THE IDEA OF DESIGN - ADES 150
The left column is to record your thoughts, reflections & notes as you work through your thought process in ADES 150.
WO R K B O O K Design is both a process and a product. As one explores the world, observations must be recorded in a form that can be shared with others. Thoughts, discoveries, experiments and failures all need to be documented and compared. This book represents the assignments, the discoveries and the juxtapositions that have been created as partial fullment of ARTDESIGN 150 at the UNIVERSITY OF TENNESSEE by: Katrina Roberts
date: January 25, 2016
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
C R E AT I V E L I N E AG E In his book, “How to steal like an artist, 10 things nobody told you about being creative,” Austin Kleon suggests that is it our “job to collect good ideas. The more good ideas you collect, the more you can choose from to be influenced by.” “If you try to devour the history of your discipline all at once, you’ll choke.” “Instead, chew on one [designer] you really love. Study everything there is to know about that [designer]. Then find three people that designer loved, and find out everything about them.” http://www.youtube.com/ watch?v=oww7oB9rjgw Kleon, Austin, “How to steal like an artist, 10 things nobody told you about being creative,” New York, 2012.
Picture of you in the library.
Finding connections to designers you view as successful will create a context to use as reference as we explore the history of the field. Ask yourself, “How did they define the problem?” “What materials did they prefer?” “How did they connect with the audience?” Review the readings from Chapters 1 + 2 in your text book. 1. Choose three specific pieces that you find interesting. Place examples of these pieces in the top row of the work sheet. 2. Look up those designers in the library. Be sure to include a picture of yourself in the library to document your journey. 3. When you find the designers you were searching for, look around. 4. Find three more references that you find interesting. These could be other images by the same designer to other books about other designers. 5. Document these findings in the three squares under the original inspiration piece. Be sure to document your thoughts and connections, your conceptual journey.
Three inspiration pieces from the readings:
I love the bold lines and colors. I also think the shapes are really interesting because it isn’t an obvious choice for a poetry event.
The concept of newspapers and early birds is nothing new, but the geometric design and bold yellow is attention grabbing and captures the 1950s.
I’ve seen this ad before, but it’s one of my favorites. The concept is clean, and it’s been around for decades. This kind of simple design is timeless, not trendy.
Three connections for each inspiration piece.
Similar colors; thick shapes; interesting forms and silhouettes
Bold geometric shapes; stylized; brigth colors; bold typeface
Black & white; simple; white space; powerful; memorable; clever
Poster for Rescue Haiti
The colors and style are different, but the bold lines stood out to me, especially the font. It’s also kinda funny.
Bright yellow; single eyedrawing image; font is tech-y and fits the age of the Internet
Volswagen rear view camera ad; bright colors get attention; not busy
The solid black background matches the last poster; color scheme; similar shape;
Bright yellow; single eyedrawing image; poster for a symphony performance; interesting font
Black & White; simple, clean lines; powerful; political
Inspred by Richard Nixon’s quote “silent majority”
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
C R E AT I V E L I N E AG E “If you try to devour the history of your discipline all at once, you’ll choke.”
Justifications for the three connections for each inspiration piece.
I got lost in a blackhole of posters ranging from ads for television, print, movies, and other miscellaneous things. All the posters were from around the world and were entered in a myriad of contests. 1. The logo from the book struck me because of it’s bold lines and colors. The next image has the same colors, but it has a slightly darker overall tone to it. The concept is also somewhat abstract, which is similar to the logo. The second poster follows more closely to the first poster than the logo. It has bold lines, but it has more physical black. The cartoon is also a bit darker. The final poster resembles the second in color scheme, bold font, triangular shapes, and a flat style. These posters are from different hemespheres, but they’re remarkably similar. 2. I was drawn to the bright yellow and geometric shapes of this 1950s ad. It’s simple and proocative. The three posters that follow all have that similar aesthetic. They have bold colors, single objects of focus, and fit the style of the time they were created. The second inspiration piece is probably most similar to the original poster, just several decades later. The font specifically is interesting because it matches it’s own time period. 3. The poster for Haiti reminds me of the Volkswagen ad the most. It has a lot of white space that draws the attention to the only item on the page. It’s powerful and direct, and there’s nothing left up for interpretation. Images like this evoke a lot of emotions and stick in people’s minds, whether it’s an ad slogan or a poster begging for help. The rearview camera ad is also from Volswagen, but several decades later. It maintains a similar sense of playfulness though. This is a testament to Volswagen’s branding and that the same principles are applied decades later to make a successful ad. The technology may be different, but it’s still Volkswagen. The poster from Richard Nixon’s “silent majority” speech is most stylistically similar to the original ad. It’s grainy and black and white, and it has the same basic shapes that draw attention. 00.
UNIT 1: FINAL THOUGHTS These posters were really interesting to look at, and I’ve realized that I’ve looked at them several times throughout the semester to study how the designers worked and their styles. There’s an incredible variety in these posters, and I think they were a good first introduction into this course. Having to go to the library was fun too. As an English major, I spend a lot of time there anyway, but it’s always fun to find all the different books around. It was a good practice to develop for future workbook pages.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
V I S UA L T H E S AU RU S www.visualthesaurus.com Design Objective To inform viewers about a performance of music that happens to be out doors. Form is open, it could be a poster, an announcement, a flyer, a logo, etc. Target Audience Students at the University of Tennessee who are as busy as you are. Create a wordmap for: Consider analogous words in your exploration. List all of the words that relate to:
Nature Trees, Mountains, Hiking, Bugs, Leaves, Snow, Ice, Seasons, Grass, Ants, Picnics, Parks, Dog Parks, Animals, Dangerous animals, Tarzan, the rain forest, the sahara, sand, ocean, whales, giant fish, tiny fish, not a fish at all, mammals, you and me baby we aint nothin but mammals, discovery channel, national geographic, all natural, organic, free, unconstrained, Robert Frost, The Road Less Travelled By Music playing, orchestra, symphony, tuning, A, middle C, violin, viola, cello, bass, bassoon, oboe, clarinet, flute, saxaphone, American in Paris, Gershwin, car horns, rhythm, white noise, beats, hip hop, rap, blues, americana, folk, Elvis, country, Graceland, band, orchestra, high school, competitions, hours of playing, universal, piano, forte, italian, treble, alto, bass, soprano, tenor, contrabass Performance Curtains rise, A, B flat, kids shows, church shows, festivals, Burning Man, Bonnaroo, everything in between, genres, hand clapping, feet stomping, voice losing, mosh pitting, lyric knowing, encore encore encore, camaraderie, applause, I live for the Applause Applause Applause, difference between performer and musician, dancers, singers, STOMP, play, theater, theater black, makeup, contour, Kardashians
This investigation represents the first step in researching a design problem. Be curious, be outrageous, be exploratory, be uncensored. Go beyond what you expect to discover new perspectives. All ideas/connections are valid. analogous words
New word combinations that inspire us to imagine beyond either of the first two words. Write or draw:
Giant fish car horns
Free Elvis
Italian bugs
Viola mosh pit
Robert Frost hip hop
Fish curtain
Tarzan camaraderie
STOMP claps
Mountain applause
Imagine Lady Gaga on a mountain
Performance whales
Organic Kardashians
Tenor festivals
THE IDEA OF DESIGN - ADES 150
Nature
Nn
The physical world and everything in it that is not made by people.
The colors were one of my favorite things to study during this particular brainstorm. Nature is beautiful, isn’t it?
THE IDEA OF DESIGN - ADES 150
Rhythm
Rr
THE IDEA OF DESIGN - ADES 150
Music
Mm
Sounds that are sung by voices or played on musical instruments.
I play the viola, and that’s the cleft betwen teh disco ball and the ear. It’s personal and fun, even if I didn’t end up using it in the end.
THE IDEA OF DESIGN - ADES 150
Performance The execution of an action.
Pp
THE IDEA OF DESIGN - ADES 150
Green
Gg
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
V I S UA L P U N S Designers often use humor to hook the viewers interest. Slamming disparate elements together yields unexpected offspring, and when the result is awkward enough to be funny, viewers come through with a laugh. Cleverness also carries a critical edge as well.
Try taking words, ideas, visuals from your visual thesaurus explorations and randomly combine them. Then draw the results. Keep moving backward and forward to between words and images to generate new ideas.
UNIT 2: FINAL THOUGHTS Brainstorming is a large part of what I do when I design at the Daily Beacon, and it was intersting to get to do it with such broad words. Knowing what this was building up to, it’s also neat to see how these ideas came into play in my final poster project. These connections are really important when coming up with designs for such specific events. It allows you to surprise yourself.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
3 x 5 D E S I G N E R R E S E A RC H You have been assigned three designers. Write their names here: 1. Michael Bierut 2. Massimo Vignelli 3. Ladislav Sutnar Using the library and the web sites below, research each of your three designers and learn enough about their process The AIGA Archives http://designarchives.aiga.org/ Communication Arts http://www.commarts.com/ Print Magazine : Design for curious minds http://www.printmag.com/ Eye Magazine http://www.eyemagazine.com/home.php Design Observer http://www.designobserver.com/ ARTStor http://www.artstor.org/
You will need your utk user name and password to access this resource.
AIGA Medalists http://www.aiga.org/medalists/
Designers use contemporary and historical references to make connections. Connections can be on: a conceptual level - “how have other designers tried to solve the problem I am trying to solve?” a compositional level - “how have other designers organized visual elements to create the same emotion or reaction that I am trying to create?” or a materials level - “how have other designers used materials in innovative ways to create meaning?” Find five examples of each of your three assigned designers. The five pieces should illustrate the scope of their process. Prepare a 1 minute presentation for each designer using your examples. Note on your worksheet your main points and connections.
Designer one:
Designer one .. example one
Designer one .. example two
Connections to example one
Connections to example two
Michael Beirut Beirut has a lot of versatility in his design. He uses the grid system a lot, which is not surprising considering Vignelli was his mentor. I’ve seen his name a lot more since I first did this project. He has a unique way of finding innovative ways to reinvent traditional things, such as the Saks Fifth Avenue campaign.
THE IDEA OF DESIGN - ADES 150 Designer one .. example three
Connections to example three
Designer one .. example four
Connections to example four
Designer one .. example five
Connections to example five
Use the left column to record your thoughts, reflections & notes as you work through your thought process.
3 x 5 D E S I G N E R R E S E A RC H Doesn’t believe in traditional creativity in a traditional sense http://www.wired.com/2015/10/famed-designer-michael-bierut-doesnt-believe-increativity/ “There’s a finite amount of newness available at any one time, or maybe period,” he continues. “And you have to use it really deliberately.” Pentagram partner (1 of 21), co-creator of Design Observer From Ohio Worked for Massimo Vignelli (see designer 2) The bold colors are really reminiscent of Mossimo Vignelli Really likes black and white, shadows, shapes, rhythms Bold lines, consistent rhythm Knew he was going to be a designer from a young age
THE IDEA OF DESIGN - ADES 150 Use the left column to record your thoughts, reflections & notes as you work through your thought process.
3 x 5 D E S I G N E R R E S E A RC H Notes, thoughts and observations on designer two. Mentored Michael Beirut Listens to a lot of classical music (Baroque) - usually pretty complex music, so it’s interesting that his designs are so clean and bold “One life is too short for doing everything.” Belief that design should be accessible and timeless “It is to decrease the amount of vulgarity in the world. It is to make the world a better place to be. But everything is relative. There is a certain amount of latitude between what is good, what is elegant, and what is refined that can take many, many manifestations. It doesn’t have to be one style. We’re not talking about style, we’re talking about quality. Style is tangible, quality is intangible. I am talking about creating for everything that surrounds us a level of quality.” - quote from MV in an obituary for him Really liked to use bold, classic fonts, especially Bodoni and Helvetica
Massimo Vignelli and his wife Lella, both designers, ran a successful design firm in Milan, Italy before coming to New York City in 1966 to start the New York branch of a new company, Unimark International. This quickly became one of the largest design firms in the world. When commuting back and forth became too much, they decided to make New York their home. In 1971, they founded Vignelli Associates.
Designer two:
Designer two .. example one
Designer two .. example two
Connections to example one
Connections to example two
Massimo Vignelli What a character. Watching his documentary was really great after having studied his work and all the innovations he and his wife made. Vignelli has one of the most distinct styles I’ve seen, and I notice his influence a lot more now. He really considered his audience and how to make their lives easier. He definitely influenced how I thought through my final project, as well as the things I encounter now.
THE IDEA OF DESIGN - ADES 150 Designer two .. example three
Connections to example three
Designer two .. example four
Connections to example four
Designer two .. example five
Connections to example five
Blocky Careful, but good use of color HELVETICA Pay no attention to trends, they go out of style Make things easier to use His wife is also a badass. Design for life, not just a single thing
compare to Michael Beirut’s billboard redesign
THE IDEA OF DESIGN - ADES 150 Use the left column to record your thoughts, reflections & notes as you work through your thought process.
3 x 5 D E S I G N E R R E S E A RC H Notes, thoughts and observations on designer three. bold colors, flat shapes,human bodies He’s a big fan of infographics Instated the area code parentheses interested in the feeling from a piece of work
He had strict parameters for layout, color choice, and typeface. But he thrived in that confinement. father of web design and inforgraphics Broken English - explains straightforward designs Won the 1995 AIGA medal Born in Czechoslovakia Uses human form a lot, very flat
Designer three:
Designer three .. example one
Designer three .. example two
Connections to example one
Connections to example two
Ladislav Sutnar Definitely the most experimental of my three designers. His work is more design as art, but he is also the father of the modern inforgraphic. That’s one of my favorite things to create. Sutnar’s audience is fun to consider because it’s probably people in the art community.
THE IDEA OF DESIGN - ADES 150 Designer three .. example three
Connections to example three
Designer three.. example four
Connections to example four
Designer three .. example five
Connections to example five
UNIT 3: FINAL THOUGHTS I’ve noticed these designers a lot more now since doing this research, particularly Beirut. But he was inspired by Vignelli, so him too. It’s clear to see how much attention they gave to their audiences, especially how to make their lives easier.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e C A R D S Read the 40’s and 50’s in the “Decade Readings on Bb”
For each of the projects you choose as a card, answer the questions:
Create five cards for the DESIGN(er) METAgame. For each card, be sure to consider the following questions as the designers describe their process:
“What is the goal?”
What is the importance of observation?
Which designers used research as inspiration?
“Who is the audience?”
Which designers used research to generate concepts? “Why this form?” What did you learn about your own design process as the result of studying this designers process?
ARDS
ts you choose as a tions:
“What is the goal of this piece?” This magazine cover illustrates the thoughts of the time about WWII and how involved designers and artists were in war efforts. This magazine cover is beautiful, and shows a great view of the ocean, but upon further inspection, it is looking at a battleship. While it does seem to be promoting the war, it could also be a bit ambiguous in whether it fully supprts the war efforts.
”
“Who is the audience?” The audience is people who read Fortune, but more specifically it appeals to a sense of nationalism in those people.
Designer
George Giutsi; Art director: Francis E. Brennan Title of work / decade
Cover of Fortune, 1941 Rational for choice
It has a unique perspective, and the composition draws the eye from the dullness of the ship hull to the blue of the ocean. It is also really interesting to consider this magazine cover in the context of the war and how Americans were encouraged to think about it.
“Why this form?” Illustration was the most popular style in the early 1940s, and the realistic nature also fits with the style of the time.
THE IDEA OF DESIGN - ADES 150
Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece is definitely war propaganda, but it is not only proAmerica. It features all the Ally flags jumping into action and all the teamwork required to win the war. The prominent “UNITED” draws a viewer directly to the word and evoke immediate patriotism. The mention of freedom also brings this out, as well as the depiction of all the flags gloriously flying through the smoke to save the day. “Who is the audience?” The general American citizen. This poster was meant to convince people to donate to the cause in any way they could, whether that was time or labor.
Designer
Leslie Ragan Title of work / decade
Poster for Office of War Information/1943 Rational for choice
The contrast in this poster is incredible, and the direct propaganda is really interesting to study. Designers were heavily involved in war efforts, and they came up with beautiful pieces, despite what they were making them for. Culturally, this poster is really interesting. Artistically, the composition is really interesting in how the eye follows the flags and the smoke, and the colors are bold and powerful.
“Why this form?” These posters were typical tools used by the Office of War Information.
of this piece?”
“What is the goal of this piece?”
tely war t is not only proes all the Ally flags on and all the d to win the war. The D” draws a viewer rd and evoke ism. The mention of gs this out, as well as l the flags gloriously smoke to save the
To draw people in. People say, “never judge a book by its cover,” but those people are not designers. First impressions are important, especially in this time when modernism was emerging and people were looking for new things to look at. This also applied to the things they were reading.
nce?” ican citizen. This to convince people ause in any way they at was time or labor.
“Who is the audience?” Readers and anyone who happens to walk by a bookshelf. Book covers are meant to draw the attention and make you want to read it, even just to understand why the cover is so interesting.
e typical tools used ar Information.
Designer
Alvin Lustig Title of work / decade
Book Jacket for A Season in Hell by Arthur Rimbaud 1945 Rational for choice
This cover immediately grabs a reader’s attention, and it illustrates the book in an interesting and unconventional way. The red is bold, but the black and white shapes indicate heaven and hell.
“Why this form?” Modernism was just coming about, and in all areas of design, things were shallow and boring. People were ready for bold colors and shapes that didn’t quite feel right.
THE IDEA OF DESIGN - ADES 150
Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece is one of a series published by the Container Corporation of America. They published quotes by powerful men of the time and revolutionized how ads were thought of. They evoke feelings rather than telling what a product is, as well as built brand recognition for the CCA. The owner’s wife was the one who suggested the campaign. The goal was to inspire everyone.
“Who is the audience?” People who read magazines would have seen these ads everywhere, but it was also a 25-year-long campaign, so anyone could have seen it.
Designer
Gene Federico and Egbert Jacobson Title of work / decade
“Great Ideas of Western Man” series from Container Corporation of America; 1955 Rational for choice
This piece shows a huge departure from the trends that were so popular only a decade before. This is clean and simple, and conveys a powerful message through the simple colors and basic composition. The words themselves are also powerful in this particular ad.
“Why this form?” This form was completely new and introduced the European Avant-Garde to American advertising.
UNIT 4: FINAL THOUGHTS I learned a lot from these cards. I tried to pick unique designs from the readings to talk about different aspects of design than we covered in class. I liked trying to decide the audiences. This particular part was helpful in how I do research and study other designers.
ece?” s published ion of uotes me and ere thought her than s well as the CCA. one who The goal
“What is the goal of this piece?” This poster is promoting the use of air mail by showing the different routes. It is telling people that it’s easy and efficient, and opens up a whole new world of communication possibilities.
“Who is the audience?” Anyone walking down the street would see this poster, but it applies mostly to people who needed to communicate overseas, whether that were soldiers, friends, or for business. Air mail was becoming a huge industry, and this poster was helping drive people there even faster.
es would where, but campaign, n it.
new and Avant-Garde
Designer
E. McKnight Kauffer Title of work / decade
Poster promoting the use of air mail; 1955 Rational for choice
I’m always drawn to work that involves hands, but this one is interesting because the idea is small world. With air mail, the entire world can fit in the palm of your hand. The style is also interesting because it resembles the 1940s, but does not have undertones of war propaganda.
“Why this form?” Posters are some of the most fun things to design because they typically have less criteria and more creative freedom. This poster shows that. It is a great way to get the ad out to a lot of people very quickly, especially considering how interesting it is to look at.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e C A R D S Read the 40’s and 50’s in the “Decade Readings on Bb”
For each of the projects you choose as a card, answer the questions:
Create five cards for the DESIGN(er) METAgame. For each card, be sure to consider the following questions as the designers describe their process:
“What is the goal?”
What is the importance of observation?
Which designers used research as inspiration?
“Who is the audience?”
Which designers used research to generate concepts? “Why this form?” What did you learn about your own design process as the result of studying this designers process?
ARDS
cts you choose as a stions:
“What is the goal of this piece?” This advertisement seeks to get its message across directly and boldly. The 60s was a time when people started to care very publicly about things that were happening in society, such as housing in urban areas. It is literally telling people that they need to give a damn.
?”
“Who is the audience?” Anyone who read magazines or newspapers would be an audience for this ad, but young people in particular tend to be a larger target for activism ads. This ad is interesting too, in that it very directly addresses the audience. It is a definitive call to action.
Designer
Marvin Lefkowitz Title of work / decade
Ad for Urban Coalition fair-housing campaign Rational for choice
Of all the things I think of when I think about the 60s, the mainstream emergence of activism is one of them. This ad is a prime example of this, as it attacks the issue with no inhibitions and isn’t afraid to make people uncomfortable.
“Why this form?” The simple black and white make this ad a very powerful message. There is nothing to distract, from the words, and consequently nothing to distract from the call. It fills the space and demands attention, which is the goal of activists and people supporting a cause. They want a viewer to pay attention and then act.
THE IDEA OF DESIGN - ADES 150
Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This magazine cover is intended to grab attention. It has a lot of type on it, but the bold yellow is the focal point. It follows down the hat and to the hippie’s face, which is what everyone wants to see. This art is supposed to be funky and weird because hippies were funky and weird.
Designer
Herb Lubalin Title of work / decade
Cover of Saturday Evening Post 1968 Rational for choice
This is another piece that screamed 60s to me. The colors are also really nice, and there is a lot to take in on this magazine cover. The bright yellow typeface at the top grabbed my attention, and hippies are always a fun thing to write about.
“Who is the audience?” People who subscribe to the Post would be the main audience, but magazine covers are also aimed at people who would see it on a stand and buy it. This particular cover is aimed at an older dempgraphic because they would have all the questions the magazine is address. Who are they? What do they want? Why do they act that way? This cover promises an answer. “Why this form?” This is addressed a bit in the previous question, but this illustration is telling a really interesting story, and it aims to make people pick up the magazine and read it. The colors are really vibrant, and the man looks just weird enough to be really interesting.
s piece?” intended to lot of type ow is the focal the hat and ich is what This art is and weird unky and
” to the Post dience, but so aimed at it on a stand lar cover is pgraphic ave all the e is address. o they want? way? This cover
n the previous ration is telling y, and it aims p the magazine are really ooks just weird eresting.
“What is the goal of this piece?” This cover is playing on the popular style of the 60s. It catches the eye immediately and then keeps the viewer there to decipher all the words. “Who is the audience?” Playboy subscribers would be the main audience. This magazine cover is different from the Post because it isn’t necessarily out to grab more readers. They have a very specific male audience, and they play to that.
Designer
Design director: Arthur Paul; Illustrator: Bob Post Title of work / decade
Cover of Playboy; 1968 Rational for choice
The colors and shapes drew my attention to this design. It’s psychadelic and interesting, and the play with the words as the background is a completely different way for a magazine to present its content.
“Why this form?” It’s bright and wavy and trippy if you look at it for too long. The pink type looks like it’s radiating from the woman, making her the focal point, as well as the bright yellow. Because they have such a specific audience, Playboy has the freedom to be more creative with their covers because the base is established. They don’t have to try to reach everyone, so they can play with different elements.
THE IDEA OF DESIGN - ADES 150
Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece was created to illustrate a story about a deitician who suggested that the best way to eat your food is to chew it 32 times. It was a story in the monthly Push Pin Graphic publication. This magazine allowed the conceptualists at Push Pin Studios to have a lot of freedom and create their own work. “Who is the audience?” Many people were - and still are interested in how food works with the body. This illustration would have been seen by people who got the magazine, but it’s also targeted at anyone who eats, which is all of humanity.
Designer
Seymour Chwast Title of work / decade
Chew, Chew, Baby (Push Pin Graphic story illustration); 1967 Rational for choice
Seymour Chwast is a fantastic illustrator with a really distinct style. This illustration, and the other three in the collection really help tell the story and keep a reader interested.
“Why this form?” These illustrations create a really consistent theme for the story and help tell it rather than just accompany it. It’s bright and bold, much like other pieces from the 60s, but it helps tell a story.
What even were the 60s? Counterculture is still so prevalent in design we see today. It was weird and creative and everyone was on drugs. I think you can see that in the designs, as well as new ways to make points. Colors flowed freely and it’s clear that designers ran with even the craziest ideas. These are what memorable designs are made in.
of this piece?” eated to illustrate a ician who suggested to eat your food mes. It was a story ush Pin Graphic magazine allowed s at Push Pin Studios eedom and create
“What is the goal of this piece?” This cover is illustrating a story about the decline of the avant-garde movement in America. It is taking one of the most iconic pieces of pop art and showing Warhol drowning in his own work. It’s interesting because the biggest critique of the decline of avant-garde was that it became too immersed in pop culture and loss its status as art movement.
nce?” e - and still are food works with stration would y people who got t it’s also targeted ts, which is all of
s create a really for the story and than just accompany bold, much like other 0s, but it helps tell a
“Who is the audience?” Anyone walking by would see this magazine on a stand, but Esquire’s predominant audience is middleupper class men who would have probably been familiar with the movement. To show the “decline and collapse” would be a really interesting and relevant story. Designer
George Lois; Photographer: Carl Fischer Title of work / decade
Cover of Esquire magazine; 1969 Rational for choice
This cover is completely different because it shows the end of the era. Avant-garde began to mix with pop culture to the point where it was not a distinct movement anymore, at least in the eyes of many critics. This illustration is shows a different way that designers were starting to use photos as larger parts of their designs.
“Why this form?” This form is really creative because it flips pop art upside down. Whereas Andy Warhol’s Campbell’s Soup Cans is ilustrated and bright, this cover is realistic (except Warhol drowning in soup) and not bold colors. It’s odd and surreal, but it isn’t pop art.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e C A R D S Read the 70’s in the “Decade Readings on Bb”
For each of the projects you choose as a card, answer the questions:
Create five cards for the DESIGN(er) METAgame. For each card, be sure to consider the following questions as the designers describe their process:
“What is the goal?”
What is the importance of observation?
Which designers used research as inspiration?
“Who is the audience?”
Which designers used research to generate concepts? “Why this form?” What did you learn about your own design process as the result of studying this designers process?
ARDS
s you choose as a ions:
“What is the goal of this piece?” This piece is a new way for US News & World Report to play with the fact that they only cover real news and not gossip. It’s a “clever mix of sincerity and irony,” and that is an effective way for the newspaper to make a promise to their reader that is believable and relateable.
”
“Who is the audience?” This is a specific audience because it is directed at people who pick up or subscribe to the paper, but within that audience, it is directed to people who would be doubting the paper’s ability to cover important issues and topics.
Designer
Ted Chin and Co.; J. Ryder; Mike Pateman Title of work / decade
US News & World Report ad 1979 Rational for choice
Andy Warhol’s face and the bold typeface catches the eye and forces the reader to look at the ad.
“Why this form?” The large portrait and bold type is hard to miss, and that’s the kind of impact you want if you’re making a promise to someone.
THE IDEA OF DESIGN - ADES 150
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” As with all logos, this logo wants to be remembered, and because it’s literal, it accomplishes that task. The 3D letters makes it really fun to look at. “Who is the audience?” The people who buy the paint are the main targets, but it’s an interesting logo to look at for anyone who would happen to pass it on the shelf. “Why this form?” This lettering is clever because it actually is the product. It’s challenging to read if you don’t know the product, but that gives it a sense of exclusivity. The people who use the product know it, and those that don’t are left trying - at least for a moment - to decipher the words. It’s a club. Designer
Herb Lubalin Title of work / decade
logo for Grumbacher; 1979 Rational for choice
This logo is both clever and memorable.
iece?” o wants to be e it’s literal, it he 3D letters at.
“What is the goal of this piece?” This piece seems to be a poster for poster’s sake. It’s a calendar, and it’s patriotic without smacking you in the face with red, white, and blue. It shows the plains and a rainbow coming down, depicting a happy scene. It isn’t necessarily conveying any political message though.
paint are the teresting who would helf.
“Who is the audience?” Someone who walked by the poster on the street or saw it posted in an office somewhere. Younger people would probably like it because it has the popular rainbow icon and doesn’t scream patriotism.
ause it s challenging the product, f exclusivity. product on’t are left ent - to club. Designer
David Lance Goins Title of work / decade
Untitled; 1974
Rational for choice
The style caught my eye because it hails back to the 20s art deco vibe but with a 70s subject. The rainbow is indicative of the 70s, and it’s a really interesting geometric take on a simple landscape.
“Why this form?” Milton Glaser said in the film we watched that posters are the most fun to design, and I think that applies here. This calendar is simple in its geometry, which makes it really nice to look at, and it’s a different take on the rainbow than was typical in the 70s.
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece is part of a thesis that explores esthetic violence with physical violence. The larger words tell a brief story that’s somber, and I believe this particular piece is the maid in teh dressing room. She is reading a book about etiquette, which is odd in contrast with how unusual this piece is. “Who is the audience?” The audience for this thesis would be a board of professors that would be judging her work and making commentary about it. If it were to be published, it would probably be featured in an arts publication where other like-minded people would see it.
Designer
Jane Kosstrin Title of work / decade
piece from her thesis; 1978 Rational for choice
This particular piece of the collection is interesting because of the rhythm established by the letters across the person. It tells a story, as well as the larger words that run down the side.
“Why this form?” This cut adn paste style gives the poster an ominous feel, which allows it to make a heavier statement about violence. On first glance, it looks like a ransom note.
piece?” esis that ce with rger words mber, and piece is the m. She is iquette, which ow unusual
“What is the goal of this piece?” This piece captures the diversity and community that the Girl Scouts was created to implement. Camping and hiking is a big part of what the Girl Scouts do, thus why the logo is green. It’s also interesting that the logo has had only minimal updates through the decades. “Who is the audience?” The Girl Scout corporation is the main audience, but it is also for anyone who sees the organization out participating in the community. This logo appears on all Girl Scout sanctioned things, and is especially crucial for cookie sales.
esis would that would d making it were to robably be cation where le would see
gives the which allows ement about , it looks like a
Designer
Saul Bass Title of work / decade
Girl Scout logo; 1978 Rational for choice
This repetition is indicative of the 70s, but I was also a Girl Scout, so this one is pretty relevant to my life.
“Why this form?” The repetitive heads is really interesting, as well as the clean shapes. It’s a simple logo, which is why it hasn’t changed much. It shows a sense of community and is easy put on all different types of merchandise.
Bailey Morris Kristen Halstead
“Which hidd mean
Comments for Player One
I think that the magazine cove interesting hidd Comparing Wa career to drow of soup is a mo hidden messag diversity. I feel wouldn’t be a h message.
While I think the general message of this logo is straightforward, I think that it also has the hidden meaning of diversity within the organization, as it shows girls of different colors.
UNIT 7: FINAL THOUGHTS
Final battles: This question was the most interesting to think about because there are a lot of different argume could justify an argument. The battles were interesting because they allowed us to discuss how we interpret th
Player Two
h has a den ning?�
e Esquire er has a more den meaning. arhols sinking wning in a can ore interesting ge than l like diversity hidden Andy Warhol drowning in a can of soup is both obvious and sneaky in its approach. Warhol was the face of avant-garde, but it died in the 1960s according to many critics. Warhol drowning in his most famous work is sad, but it speaks to what was happening to the art world as a whole, and not just him. H e was successful in his field, but only while the field existed.
ents that can be made for hidden meanings. It wasn’t necessarily who had better cards in her deck, but rather who hings.
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OUT + ABOUT Pentagram Pentagram is a “remarkable and unprecedented design partnership.” Milton Glaser. “Since 1975, the famed international design firm Pentagram has produced a series of signature documents known as the Pentagram Papers, exclusively for clients and colleagues. The design brilliance and quiry sensibility of the papers has never before been made available to the public at large.” “Each paper explores a different and curious topic that, at one time or another, has caught the interest or sparked the imagination of the Pentagram partners. From the iconic to the obscure, the topics illustrate a wide variety of influences.” The Pentagram Papers
You are tasked with finding every letter in the alphabet from your environment. Like Pentagram, you are looking for unusual or interesting ways to document your idea. Document them with a camera, photocopy, or scan and compile into an A-Z alphabet. You need to try three different ideas. Test each idea with “A, B, C” on the first page. Choose the alphabet which best reflects the feeling of your surroundings and gives the viewer an idea of where you are. Produce the rest of the alphabet for the chosen style. Be sure to review the examples on Bb.
UNIT 8: FINAL THOUGHTS This was one of my favorite assignments. I actually started an Instagram account based on this assignment called GroundLetters (Go follow it!). It was so much fun to search for letters in different things and to think of new ways to form them. Definitely outside the box and fun to do.
A, B, C for idea one
A, B, C for idea two
A, B, C for idea three
THE IDEA OF DESIGN - ADES 150
D, E, F
G, H, I
J, K, L
M, N, O
P, Q, R
S, T, U
V, W, X
Y, Z.
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C O N C E P T S I N AC T I O N Read chapter 9 in the text, “Guide to Graphic Design”
For each of the projects you choose as a card, answer the questions:
Create five more cards for the DESIGN(er) METAgame. For each card, be sure to consider the following questions as the designers describe their process:
“What is the goal?”
What is the importance of observation?
Which designers used research as inspiration?
“Who is the audience?”
Which designers used analytical based concepts? “Why this form?” What did you learn about your own design process as the result of studying this designers process?
Paying attention to the world around you is critical for designers. It’s the only way to see problems that can be fixed, or to find solutions in the best way possible. It’s also important because some of the most interesting designs and ideas come simply from observation.
ects you choose as a estions:
“What is the goal of this piece?” The goal is to direct students and keep the original feel of the space. The bold colors fit with the aesthetic of the study area while also providing a helpful sign for students.
ce?”
“Who is the audience?” Students are the main audience because they interact with the signs and spaces every day.
Designer Scott Stowell Title of work / decade Brown University Friedman Study Center Signage System; 2006 Rational for choice This project is really relevant to me as a college student, and I really like the incorporation of the past into a new modern space.
“Why this form?” This typeface keeps with the original 1970s feel and the history of the building while merging with the new bold direction that campus architecture is taking across the nation.
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece, along with the others in the collection try to explore narrative storytelling and a wide array of issues. He is exploring the human condition. “Who is the audience?” This is an interactive video, so the people who would see it would intentionally be searching for it. It is not for any viewer specifically, but the people who would encounter it the most would be young people with ease of access.
Designer Elliot Peter Earls Title of work / decade Throwing Apples at the Sun; 1995 Rational for choice The poster is attention grabbing and strange, and the entire collection is interesting because it involves most of the senses.
“Why this form?” This form allows people to interact with people in several various forms. The video stimulates both the visual and auditory senses and asks the viewer to engage rather than just observe.
” rs in rrative issues. dition.
“What is the goal of this piece?” The goal is simple because it shows the versatility of the Bond No. 9 logo. It is simple and large and keeps with the attitude of the brand and store. “Who is the audience?” Anyone shopping at Bond No. 9 would encounter this logo in several places, but they would also get the feel that the store strives to maintain.
he d . It is but the t the with
ract orms. visual he ust
“Why this form?” Again, this is versatility. The candles, perfume bottles, and the store as a whole convey the same sense of fun and airy life. The logo works on the candles just as well as it works for the perfume bottles. Designer Laurice Rahme Title of work / decade Bond No. 9 New York/ early 2000s Rational for choice The logo is diverse and fun, and these candle holders show that. It is also simple, but shows that the logo can work across multiple platforms.
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece aims to give a different perspective of the city. It offers a creative contrast that most people don’t think about when they think about New York. It shows the church as a complete contrast to the towers, which holds a different significance to us now. “Who is the audience?” People passing would see the paper, but because it is specifically in the Monadnock paper, it is for their readers.
Designer George Tscherny Title of work / decade Poster for Monadnock/ 1975 Rational for choice This shapes in this poster are dynamic and eye catching, and create a unique perspective for the poster.
“Why this form?” This poster folds so that the first encounter with it is the church. The perspective is interesting just on its own, but when it is unfolded, it becomes a completely different piece. This folded form allows there to be multiple interpretations and ways to look at the city.
“What is the goal of this piece?” This logo redesigns a classic logo and an iconic name. Because of this, the words do not even necessarily nee dot be readable because the shapes are so distinct. These variations also allow the company to play with the logo while maintaining the integrity of the logo.
nt a ple nk urch wers, nce to
“Who is the audience?” Shoppers at Saks are the primary audience, but there is also a secondary consideration for people on the street. The brand needs to be recognizable and make people want to shop at Saks.
aper, he
The n it piece. be ys to
Designer Michael Beirut Title of work / decade Saks Fifth Avenue Logo redesign of 1973 logo Rational for choice This logo is iconic, and this grid takes a whole new approach to it.
“Why this form?” This variation is interesting because it isn’t legible. It allows the designers to play with the packaging and create a completely unique way to house their products.
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Z E U G M A | PAC K AG E D E S I G N Find five examples in the readings, from the book, on ARTStor, etc. where the authors have used the juxtapositioning of two objects to create a new meaning or to emphasize a point. Be sure to annotate your findings.
Emphasizes an enviromental point
Uses the movie title and information to form the shape of the dress. Clean
Banksey makes social commentaries through his street art
Bananas are good for the brain and education
This is a discussion on energy and the different forms it takes.
nine
Conn You m pape You m alrea You m Be su
•• • •• • •• •
UNIT 9: FINAL THOUGHTS
••• ••• •••
This unit asked us to think about things differently and to use our imaginations in new ways. We got to play on inspirations we found, but the dots was especially interesting because it shows all the completely unique ways that the same thing can be done.
nine dots
Connect all nine dots with one line. You may not lift your pencil from the paper. You may not back track over a line already drawn. You may cross a line already drawn. Be sure to document your process.
••• ••• ••• ••• ••• ••• ••• ••• •••
••• ••• ••• ••• ••• ••• ••• ••• •••
••• ••• ••• ••• ••• ••• ••• ••• •••
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Get two objects from the instructor. Document your objects. Draw them. Photograph them. Describe them. Write them.
Read: WANT TO INNOVATE? START GOOFING OFF .. Michel Hendrix .. 2 Mar 12 on Bb Physical Consider the following questions from both a realistic perspective as well as a fictional perspective. Remember the nine dots? Think outside the box. Document all of your answers. _ Where did the objects come from? _ Where were they made? _ What are they made from? _ What is the texture? _ What are three more questions you can ask about your pieces? Conceptual _ How are new connections being made? Color, texture, content, shape, mass, etc.? _ Is there new meaning? What are the new meanings? Which one will you use? Who might the audience be for each meaning? Create a story behind your package design. Write down this story before you begin the actual design. Visual Based on your story and your audience, what have you seen or read that you can use as reference as you design a package for your new product? Typographic, illustrative or photographic references? Icon, Index, Symbol? Color, texture, positive + negative space? Composition references? Create a package design.
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N A R R AT I V E | PAC K AG E D E S I G N OBJECT ONE
OBJECT TWO
NARRATIVE
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PAC K AG E D E S I G N * You have just completed a package design in class. Your assignment this week is to evaluate your package design and create at least three more variations. To evaluate your work, please answer the following questions: Type up your responses to the prompts and format them for inclusion in your process book. 1. If you had more time, what would you do differently? conceptually? visually? 2. If you change the audience, what would you do differently? 3. If you were “Insert name of one of the designers you researched here�, how would you define or visualize this project differently? for designer #2? for designer #3? 4. Based on the decade readings, identify an influential visual or concept. How would the application of this perspective change your solution? 5. If you change the problem definition, how would you solve the problem differently?
Be sure to include drawings of your influences and ideas so others can relate to your insights. Produce at least three more variations and include them in your process book. N.B. - If there are skills you would like to explore, this might be a good time to experiment.
1. If I had more time, I would spend longer trying to figure out how to appeal to a wider range of kids across gender. Right now, this packaging probably applies most to boys. 2. If the audience changes, I would spend more time focusing on the story line. I wanted to allow for there to be a lot of imagination for the kids to play, but it may need to be more specific for the two things in the package. 3. If I were Massimo Vignelli, my design would be more blocky and depend more on type. It does use Helvetica though. 4. The first design is influenced by the 60s with the odd pattern. It resembles the waves in the ocean, and that wave was common in the 60s. The colors are also bold and bright, and fit with the 60s as well. 5. The question determines the answer, and for this prompt in particular, if the problem changes, the whole design changes. The title would be different, and the whole concept of how someone would play with the toys would be different.
ree more variations n your process
ills you would like to be a good t.
ore time, I would spend longer trying out how to appeal to a wider range of ss gender. Right now, this packaging applies most to boys. ience changes, I would spend more sing on the story line. I wanted to there to be a lot of imagination for the ay, but it may need to be more specific o things in the package. Massimo Vignelli, my design would be cky and depend more on type. It does tica though. esign is influenced by the 60s with attern. It resembles the waves in the d that wave was common in the 60s. s are also bold and bright, and fit with well. ion determines the answer, and for in particular, if the problem changes, esign changes. The title would be nd the whole concept of how someone with the toys would be different. Review post at: “Want to Innovate: Start Goofing Off” http://michaelhendrix.blogspot.com/2011/03/want-to-innovate-start-goofing-off.html Choose two items. Place them in the bag. Create a back story. Create packaging based on the backstory. Ask the following questions: Why is this being sold? Where? What's the backstory of invention, failure or cultural consequence? Who is the designer, manufacturer, collector? When was it made and when was it purchased? And it goes on…
Review post at: “Want to Innovate: Start Goofing Off” http://michaelhendrix.blogspot.com/2011/03/want-to-innovate-start-goofing-off.html
Choose two items. Place them in the bag. Create a back story. Create packaging based on the backstory.
Ask the following questions: Why is this being sold? Where? What's the backstory of invention, failure or cultural consequence? Who is the designer, manufacturer, collector? When was it made and when was it purchased? And it goes on…
A SMALL WHALE WITH A BIG DREAM
WILBUR WILBUR
A SMALL WHALE WITH A BIG DREAM
drawings of your as so others can hts.
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F I N A L PAC K AG E D E S I G N S Show your work and your thoughts and your references. Annotate.
UNIT 10: FINAL THOUGHTS It was really nice to be able to create something for this unit, especially getting to take on such a specific challenge. The toys were interesting because you have to design for a young audience, but it also has to be something that parents would want to buy for their kids. It also has to be an interesting story line that gives a plot line but allows for a lot of space for imagination. The audience considerations were a lot of fun, as was thinking through what story could possibly be made with such obscure stories.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
D E S I G N ( e r ) M E TA g a m e C A R D S Read the 80’s in the “Decade Readings on Bb”
For each of the projects you choose as a card, answer the questions:
Create five cards for the DESIGN(er) METAgame. For each card, be sure to consider the following questions as the designers describe their process:
“What is the goal?”
What is the importance of observation?
Which designers used research as inspiration?
“Who is the audience?”
Which designers used research to generate concepts? “Why this form?” What did you learn about your own design process as the result of studying this designers process?
ARDS
s you choose as a ions:
“What is the goal of this piece?” This piece wants to make a statement. The stark contrast between the black and white makes it immediately noticeable, and the red border gives it a more angry feel than sad. It makes a statement about feminism and culture in a way that is dynamic and interesting, even to a passerby.
”
“Who is the audience?” She is targeting people that specifically need to hear this message, mostly people on the wrong side of gender equality. It isn’t trying to be polite either. This poster is making a statement. “Why this form?” Designer Barbara Kruger Title of work / decade Large-scale photo-text/ 1983 Rational for choice My main reason for choosing this piece is that I saw the designer’s work on a trip to DC over fall break, and it was amazing. The pieces are all unique, but they go together, and the boldness grabs your attention without it feeling like it’s beating you over the head.
As I said in a previous answer, the black and white photo and text create an unmissable identity, and the red border demands that the poster be taken seriously.
THE IDEA OF DESIGN - ADES 150
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This piece is interesting because it combines the past with the present and plays on the idea of perception and reality. It is also interesting because it’s an ad about consumerism, which is ironic. It’s using the 60s counterculture to critique the 80s consumerism, and it does so in a clean and efficient way. “Who is the audience?” Anyone would see this advertisement in a paper, and the hope is that, like me, the Rolling Stone article would drag that person in. Specifically, this ad targets people who are old enough be active consumers, but young enough to be interested in Rolling Stone in the 80s. Designer Art Director: Nancy Rice/Fallon McElligott Rice; Title of work / decade Perception/Reality; 1985 Rational for choice Rolling Stone caught my attention, but when I looked further at the design, I was intrigued by the message. It combines two decades together to make a critique on society in a really clean, powerful way.
“Why this form?” This ad is clean and unique, and it lets the reader make interpretations from the large headlines rather than laying it all out on the table. The images are interesting and recognizable, which drags people in.
“What is the goal of this piece?” The goal of this piece is to capture visually what the cover sounds like audibly. It wants to get people to stop and notice it, and hopefully but it. In this particular instance, it would be ok to judge a CD by its cover.
m,
“Who is the audience?” People who listen to classical music would definitely be an audience for this, but it is also trying to appeal to a different audience. It isn’t clean and bright like most covers, instead using warm tones and illustrations to attract a different crowd.
n
t
h
s
Designer Christopher Austopchuck Title of work / decade Album Cover for Dvorak’s Symphony No. 7/ 1981 Rational for choice The colors grabbed my attention, and I didn’t realize it was an album cover at first. It’s beautiful and interesting.
“Why this form?” This album cover tells a story. Unlike pop or rock songs, classical music (unless there’s a choir) has no defined verbal story. This cover visually tells the story that the music evokes. The warm colors are immediately appealing and ask a viewer to then become a listener.
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D E S I G N ( e r ) M E TA g a m e
“What is the goal of this piece?” This ad is promoting computers and drawing on a range of cultural references to tell people that they want to keep up. This ad is interesting because it has a direct call to action. Though it is somewhat offensive, it is a completely different way of introducing the message. “Who is the audience?” This ad is reaching for a specific audience of business owners. It’s saying that in order for them to have a thriving business, they have to have computers.
Designer Tony Homan Title of work / decade Global adveritising/1988 Rational for choice I like that the image works across different cultures and languages. I also like the cleanness of the ad.
“Why this form?” This form catches attention. It is interesting and creative, if not somewhat offensive. It is also something that applies across nationalities and cultures, which is what the ad needed to do.
UNIT 11: FINAL THOUGHTS These cards are interesting because the decades are getting closer to present day. There are landmarks I recognize, and brands I like. This means that the audience is getting closer to people I know and am somewhat a part of.
“What is the goal of this piece?” This piece, in true 80s fashion, uses past designs to influence designs and create completely new ideas. This one in particular uses WPA to call to a familiar audience and remind people of a specific product.
ng
“Who is the audience?” The audience is people who ownded Nintendos or was looking to buy one. The designers wanted people to purchase the game, and that is done by people with an interest in it.
e ve
Designer Sharon Werner, Haley Johnson, and Sara Ledgard Title of work / decade Nintendo Poster/1988 Rational for choice This poster is unexpected for Nintendo, and it screams 80s to me.
“Why this form?” This poster is intriguing, but does not give away a lot of information. It draws a person in and makes them want to play to find out how it relates to the poster. It also has a regal feel to it, which would then cause someone who buys it to be part of a regal community as well.
Katrina Roberts Emma Hesson
“Which exagge mo effectiv
This poster dramatically emphasizes a common structure by juxtaposing it with a smaller, much darker church in the foreground. The contrast is intense and powerful.
Both of these exaggeration feel like in th stark contras to the twin to of an exagge repetition of Player 1 win
UNIT 12: FINAL THOUGHTS
Final battles: This battle was interesting because contrast can be such a powerful design element. Leah’s subm the biggest attraction on a base level.
Leah Garland
utilizes eration ost vely?”
e pieces show n very well. I his instance, the st of the church owers is more eration than the the faces. ns.
This piece, “Hate LIke Us” is incredibly powerful with its imagery. The repetition of the faces causes a sense of exaggeration in the work.
mission was one of my first options because that image is so powerful on several levels, but the extreme contrast is
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
SYNTHESIS | POSTER DESIGN Remember the visual puns and forcing connections? Remember the visual thesaurus and nature and music? Remember having your breath be taken away when you discivered something truely inspiring, appropriate, innovative? Remember the exploration of your unique environment? Please consider the following and include your thoughts and observations in your workbook. All semester you have been collecting the raw materials to design a promotional piece for a concert titled “INUKSUIT�. This concert will take place in the community where you have spent the semester. Knoxville, Madrid, Hong Kong. This concert will take place on earth day. (look it up) This concert will take place out of doors. http://www.newyorker.com/online/blogs/ newsdesk/2009/09/video-john-lutheradams-inuksuit.html Your audience is students like yourself, busy people who you will have to make curious enough to attend.
Questions for reflection: How will you define the problem? Hint, while this music might have been inspired in Alaska and the title references the rock sculptures; will an image of an alaskan rock scupture really convince you to change your busy schedule and attend an outdoor concert? Be honest. You are creating a visual experience that will forshadow an experience that has yet to happen. There are no photographs.
Remember the visual puns and forcing connections? Remember the visual thesaurus and nature and music? Remember having your breath be taken away when you discovered something truely inspiring, appropriate, innovative? Remember the exploration of your unique environment? Listen to the interview; Mindmap and brianstorm unusual juxtapositions; think laterally, think outside of the box; surprise yourself.
Use the right column to record your thoughts, reflections & notes as you work through your thought process.
Music Drums Percussion Sheet Music Drum Sticks Xylophone Wind Chimes Triangle Gong Earth Day Trees Flowers Animals Insects Natural Green Native American Alaskan Rugged Cold Minimal Earth Tones Tones haha Greens and oranges Face paint Knoxville Urban Wilderness Ijams Sunsphere Sunsphere as a gong? Cityscape Lanscape Mountains Scruffy City
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
SYNTHESIS | POSTER DESIGN
INUKSUIT JOHN LUTHER ADAMS
EARTH DAY APRIL 22 2 P.M.-5P.M. IJAMS NATURE CENTER
FREE FOOD • FREE MUSIC • FOLLOW US
UNIT 13: FINAL THOUGHTS The buildup to this final project has been really interesting, and I feel like I used a lot of the different research and to think through the design of this poster.
Like this imperfect quality and one big instrument. Colors are also nice.
Use Instruments to make nature.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS Remember the visual puns and forcing connections? Remember the visual thesaurus and nature and music? Remember having your breath be taken away when you discivered something truely inspiring, appropriate, innovative? Please answer the following and include in your workbook. Questions for reflection: Where do you find inspiration? I spend a lot of time on Pinterest and Behance searching through different designers and ideas. I look at advertisement, posters, people on the street. There is inspiration everywhere. Sometimes music puts an idea in my head, sometimes I see something on the sidewalk that is shaped like a face and I have an idea. I do design at the Daily Beacon, and most of the time the story drives how I think about things. I find inspiration from everywhere. What was the biggest surprise this semester? The biggest surprise has been how much influence different decades have had on designers in the present. Massimo Vignelli and Michael Beirut have found inspiration from so many people throughout so many decades.
unit Use the right column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS Describe your creative process. How do you get started?
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This is typically the process I go through, and the timeline is typically very tight. Pressure has become a big part of my process.
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One example of this was last week. I designed a finger print with with the words from a diversity bill. I had to search for diversity on Google images because I couldn’t think of a good way to represent it. Hands kept coming up. I looked at hands and found fingerprints. There was one image where someone had written a sentence over one of the lines. I decided then to put the entire diversity bill in the shape of a fingerprint. Those are the most unique things about every person, and it represented diversity.
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I start by doodling. Typically, I’m designing something for the newspaper, so I’ll skim the story then turn away from the screen and write down the key words. Then I doodle obvious things, unrelated things, different ideas. Often times, this is where my idea comes from, but sometimes I have to look for inspration from other people.
STRIPPED Every person is unique — like a fingerprint. And every person’s unique voice deserves to be heard. As the debate surrounding the university’s diversity funding — and what it funds — grew more and more heated this academic year, a lot of voices were struggling to be heard, both on campus and across the state. Whether it was about gender neutral pronouns, religious holiday parties or Sex Week, it seemed everyone had something they wanted to say. The Daily Beacon feared we wouldn’t be able to reach you all — to let you all stand up and have your time at the podium, making your case and sharing your concerns. So, we reached out and asked for just that. We asked campus administrators and student leaders to send us letters, telling us, and you, what they really think about the diversity amendment - good, bad or otherwise. In a race against the clock, only five made this issue, but we will make you a deal: if you all keep sending them, we will keep publish your letters. Unedited. In full.
Volume 131 Issue 59
utdailybeacon.com @utkdailybeacon
Tuesday, April 19, 2016
Here’s the cover I mentioned in my process.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS How do you keep yourself motivated? I love what I do at the paper, and I love seeing what other people come up with. When I get stuck or unmotivated, I scroll through other design portfolios to look at all the things that are possible. There’s a whole wide world out there, and I love seeing what can be done in so many different ways.
What is your process when you feel stuck or scared? I typically have to get up and walk away from the project. It helps me clear out whatever is blocking me, and sometimes it gives a new way to look at things.
unit Use the right column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS What do you still want to learn? What don’t I want to learn? There’s so much about the programs and different schools of thought that I would love to know about. I also want to be able to know exactly what an audience wants. I think that’s an art in itself. Reading people is critical, as well as being able to take critique and run with it. There’s a lot to learn about people and how they relate to design. I also want to improve in infographics. That’s an entire different creative space that’s really interesting.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS What questions do you ask yourself as you explore a problem? I ask what is going to be the best way to make things understandable for the most amount of people. I also try to think through how I best understand things. I also try to think through different ways that a problem can be solved. Sometimes the easiest way isn’t the best way, but many times it is. It also depends on the problem. If it’s a spacing problem, I approach that differently than a content problem.
What are things you will change or alter in your process as you move forward? I will start spending more time thinking through how other people have approached the same thing as me. I will probably do more research on designers and similar topics, using those as a guide either for what I want to do or what I want to avoid. The more knowledge I can have about a subject, the better.
unit Use the right column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS How has designer research and the designer card game influenced your thinking and ideas? It has shown me exactly how much work goes into being a professional designer, as well as how much they influence each other. The entire process reminded me of the TedX video we watched about art being stolen ideas. As long as you take something and build upon it, you are contributing to the better good. It’s when you start directly copying that there is a problem.
THE IDEA OF DESIGN - ADES 150 unit Use the left column to record your thoughts, reflections & notes as you work through your thought process.
FINAL THOUGHTS Reflect on your process and your workbook, how has your work changed since the beginning of the semester and how has it stayed the same? My work has become more succinct in some areas, but it has expanded in the amount that I think through things. For example, the responses to nature and color are very different than how I thought about those things when actually making the poster. My answers for audience also become more specific as I realized that knowing your exact audience is really cricial to how well it is recieved, and sometimes how it even functions. It’s been fun to watch how this workbook and this class has shifted how I think through problems at the Beacon. I’ve spent more time trying to come up with less obvious designs, or deciding that obvious is the best choice for the topic. I’ve learned how to defend my choices because there’s more thought that goes into them now.
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