Monday, August 30, 2010

reading:rhetoric, Bonsepie

Just to clarify, the two classes for rhetorical figures are syntax and semantics. Syntax would be the particular physical shape of something, and semantics would have to do with the concept/meaning of that shape.

"Rhetoric is merely a handbook of verbal tricks".

"Rhetoric is NOT times tables, logarithms, or phone books... " Instead rhetoric relies on established signs/symbols which are then associated with other contrasting or similar signs and symbols in order to make a persuasive point...

Bonsepie legitimizes the verbal/visual rhetorical tropes (which are derived from the ancient Greeks definition of rhetoric) best by giving illustrated definitive examples of verbal/visual rhetoric.

...A visual/verbal rhetorical figure is a combination of two types of signs whose effectiveness in communication depends on the tension between their semantic (that is conceptual?) characteristics.



more IRONY


reading (2): Language as a model for graphic design:

In this reading, the author addresses the rhetorical tropes that are especially relevant to graphic design. In addition to that, the author has given some exceptionally clear visual explanations of the rhetorical tropes. Those were especially insight, and helped me in further understanding the vocabulary.

Saturday, August 28, 2010

project I (part 2)

Recent developments:

In the emotional/expressive spirit of the brand-based narrative I have decided to change the audience to be children who are interested in ... toys in general. I plan to use two chanels: image, and sound effects. I will exaggerate/substitute sounds for each toy that are appropriate in an effort to make the visual more interesting/intriguing.

Thursday, August 26, 2010

EARL KLUGH research


Earl Klugh was born in Detrloit MI in 1953. He had been into music since the age of three. He started with the piano, then the guitar. He was "discovered" as an exceptional young guitar player c. 1969 while giving lessons at a Detroit music store; collaborated with Yusef Lateef, George Benson, and Chick Corea's Return to Forever; signed with Blue Note Records, and released Earl Klugh, 1976; collaborated with Bob James; signed to Warner Bros., mid-1980s; formed Earl Klugh Trio, early 1990s; has toured throughout the U.S., Europe, and Japan. Performed soundtrack to film Marvin & Tige.

Earl Klugh's enthusiasm for the guitar was encouraged by the increased attention given to folk music in the 1960s. The young player was particularly inspired by the popular trio Peter, Paul, and Mary, as well as by folk troubadour Bob Dylan. In addition to his interests in these performers, Klugh listened to a great deal of Spanish guitar music. As writer Bill Milkowski explained in Down Beat (, Klugh's appreciation for folk playing and Spanish guitar led him to experiment with a method of fingerpicking that he applied to the popular songs of that time, especially those by the Beatles.

It was at this point, in his middle teenage years, that Klugh discovered Chet Atkins. As Klugh stated in Down Beat, "I saw him on television, and he changed my whole concept of playing. He was the only person I ever heard up to that point who played the instrument like I wanted to hear it played, playing chords and melody simultaneously with a finger-style technique. In the next eighteen months after seeing him on TV, I bought forty of his albums and listened to them until I was able to copy from them."

Despite Klugh's collaborations with various jazz artists and the media's categorization of his work, as a solo artist he does not consider himself a jazz musician. He explained in Guitar Player, "There is an element of jazz in my music, but basically it's pop. I have trouble with the label 'jazz.' It's a convenient way to market an individual. Also, jazz is a label that's easily hung on a black musician.

In 1993, Earl published Sounds and Visions, Vol. II. Showcasing what Downbeat called "his trademark classical guitar sound".

As reviews of Klugh's music indicate, his listeners are attracted to these melodies and the ways in which he makes his guitar "sing." While this aspect of his playing has indeed garnered a large following, it has not always inspired critical praise. This lack of critical approval, Klugh admitted in Guitar Player, is due primarily to his conscious decision to sell records rather than just showcase his playing ability. The choice reflects the musician's business savvy and the skills he has acquired working with established artists. As he maintained in Guitar Player, learning what sells and what doesn't has allowed him to continue to play. And despite Klugh's concerns with the market, he is insistent on playing the kind of music he likes. Given the enormity of his yield and the success he has achieved, it is clear that a large number of record buyers share his tastes.

Earl has been very successful with his albums, getting many #1 hit singles, and continues to play his music today. He can be heard on his latest album, The Spice of Love, on the radio, or in concert at a venue near you (if you're lucky).


'I want to find things that nobody does, with the exception of a couple of things that I could find my own way to do.'

"...(it) suits my own taste: I lean towards the melodic stuff, no matter what era it's from."


Before playing the guitar, Earl played the piano, which led him into playing the classical guitar. Earl makes a point of using the classical guitar in order to get a certain classical sound with his 3 backup musicians who play their instruments in support of his guitar. He sometimes takes his influence from the Spanish guitar. The overall is smooth and calm.



Monday, August 23, 2010

pro I (part 1)

I will go for BRAND BASED NARRATIVES. I hope i will have more opportunities to do things that are more expressive but also in some ways are informational.


Just writing things down sometimes helps me. I simply wrote anything and everything that held my interest, and if I thought it might work for the project or it was too broad, I would elaborate a little bit.


Looking at some videos helped a bit:



.innovative TOYS - toy design

.conservation of ARCHITECTURE




I think I'll go for the INNOVATIVE toy design. Toys that are practical, sturdy, educational, with an apealing aesthetic quality and a timeless design...

Demographic Information:

1. Identity/values: The audience will be children Parents who appreciate unique/innovative toys of quality that are sometimes (in some aspects) educational as well. (i.e. objects that are not only practical and interesting but can inherently teach a child the basic laws of physics among other things).

2. visual and symbolic codes?

3. "communication styles" - As the source is for the most part online (see 4) the audience must reliably be computer/technologically literate. Being of a certain mentality or mindset (i.e. generally responsible and wanting the best for someone they care for and who is in their charge) the parents may expect the source from where they acquire these TOYS to be reliable.

4. The main outlet for sales will be online.

dif related sites:

Wednesday, August 18, 2010

dible dably fun

I know they aren't quite right in terms of consistency and accuracy, but they are fun and pretty and didn't take too long to make and can easily be edited. You can use them of you want. CI:~) Oh and if you're curious, they are cropped images of old doors.

Monday, August 16, 2010

And so it begins.