From Culture to Competition

Thoughts on all sorts of stuff

Feb 03
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Design Thinking: Making Life Accessible

As a designer functionality is vital, no matter if it is a web site or a store front. Not only does the designer need to think about the audience, but they also need to think about everyone else as well. Below is short list of things that help to bring in more function to everyday life.

The Americans with Disabilities Act
The ADA is a civil rights act that proposes to prevent the discrimination of the disabled, therefore giving them more freedom to enjoy life. The ADA has 4 main titles:

1. Employment
A potential employee cannot be discriminated because of their disability or overlooked for the job if they are a qualifying candidate for that job. If an employee is disabled, they still have the right to be treated with respect like everyone else and be accommodated to if necessary.

2. Public Services + Public Transportation
Access to wheel chair ramps, lifts, or another physical access outlet for the disabled shouldn’t be obstructed and should be easy to get to. Furthermore, if there is a lack of physical access, like a wheelchair ramp, that is classified as discriminatory.

3. Public Accommodation
All individuals should be able to enjoy all services provided. Also, new buildings need to apply to ADA standards. Areas of older construction should be “adjusted” to fit the standards if possible, meaning funds are sufficient and the work is feasible.

4. Telecommunications
This title helped form the Tele-Typewriter and the Telecommunications Relay Service, a video service that enables the speech impaired or deaf to communicate with others, when services like the telephone are difficult to use.

Other intangible services that assist in everday welfare

Occupational Safety and Health Administration (OSHA)
Enforces workplace safety to minimize workplace deaths and illnesses

The Business and Institutional Furniture Manufacturer’s Association (BIFMA)
Quality checks office furniture for safety and functionality

The American National Standards Institute (ANSI)
Reassures that products made in the United States are compatible with the rest of the world by using implementing international standards

Dec 09
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Design Practice: Design Job

My reaction to the article Top Ten Things They Never Taught Me In Design School is that it confirms a lot of what I do believe already, and it explains to me ideas that I would have never thought of. One of the things the article explains that talent is not everything, and that hard work through self discipline and sacrifice as well as luck, are important to getting the job you want. I have always believed this, and I think those who have talent just work really hard, and have made some good connections that helped them get where they are.

I agree with Bill’s statement about others trying to complicate ideas. I find myself doing this, often trying to correct a good idea. If it ain’t broke, don’t fix it.

Bill also stated that you shouldn’t lose sight of your goals. I often forget them, with all of the things that go on during the day, every day, every week. It’s important to write them down and keep them posted somewhere so you don’t forget them.

Another thing Bill wrote about was output. You can do all the work you want, but if no one sees it, it doesn’t exist. This statement reminds me that I need to get my resume and out there and try to make a name for myself. By keeping to myself I am invisible.

I also learned that there is a lot of boring, behind the scenes stuff to go through in any creative profession. The “shit work” as he called it is not the fun, creative stuff you get to focus on in school, but is more business related and non-creative, like making phone calls, managing accounts, and scheduling meetings. If one cannot embrace the small stuff, then overall success is harder to achieve. I was surprised to find out that most of the work involves these “uncreative” challenges, but also find some hope in this fact, that it is these challenges that will let our creative, analytical bodies rest.

Nov 29
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Design Thinking: Tangoes

Today I played a game called Tangoes, which is an ancient game that uses different shapes that the player has to combine to form an image on a card. Playing the game really relates my graphic design education for a number of reasons:

1. It’s what you do with it. You are given criteria, and is your challenge to come up with the solution. You have to use critical thinking to meet the requirements of the project.

2. Working in a team allows for open communication between members, and allows each of those members to collaborate in coming up with the best way to solve the problem.

3. It looks easy but it’s more challenging than that. Before I got into the graphic design program, I had a lot of experience in art, and got pretty good grades in art classes in high school. When I first checked out the graphic design program here I thought, “This is fun, it looks easy.” four years later, it has not been impossible, but I know it has not been easy. There is so much more to design that what we actually see. As much as it is a creative form that looks fun, it does have its challenges, which are often intangible. Some of these challenges are consistenly coming up with good ideas, and being able to execute them.

4. Little pieces add up to the big picture. A complete design is like a finished puzzle. The pieces are different segments that form the whole, with the segments being color, typography, form, grid, design principles, composition, production, and technology to name a few.

Nov 12
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GRDE 414: Grand Rapids + Design + Business

On November 8, our class took a trip down to Grand Rapids to visit with other designers and those involved in other creative processes relating to design and business. We met with Ryan Van Dyke who graduated last spring from the graphic design program at Ferris. We also met with Dalin Clark, who is a writer-strategist, Bill Holsinger-Robinson, C.O.O. of Spout, and visited People Design 

It was really nice to hear from Ryan, who is currently working as a designer/developer at Carnivale ID. Ryan started his presentation by giving an overview of the current projects he was working on, which include French Restaurant, National City bank, GTA, and Blue Gill Angler. He also talked about some of the technologies that he uses to write code, like Text Mate, and also delved into programs he uses outside of Dreamweaver. These included Slide Show Pro, Swift 3D, and Google Maps. I liked his laid back approach to things, and it was really interesting how he was the only employee working with Mike Carnivale. Ryan said that things got a little different for him after college, in that he was able to get started on projects right away without having to be tied to a deadline. One of the things that really struck me is how he got the job not only with the knowledge he gained in school, but also with what he learned outside of it. This kind of dedication and passion, Ryan said, leads to best results because it is something that you love to do, and the outside learning only adds to a good resume. Another benefit from hearing Ryan speak was to see where a Ferris graduate ended up and how they were doing; this made me think about what job may possibly await me if I continue to work hard and be passionate aboit it.

Dalin Clark talked to us after our lunch at The Heritage, a small gourmet restaurant. Her presentation was interesting in that I got to hear from a writer’s perspective rather than a designer’s. She talked about how she served as a translator, taking the jargon of the technical, and morphing it into layman’s terms. One thing I learned from Dalin is that work time and family time are equal on the fulcrum. Consult family about work; don’t do anything with your job that could hurt your family. She made sure she balanced her work and took breaks. This reminded me that we do need to forget our work sometimes and relax with those close to us. Another point she made was to ask good questions, and find your niche, and figure out what works for you. And lastly, she made a point to be respectful. Say please and thank you, and remember that the writer should not be taken for granted. Let the copywriter know about deadlines and give them some space to work with. Designers should take into consideration the writer’s work just as they would the photographer’s or illustrator’s.

Bill H.R. from Spout talked to us about his website, which helps movie fanatics find links to other movies they love by connecting them with movie critics. The site is also about underground films getting their word out. One of the things I learned from Bill is that you may start somewhere doing one kind of job, but may end up doing another kind of job a years later, sort of reinventing yourself and your career in the process. Another thing I got from Bill’s presentation was how he helped people by offering a service that let people and other artists share their minds. It was also beneficial to hear from the client side, as People Design had created special printpieces for Spout and played a big role in Spout’s identity.

At People design, we met with V.P. Yang Kim and her collaborators, being the designers and web development team. Some of the benefits I got out of visiting People Design was visiting the studio, and seeing not only the work that gets put out but also the behind the scenes action that is involved. Good feedback was provided by all the employess in terms of what do and what not do when getting out and trying to find your first job. This included how mounted pieces aren’t always the best, and that you shouln’t really script your presentation; you should be able to talk about your work in any order. One of the points that was made was how when starting off in your first job, you won’t always be behind the pilot’s seat making stuff. Often times you’ll start off doing the rudimentary tasks first, then work your way up.

Oct 31
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Oct 29
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Creative Smackdown

On Wednesday, I had the privilege of participating in the Creative Smackdown, an advertising and design critique/competition in Grand Rapids, at the GVSU campus.

The way the competition worked was this: there are three rounds that each of the advertising and design students went through individually. In the first round, everyone sits at a different table, and a judge is assigned to each table. The student has one minute to present, and the judge has five minutes to critique. After that time is over, they choose the piece they feel the best about conceptually and visually, and that piece goes to the second round. If the student’s piece doesn’t make it to the second round, they still get to benefit from getting a second critique. During the second round, the same thing happens, only there are two judges critiquing the work. The pieces that are selected go to the third round, where three judges gave a final critique. The top winner was awarded $300 in cash, a $500 scholarship to the Portfolio Center, and a membership in AD2, an advertising group in Grand Rapids.

I had spent about three weeks preparing for the competition, which included making variations and iterations of a new poster from a previous school project that dealt with a social issue concerning the future of America’s cities. By Wednesday afternoon, I was ready with two printouts of the poster and a note card of presentation notes. I showed up around 6:45 to register, and was taken to a back room where all the design kids, about 25 total, sat. The room was very comforting to me, with a large window that looked out at a clock tower. Paintings were displayed throughout the room, which also housed a fireplace and a bar. Prior to the judges coming in for the first round, I scanned my notes. However, I didn’t end up using the note card because I didn’t think we were allowed to have one, and I wanted to see if I could remember the presentation anyway. I had been working on this poster for a few weeks and it made sense to me to just know it.

During the first round, I sat at a table with two other design students, both of which had designed CD covers. I wasn’t nervous to present during the first round. The first judge gave me good overall feedback. He really liked how the message was portrayed. He did suggest there be more of a call to action, and maybe another touch point, in addition to the poster, that stated more information as to why this issue is important.

In the second round, I presented my poster in front of two judges, which of whom one was the previous judge I had talked to a few minutes before. The second, “new” judge had some good comments. He liked the type, and he said that the poster had good visual appeal. He liked the color palette in how the red and black were used, but also how the earth tones were used instead of greens and grays. He agreed with the first judge, however, in that there should be more of a call to action. They passed the poster onto the third round for my final presentation.

The third round had four contestants from advertising and design. In the last round, I presented my poster in front of everybody which looked like about 70 people, but I had to face the judges. Again I got overall good feedback. One of the judges said that the poster grabbed his attention from across the room during a previous round. They really liked the typography, and the contrast between the textured, sketchy line, and sharp, computer generated arrows. They felt that the poster worked great in conveying the message and worked well for the audience. One thing that was stated was how the AIA logo sat. They felt that most students, especially advertising students, place the logos in the corner. They felt that this was a similar case and the AIA logo should be placed somewhere else. An interesting thing that should be noted was how one judge got a slightly different message, which is still valid, out of the poster. He said “It looks like someone is angry at sprawl, and trying to cross it off.” This interpretation is different than the message I was trying to portray but still valid, because the AIA really does have practices that are against urban sprawling. In the end, the judge pointed out a duality in the message, and that each interpretation still applies to the overall concept.

In the design round, the third place winner was a team of two girls who worked together to create an information guide that had a similar look and feel to a Pantone swatch book. The second place winner was a young lady who created a brochure on corn and fuel, using scientific metaphors to get her message across. I won first place with the sprawl poster.

In the advertising round, the third place winner was a billboard ad that portrayed AIDS relief, with a large Band-Aid which was stained with blood in the shape of the continent of Africa. The second place winner was an ad that sold cancer. The ad depicted a very homely, old fashioned looking store, with signs up saying “Cancer for sale.” And lastly, the first place winner was a VW ad that was illustrative, creating a smile out of the contours from a VW Bug.

Oct 22
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The new Target medicine bottle

The new Target medicine bottle

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Design Thinking: Value

Recently I read an article that really touched upon some aspects of design that are often overlooked. Every body thinks about aesthetics, but not always about function. That may have been the case when the first medicine bottle had been designed. The transformation of the medicine bottle, which has been unchanged since its inception with the exception of the child proof caps, began when a young design student, Deborah Adler, decided that for her thesis project, she would redesign the medicine bottle because its functionality is minimal. She notes that the long line lengths on the information sheet, bad information hierarchy on the bottle’s label, and medicinal jargon make it hard for the average person to read and really understand. Furthermore, all the bottles look the same, making it hard to differentiate them between patients. These things are truly important because if the user can’t understand or read about what they are taking, their health is further at stake.

Adler handled the problem of hard to read text by trimming down the number of words per line and used a reader friendly font. The drug facts were clarified by having the drug name and dosage instructions in large type at the top, and using rule lines to delineate information such as the quantity, refill number, and the doctor’s name in smaller text below. The pharmacy name was placed at the bottom. Colored rings embrace each bottle, helping to “individualize” it. The new bottle had also been made “flat” so that the user wouldn’t have to rotate the bottle to read it. Adler also collaborated with her mentor, Milton Glaser, to design icons for the bottle that were placed on the back, and are more visually descriptive in telling the user “what the side effects are” or “what to do” than the previously used ones.

In the end, Adler’s new design became the new staple for Target’s medicine bottles, becoming a truly good example of beauty and brains. The New York magazine mentions the revolutionary design here

Oct 11
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Design Practice: Photography

Portraits
David Field
Clients: EYEMAZING

Environments
Robert Polidori
Clients: Steiol Publishing

Objects
Jan Steinhilber
Clients: Deutscher Sparksassenverband

Working with photography presents some issues for the designer, especially if he is not shooting his own photos, but hiring a photographer or paying for stock images. Some of the legal issues the designer needs to focus on is that they must obtain all of the rights that their client need. They also need to think about how the photography is going to be used, and ask for limited rights if needed or the budget is small.

Some of the ethical issues when dealing with photography is simply its content. Is the photo offensive? is it prone to controversy? Stephan Sagmeister has run into the issue, when a few years back he used an autopsy photo of a nude woman, who had died in her sleep, for a Pro-Pain CD cover. The designer also needs to simply think about contacting the photographer for the use of their photography instead of “swiping” it.

One of the creative issues to think about with the photographer is specifics. If a photo shoot is going to be done, notes or drawings on lighting, angles, poses, etc. should be supplied so that the subject is shot accurately.

References
Legal Guide for the Visual Artist by Tad Crawford
Pricing Photography by Michal Heron
AIGA Professional Practices in Graphic Design by Tad Crawford

Stock Photo Houses
istockphoto
Shutterstock

Oct 08
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Design Practice: Specialties

Editorial
Fred Woodward
Clients: Rolling Stone, GQ Magazine
Fred went to school at Mississippi State and Memphis state, where he juggled different majors, finally deciding on graphic design. He worked for some magazines in Texas before being hired as the art director for Rolling Stone, where he has brought in a modernist sense, colorful layouts, and wood block typefaces. One of Woodward’s interesting layouts is his layout for an article on Sinead O’ Connor in 1990. He played off of the letter O in the name, making it a large compositional element that spanned across the spread. The rest of her name was split into quarters, and assisted in the asymmetrical balance. A black and white portrait was also brought into the layout and stood on its own, being separated from the large text.

Corporate Communications
Milton Glaser
Clients: Twen Magazine, Louis Armstrong, Bear Cafe
Milton Glaser Inc. was founded by Milton Glaser. Milton was interested in art at an early age, and despite his parent’s objections decided that being creative was one of his career goals. He studied with Giorgio Morandi in Bologna, and moved on to form Push Pin Studios with Seymour Chwast. Eventually Glaser formed his own firm Milton Glaser Inc. Milton had designed Annual Reports for Schlumberger, a company that works with oil field services for 25 years.

Packaging
Chermayeff & Geismar
Clients: Chase bank, Pepsi cola, Smithsonian Institution
Friends Ivan Chermayeff and Tom Geismar met at Yale University. They split for a while, as Tom left to design while being in the Army, and Ivan worked for CBS records. They would then move on to start their own firm, doing corporate identity work among other things. One of their packaging designs include work for Mobile, who they also designed the identity for. The packaging included motor oil bottles that had a similar look and feel to the identity. The angular bottles were clean and simple, setting a new standard for Mobil.

Brand and Identity
Steff Geissbuhler
Cleints: NBC, Time Warner, Amnesty International
At a young age, Steff always need he wanted to be a designer. He learned design at the Basel School of Design, where he got into illustration and typography. His first job was at a pharmacy company called J.R. Geigy. He eventually moved on to be the head of Chermayeff & Geismar Inc. where he has done the Peacock logo for NBC. The Peacock logo is a simple design that illustrates NBC’s transition from black and white programming into color, and the divisions in the peacock’s feathers represent the different divisions within the company. The logo has been used across different motion medias, like T.V. and animation, further enhancing its use and transformation.

Books
Chip Kidd
Clients: Gloria Vanderbilt, Michael Crichton, David Sedaris
Chip learned graphic design at Penn State under Lanny Sommesse. After graduation, he moved to New York, where he got a job at Knopf, a book publishing company. The Fred Woodward of book design, Chip has stayed at Knopf for over 20 years. Some notable works he has done involve working with Jurassic Park author Michael Crichton. Kidd designed the first novel of the series, which presents a skeletal silhouette of a T Rex on the cover, with its claws hovering slightly above the author’s name. On the sequel, Kidd repeated the idea of using the T Rex, this time rotating it 90 degrees so that its menacing face would be seen coming down from the top of the cover. The body was enlarged and cropped, creating an impactul and unified cover. It should also be noted that Kidd designed the Jurassic park logo.

CD/Music
Alex Steinweiss
Clients: Fortune, Rodgers & Hart, Schenley Distributors
Interested in art at a young age, Steinweiss went to Parsons School of Design, and after graduation, become the art director of Columbia Records at 23. Steinweiss reinvented album packaging, eventually creating almost 900 record covers during his time. One of his most reproduced designs today is the album cover for the South Pacific musical. It incorporates Steinweiss’s singature handwritten style, and use of flat color, in this case, yellow and a forest green. The cover also presents Steinweiss’s illustrative style that juxtaposes his use of photographic elements.


Environmental Design
Paula Scher
Clients: New York Times, Public Theatre
Paula graduated from the Tyler School of Art. After graduation, she worked at various record label companies, then formed her own joint firm, Koppel & Scher. Eventually, she joined Pentagram design, where she continues to be design leader with Woody Pirtle. One of her most notable environmental designs is her work with the New Jersey Performing Arts Center, which she designed the exterior of the building, which was covered with type that conformed to the shape of the building. She also designed the interior, which painted a similar mood as the outside, using type to help differentiate different areas of the building.

Ad/Promotional Design
Stephan Sagmeister
Clients: AIGA, Lou Reed, Rolling Stones
Born in Austria, he studied design at the University of Applied Arts. In 1991, he moved to Honk Kong to collaborate with the Leo Burnett Design Group. In 1993, he moved back to New York to work for Tibor Kalman, until the latter retired, thus resulting in Sagmeister opening his own studio. One of the things that Sagmeister does is that he exposes himself, sacrificing his body and image, to portray a more stunning emotional message. His promotional poster for an AIGA Detroit conference portrays him nude, with the conference information and his trademark “Style=Fart” carved into his flesh.


Information Design
Tibor Kalman
Clients: David Byrne, The Talking Heads, Herb Ritts
Tibor started his own design firm in 1979, called M&Co. He has done some CD covers, as well as other print pieces. He was also designed the interiors of art galleries. One of Tibor’s most information design pieces include his work with Colors magazine, which was a multilingual magazine that covered topics and social issues. It also was known for its doctored photo essays, such as Ronald Regan depicted as an AIDS patient with lesions, and blatant graphic portrayals of information, such as its AIDS awareness content that parodied the racial stigmata of where AIDS came from.

Experience Design
Saul Bass
Clients: Alfred Hitchcock, Warner, Minolta
One of Bass’s most notable roles is his work in film, as he designed opening credits, often working with expressive typography and illustration. He left New York for Hollywood in the 1940s, with the mentality to “make people feel, as well as think.” One of my favorite pieces of his was his opening credit work for the film, The Man with the Golden Arm in 1955, directed by Otto Preminger. Bass kept a simple color palette of black and white throughout the sequence, focusing on the stark dope use in the movie. Vertical white bars serve as metaphors for veins and needles, and interact with the text, either by pointing to it, or separating it. The abstract needles appear to fall as the sequence goes on, ending at the golden arm, which may have dropped them, or is reaching out for them.