The Obsolescence of Brick and Mortar?
I got the opportunity to review another book, recently, called one hundred at 360° - Graphic design's new global generation. What does the title mean, you ask? It is all about a sampling of 100 small graphic designers and design firms from around the world and who have started designing or otherwise set up shop since the 21st century. There is another interesting link that ties them all together, other than their years of existence.
[The book, published by Laurence King Publishing out of London, by Mike Dorrian and Liz Farrelly, comes out in the fall of this year.]
The interesting link is that this sampling of 100 all do their work wherever they are - and wherever their contacts or work takes them. Due to major advances in technology and powerful, small computers, these folks can, and do, work from small towns, in the country, in the city, on an island,...well, you get the picture.
A lot of these designers also aren't necessarily in it for the money. They like to nab the high-paying client now and then, but they then go off and do the work on something they're passionate about, somewhere else.
Many of these designers work alone, but the majority of them work with others - in a collaborated effort. These collaborators may even come from different disciplines - from artists and writers to marketing and public relations professionals - which make these clans "work-led cooperatives", in the authors' view (a model this reviewer is very familiar with, by the way).
The book contains a plethora of images and work by these designers and their fellows, and is a feast for the eyes. By crossing physical boundaries - and cultures - and re-inventing or re-introducing themselves, these artists can, and have, come up with design solutions that can be considered all-encompassing. Whether it comes from London, England, Vilnius, Lithuania, Brooklyn, New York, or Reykjavik, Iceland, the work has global dimensions and a global influence.
The more I looked at the work and read where it all came from (there's a handy section in the middle of the book that contains bios and contact details for each of the 100 designers/studios), the more interesting and astounding it was for me.
It's a great book. I may never have a chance to physically work in Victoria, Australia or Nuremburg, Germany, but, there is a strong chance that I may just collaborate with the talented individuals there through the power of technology. (Thank God! No more taking my boots off at the airport!) It's a good "read" for all of us visual types and I recommend it as a great addition to your graphic design library.