Enjoy...
wheatfields
Tuesday, September 29, 2009
Friday, September 11, 2009
Welcome Back Blog!
My problem for Type class is the insecurity between Mexican citizens and their authorities due to the massive corruption problem.
After researching I found this website with some funny comics about these issues...
Mexican Comics
After researching I found this website with some funny comics about these issues...
Mexican Comics
Monday, April 27, 2009
Journal Entry: Larry Lessig
I always wondered if it was really legal or illegal to create something with someone else's resources. At times I would think it would be legal because you are RE-creating something but on the other hand you are using someone's art without their permission. Big debate that is still going on.
I really enjoyed Larry Lessig's talk about how the government is straining the design world by limiting our creativity. It made me reflect more on this prominent question and actually gave me more information from both sides of the spectrum. I believe his final statements summarize the entire talk well. His solution to this debate is that, "Artists and creaters choose that their work is available more freely." I agree with his suggestion because it helps get rid of the debate by having the artists choose if they want to make their work available to other artists/designers or to make them private for their use only. Similar to photos that are uploaded onto Flickr. You can choose to make them private or open for the world to see.
I really enjoyed Larry Lessig's talk about how the government is straining the design world by limiting our creativity. It made me reflect more on this prominent question and actually gave me more information from both sides of the spectrum. I believe his final statements summarize the entire talk well. His solution to this debate is that, "Artists and creaters choose that their work is available more freely." I agree with his suggestion because it helps get rid of the debate by having the artists choose if they want to make their work available to other artists/designers or to make them private for their use only. Similar to photos that are uploaded onto Flickr. You can choose to make them private or open for the world to see.
Monday, April 20, 2009
Droog Design
Why Droog?
I became interested in Droog Design because of the simplicity of the designs. I found that all of the designs are extreme explorations of normal everyday items. All of the shapes used are basic shapes taken to their extremes. For example the milk bottle lamp I chose for my object. It's an ordinary milk bottle however grouped together and added with a bulb you get an abstract lamp made out of normal everyday objects. Or the birdhouse: it's a normal rectangle bent in half with basic circle plate on the bottom. Normal shapes used to their full potential. These same things are what made me interested in not just the designers but the work in general.
Droog Design is also important because it marked a different outlook on design. Instead of the aesthetically appealing designs the world was creating, Droog Design took the work in another direction and introduced the world to work that wasn't so focused on the aesthetics but instead the social and communicative facets of the work. "Form doesn't interest me." Droog design was and is a major turning point for Dutch design.
History
Droog Design was established by Renny Rameakers and Gijs Bakker in 1993. The idea of the foundation was to promote contemporary designs, to be exact Dutch designs in Milan at the time. After some succees they decided to initiate new projects and experiments. From this idea came, Dry Tech I and II. These new designs were made with new air and space technology provided by Delft's University of Techinical Engineering. These new designs were a series of experiments that emphasized the treatment of materials, color, decorations and practical use. "The participating designers' conceptual appriach has resulted in a collection comprising a mix of unique aesthetics, simple series products and prototypes which are no more than an interim stage in the whole though and design process. This is the collections' strength rather than a weakness." (Droog Design 1991-1996: Ida van Zijl)
"Pointers to the future direction of design"
"Social & people friendly approach"
Droog Design relied more on instinct rather than rationality Droog = dry (in dutch) "Strong and clear like a good Martini" Most of the designs are dry like the name, simple and clean.
(Droog Design Spirit of the Nineties)
In 1991 Renny Ramakers noticed interesting new products by young Dutch designers and she felt it as a sign of the time and decided to bring some products of these designers together and to present it as a common mentality. She organized small exhibitions in The Netherlands and Belgium. Beginning 1993 she met Gijs Bakker, her present partner in droog. He was preparing a presentation of the same kind of products in Milan for the International Furniture Fair. So they decided to cooperate and droog was born. The presentation in Milan was immediately a big success. Reason for them to continue and set up a foundation. In the first years they did the work for droog in their private studios; after all it was restricted to the yearly presentation in Milan. From ’99 they started to work in a small office together with a secretary. By the time, the workload had increased enormously. In 1996 they started initiate experimental projects, beginning with Dry Tech which mean experimenting with high tech fibres. In 1997 Droog received the first commission of a company, i.e. the German porcelain manyfacturer Rosenthal. In 2000 droog became involved in the IM master course at the design Academy in Eindhoven. Since 2003 droog is leading this course. In 2003, the droog bv started, a separate company producing and distributing a number of the products in the droog collection. And in 2002 droog started a small gallery in Amsterdam. In 2004, droog moved to a bigger location – in a beautiful historical building – which gives space for an office, shop, exhibition space, reading room, and a kitchen in which design dinners can be prepared.
(www.droog.com)
Images
Text
Since 1993, when it was co-founded in Amsterdam by the product designer Gijs Bakker and design historian Renny Ramakers, DROOG has championed the careers of such designers as Hella Jongerius and Marcel Wanders, while defining a new approach to design by mixing materials and interacting with the user.
When Renny Ramakers showed a few pieces of furniture assembled by young Dutch designers from cheap industrial materials or found objects, like old dresser drawers and driftwood, at exhibitions in the Netherlands and Belgium in early 1992, she sold so little that she barely covered her costs.
Even so, the pieces - a bookcase made from strips of paper and triplex by the Jan Konings and Jurgen Bey; a driftwood cupboard designed by Piet Hein Eek and a chest of drawers constructed by Tejo Remy by tying half-a-dozen wooden drawers into a bundle with thick cord - attracted so much attention that Ramakers, then editor-in-chief of the design magazine Industrial Ontwerpen was convinced that she had discovered “a clear break from the past”, in other words, a genuinely new approach to design.
Hearing that Gijs Bakker, the product designer and professor at the Design Academy in Eindhoven, was planning to exhibit the work of his present and past students at the 1993 Milan Furniture Fair, she suggested that they collaborate on a joint show. “Before we started out Gijs and I agreed,” recalled Ramakers. “If we’ve made a mistake and they think it’s worth nothing we’ll shut up shop. If it catches on, we’ll keep going.”
The fourteen objects they showed in Milan ranged from Konings and Bey’s paper bookcase and Remy’s bundle of found wooden drawers, to Marcel Wanders’ Set Up Shades stack of ready-made lamps, Hella Jongerius’ bubbly polyurethane bath mat and a chandelier of light bulbs devised by Rody Graumans. They called the collection Droog Design after the Dutch word ‘droog’, which translates into English as ‘dry’ as in the dry wit, or wry, subtle sense of humour that characterized all the pieces they exhibited.
Droog Design did catch on. It was the hit of the 1993 Milan Furniture Fair. The French newspaper Libération suggested that the “unknowns” responsible for Droog should be given a medal for spiritual savoir vivre”. Many of the pieces unveiled in that first Droog exhibition - like Graumans’ 85 Bulbs Chandelier - are now regarded as iconic objects of the early 1990s. And many of the young designers featured in that show, such as Hella Jongerius and Marcel Wanders, have since emerged as pivotal figures in contemporary design.
Looking back it is easy to see why Droog made such a splash. By the early 1990s contemporary design had rebelled against the self-parodic cacophony of candy colored plastics and kitsch motifs of the mid-1980s Memphis movement by adopting a restrained, sometimes overly retentive minimalist aesthetic. As Renny Ramakers put it: “Design became much more sober.”
Droog was different. It shared the simplicity of minimalism and its careful choice of materials, but deployed humour – albeit a dry or ‘droog’ humour - to strike an emotional bond with the user. Rudy Graumans’ 85-bulb chandelier is an inspired example of lateral thinking in design, but it is impossible not to smile at the verve with which the designer transformed an everyday object like a standard light bulb into a spectacular chandelier. The stack of standard lampshades that Marcel Wanders turned into his Set Up Shades lamp and Tejo Remy’s bundle of battered old dresser drawers elicited the same response. “It is a comment on many things: on plenitude, over-consumption, the pretensions that beset the profession,” said Ramakers of Remy’s piece.
Cheered by the response to their Milan exhibition, Bakker and Ramakers established the Droog Design Foundation in the following January and struck an agreement with the Voorburg-based company DMD (alias Development Manufacturing and Distribution) to make and market its products, mostly as limited editions. Those products, according to Droog’s statutes, would be those which “in terms of quality and content fit with the image and way of thinking communicated by Droog Design: original ideas (and) clear concepts which have been shaped in a wry, no-nonsense manner”.
Droog staged a second show at the 1994 Milan Furniture Fair and began discussions with the Central Museum in Utrecht, which would eventually acquire and exhibit the entire collection until 1999. Bakker and Ramakers realized that the designers championed by Droog would have more impact if their work were shown collectively, than they would by exhibiting individually. “All those designs would never have become as well known if we had not shown them together,” observed Gijs Bakker.
Rather than simply select a collection of designs for the 1995 Milan Furniture Fair, the Droog duo decided to initiate new work by liaising with the Delft University to experiment with new materials on the Dry Tech I and II projects and later the Dry Bathing collection of bathroom products in collaboration with DMD. Droog then began work on its first collaborative project with a private sector partner in 1997 by developing a collection of ceramics with Rosenthal, the German porcelain manufacturer. One of these pieces was the white porcelain Sponge Vase modeled by Marcel Wanders on a natural sponge.
Bakker and Ramakers have since developed the Droog concept not by repeating and refining the original formula but by experimenting with new products, new designers and new industrial partners while adhering to the same principles. From creating visionary concepts for a New York Times millennium competition and designing a flagship store on rue Saint-Honoré in Paris for Mandarina Duck, the Italian luggage company, to devising the Dry Kitchen made from different variations on the same modular white ceramic tile, Droog has continued to reinvent its core principles on different scales and in different disciplines in industrial projects, books and exhibitions.
For the 2001 Milan Furniture Fair, it commissioned a group of young designers to dream up visionary ways of preconceiving the wooden cigar boxes made by Picus, a traditional Dutch box maker. The following year Droog commandeered a flophouse hotel in central Milan where another group of designers was each allocated a room and invited to create an intervention.
The core of Droog’s work is its collection of more than 120 products, which were either created by one of its group projects or commissioned from their designers by Bakker and Ramakers. “The criteria are flexible and shaped by developments in product culture and the designers’ own initiatives,” states Droog. “The only constant is that the concept has validity today; that it is worked out along clear-cut, compelling lines; and that product usability is a must. Within this framework literally anything goes.”
In 1991 Renny Ramakers noticed interesting new products by young Dutch designers and she felt it as a sign of the time and decided to bring some products of these designers together and to present it as a common mentality. She organized small exhibitions in The Netherlands and Belgium. Beginning 1993 she met Gijs Bakker, her present partner in droog. He was preparing a presentation of the same kind of products in Milan for the International Furniture Fair. So they decided to cooperate and droog was born. The presentation in Milan was immediately a big success. Reason for them to continue and set up a foundation. In the first years they did the work for droog in their private studios; after all it was restricted to the yearly presentation in Milan. From ’99 they started to work in a small office together with a secretary. By the time, the workload had increased enormously. In 1996 they started initiate experimental projects, beginning with Dry Tech which mean experimenting with high tech fibers. In 1997 Droog received the first commission of a company, i.e. the German porcelain manufacturer Rosenthal. In 2000 droog became involved in the IM master course at the design Academy in Eindhoven. Since 2003 droog is leading this course. In 2003, the droog bv started, a separate company producing and distributing a number of the products in the droog collection. And in 2002 droog started a small gallery in Amsterdam. In 2004, droog moved to a bigger location – in a beautiful historical building – which gives space for an office, shop, exhibition space, reading room, and a kitchen in which design dinners can be prepared.
The droog mentality could be summarized as ‘dry’ ‘Dry’ as in dry wit, unadorned informality, and ascetic irony. ‘Dry’ as that essentially Dutch inclination to ‘do normal’ and at the same time critically investigate what you are doing and the way you do it.
“Form does not interest me”
“Strong and clear like a good martini”
Droog Design has helped launch the careers of designers such as Marcel Wanders, Hella Jongerius, Tejo Remy, Richard Hutten and Jurgen Bey.
I became interested in Droog Design because of the simplicity of the designs. I found that all of the designs are extreme explorations of normal everyday items. All of the shapes used are basic shapes taken to their extremes. For example the milk bottle lamp I chose for my object. It's an ordinary milk bottle however grouped together and added with a bulb you get an abstract lamp made out of normal everyday objects. Or the birdhouse: it's a normal rectangle bent in half with basic circle plate on the bottom. Normal shapes used to their full potential. These same things are what made me interested in not just the designers but the work in general.
Droog Design is also important because it marked a different outlook on design. Instead of the aesthetically appealing designs the world was creating, Droog Design took the work in another direction and introduced the world to work that wasn't so focused on the aesthetics but instead the social and communicative facets of the work. "Form doesn't interest me." Droog design was and is a major turning point for Dutch design.
History
Droog Design was established by Renny Rameakers and Gijs Bakker in 1993. The idea of the foundation was to promote contemporary designs, to be exact Dutch designs in Milan at the time. After some succees they decided to initiate new projects and experiments. From this idea came, Dry Tech I and II. These new designs were made with new air and space technology provided by Delft's University of Techinical Engineering. These new designs were a series of experiments that emphasized the treatment of materials, color, decorations and practical use. "The participating designers' conceptual appriach has resulted in a collection comprising a mix of unique aesthetics, simple series products and prototypes which are no more than an interim stage in the whole though and design process. This is the collections' strength rather than a weakness." (Droog Design 1991-1996: Ida van Zijl)
"Pointers to the future direction of design"
"Social & people friendly approach"
Droog Design relied more on instinct rather than rationality Droog = dry (in dutch) "Strong and clear like a good Martini" Most of the designs are dry like the name, simple and clean.
(Droog Design Spirit of the Nineties)
In 1991 Renny Ramakers noticed interesting new products by young Dutch designers and she felt it as a sign of the time and decided to bring some products of these designers together and to present it as a common mentality. She organized small exhibitions in The Netherlands and Belgium. Beginning 1993 she met Gijs Bakker, her present partner in droog. He was preparing a presentation of the same kind of products in Milan for the International Furniture Fair. So they decided to cooperate and droog was born. The presentation in Milan was immediately a big success. Reason for them to continue and set up a foundation. In the first years they did the work for droog in their private studios; after all it was restricted to the yearly presentation in Milan. From ’99 they started to work in a small office together with a secretary. By the time, the workload had increased enormously. In 1996 they started initiate experimental projects, beginning with Dry Tech which mean experimenting with high tech fibres. In 1997 Droog received the first commission of a company, i.e. the German porcelain manyfacturer Rosenthal. In 2000 droog became involved in the IM master course at the design Academy in Eindhoven. Since 2003 droog is leading this course. In 2003, the droog bv started, a separate company producing and distributing a number of the products in the droog collection. And in 2002 droog started a small gallery in Amsterdam. In 2004, droog moved to a bigger location – in a beautiful historical building – which gives space for an office, shop, exhibition space, reading room, and a kitchen in which design dinners can be prepared.
(www.droog.com)
Images
Text
Since 1993, when it was co-founded in Amsterdam by the product designer Gijs Bakker and design historian Renny Ramakers, DROOG has championed the careers of such designers as Hella Jongerius and Marcel Wanders, while defining a new approach to design by mixing materials and interacting with the user.
When Renny Ramakers showed a few pieces of furniture assembled by young Dutch designers from cheap industrial materials or found objects, like old dresser drawers and driftwood, at exhibitions in the Netherlands and Belgium in early 1992, she sold so little that she barely covered her costs.
Even so, the pieces - a bookcase made from strips of paper and triplex by the Jan Konings and Jurgen Bey; a driftwood cupboard designed by Piet Hein Eek and a chest of drawers constructed by Tejo Remy by tying half-a-dozen wooden drawers into a bundle with thick cord - attracted so much attention that Ramakers, then editor-in-chief of the design magazine Industrial Ontwerpen was convinced that she had discovered “a clear break from the past”, in other words, a genuinely new approach to design.
Hearing that Gijs Bakker, the product designer and professor at the Design Academy in Eindhoven, was planning to exhibit the work of his present and past students at the 1993 Milan Furniture Fair, she suggested that they collaborate on a joint show. “Before we started out Gijs and I agreed,” recalled Ramakers. “If we’ve made a mistake and they think it’s worth nothing we’ll shut up shop. If it catches on, we’ll keep going.”
The fourteen objects they showed in Milan ranged from Konings and Bey’s paper bookcase and Remy’s bundle of found wooden drawers, to Marcel Wanders’ Set Up Shades stack of ready-made lamps, Hella Jongerius’ bubbly polyurethane bath mat and a chandelier of light bulbs devised by Rody Graumans. They called the collection Droog Design after the Dutch word ‘droog’, which translates into English as ‘dry’ as in the dry wit, or wry, subtle sense of humour that characterized all the pieces they exhibited.
Droog Design did catch on. It was the hit of the 1993 Milan Furniture Fair. The French newspaper Libération suggested that the “unknowns” responsible for Droog should be given a medal for spiritual savoir vivre”. Many of the pieces unveiled in that first Droog exhibition - like Graumans’ 85 Bulbs Chandelier - are now regarded as iconic objects of the early 1990s. And many of the young designers featured in that show, such as Hella Jongerius and Marcel Wanders, have since emerged as pivotal figures in contemporary design.
Looking back it is easy to see why Droog made such a splash. By the early 1990s contemporary design had rebelled against the self-parodic cacophony of candy colored plastics and kitsch motifs of the mid-1980s Memphis movement by adopting a restrained, sometimes overly retentive minimalist aesthetic. As Renny Ramakers put it: “Design became much more sober.”
Droog was different. It shared the simplicity of minimalism and its careful choice of materials, but deployed humour – albeit a dry or ‘droog’ humour - to strike an emotional bond with the user. Rudy Graumans’ 85-bulb chandelier is an inspired example of lateral thinking in design, but it is impossible not to smile at the verve with which the designer transformed an everyday object like a standard light bulb into a spectacular chandelier. The stack of standard lampshades that Marcel Wanders turned into his Set Up Shades lamp and Tejo Remy’s bundle of battered old dresser drawers elicited the same response. “It is a comment on many things: on plenitude, over-consumption, the pretensions that beset the profession,” said Ramakers of Remy’s piece.
Cheered by the response to their Milan exhibition, Bakker and Ramakers established the Droog Design Foundation in the following January and struck an agreement with the Voorburg-based company DMD (alias Development Manufacturing and Distribution) to make and market its products, mostly as limited editions. Those products, according to Droog’s statutes, would be those which “in terms of quality and content fit with the image and way of thinking communicated by Droog Design: original ideas (and) clear concepts which have been shaped in a wry, no-nonsense manner”.
Droog staged a second show at the 1994 Milan Furniture Fair and began discussions with the Central Museum in Utrecht, which would eventually acquire and exhibit the entire collection until 1999. Bakker and Ramakers realized that the designers championed by Droog would have more impact if their work were shown collectively, than they would by exhibiting individually. “All those designs would never have become as well known if we had not shown them together,” observed Gijs Bakker.
Rather than simply select a collection of designs for the 1995 Milan Furniture Fair, the Droog duo decided to initiate new work by liaising with the Delft University to experiment with new materials on the Dry Tech I and II projects and later the Dry Bathing collection of bathroom products in collaboration with DMD. Droog then began work on its first collaborative project with a private sector partner in 1997 by developing a collection of ceramics with Rosenthal, the German porcelain manufacturer. One of these pieces was the white porcelain Sponge Vase modeled by Marcel Wanders on a natural sponge.
Bakker and Ramakers have since developed the Droog concept not by repeating and refining the original formula but by experimenting with new products, new designers and new industrial partners while adhering to the same principles. From creating visionary concepts for a New York Times millennium competition and designing a flagship store on rue Saint-Honoré in Paris for Mandarina Duck, the Italian luggage company, to devising the Dry Kitchen made from different variations on the same modular white ceramic tile, Droog has continued to reinvent its core principles on different scales and in different disciplines in industrial projects, books and exhibitions.
For the 2001 Milan Furniture Fair, it commissioned a group of young designers to dream up visionary ways of preconceiving the wooden cigar boxes made by Picus, a traditional Dutch box maker. The following year Droog commandeered a flophouse hotel in central Milan where another group of designers was each allocated a room and invited to create an intervention.
The core of Droog’s work is its collection of more than 120 products, which were either created by one of its group projects or commissioned from their designers by Bakker and Ramakers. “The criteria are flexible and shaped by developments in product culture and the designers’ own initiatives,” states Droog. “The only constant is that the concept has validity today; that it is worked out along clear-cut, compelling lines; and that product usability is a must. Within this framework literally anything goes.”
In 1991 Renny Ramakers noticed interesting new products by young Dutch designers and she felt it as a sign of the time and decided to bring some products of these designers together and to present it as a common mentality. She organized small exhibitions in The Netherlands and Belgium. Beginning 1993 she met Gijs Bakker, her present partner in droog. He was preparing a presentation of the same kind of products in Milan for the International Furniture Fair. So they decided to cooperate and droog was born. The presentation in Milan was immediately a big success. Reason for them to continue and set up a foundation. In the first years they did the work for droog in their private studios; after all it was restricted to the yearly presentation in Milan. From ’99 they started to work in a small office together with a secretary. By the time, the workload had increased enormously. In 1996 they started initiate experimental projects, beginning with Dry Tech which mean experimenting with high tech fibers. In 1997 Droog received the first commission of a company, i.e. the German porcelain manufacturer Rosenthal. In 2000 droog became involved in the IM master course at the design Academy in Eindhoven. Since 2003 droog is leading this course. In 2003, the droog bv started, a separate company producing and distributing a number of the products in the droog collection. And in 2002 droog started a small gallery in Amsterdam. In 2004, droog moved to a bigger location – in a beautiful historical building – which gives space for an office, shop, exhibition space, reading room, and a kitchen in which design dinners can be prepared.
The droog mentality could be summarized as ‘dry’ ‘Dry’ as in dry wit, unadorned informality, and ascetic irony. ‘Dry’ as that essentially Dutch inclination to ‘do normal’ and at the same time critically investigate what you are doing and the way you do it.
“Form does not interest me”
“Strong and clear like a good martini”
Droog Design has helped launch the careers of designers such as Marcel Wanders, Hella Jongerius, Tejo Remy, Richard Hutten and Jurgen Bey.
Monday, April 13, 2009
Journal Entry: Debbie Millman
Debbie Millman is a designer who has devoted most of her life to design. She has worked with Sterling Brands and designed many things that probable have been purchased in everyday purchases. In addition to this, she is a writer and has enjoyed working with Print magazine to write some articles. She is also in the process of writing and publishing two books: How to Think Like a Great Graphic Designer and Principles of Graphic Design. She teaches at the School of Visual Arts and Fashion Institute of Technology, gives lectures around the US as a board member of AIGA and also hosts an internet talk show: Design Matters.
Design Matters is an internet talk radio show that talks about issues about graphic design. It is very opinionated and provocative and is listened by over 150,000 people.
Interviews are scratchy...gross...
Debbie Millman seems really bold. The interview with Trollback was similar to the TED lecture I listened to at the beginning of the semester. Because they went over the same things he mentioned during his lecture, he was self-taught, a dj, he begain designing by getting books from designers and imitating their work. Debbie seemed really impressed by him and how he was self-taught. I mean I would be impressed too if I saw anyone who was succeessful at something being only self-taught.
Design Matters is an internet talk radio show that talks about issues about graphic design. It is very opinionated and provocative and is listened by over 150,000 people.
Interviews are scratchy...gross...
Debbie Millman seems really bold. The interview with Trollback was similar to the TED lecture I listened to at the beginning of the semester. Because they went over the same things he mentioned during his lecture, he was self-taught, a dj, he begain designing by getting books from designers and imitating their work. Debbie seemed really impressed by him and how he was self-taught. I mean I would be impressed too if I saw anyone who was succeessful at something being only self-taught.
Monday, March 30, 2009
Sunday, March 29, 2009
Journal #7: DesignObserver
Type Means Never Having to Say You’re Sorry
As much as history is the past it is the present just as much. I mean we learn from our history and evolve from that. And not only in the history of the United States we learned all through school but in everything ranging from our own history of mistakes to the history of typography. Each new typeface that evolves is influenced by the one before it. Just as Jessica stated in the article, history of design and type is very much needed to learned as you grow into a designer. Just as we learned the history of our country throughout our academics, the foundation of design needs to be instilled into our heads as designers. I think it helps us grow into a stronger designer and helps us think of new ways of designing because we are able to look into the past to see mistakes and influences that will make our new design even better than the next. As far as the researching portion towards the beginning of the article, I would also be embarrassed if someone were to ask me especially during a portfolio review why I chose a certain type or color or book without even having a strong research to back it up. I agree with certain things like picking something because “I liked it.” There are times were I just feel like picking this certain font or style because I feel a connection between the expression in the letters and in the content of what I’m designing but not knowing the content of what I’m designing is something I will never want to do. Take for example the bookcover project. I picked a book that I loved and knew about to redesign but I also read about and started reading the two other books of the series I chose. I knew I wouldn’t be able to have a strong design idea without reading a little into the book I was redesigning because I wouldn’t know the tone of the book or the feelings behind them.
Other fonts to use instead of Futura? --> there is the oh so popular Helvetica :) It keeps futura's emphasis on geometric shapes, not as extreme but still keeps the same idea. Plud I do really like that font anyways. Some other ones we could use: Gothica which is also geometric but with a twist I think, and Interstate although i'm not a huge fan of that type, maybe because I see it when im driving...
The Four Lessons of Lou Dorfsman
Lou Dorfsman 4 lessons are so right! Next to Bruce Mau’s commandments these are 4 other things to put on my list of things I NEED to keep in mind as a designer. But not only me but others as well! After reading this article I got pumped to just go and start designing…this plus studio tours definitely pumped me up!
Mind the clients business:
I know I may get jobs that I really don’t find as interesting as others but that doesn’t mean those aren’t as important. Any job as a designer is important because it is an example of what you are, how you work, your process, everything. If you don’t put effort into a project just because you don’t like it as much or don’t see it as important it will only make you look like a lazy designer, someone who doesn’t find a joy in everything they design. Someone who does things just to get it done not someone who explores and risks things. Just like Lou was put in charge of the CBS radio dept not the television dept (the more exciting area) he still treated the radio station just as much as anything else and came out with great results which therefore made him move into the television dept later in life.
Learn to identify opportunities
Don’t just sit around and wait for opportunities to come to you, GO OUT & LOOK! Opportunities are everywhere around us and most of us just sit around and do nothing as other designers take advantage of those chances in life. Lou always looked for opportunities to make new projects and therefore became more successful with his designs. If you see something and think to yourself, “Man, that’s bad design.” Instead of just saying it and going on with life DO SOMETHING ABOUT IT. Re-design it.
Assume responsibility
As a designer you will have to stand up for many things you may feel strongly about throughout your life. Take responsibility and take action when you see something that needs to be done. Just like what I wrote above about doing something about it, take responsibility and do it! Especially for things you are associated with.
Define the company’s character
Instead of just working for your company or even just in class, do more. Don’t merely do what’s asked from you to get by do much more than that. EXPLORE! Put your personality in your projects. Do things to make the project more than what it is. Make it memorable, define what your company/project is about and work to make it more cohesive within itself but different from any other company/project from the pack. Do the extra to make things stand out. Think outside the box.
Ten Things that Need to be Redesigned
Hahaha, some of these things are funny but true.
Lottery Tickets are disturbingly gross…with too much color and text plus the cheesy factor.
The Hearse creeps me out and it is true, why can’t you ride in a pimped out car just because you’re dead. I mean true I wouldn’t want to ride in a pimped out car either but how about a classy and modern car?
Monopoly Money is unrealistic yes but to me its also just boring…nothing that grabs my attention. Plus I think last time I looked money was double sided…
Remote controls, definitely agree with Jessica. TOO MANY BUTTONS for everything! I know last time I was home I didn’t know what button to press to change the setting back to where it was when I accidentally changed it. Definitely not a good example of good design, Next thing I know well have buttons that that thing to control the microwave or even our cars.
Political Lawn Signs, same same and SAME
IRS forms, oh man those are confusing plus everything looks the same and doesn’t seem to be organized well, or put in a hierarchy
Those were just my favorite out of the bunch, but let’s take Lou’s 4 lessons into action and DO SOMETHING ABOUT IT! ☺
As much as history is the past it is the present just as much. I mean we learn from our history and evolve from that. And not only in the history of the United States we learned all through school but in everything ranging from our own history of mistakes to the history of typography. Each new typeface that evolves is influenced by the one before it. Just as Jessica stated in the article, history of design and type is very much needed to learned as you grow into a designer. Just as we learned the history of our country throughout our academics, the foundation of design needs to be instilled into our heads as designers. I think it helps us grow into a stronger designer and helps us think of new ways of designing because we are able to look into the past to see mistakes and influences that will make our new design even better than the next. As far as the researching portion towards the beginning of the article, I would also be embarrassed if someone were to ask me especially during a portfolio review why I chose a certain type or color or book without even having a strong research to back it up. I agree with certain things like picking something because “I liked it.” There are times were I just feel like picking this certain font or style because I feel a connection between the expression in the letters and in the content of what I’m designing but not knowing the content of what I’m designing is something I will never want to do. Take for example the bookcover project. I picked a book that I loved and knew about to redesign but I also read about and started reading the two other books of the series I chose. I knew I wouldn’t be able to have a strong design idea without reading a little into the book I was redesigning because I wouldn’t know the tone of the book or the feelings behind them.
Other fonts to use instead of Futura? --> there is the oh so popular Helvetica :) It keeps futura's emphasis on geometric shapes, not as extreme but still keeps the same idea. Plud I do really like that font anyways. Some other ones we could use: Gothica which is also geometric but with a twist I think, and Interstate although i'm not a huge fan of that type, maybe because I see it when im driving...
The Four Lessons of Lou Dorfsman
Lou Dorfsman 4 lessons are so right! Next to Bruce Mau’s commandments these are 4 other things to put on my list of things I NEED to keep in mind as a designer. But not only me but others as well! After reading this article I got pumped to just go and start designing…this plus studio tours definitely pumped me up!
Mind the clients business:
I know I may get jobs that I really don’t find as interesting as others but that doesn’t mean those aren’t as important. Any job as a designer is important because it is an example of what you are, how you work, your process, everything. If you don’t put effort into a project just because you don’t like it as much or don’t see it as important it will only make you look like a lazy designer, someone who doesn’t find a joy in everything they design. Someone who does things just to get it done not someone who explores and risks things. Just like Lou was put in charge of the CBS radio dept not the television dept (the more exciting area) he still treated the radio station just as much as anything else and came out with great results which therefore made him move into the television dept later in life.
Learn to identify opportunities
Don’t just sit around and wait for opportunities to come to you, GO OUT & LOOK! Opportunities are everywhere around us and most of us just sit around and do nothing as other designers take advantage of those chances in life. Lou always looked for opportunities to make new projects and therefore became more successful with his designs. If you see something and think to yourself, “Man, that’s bad design.” Instead of just saying it and going on with life DO SOMETHING ABOUT IT. Re-design it.
Assume responsibility
As a designer you will have to stand up for many things you may feel strongly about throughout your life. Take responsibility and take action when you see something that needs to be done. Just like what I wrote above about doing something about it, take responsibility and do it! Especially for things you are associated with.
Define the company’s character
Instead of just working for your company or even just in class, do more. Don’t merely do what’s asked from you to get by do much more than that. EXPLORE! Put your personality in your projects. Do things to make the project more than what it is. Make it memorable, define what your company/project is about and work to make it more cohesive within itself but different from any other company/project from the pack. Do the extra to make things stand out. Think outside the box.
Ten Things that Need to be Redesigned
Hahaha, some of these things are funny but true.
Lottery Tickets are disturbingly gross…with too much color and text plus the cheesy factor.
The Hearse creeps me out and it is true, why can’t you ride in a pimped out car just because you’re dead. I mean true I wouldn’t want to ride in a pimped out car either but how about a classy and modern car?
Monopoly Money is unrealistic yes but to me its also just boring…nothing that grabs my attention. Plus I think last time I looked money was double sided…
Remote controls, definitely agree with Jessica. TOO MANY BUTTONS for everything! I know last time I was home I didn’t know what button to press to change the setting back to where it was when I accidentally changed it. Definitely not a good example of good design, Next thing I know well have buttons that that thing to control the microwave or even our cars.
Political Lawn Signs, same same and SAME
IRS forms, oh man those are confusing plus everything looks the same and doesn’t seem to be organized well, or put in a hierarchy
Those were just my favorite out of the bunch, but let’s take Lou’s 4 lessons into action and DO SOMETHING ABOUT IT! ☺
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