Afterhours Designers

GRAPHIC TIPS&TRICKS

ADOBE ILLUSTRATOR · ADOBE PHOTOSHOP

CODING HTML · CSS

BUSINESS

PROJECT MANAGEMENT · RISK

STYLE&DESIGN

DANISH DESIGN · INTERNATIONAL

BACKPACK

SOFTWARE · HARDWARE · GEARS

INSPIRATION TRENDING WEB-DESIGN · IDEAS

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ur goal is to deliver, to future graphics & multimedia designers an e-zine, which is explaining the basis of whole mysterious programme called „ Multimedia, Design & Communication. This magazine is dedicated to all non-professional persons, which are interested in joining this programme or to whole bored design & multimedia loving amateurs.

We are a group of students, who wants to share the experience & knowledge from our previous semester at CPHBussiness Academy, at programme Multimedia Design & Communication.

We chose this topic for our e-zine, because we wanted to truly recommend this programme & also as a repetition of knowledge. (that is our egoistic added value).

In “After Hours” you will find chapters, which are explaining the basis of coding, photo editing, logo design, project management.

Futhermore we will introduce you how to use required programs for creating that fantastic stuff from adobe package collection. You also will learn about Danish design. It could be very useful if you are a foreigner & you don’t have any idea what Danes like and dislike in design. In last chapters you will find useful informations about devices & software. We thought about inspirations too.

What could inspire? Is it a colour, a pattern or maybe a photo of your friend. To help you start with we had added some examples.

Every one of us made an input to this magazine according to our skills. And I can ensure you that every one of us was trying to deliver the best product aligned with our current wisdom.

Let’s see the rising of new generation of designers. Let’s get started!

EDITORIAL CREDITS BY

Ida Hye Franck Pedersen Karolina Zdyb Sarah Heisselberg Maya Avramova Gabriel Miranda

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CONTENT

Editorial ___________________________________________________________03 Index _____________________________________________________________04 Tips & Tricks Terms ___________________________________________________05 Chapter 1: Graphic Tips & Tricks ________________________________________07 .Creating a logo (Adobe Illustrator)______________________________________08 .Image editing (Adobe Photoshop) ______________________________________09 Chapter 2: Coding __________________________________________________11 .Introdution to HTML _________________________________________________13 .Introdution to CSS __________________________________________________13 Chapter 3: Business __________________________________________________17 .Project management_________________________________________________ 18 .Risk _____________________________________________________________ 19 Chapter 4: Style & Design ______________________________________________21 .Design like a Dane ___________________________________________________22 .International Design __________________________________________________23 .Danish Designers ____________________________________________________24 Chapter 5: Backpack __________________________________________________27 .Software, Hardware & Gears __________________________________________ 28 Chapter 6: Inspiration _________________________________________________31 .Trending design ____________________________________________________ 32 .Inspiration ideas ___________________________________________________ 33 Credits____________________________________________________________36

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GRAPHIC TIPS & TRICKS Let’s talk about graphic identity and logos...

A logo can be anything. It can be the name of a brand, the name of a company, or even your own name. There are many ways to create a logo.

Before start is necesary to understand some terms: A logo or logotype is a symbol or other small design adopted by an organization to identify its products, uniform, vehicles, etc.

Isotype / symbol: Isotype refers to this symbolic or iconic part of the brands. In branding, isotype talk when we recognize the brand without any text to accompany her. Etymologically “iso” means “equal”, ie, attempts to equate an icon to some aspect of reality. Isotype would be only a symbol, and also it would be understandable by itself.

Isologo: Is a graphic identifier used to sign communications of an entity (company, product, service, institution, etc.). A isologo is formed by the union of a graphic symbol and a textual stimulus represented typographic signs. Brands that work only with the graphic symbol known as isotypes, and working only with text (which in turn serves as a graphic image), are called logos (or “logos”).

Corporate identity: It is the physical manifestation of the corporate image. The full name would be corporate identity, but we usually refer to it simply with the term Corporate Identity. Encompasses all aspects of visual identity of an organization: stationery, vehicles, signage.

Brand: This term is much more comprehensive and covers all aspects that define a company, physical aspects and abstract: philosophy, personality, communication, voice, logo, look & feel, stationery.

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GRAP TIPS & 06

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PHIC TRICKS AFTERHOURS DESIGNERS

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CREATING A LOGO

ADOBE ILLUSTRATOR

Step 2

After you have your logo created and open, select all the artwork and drag it into the Symbols panel. With the Symbol dialog open, check the Graphic radial button and press OK.

Step 1 To start, We are going to use an existing logo that was created for a fictional Illustration business called Vector Mill. This is just a quick breakdown.

Basically, we should to used different fonts weights of the Museo Sans font, Outlined the text, filled the text with a linear gradients, and used the Pen Tool (P) and Rectangle Tool (M) to create the Bézier curve part of the logo.

We don’t necessarily have to create a symbol out of the logo, it is just good practice for repeating objects in documents. Using Symbols will save size and time within Illustrator documents. For example, if you wanted to slightly change the Vector Mill logo after we have created the whole identity package, you would only have to change the original Symbol (double-click on a Symbol in the document to edit it) and Illustrator will modify all instances of the Symbol.

Also, using symbols helps with reducing file size. It wouldn’t matter that much in the document we are creating, but it is good to keep in mind when creating other larger documents.

Finally, we can use our design to create, business cards, leterhand and envelopes.

Step 3 Next, we are going to create a bleed for all artboards that we are going to need for the design the rest of letterhand. To do this, go to File > Document Settings, fill the first Bleed field with .125 inches and make sure the lock icon is pressed to the right of the Bleed fields so the Top measurement populates the other fields. Most printers require at least an eighth inch bleed, but be sure to check with you printer and see if they require more.

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IMAGE EDITING

ADOBE PHOTOSHOP

Matching

COLOURS

In 3 simple steps, we can match the colours tones from different images. Starting point we have a model in .png without background that needs to be insert in a photo of a living room with warm lights. s

Step 2

Step 3

Open the window to match Colour: Image / Adjustments / Match Color

Select the source image (tones we want to imitate) and select the layer we want to edit.

For a better result is necesary touch some values as luminance, intensity and fade, press ok and that’s all.

Step 1 Import the model image or wanted image for matching into your layers box, convert in a rasterized layer to bring the same mode values “RGB Colour”

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<!doctype html> <html lang="da"> <head> <title>CODING</title> <meta charset="utf-8">

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<CODING>

</INTRODUCTION TO HTML>

CONDING

{FOR THE VERY 1st TIME }

Let’s Get Started Assuming at the beginning of this chapter is ,that you know nothing about HTML, however, some computer knowledge. You wouldn’t be looking at this chapter without having some knowledge. To continue with these Primers, you will need...

1. A computer (obviously) 2. A browser like Mozilla Firefox, Netscape Navigator, Microsoft Internet Explorer, or Opera. If you’re looking at this page, you already have one. If you look up at the title bar at the very top of your screen it will probably say the page title (“Basic HTML: Introduction”) and then your browser’s name.

3. A word processor. If you have access to Windows “Notepad” or “WordPad” programs or the MAC “Simple Text or TextEdit” program, use that to get started.

If you have those three things, you can write HTML with the best of them. Now here are a few questions you probably have:

What is HTML?

Q. I have a MAC (or PC) -- will this work on my computer?

• Hyper is the opposite of linear. It used to be that computer programs had to move in a linear fashion. This before this, this before this, and so on. HTML does not hold to that pattern and allows the person viewing the World Wide Web page to go anywhere, any time they want.

A. Yes. HTML does not use any specific platform. It works with simple text. More on that in a moment...

Q. Must I be logged onto the Internet to do this? More specifically, will learning this throw my cost for on-line way up?

A. Neither. You will write off-line.

Q. Do I need some sort of expensive program to help me write this?

A. No. You will write using just what I outlined above. You can buy those programs if you’d like, but they’re not needed. I’ve never used one.

H-T-M-L are initials that stand for HyperText Markup Language (computer people love initials and acronyms -- you’ll be talking acronyms ASAP). Let me break it down for you:

• Text is what you will use. Real, honest to goodness English letters.

• Mark up is what you will do. You will write in plain English and then mark up what you wrote. More to come on that in the next Primer.

• Language because they needed something that started with “L” to finish HTML and Hypertext Markup Louie didn’t flow correctly.

Because it’s a language, really -- but the language is plain English.

Q. Is this going to require I learn a whole new computer language like Basic or Fortran or some other cryptic, God-awful, silly-lookin’, gothic extreme gobbledygook?

A. Touchy-touchy, aren’t we? “No” is the answer. HTML is not a computer language. Allow me to repeat that in bold... HTML is not a computer language!

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<CODING>

</INTRODUCTION TO CSS>

Cascading Style Sheets, or CSS, is the recommended way to control the presentation layer in a web document. The main advantage of CSS over presentational HTML markup is that the styling can be kept entirely separate from the content. For example, it’s possible to store all the presentational styles for a 10,000-page web site in a single CSS file. CSS also provides far better control over presentation than do presentational element types in HTML.

• The overall saving in bandwidth is measurable. Since the style sheet is cached after the first request and can be reused for every page on the site, it doesn’t have to be downloaded with each web page. Removing all presentational markup from your web pages in favor of using CSS also reduces their size and bandwidth usage— by more than 50% in many documented cases. This benefits the site owner, through lower bandwidth and storage costs, as well as the site’s visitors, for whom the web pages load faster.

By externalizing the presentation layer, CSS offers a number of significant benefits: • All styling is kept in a limited number of style sheets. The positive impact this has on site maintenance can’t be overestimated—editing one style sheet is obviously more efficient than editing 10,000 HTML files!

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• The separation of content from presentation makes it easier for site owners to reuse the content for other purposes, such as RSS feeds or text-to-speech conversion.

Separate styling rules can be used for different output media. We no longer need to create a special version of each page for printing—we can simply create a single style sheet that controls how every page on the site will be printed.

Although CSS is designed to be independent of the markup language of the documents to which it is applied, in reality, it’s used mainly with HTML and XML (including XHTML).

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BUSINESS

PROJECT MANAGEMENT

LET’S TALK

BUSINESS Project managing, why?

Project managing is very important if you want to work in the field with multimedia design, it is generally important in any field where projects is a part of your work. It makes you better at managing your time and get the job done. The aim of project management is to ensure that projects are completed and that the end point is achieved.

If you are working in a group there will typically be one project manager, and if you are that person you must: 1. Ensure there is a clear understanding why a project is being done, and what it will produce.

2. Plan the project – to understand how long it will take and how much it will cost.

3. Manage the project –to ensure that as the project progresses, it achieves the objectives you have defined within the time and cost specified.

for you, make a more simple version of your project management – a new list and maybe a new product and then start brainstorming.

Give your task a priority from 1 – 3 where 1 is the lowest and 3 the highest using Moscow’s project management method.

The Moscow’s categories are: Must have Should have Could have Won’t have Note sure exactly what Moscow is all about, fear not – google is your best friend when it comes to terms and methods you are not quite sure about.

Either way if you are planning your project using your original plan or you plan b you afterwards must to a negative brainstorm, where you think of what could go wrong in this project. And when you have your negative brainstorm you have an idea what to avoid in your project or how to defend your project better.

A good place to manage your task is by using the Gantt Chart. A schedule you find on the internet all it requires is a g-mail account and it’s free to use. The Gantt Chart is a living document which you can always edit and rearrange task. This particular schedule is what we as students use to manage our school projects, it helps us to manage our time and reach our goals through our projects, and most important – having everything done and adjusted before our deadline.

Set the start-date of your project and the end-date and fill in what’s needed to be done.

(If you are doing a project for a company or your boss keeping the deadline is the most important when you are managing your project).

4. Complete the project properly – to make sure everything is produced by the project is of the quality expected and works as required.

1. Managing your project If you are a person who is not sure exactly how to manage a project start asking questions as: Who is this for?

What is this for?

Why am I doing this?

This is an example from one project using the Gantt Chart.

Afterwards you start defining your tasks. Make a numbered list in the order you have to do things, for example nr. 1 would be brainstorm and so forth.

It is also important to have a plan B if your current plan is to much 18

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When you have put everything into your Gantt Chart you are as good to go, and remember all tasks can be changed over time.

2. What now?

Now you have all your tasks put into the Gantt Chart and you have the estimated time, remember project management is all about managing your time you spend on your project.

Now you start from the first thing on the list and work your way down.

Remember if you are doing a real project for a real company or your boss, planning how much money you are going to spend on the project, this is where risk management plays a role.

Tip: Ask for more money than what you expect from your project to cost, in that way you can say to your boss that you spend less money on the project than expected and that way you will give your boss a good day.

3. Risk management, what? Why? Dealing with project management there is more to it than a Gantt Chart but we will not

be covering all aspects of project management in this magazine but if you are interested in reading more about project management some books will be listed further down the page.

The basis of risk analysis is made on the basis of the risk identification process.

Risk analysis covers a complete and continuous evaluation for all identified risks.

The goal is to detect possible interrelationships to identify an order of importance.

Furthermore, the consequences for the project itself and the organizational goals can be identified.

Comparability: The evaluation of risks should lead to comparable results. Therefore, the organisation should use consistent and standardized methods and data.

Quantification: By means of quantification the organization

is able to detect deviation from the targeted goal.

Consideration of interdependencies: Not realizing connections between risks and their meaning for the project and possibly for the whole organisation can be a big risk.

The project team should carefully consider the risks and the reaction to it can mean for the project and the organisation A good solution for one department can mean a problem for another department.

Use a matrix to show the importance of several risks. The matrix shows two aspects of the considered risk: - the impact it would cause - the probability of its occurrence.

An often used matrix has 5 times 5 fields, each with another value of probability and impact.

â&#x20AC;&#x153;Project Management step by stepâ&#x20AC;?

by Richard Newton.

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STYLE&D 20

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DESIGN AFTERHOURS DESIGNERS

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DESIGN

LIKE A DANES

> Or just purely on Danish design and how itâ&#x20AC;&#x2122;s created an impact on the design industry?

-

. Lighting The lifestyle in Denmark as in the rest of Scandinavia is highly influenced by light â&#x20AC;&#x201C; or the lack of it. We enjoy the long summer nights yet during the dark winter modern life would be virtually impossible without artificial lighting.

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Sustainability by Design Design plays a crucial role in the environmental performance of products.

Factors that influence the Danish design (environmental, physical, social).

. Crafts Crafts are at the centre of creation of the physical surroundings in our everyday lives. Joining together individual artistic expression and industrial mass manufacturing, craftspeople add an extra layer to design.

. Industrial Design Industrial design was born to support mass production. While the rational approach of reducing manufacturing costs and times was the starting point, soon the qualities achieved by embedding identity through the choice of shape, surfaces and colours were added.

. Furniture Furniture design is at the core of our everyday lives. Whether we are aware of it or not, furniture embraces our body and creates and defines the spaces and surfaces we interact with throughout our everyday lives.

. Public Spaces Public spaces shape our everyday lives through the possibilities, limitations, and experiences they offer. They shape our neighbourhoods by defining physical and mental barriers and connections, and they tell a story about the society which created them.

. Combining Function and Aesthetics (Scandinavian Art & Design) Over periods of time, social and political landscape has heavily influenced art. By acknowledging history, we have noticed that while the social views of a certain period may no longer be relevant, and that the art and design often are. Today, designers are constantly drawing inspiration from history, consciously and unconsciously. By being aware of that history and previous events, designers have found inspiration to help them convey a deeper meaning within their work and create connections to their environmentally, regarding artistic, social, and political aspects. . Historical Context Modernism (cultural movement from end of 19th century, break from Realism that dominated world of art before).

“Scandinavia Early On”: Scandinavian design is described as fairly minimalistic, with clean simple lines – highly functional, style is effective without needing heavy elements; only what is need is used (sustainable design) Subtle decorative qualities from early 20th century art movements and the simple lines deriving from the inter-war art movements, elegance “beautiful things that make your life better”, referred to as democratic design, because of its aim to appeal to the masses through products that are accessible and affordable.

. Social Consciousness in Art Movements (Art movements that influenced the Danish design) Onwards from 1916, more political and social art groups become prominent in the European art world -> interested in maintaining social order, and the art that was created and commissioned reflected that.

New movements viewed their work as being stagnant and as holding back the progress of the arts -> celebrated the machine and embraced manufacturing technologies in the creation of art.

The Constructivist movement viewed art as a part of the social structure and used it as a tool to communicate political and social messages. Some of the movement’s most famous artists were Vladimir Tatlin, Alexander Rodchenko, Malevich, etc.

De Stijl was a Dutch art movement in which Piet Mondrian and Gerrit Rietveld (principal members of the movement), emphasized pure abstraction and the reduction of everything to the essentials of form and colour. Everything was simplified to vertical and horizontal lines and primary colours.

Collective project, not a political or social movement.

. Scandinavia/Danish Design Today The ideology of modernism spread throughout Scandinavia, with designers and artists interacting with their contemporaries throughout Europe, aided by fast-developing media such as film. In Scandinavia, the ideas gradually evolved into design principles and philosophies that eventually had international effects.

Scandinavian designers were influenced by everything going on around them. With their tradition of craftsmanship and efficient use of limited material resources (due to their relative geographic isolation), they combined the best of both worlds. In line with prevailing democratic social views, everything was made to be available to everything. The notion of enjoying the work you do was highly regarded, and the idea that beautiful things could enrich people’s lives was kept alive. . Furniture and Industrial Design Design does not merely exist in itself – design reflects society. This applies to classic Danish design from the 1950s and 1960s as well as to Danish design in the new millennium. As society changes, so does it design.

Many of these movements were highly political and advocated for social change through art. This has influenced the Scandinavian art world, and leading to influence Danish design.

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Danish Designers who Inspired and Influenced Denmark’s most famous designers: Verner Panton, known for his bold and abstract work in the ‘60s, with a focus on new materials (work was associated with Pop Art).

Strong, dramatic colours and futuristic shapes dominated his work, his designs have been used in a number of film productions and countless photo shoots to create a futuristic look.

Arne Jacobsen’s timeless designs in furniture and architecture, his contributions to the creative fields are secure in history (known for designs that brought futuristic visions into a present-day context, simple yet effective chair designs enjoyed worldwide success) Poul Henningsen’s distinctive lamp designs were well thought out; looked for solutions to spread the light of a bulb as widely as possible without the glare being visible (inspired by long winters and few hours of sunlight, creating bright, light, practical environments) . Visual Identity of Denmark Visual identity is a means of highlighting and controlling the values

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governing in a company. The business world has a long tradition of using graphic design to communicate and profile itself. The public sector has learned from the private sector. . Industrial Design Danish furniture design was first active in the 1980s, and concurrently with the international industrialisation, the first industrial design trends appeared in Europe and the USA. . Danish Design Today Scandinavian design has evolved with the times, moving from mostly furniture and product design to an application of principles and processes to current problems and opportunities. Its change has been just as dramatic as the society it’s a part of.

The Scandinavian aesthetic, of mass-produced design that is accessible and available to all, with a touch of grace, reminds the user that the product’s creator is human. In the digital world, where the interface for so many designs is keyboard, mouse and screen, the creator is sometimes forgotten. The human element is demoted in favour of expediency and functionality.

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BACKP 26

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KPACK AFTERHOURS DESIGNERS

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BACKPACK

SOFTWARE, HARDWARE & GEARS

Programs Photoshop, Illustrator, and InDesign are just a few of the many applications used for graphic design. We won’t list all of them since it would consume the article and since new software is always being developed. However, graphic designers should always be proficient in at least a few of these platforms and be aware of the rise and fall in their use. Graphic designers should also be up to snuff on new applications so they don’t fall behind the times.

Software Sometimes your clients will want more than images. They’ll want simple animations, programming language integration, documents with interface elements, and interactive infographics. You’ll need to learn a program like Acrobat if you want to develop these more complex and multimedia-rich projects.

Html & CSS - Since HTML & CSS are the programming languages of function/structure and style, graphic designers should know them so they can go behind the hood of the site or CMS they may be working on.

They will then be able to use their skills to manipulate the page and the destination of the image. They might need to change other elements of the site too so that everything meshes. Either way, this skill will broaden your array of opportunities.

DSLR camera A good camera is essential for any graphic designer. It may not be that you’re always using your own shots in your work, but for documenting ideas and gathering images for use as textures/backgrounds and so on, 28

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it’s great to have a good quality DSLR at your disposal. A good starter choice would be the Canon Eos 1200D

Wacom Cintiq 13HD Touch A Wacom tablet is nigh-on essential for any graphic designer , but the Cintiq takes things to another level. Hook it up to your Mac or PC as a display and you can work directly on the screen using Wacom’s excellent pen technology (as well as multi-touch). The screen is 13.3 inches, has a full HD resolution of 1920x1080 and has 2048 evils of pen pressure. What’s more, it only weighs 1.2kg and measures only 374x248x13mm.

iMac or Macbook Pro It goes without saying you need as fast a machine as you can afford if you’re serious about getting into graphic design. Whilst it doesn’t matter that much if you choose a PC or a Mac (most software is available on both platforms) the Apple Mac’s history in graphic design along with excellent OS and built-in support for peripherals (along with the obvious good looks) makes it the general choice for creative professionals.

Moleskine There is not a graphic designer in this world who doesn’t still revert to good old fashioned pen and paper to brainstorm ideas and concepts. So treat yourself to a decent sketchbook from Moleskine and you’ll be able to quickly jot down ideas wherever you go. There are many different colour options, including some lovely limited editions. Another popular notebook is Field Notes. Either way, keep one in your bag and sketch, jot down ideas and refer back when you’re at your desk.

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iNSPIR 30 AFTERHOURS DESIGNERS

RATION AFTERHOURS DESIGNERS

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INSPIRATION

WEB-DESIGNS

The Proliferation of UI Patterns One of the side effects of responsive design has meant that a lot of sites look similar.

However, responsive design isn’t solely to blame. The rise of WordPress sites and the booming theme market also have a hand in it.

And some folks, such as Matthew Monbre, have copped to being guilty of following everyone else’s look with his company’s site.

Here’s a few patterns you should be familiar with: 1. The hamburger menu: While some criticize this pattern’s use, there’s no doubt that it’s widespread use makes the function easily recognizable for users.

2. Account registration: You’ll find this pattern whenever you try to register for a site. There might be a form to fill out or a button that’ll allow you to use a social account to sign up. Multi-step form wizards are also effective since they “chunk out” the required fields, reducing friction and encouraging users to flow through the process.

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But having a similar look isn’t necessarily a bad thing. That’s because we’ve changed the way we consume the web, which has resulted in a lot of common UI design patterns. Design patterns have matured and as such, there’s little in the way of innovation when it comes to UI patterns.

In other words, a checkout will still be a checkout and should function as such. Same with a login model. There’s no real reason to reinvent the wheel. UI patterns must guide users through a smooth experience.

3. Long scroll: Placing all your important elements above the fold is now a well-known myth. Furthermore, almost everyone is accustomed to long scrolls thanks to mobile devices. The technique works especially well for sites that want to lure users through storytelling, and you can still mimic a multi-page site by breaking the scroll into clear sections.

Card Layouts: Pioneered by Pinterest, cards are everywhere on the web because they present information in bite-sized chunks perfect for scanning. Each card represents one unified concept. Since they act as “content containers”, their rectangular shape makes them easier to re-arrange for different device breakpoints.

“When you want to know how things really work, study them when they’re coming apart.” William Gibson, Zero History.

“Thinking about design is hard, but not thinking about it can be disastrous.”

Ralph Caplan.

“The most important part of design is finding all the issues to be resolved. The rest are details.” Soumeet Lanka.

“Design is the intermediary between information and understanding.” Hans Hofmann.

“Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it’s really how it works.” Steve Jobs.

“Design is where science and art break even.” Robin Mathew. “aesthetic isn’t simply about good design for good design’s sake.” Noah Kerner.

“Everything is designed. Few things are designed well.” Brian Reed.

“If you can design one thing, you can design everything.” Massimo Vignelli.

“Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.” Paul Rand.

“Design is not for philosophy it’s for life.” Issey Miyake.

“You are the only person on earth who can use your ability.” Zig Ziglar.

“Bad design is smoke, while good design is a mirror.” Juan-Carlos Fernandez.

“Design creates culture. Culture shapes values. Values determine the future.”

Robert L. Peters.

“Whenever something is engineered as complex, it is designed to keep you simple.” Richard Diaz.

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“Design cannot rescue failed content.”

Edward R. Tufte.

“So that is the design process or the creative process. Start with a problem, forget the problem, the problem reveals itself or the solution reveals itself and then you reevaulate it. This is what you are doing all the time. ” Paul Rand.

“Color does not add a pleasant quality to design - it reinforces it.” Pierre Bonnard.

“You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future.” Steve Jobs.

“Good design is obvious. Great design is transparent.” Joe Soprano.

“The dumbest mistake is viewing design as something you do at the end of the process to ‘tidy up’ the mess, as opposed to understanding it’s a ‘day one’ issue and part of everything.” Tom Peterson.

“Designing a product is designing a relationship.” Steve Rogers.

“Technology over technique produces emotionless design.” Daniel Mall.

“Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.” Edward R. Tufte.

“Design works best when it gets out of the user’s way.” Neil Gajera.

“To make my meal in a box taste better, I decided to tweak the logo, rather than the ingredients. ” Jarod Kintz.

“Simplicity, carried to an an extreme, becomes elegance.” Jon Franklin.

“To design the future effectively, you must first let go of your past.” Charles J. Givens.

“If you can dream it, you can do it.”

Walt Disney.

“Design is intelligence made visible.”

Alina Wheeler.

“Creativity is to think more efficiently.”

Pierre Reverdy.

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CREDITS

PRODUCED BY CPHBUSINESS Copenhaguen Business Academy Multimedia Design and Communication Editor Sarah Heisselberg Artwork Karolina Zdyb Layout Gabriel Miranda Project Manager Ida Hye Franck Pedersen Content Analysis Maya Avramova Designed in March 2016 Subject to spelling and typographical errors.

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E-MAGAZINE PROJECT DEVELOPED BY CPHBUSINESS STUDENTS IN MULTIMEDIA DESIGN AND COMMUNICATION