Graphic design is a profession that triumphantly offered, in the 20th century, top-down models for the visual organization of culture, now is struggling to come to terms with a post-digital 21st century world of individuals increasingly capable of distributing visual material themselves. To preserve cultural and economic influence, large design firms have closed ranks around the legacy languages of design that survive for now; corporate visual systems, advertising, and global branding, but emergent generation of designers is interested in other values. One of the most outstanding of those individuals, graphic designer David Rudnick will tell, how do we build meaningful models of practice that can support one another in this transitionary period.
At his lecture David will offer three areas for consideration, and give some examples from his practice and an advice for other designers. He’s going to discuss a contrast between design practice and discourse that follows the economic and cultural models of contemporary art. The next question is can typographic design play a role not as a model for generating retail content (publically distributed typefaces as products) but instead as tools for research and poetic expression? Finally, a discussion of recent developments in cinema, as an examination of global trends that reflect design's changing audience and their understanding and expectations of visual ‘reality’ in a post-digital world.
David Rudnick is a British-born, American-bred and self-taught graphic designer, whose work encompasses editorial, identity, and typographic design. Working with unusual or unexpected combinations of historical and contemporary references and original typographic compositions, his work creates distinctive visual frameworks for his subjects, and explores the fragmented state of visual culture in an age of global digital exchange. Arguably one of the most influential designers, whose works set trends in visual culture, Rudnick’s portfolio comprises a colossal amount of remarkable posters and vinyl covers that clearly demonstrate his deep interest in music, art, language, and the cultural and countercultural frameworks that sustain them. Among his clients are the record label Turbo, the Making Time club night in Philadelphia, artists like Evian Christ, and New York streetwear brand Wil Fry.
Accreditation — firstname.lastname@example.org.