Integration of space and colour, Johannes Itten

Johannes Itten was honoured for his fundamental contribution to the integration of space and colour as the basis of the Vorkurs of the Bauhaus in Weimar during the years 1919-1923, and for his contribution to the theory of colour which he described in the standard work Kunst der Farbe.

Words and image from http://www.sikkensprize.org/en/winner/johannes-itten-2/

Quote by designer, Hideki Inaba

“Thinking is very difficult and very easy. Either everything will be called design or nothing will be called design. The public will decide the direction of design.” Inaba, H. 2003. Graphic Design for the 21st Century. Germany: TASCHEN

I posted this photo on my IG page in 2014. I still find this quote particularly interesting and even more relevant today than it was over seven years ago. I guess the term ‘design’ can mean or be expressed in countless ways.

Reid Miles, Blue Note Records

Reid Miles, Blue Note Records
Album cover for Larry Young, Unity
Year: 1966
Medium: Lithograph

Dimensions: 12 x 12″ (30.5 x 30.5 cm)
Credit: Committee on Architecture and Design Funds

Over the period of 12 years, American designer Reid Miles created over 500 LP covers for the jazz label Blue Note Records. Some of the covers represent the absolute gold standard of modernist typography and are widely recognized as the best-designed record sleeves in the history of jazz.

​​Miles’ first record was Milt Jackson and the Thelonious Monk Quintet (also known as BLP 1509). Over the next decade, Miles created a distinctive style for hard bop records, using tinted black-and-white photographs, sans-serif fonts (sometimes printed by letterpress) and a limited palette that, except for black and white, often consisted of a single color. Miles’ major influence came from all the usual suspects: the Bauhaus and the Swiss.

readymag.com/designstories/reid-miles/blp-1509/ 


Concrete poetry — Britannica definition
Concrete poetry, poetry in which the poet’s intent is conveyed by graphic patterns of letters, words, or symbols rather than by the meaning of words in conventional arrangement. The writer of concrete poetry uses typeface and other typographical elements in such a way that chosen units—letter fragments, punctuation marks, graphemes (letters), morphemes (any meaningful linguistic unit), syllables, or words (usually used in a graphic rather than denotative sense)—and graphic spaces form an evocative picture.

I am particularly drawn to the square format, playful type and colours.
I like the interplay and connection between music and artwork.