKY, MURDER
t hat t ec hnolo gy first t u rned me

CAFFEINE
hu r led t
he Playst at ion ANGRY, CRANKY, M
i nt o a n a ng ry, ra g e-d r i ve n cont r olle r i nt o my b ed r oom STAB BY, ANGRY, C
lu nat ic. A s I r eca ll, i t was a mi r r o r .
MURDERY, STAB BY
b ea u t i ful su mme rs’ day, a nd what
b e t t e r pla c e fo r a n 8 year old gi r l I was comple t ely b li nd ed b y CRANKY, MURDER
t o b e t ha n safely i ndoo rs, e njoyi ng u t t e r, pu r e a ng e r, t he li k es
he r Chr i st mas gi ft, a Playst at ion 1 of whic h I had ne ve rb e fo r e
ANGRY, CRANKY, M
console wi t h a n asso r t me nt of g ames. ex pe r i e nc ed.Thi s e ve nt i s a STAB BY, ANGRY, C
pr e t t y a cc u rat e r eflec t ion of
Havi ng a lr ead y conq u e r ed
t he way I most ly fe el whe n u si ng
MURDERY, STAB BY
Cr oc : Leg e nd of t he Gob b os, i t was
t i me t o move ont o b i g g e r a nd b e t t e r ju st
t ec hnolo gy t hes e days -
CRANKY, MURDER

POWERED
t hi ngs.
t hat ove rwhelmi ng mix ANGRY, CRANKY, M
In a t o t a lly ra ndom d eci sion, t he of fr u st rat ion a nd STAB BY, ANGRY, C
next g ame I pic k ed up was Rayma n,
fe eli ng li k e I wa nt t o MURDERY, STAB BY
pla ci ng i t i nt o t he console comple t ely
st ra ngle someone o r CRANKY, MURDER
u nawar e of t he cat ast r ophic
c huc k some t hi ng i nt o a mi r r o r / ANGRY, CRANKY, M
cons eq u e nc es t hat would ou t of a wi ndow. Whe t he r i t ’s STAB BY, ANGRY, C
r esult fr om t hi s s e e mi ngly du e t o a pr o g ram o r d e vic e
no t wo rk i ng t he way I wa nt / MURDERY, STAB BY
harmless a c t ion. The frst 45 mi nu t es
ex pec t i t t o, o r havi ngt o d ea l
o r so we r e fa i r ly u ne ve nt ful, a few
wi t h o t he r people as a r esult
CRANKY, MURDER
d eat hs, b u t no t hi ng t oo d ramat ic. I

RAGE MACHINE
fini s hed t he Angui s h La goon le vel
of my t ec hconnec t ed ness, t ec h ANGRY, CRANKY, M
d efini t ely has a n u nd e niab le
a nd pr oc e ed ed ont o Bongo Hi lls, a STAB BY, ANGRY, C
la nd whic h pr omi s ed ex ci t i ng mu sica l ab i li t y t o b r i ng ou t t he wo rst MURDERY, STAB BY
ad ve nt u r es - a nd t
hat s whe n i n me. CRANKY, MURDER
i t ha ppe ned. Fo r someone who i s su r r ou nd ed ANGRY, CRANKY, M
b y a nd e ng a g es wi t h t ec h as
The le vel of di ffic ult y i nvolved i n
muc h as I do t hi s i s ob viou sly a
STAB BY, ANGRY, C
t he Bongo Hi lls ar ea was comple t ely
r idic ulou s. In o rd e r t o pr oc e ed
r ea lly da ng e r ou s t hi ng, a nd I MURDERY, STAB BY
have no t ic ed t hat i t has st ar t ed
t hr ou g h t hi s ar ea, t he playe r
t o t ra ns fo rm no t only t he way i n
CRANKY, MURDER

20
ne ed ed t o ma neu ve r Rayma n past a

21
s e r i es of hu g e, a ng ry look i ng flu t es
whic h I i nt e ra c t wi t h o t he rs, b u t ANGRY, CRANKY, M
a lso my at t i t u d es a ndpe rsona li t y
t hat we r e wi eldi ng wood e n pe rc u ssion
i t s elf. To some d eg r e e I have
STAB BY, ANGRY, C
ma lle t s a nd s hoo t i ng li g ht ni ng
b olt sou t of t hei r e yes. A s I t r i ed t o
a lwaysconsid e r ed mys elf t o b e a MURDERY, STAB BY
pe rson who ca ncompar t me nt a li s e
g e t past t hi s ar ea fo r t he 3 rd hou r i n CRANKY, MURDER
URG E TO KILL IS St ra ng ely e nou g h, I have c ha ng e i r r e vocab ly i n

tech time is rage time rahhhhHH

RISING, URG E TO ne ve r b e e n a fa n of a si ngle mome nt .

Ju st how wid espr ead

The k i t c he n st af f had ju st
KILL IS RISING, cof fe e. Gr owi ng up, b o t h of my fini s hed r efilli ng t he fr id g e
URG E TO KILL IS par e nt s a nd my g ra nd mo t he r we r e
avid t ea a nd cof fe e d r i nk e rs, a nd
a nd b elow t he mi lk, whe r e t he
coconu t wat e r u s ed t o si t ( good
RISING, URG E TO d espi t e t hei r b est e f fo r t s t o g e t
r id da nc e, you di sgu st i ng
KILL IS RISING, me t o t ry t hes e b e ve ra g es, I wasn’t
i nt e r est ed. I would si t b e mu s ed,
t ras h-d r i nk) sat a new

URG E TO KILL IS wat c hi ng my mo t he r d r i nk he r fou r t h
RISING, URG E TO cday
up of t ea on a 42 d eg r e e c elsi u s
d eliciou s,
b e ve ra g e t hat cla i med pr id e of
pla c e at e ye le vel : no t e, I am

i n r u ra l NSW a nd wond e r how s he
KILL IS RISING, did n’t spont a neou sly b u rst
URG E TO KILL IS i nt o flame.
RISING, URG E TO My first ex pe r i e nc e wi t h e ne r gy
KILL IS RISING, d r i nks came ab ou t one aft e rnoon
URG E TO KILL IS whe n e nt e r i ng t he cafe t e r ia
i s t hi s
154c m t a ll, so my e ye le vel i s a b i t
lowe r t ha n e ve ryone els e’s.
The newcome r was colou r ed a
gleami ng r ed, b la c k a nd si lve r,
wi t h a t a ll, eleg a nt figu r e a nd a
confid e nt post u r e. Hi s e yes spok e

t ast y pr ob le m?
wi t hi n my wo rk pla c e i n o rd e r
RISING, URG E TO t o g rab a lat e lu nc h. B r owsi ng ou r
of s ec r e t s u nt old, a nd as

KILL IS RISING, ts he me nu opt ions a nd e ve nt ua lly g az e loc k ed, I heard

e t t li ng on some t hi ng pa le, lu mpy
URG E TO KILL IS a nd po t at o-li k e, I wa lk ed ove r t o
RISING, URG E TO tmihe fr id g e t o g rab a b o t t le of
lk t o a ccompa ny my mea l, u nawar e
KILL IS RISING, t hat my li fe was ab ou t t o
URG E TO KILL IS
RISING, URG E TO
KILL IS RISING,
hi m b ec k on t o me i n a si lky,
s e nsuou s voic e; “Sara hhhhhh,
oh Sara hhhh. Why no t ? Ou r t i me
t o g e t he r could b e so good”. He was
ju st t oo t e mpt i ng a nd c ra nky fr om
hu ng e r, my i mpuls e cont r ol ju st mo r e foc u s, s e e ms t o mak e my
wasn’t at 100% as I t ook hi m fr om
wo rk mo r e e njoyab le, a nd

I am oft en
t he fr id g e a nd t o t he cou nt e r fo r
mak es me fe el mo r e pr oduc t i ve.
URG E TO KILL IS payme nt .
Moni t o r i ng my caf fei ne consu mpt ion
RISING, URG E TO I wa i t ed u nt i l I go t ba c k t o fo r t he we e k, i t came as no s hoc k
KILL IS RISING, my d es k fo r ou r t o r r id af fa i r majo r i t y of
t o s e e t hat t he
t o b egi n, a nd I t hi nk t hi s i s
URG E TO KILL IS po t e nt ia lly why I a lways associat e caf fei ne was consu med
RISING, URG E TO caf fei ne consu mpt ion wi t h t ec h whi lst u si ng t ec h; I ju st

b li nd ed
KILL IS RISING, u sa g e - t o me t he y ar e ju st the don’t fe el t he same u r g e t o d r i nk
i t whe n e ng a gi ng i n non t ec h

b y an
URG E TO KILL IS ult i mat e pa i r, li k e sa lt a c t i vi t i es - t he c ravi ng ma gica lly
RISING, URG E TO a nd peppe r, Bat ma n & di sa ppears.

KILL IS RISING, Rob i n, t omat o sa uc e a nd t he I had long had a n i nk li ng t hat my

fr id g e : no t e - i t i s a condi me nt, i f caf fei ne consu mpt ion hab i t s we r e
URG E TO KILL IS i t has b e e n ope ned, t he fr id g e i s,
st r ongly li nk ed t o no t

ra g e
RISING, URG E TO a nd e t e rna lly wi ll b e, t he co r r ec t

KILL IS RISING,
pla c e t o st o r e t he t omat o sa uc e. only t o my t ec h u sa g e
u ncont r ollab le
Some t hi ngs ju st b elong t o g e t he r . b u t a lso t o par t ic ular t i mes of t he
URG E TO KILL IS

22 23
day, wi t h t ra c k i ng r e vea li ng t hat
Si t t i ng down t o u s e a ny pi ec e of ove r ha lf of my ove ra ll we e k ly
RISING, URG E TO t ec h, i t comes as s econd nat u r e connec t ed caf fei ne consu mpt ion
KILL IS RISING, t o g rab a caf fei nat ed b e ve ra g e t ak es pla c e i n t he pe r iod b e t we e n
t o a ccompa ny my wo rk . It gi ves me 8 am - 11.3 0am. Thi s a lso s e e ms t o b e
URG E TO KILL IS
Tech-
Check
check your tech.

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