Deciding on Layout and Style, content generation

  • Bold, fun but not messy – take a cue from Neville Brody’s thick typography spilling over the edge approach (manually create with ink)
  • Girl power – we wanna have some pink, not entirely punk rock and rebellious edgy stuff (stay away from the Avril Lavigne vibe)
  • Columns of text in descending order
  • highlight the personalities of different climbers
  • a spread on climbers’ choice words from the Word Bank via designed data
  • a spread with two columns of contrasting words from the Word Bank
  • Collage existing climbing pics
  • Rose quartz and bubblegum blue
  • ban.do, studioDIY
  • illustrations of hands /scanned hands (machine scan their hands)
  • visualise movement on a route basing time as a variable.

 

Every issue will have

1. Designed Content Page

2. Fun facts

3. Pictures in full bleed

4. Featured climbers

5. Designed data

Here are some spreads I love:

MD_BrodovitchA_BazaarSpread1955_640(1) MG_6437 zine_spread grids and layout dzn_Neville-Brody-art-directs-Arena-Homme-16 brodovitch6

 

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OLYMPUS DIGITAL CAMERA

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Study works of Noriko Ambe (Paper Topography) for cover design. I’ll be headed in this direction in terms of the zine design. Problem: Zines are quite thin and I’m thinking of a way to incorporate this. The crevices look like handholds on a rockwall.

 

Fabio Ongarato

 

27 Feb progress: Word Bank of contrasts

28 Feb progress:

  • Organize 2 shoots with photographer + climbers (15 climbers) + pro photographer for guidance
  • Dates: 6 Feb + 20 Feb
  • Design survey for interview (for them to fill up – scan in their handwritten answers)
  • Mockup of paper crevice
  • FYP report get it out of the way!!

 

 

 

22 January 2016 FYP Meeting

Astrid’s input

  • Check out cult magazines in sports
  • Look at surf zines
  • David Carson (radical, edgy)
  • Marry the zen + edgy(craziness)
  • Play with typography (falling off the edge – Sonic Youth Raygun)
  • Get A Grip
  • Every issue feature 2 local climbers + 1 international climber (Ashima, Alex Puccio) So total 10 local climbers + 5 international climbers
  • Highlighted climb/location
  • Play with table of contents create an ‘insider’ cult language (Neville Brody Raygun style) Table of contents sets the tone
  • Possibilities for cover + content
  • Wednesday Dreams
  • Find spreads you like to set the tone [x]
  • Coolors (colour website)
  • Historical climbers (Muses from the past)
  • Book design: Cut out holes, cropping, typography, margins, columns
  • A designed survey for climbers to do, scan them in
  • Word bank for contrasty words (edgy-zen, calm-adrenaline) [x]
  • Research Fun facts (Did you know? First woman to…free solo, climbing school, women only gym)

Post Holiday Process Progress (Still In Holiday Mood)

Floral colour pencil

At this stage I’m planning the outlook of the zines. The meeting with Astrid concluded on 5 zines for now; where I am giving each zine an umbrella category and then further classifying topics under these individual zines.

Here are the various topics:

  1. Introduction to the climbers
  2. Rock (climbers’ experiences with climbing rock)
  3. Plastic (climbers’ experiences with climbing plastic walls)
  4. Training schedules
  5. Where to climb (Various rock walls and their personality)
  6. The other stuff climbers do (duality)
  7. Femininity in a male dominated sport
  8. Equipment
  9. Attire
  10. Diet

Zine language: Collage and mixed media, photography (digital and analogue), bohemian aesthetic, informal interviews

Book Design: Considering unconventional forms of putting the zines together into a cohesive theme. Experiment and played around with this. Mockups have been very useful for me to get a rough idea of how it is going to look.

Zine setup

This book design creates interesting shapes but I’m not quite sure if it’s practical at all…

They may not look good apart.

 

icelandic rock book

This book style mimics an icelandic rock. Practical? Doesn’t feel so to me. But looks beautiful. I may stick to the conventional portrait style to maximise paper space and fit my photographs in. (7.5 ” x 10″), binding could involve climbing rope? (:

 

A deeper study into Zines + Preliminary Content Ideas

 

newds-zine-05-3-750x500Nieves-Zineszinemakerzine brooklyn zine fest Arts_zine2 Heavens-Favorite-Man-Wytchzine1 rock

 

Why zines? I feel that zines are great ways for people to peel open worlds of ideas. Above are some images taken from the Brooklyn Zine Fest, a yearly exposition of self-published zines. In a zine, you can uncover so much about what the author wants to reveal to you. The visuals hold such precious stories. I wish to make this zine about all the wonderful climbers I’ve encountered, and publish their stories. Put it out at zine fests, book shelves, share and talk about it with people, establish deeper connection with them through this wonderful sport and the amazing community.

Currently my research encompasses what should go into this climbing zine, why would people want to read it, who would read it, what are the different ways I can celebrate awesome female climbers in print, are there techniques that can aptly capture certain moments(silkscreen, collage)..etc

Next let’s talk about content ideas!

  1. One way that I’d like to go about it is to take photographs of the climbers’ backs or hands, to celebrate the way rock climbing has changed their bodies. I will be getting the help of a few professional photographer friends (Leon, Vania, Sara) with the lighting and the art direction.

female climber back

Magaly Charluet shows her damaged hands after a harrowing climbing attempt on the Nose, El Capitan, Yosemite, California.

 

2. A peek into the climbers’ diaries, how they schedule their lives around training for a competition, the phase of strength training, endurance training, and power endurance training, their thoughts during these gruelling trainings to get stronger, how to work their ways around nursing their injuries and training at the same time (active rest), diets, game plan etc

 diary

3. Flatlays of their gears of course!! Be careful not to fall into commercialising the existing products. Feature their harnesses, rock shoes (training and competition shoes), ropes, ATC and carabiner, headbands, tape, laser pointer, brush, chalkbags, slippers, tights, finger training bands, injury massager.patagonia flatlay

5. Definitely quotes in beautiful typography integrated into the image. I particularly love this one by Rupi Kaur.tumblr_np4h6qVn2R1sgoulqo1_1280

back

Indeed, in looking at the backs of female climbers, it says so much about their style of climbing, their master side, what kind of movement causes growth in that particular muscle. Every dent, dimple, bump, on her back gives us information about the kind of climber that she is. Studying the back would definitely shed light to the way climbing changes the body. Being someone who has had tiny shoulders throughout childhood, climbing definitely balanced my body proportions and defined my back and strengthened my upper body strength in ways I could have never imagined.

6. Contact The Heist {{ http://theheistclimbing.com/ }} They are an all female bouldering competition, set by women for women, an annual event held in Boston, Massachusetts. They invite some of the strongest female climbers in the US to guest climb for the event and get their perspective on why they chose to organise such an all female event.

7. My personal climbing photos and story for a personal touch in the zine.

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I’ll show you the face of focus! (maybe there could be a chapter called Focus Pocus? Hehe that’d be fun.)

8.  The interviews that I am in the midst of gathering will cover a lot of content of the zine. Here are the questions that I’ll be asking:

A. Why do you climb? (What do you love about climbing? What keeps you going? What is climbing to you?)

B. What is your philosophy of climb?

C. How has climbing changed you or your lifestyle?

D. Tell us about the climbing culture/community to you.

E. What is one of your most memorable moments in climbing?

Other questions I will formulate as I go but these are the core questions that have conjured some really beautiful answers.

9. I’ve been thinking of how I can integrate movement into this project. One of the seniors mentioned that this could be a movement – based project. Sounds like an interesting concept but how to manifest?? Closeups of people fighting on the wall, slow mos of dynamic throws? Maybe

For this FYP, I really want to involve people in it, pack it up with stories and souls. I want to work with really talented illustrators and designers, and include their work in this zine too. I’ll compile perspectives in this zine and have a load of fun with this.  That is all for now! As the research and digging continues… Let’s see what else we’ll find!

 

Feedback from 16 October Friday – Guest seniors

Slides + presentation: lengthy text can be broken up into bite sized chunks pick the powerful words “being in the moment”, “holding on”, “living free”, “enduring and overcoming pain” and match an image with the text to convey a stronger message (suggestion for slides and zine).

Dress up in full climbing gear on day of presentation.

Cite the images for more research back up.

Begin with a short 20 seconds clip with a climber climbing to set the tone. Introduction could possibly happen as video plays.

Zine: Focus on the zine and then decide to branch out into campaigns and other stuff to market this zine.

Justify why a female zine dedicated to climbing is needed. Shape, New York Times Online are good references to look to. Gather women’s sports media coverage – across all sports.

Gather an array of ages for the interviews. Secondary school to working, to mothers. Diversify. The face of climbing is not a beautiful white chick with a lean body. Show their voices through this zine. Make it personal.

Show the breakthroughs. tone of empowerment, movement-based. Play with this movement (how)

WAVE CLIMBING WALL

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DesignTide, 2006
DesignTide, Tokyo

1-5 November, 2006
6-12-20 Jingumae
Shibuya-ku, Tokyo

installation size:
W 3,000 / D 150 / H 2,800 mm
Wave was one of three climbing walls exhibited at main site of DesignTide, Tokyo. Cast resin holds, incorporating LED lighting, are attached to the wall and the audience are invited to participate by climbing the wall.

Three designs were presented at OnWall – by Tomoko Azumi, Rie Isono and Norico Katayama.  These designs generate discussion on how to fulfill instincts to climb high, at home, whilst still keeping your interior stylish.

CLIMBING PURPOSE #1: ACHIEVEMENT OR FLOW

Climbers’ Personalities.

There is a long list of anthropometric and psychological studies

regarding risk-taking and personality (Feher, Meyers, & Skelly, 1998). Researchers using personality traits have attempted to explain serious climbing behaviors by focusing on the extent to which climbers seek stress, thrills, or sensation (Zuckerman, 1979) and climbers’ willingness to (i) assume risks, (ii) experience fear and anxiety, and (iii) appraise accurately various kinds of risks (Feher et. al., 1998). A wide range of traits and sub-scales have been measured in climbers (e.g., aggressiveness, impulsiveness, imagination, forthrightness, self-sufficiency, toughmindedness, shrewdness, low ergic tension, intelligence, and reserve—Breivik, 1996), only to conclude that risk is not really a true goal or motivation for climbers. Traits have provided little explanation of underlying causes of climbing behaviors. Instead, risk appears to be a condition that climbers use to achieve their goals (Delle Fave, Bassi, & Massimini, 2003).

 

 

Climbers Are Strongly Goal-Directed

Other researchers have argued from a more behavioral point of view. Serious climbers have strong, deep-seated needs for arousal, autonomy, selfdetermination, and individualism (Ewert, 1994, 1989, 1987; Mitchell, 1983, 1988; Lyng, 1990; Fredrick & Ryan, 1995). Although the strengths of people’s needs are varied individually (McClelland & Burham, 1995; McClelland, Atkinson, & Lowell, 1953), powerful aspirations can lead people to achieve consequential and serious extrinsic goals (e.g., difficult summits and routes).

 

Climbers Want To Be “In the Zone”

—Intrinsic Motivations Humanistic psychologists have argued that goals do not have to be extrinsic (such as power or achievement) in order to be important and motivating (Maslow, 1987). Goals can be both intrinsically motivating as well as extrinsically motivating. People can enjoy their behaviors for themselves, irrespective of extrinsic rewards (Csikszentmihalyi, 1975; Deci & Ryan, 1985). “Flow,” an optimal subjective experience, occurs when action and consciousness merge, where the degree of challenge and the skills that a person takes to a challenge are perfectly matched. Flow is found in a narrowing of attention on clearly defined goals, in an intense concentration (being “lost” in an activity), in a loss of a personal and individualized self, in a transcendent state of mind, with a loss of a sense of time, and with a strong sense of well-being. On either side of a flow experience (mismatches between skills and challenge) are boredom or anxiety (Csikszentmihalyi, 1997; 1990; Mitchell, 1988). In a flow state, personal growth and more complex behaviors increase (Massimini &Delle Fave, 2000).

 

 

Mediation of Goals by Skill and Experience

The reasons why serious climbers climb could be mediated by time, skill, and experience (Lyng, 1990). Ewert’s (1994) findings indicate that: (i) novice climbers are oriented to physical aspects of climbing and the image of climbing; (ii) intermediate climbers to decision making and exhilaration in climbing; and (iii) experienced climbers to exhilaration, self-expression, and self-testing in climbing. The findings are consistent with intrinsic-motivation theories, and they hint at a progression of climbing purposes among serious climbers.

 

 

CLIMBING PURPOSE #2: DEFINING CHARACTER

Traditional economics and decision theory are powerful and pervasive explanative frameworks in today’s modern world. They make the assumption that people create “good” when they serve themselves, primarily by maximizing their own pleasures and utilities. Pleasure-seeking behaviors make people happy. Unfortunately, these theories cannot explain much about climbing behaviors. Pain, suffering, hunger, exhaustion, and even dismemberment and death— outcomes found all too often in mountaineering—are dubious non-consumptive “goods.”

 

Defining or Finding Character

Some sociologists argue that people work hard to provide others with impressions that are consonant with their “face” (Goffman, 1959; see Appendice I.) People conduct themselves with an eye towards making some kind of claim about who they are and what is going on so that they appear normal and sane to others, even in the most mundane situations (Chriss, 1993, 1995). Extraordinary circumstances are means of developing character.

To fully define the self and establish worth, a person must perform voluntary actions that are not available in everyday life. The difference between holding down a job and pulling a job off is that while the former can be considered “killed moments,” the latter is more consequential and problematic. When an act holds real risks and the completion of it cannot be normally assured, then the act can be said to be “fateful” (Goffman, 1967b). Indeed, brushing with the possibility of the most serious of consequences can strengthen the self and probe the meaning of existence (Simmel, 1959). Virtue is made from necessity, and self-respecting men or women cannot be afraid to put themselves on the line. Some encounters in life need to be confrontations. Maybe there is little left in everyday life for fatefulness, and maybe people look to become alive by fateful actions (Goffman, 1967b).

 

There are two kinds of skills and capabilities associated with fateful activities. The (i) primary skills are the technical skills of an activity (stored in memories and experiences), often created by training in inconsequential circumstances (toproping, gym climbing, sport climbing?) and other forms of practice. However, the (ii) secondary set of capabilities is more important, because the secondary set enables the primary, technical set to be exercised unencumbered. When consciousness of the risks of fateful action invades the mind of the individual, his or her decency can weaken, and naked self-interest can flood the consciousness and block the ability to perform the primary, technical activities. When an individual maintains full control of himself when the chips are down, it indicates moral strength and integrity (Goffman, 1967b). The secondary set of capabilities is comprised of four elements. (1) Raw courage is needed, because courage precedes the danger. (2) Will and determination (“gameness”) are also needed.

An actor must put total effort into a fateful action no matter what the demands are (e.g., fatigue,pain, set-backs). (3) Integrity is also needed, for actors under stress must resist the temptation to depart from moral standards even when an activity cannot be fully witnessed. Proper form must be maintained even when the forms are full of substance and not trivial. (4) Composure is also needed. Composure includes: (a) the ability to execute physical tasks that rely especially upon the control of small muscles to produce smooth, concerted, and managed movements; (b) emotional self-control to mobilize memory and knowledge of the primary, technical skills under pressure; (c) the ability to contemplate an abrupt change in fate without falling apart; and (d) dignity of bodily decorum in the face of all costs, difficulties, and imperative urges (Goffman, 1967b). Discomposure can disqualify a person for duties and threaten his or her status in a jointly created world (Berger & Luckmann, 1967; Hochschild, 1983), especially among beginners (Donnelly & Young; 1988).

The Feel of Rock

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Rock climbing to me has been about discovery, about a love for physical movement, finding a unity between the zen and the fire within. It is about being completely immersed in the moment. You are purely focused on each move, all you feel is the rough contact on your fingers, all you see is what is above you, all you hear is the inner voice calling for you to move forward. Your body moves in ways you don’t understand, because it knows that it has to be in that posture in that time, to help you stick to the wall. Finger by finger, you feel for every crevice, every dent, every edge to latch your entire body weight on.

You are light, weightless, and free.

Sometimes you lose focus and get overwhelmed, your gaze waiver and you miscalculate a throw…. you fall, but don’t lose heart, because your muscles remember what you just did. You fall but you do not fail. You never fail. Your body, your muscles, they are strengthened move by move, hold by hold. They remember. These details slowly get mapped into your subconscious. Which is why if you keep trying to get a move, the moment you get it, you will continue to get it subsequently.

Remember to breathe in the midst of it all.

Read it carefully, plan your moves specifically as best as you can, but you will never be able to fully know how the route is like until you attempt it.

 

THE AESTHETE: EXPLORING GEOMETRIC PATTERNS IN ISLAMIC ART

April 12, 2012

This is the inaugural post for my regular column on Daily AD. We’re calling it The Aesthete, a nod to my personal blog, An Aesthete’s Lament, which I maintained from 2008 until recently. As I did in that space, I will cover a broad range of topics and personalities from the worlds of interior decoration, architecture, art, and fashion—exploring the nooks and crannies of design history with an idiosyncratic eye. It will be about roads less traveled and, most of all, about inspiration.

To start, I thought I’d head to Morocco, where I traveled recently and where I was lucky enough to live for a few years with my family. During my time there, in Marrakech, I developed a deep fondness for a number of aspects of the culture—the couscous, the call-to-prayer wail of the muezzins, and especially the intricate geometric patterns one sees everywhere in the architecture and decorative arts. Indeed, such patterns can be found throughout the Islamic world, whether executed in carved wood, chiseled stone, or polychrome tiles.

 

A bedroom with a carved cedar ceiling in the riad owned by Manhattan art dealer Dorothea
McKenna Elkon and designer Salem Grassi in Essaouira, Morocco (Architectural Digest, May 2012).
Photo: Simon Watson

Abundant examples of this type of decoration can be found throughout the Moroccan residence of Manhattan art dealer Dorothea McKenna Elkon and her husband, designer Salem Grassi, which I wrote about in the May issue of AD. Kaleidoscopic extravagances that resemble interlocking stars enliven every corner of the three-story riad the couple calls Dar Maktoub (House of Destiny), from wall fountains with tilework known as zellige to vaulted and coffered cedar ceilings.

From left: At Elkon and Grassi’s riad, a fountain with zellige tilework. A detail of a carved-cedar door and more zellige tiles at the house. Photos: Simon Watson

“Only in Islamic countries, and in particular Morocco and Andalusia, has geometric decoration taken on such importance,” writes Jean-Marc Castéra in Arabesques: Decorative Art in Morocco (ACR, 1999). Precisely why geometric patterns became so central in Islamic decoration remains unclear. The most enduring explanation is that they began to be used a millennium ago as a way to conform to religious strictures widely interpreted as forbidding the depiction of the human form, which might be seen as man’s attempt to compete with God’s genius. As My Marrakesh‘s Maryam Montague notes in her new book, Marrakesh by Design(Artisan), an ancient Islamic edict states, “Painters will be among those whom God will punish most severely on the Judgment Day for imitating creation.” With such a potential fate in store, it’s no wonder that stars, octagons, and the like—along with sinuous, vinelike motifs and calligraphy—became the vocabulary of choice in the architectural circles of the Islamic world.

Brass gates at the Royal Palace in Fez. Photo: Grant Rooney/Alamy

But that’s not the whole story. Geometric patterns, other Islamic art specialists have suggested, served important symbolic functions. “The proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,” scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). “The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.” (Tawhid seems to have a social dimension, too, since many Moroccans refer to beloved friends as sister or brother, son or daughter, whether or not they are actually related.) Indeed the eight-pointed star, formed by two overlapping squares, is the basis of many patterns seen across Morocco executed in every possible material—from the tiled graves at the Saadian Tombs in Marrakech to the carved-plaster arches in the throne room of the Royal Palace in Rabat to the brass door knockers found in hardware stores everywhere in North Africa. Still more complicated stars are seen, including rare examples featuring an astounding 96 points.

 

A decorative wall panel on the exterior of Bahia Palace in Marrakech. Photo: Gordon Mills/Alamy

Given the complexity of these starry patterns, some scholars have attempted to link them to mathematics that originated in Arab culture, especially its pioneering exploration of algebra and trigonometry. “There is a fantastic book called The Sense of Unity that covers everything you want to know about the importance of numerology in Arab culture,” says Achva Benzinberg Stein, an award-winning landscape architect who designed the flamboyantly tiled Moroccan courtyard at the Metropolitan Museum of Art’s recently reopened galleries for Islamic art; she also wrote Morocco: Courtyards and Gardens (Monacelli Press, 2007). Geometric patterns, Stein continues, also embody “the idea of negative and positive space, just like in the Tao. Most people don’t see these patterns in that way, but for every negative there is a positive. You start at a point and extend it, top to bottom.”

From left: The Moroccan courtyard at the Metropolitan Museum of Art’s Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. A detail of Moroccan wall tiles at the museum. Photo: © The Metropolitan Museum of Art

Repeated over and over again, seemingly exponentially, these geometric patterns—whether quietly monochromatic or richly polychrome—seem to inspire a sense of cosmic harmony. The sensory experience is not unlike listening to a performance of Ravel’s “Boléro,” a musical composition that was derived from a Spanish dance (likely Moorish in origin) and that repeats the same rhythm and melody, over and over, for 17 increasingly hypnotic minutes. The relentless rhythms of the Arab world’s interlaced starbursts, repeated ad infinitum, seem perfectly suited to houses like the one created by Elkon and Grassi in the heart of Essaouira’s medina: a retreat for a couple and their friends to unwind. Those patterns are also eloquent reminders of how in this high-tech age, exquisite handcraft continues to enrich the world around us.

The canopy over the entrance to the Marrakech Menara Airport. Photo: Mitchell Owens