final book by Michael Bell

DESIGN EVERYTHING

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

DESIGN IS A PROCESS THAT BEGINS WITH A SKETCH.

THESIS

CONTENTS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

what is graphic design?

intro to push

cultural context 50 graphic design: the career details

graphic design: the crash course

samples of design

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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WHETHER YOU BELIEVE IN IT OR NOT.

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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WHEN IT’S GOOD AND BAD NEWS.

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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EVEN IF YOU’RE BROKE.

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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NO MATTER WHAT NEIGHBORHOOD.

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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AND YOU PROBABLY DON’T WANT TO WASH IT OFF.

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MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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NO MATTER IF IT’S THE GROCERY STORE OR FASTFOOD.

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THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

[graf-ik dee-zahyn] –noun the art or profession of visual communication that combines images, words and ideas to convey information to an audience, especially to produce a specific effect.

IT’S GRAPHIC DESIGN —also the most ubiquitous of all the arts within the field of art. It encompasses so many other areas and disciplines—mainly art, but also touches philosophy, psychology, architecture principles, literature, pop culture, language, science, and yes, sometimes even mathematics. With that alone, a great argument could be made as to why it isn’t a standard requirement across the board to at least have a bachelor’s degree in order to pursue a career in the field. Regardless of your opinion on this topic of whether or not a designer should have a degree, one thing that’s indisputable is that graphic design is everywhere. Graphic design is connected to everything we do, touch, see, and buy. It’s on everything from Bibles to billboards and from your birth certificate to your death certificate. It engulfs our everyday lives.

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THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

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[poo sh] â&#x20AC;&#x201C;verb to cause to extend or project; to thrust. To press or urge to some action or course. To put into difficulties because of the lack of something specified

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BACKGROUND

At the age of four on a car ride to church, I remember asking my mother what an artist THESIS

was. I don’t recall her answer, but I do remember telling her that I wanted to be an artist when I grew up. Several years later in the seventh grade, I decided that I wanted to go into the NBA. Around that same time, I also decided that I was going to be an architect if

the NBA didn’t work out. Fast forwarding to my junior year of high school, my NBA dreams seemed a bit bleak and therefore I focused more on my fall back—architecture. After graduating from high school, I attended the University of Maryland, College Park with

MICHAEL BELL

plans to pursue architecture. However, after I saw how the program worked, I had lost my interest in it and decided to find another major. At this point, I found myself in a mini-crisis when looking for a new major because I hadn’t a clue as to what it would be. After a long talk with my academic advisor, he suggested graphic design within the art program. At the time, I hadn’t a clue what graphic design

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really was, but it sounded interesting. I don’t think I got a full understanding of it until I started taking the design classes. The graphic-design program was limited enrollment and I had to apply to get in. I thank God, for it was my drawings from the prerequisite architecture classes that got me over the hurdle and into the graphic-design program. A couple years after graduating from the University of Maryland, I still felt as though I needed more in terms of design and wanted to increase my skillset as a designer.

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“At the time, I hadn’t a clue what graphic design really was, but it sounded interesting.” I eventually enrolled in a grad school design program. My search for a graduate school was very short as I found the Academy of Art as a “no brainer” in terms of my attendance. The Academy was exactly what I needed in terms of presenting me with the appropriate environment for being a better designer.

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WHAT IS THESIS

PUSH is an arts program aimed at building the numbers of minorities in the graphic-design field. Normally, it is to be avoided or possibly considered cliché to use the word “awareness” when it

comes to thesis projects. However, in this particular case, I believe that awareness is not really cliché but actually appropriate. Appropriate because as defined, the problem is a lack of awareness as to what graphic design is and the stereotype of it not being a financially reputable career due to its close relation to the art field. I would like to work on a project that is aimed at two different

MICHAEL BELL

audiences. One audience is kids and teenagers at the middle and high school level in areas where minority numbers are high. My second audience is the parents of the first group and also the general public which may not know or understand what graphic design is and may be misinformed as to the potential benefits and many different options within the field. As a start, I wanted to create a brand. A brand that has multiple functions that are aimed at increasing minority numbers. The brand will be called PUSH and will serve to promote cultural

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diversity within the field of graphic design. PUSH has the potential for many different deliverables aimed at being implemented immediately in various high schools.

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â&#x20AC;&#x153;...the problem is a lack of awareness as to what graphic design is...â&#x20AC;?

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

MISSION STATEMENT Five years from now, PUSH will be an organization that continues to promote the design field and will be an organization that is well known throughout the design community with other notable names such as AIGA and OBD (the Organization of Black Designers).

VISION STATEMENT The purpose of PUSH is to increase the number of minorities in the graphic design field in the US. PUSH will provide underprivileged minority parents and teens with basic understanding and exposure to the graphic-design field as well as connections to resources, mentorship opportunities, and a deeper education in design opportunities which allow them to foster their interests in a design career. PUSH also looks to provide networking opportunities to existing programs with goals of increasing minority numbers in the design field.

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THESIS

MICHAEL BELL

WHITE

ACADEMY OF ART UNIVERSITY

SPRING 2013

SINCE GRAPHIC DESIGN is so abundant, it’s only a wonder why in America, a country that’s composed of immigrants from all reaches of the globe, it’s a career field that’s predominantly White. Today’s graphic design field is 86% White and 14% minority. That 14% encompasses all other races — Asians (6%), Blacks (2%), Hispanic/Latino (4%), and Mixed/Other races (2%). These numbers are particularly alarming because it is vastly different than the race percentages of other occupations.

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

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TALKING about race when it comes to any field is risky, as it is often an THESIS

uncomfortable subject matter. However, race as it pertains to graphic design is a subject that should be explored and talked about despite any discomfort. If there were no efforts to make cultural change within the design profession, it could very well become marginalized. As America continues to grow and shift in terms of

cultural diversities and languages it’s important to have a balanced representation of what those culture changes are. Former AIGA president Bill Grant even feels that “diversity is critical if the design profession wants to remain relevant to business and

MICHAEL BELL

society.” The cultural background of a person is very important as it can play a role in graphic design. As earlier mentioned, graphic design is all around us, in everything we do. Therefore, it may not necessarily be a good thing if the look of everything was determined by any one particular culture. Representation across various mediums such as advertisements and cultural design. Diverse representation also helps in preventing unintentional cultural offenses as

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well. There have been many advertising blunders over the years. As mentioned, some have been unintentional, while others where just plain cultural ignorance. There are numerous examples of how design and advertising has carried over through the years, and some still pop up as a soft spot or sensitive area due to the original historical context in which they were created under stereotypical marketing. Aunt Jemima, Uncle Ben’s, Land-O-Lakes and Rastas are some examples of modern day graphic uses that are often seen as cultural offenses simply because of its original

historical meaning and context.

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“Diversity is critical if the design profession wants to remain relevant to business and society.” —Bill Grant, former AIGA president

When considering graphic design within the spectrum of art, the question must be asked why the numbers for minorities are so low and how does anyone go about increasing those numbers? First, the most obvious reason for low numbers is the lack of awareness. As a minority designer myself, I can relate to the lack of awareness and it wasn’t until I was in my sophomore year of college during a transfer of major that I learned what graphic design was as a profession. Many parents and children in underrepresented groups don’t know graphic design exists and have no clue that it can be a very viable profession. Often times, other minority groups automatically associate graphic design with art and therefore are discouraged from doing anything related to visual arts. As a result, students are sometimes encouraged to pursue careers related to math and science. These reasons alone are reflections of mindsets (unawareness and discouragement) that have been perpetuated perhaps for as long as the profession has existed. As for changing the problem, there have already been efforts by various organizations to make changes and we’ve all at some point seen advertisements and programs aimed at the promoting and the retaining of art and music programs in public schools. The AIGA has even made proactive measures by creating a diversity initiative which is intented to provide support for understanding and awareness, plans for education programs for high school students, and leadership development policies. These attempts by AIGA and other organizations are effective and great, however, there are many other solutions that could be explored and this is perhaps a subject matter that can never be “over advertised”.

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“Many parents & children in underrepresented groups don’t know graphic design exists, and have no clue that it can be a very viable profession.”

THESIS MICHAEL BELL ACADEMY OF ART UNIVERSITY SPRING 2013

TARGET AUDIENCE BASED on my research (talking to teens and the “old-school digging method), I’ve learned from studying teen’s habits online and in other mediums, which helped in developing the look for PUSH. It also helped in developing the deliverables that would be used to market the organization. Before I considered the best strategies to attract Generation Y, I had to understand how these same teens respond to social-media, such as blogs, social networking sites, podcasts, and even some of the older forms of teen interests such as clothing, books and printed materials. Some things I discovered were that: Teens are multitaskers. Teens still watch television, listen to music and do homework. But they also surf the Net, play video games and instant message (IM), text message their friends— often at the very same time. According to a 2005 study, students between the ages of eight and 18 spend more than 25 percent of their media time multitasking, which makes it harder for them to concentrate on a single task, like studying for a test—and makes it much tougher for one to grab their attention. Teens prefer byte-sized entertainment. With so much multitasking going on, it’s best to keep your message short if you want to nab teens’ attention, and that’s true when delivering a message online or on cell phones. Sure, kids can still get lost in an engrossing book or an hour-long TV program, but when it comes to electronic content, brief is best. Teens expect content on demand. Today’s kids have been downloading their favorite tunes and videos from peer-to-peer networks and watching TVs hooked up to TiVo’s and DVRs most of their lives. Gen Yers are used to getting what they want, precisely when they want it—delivered, of course, on their favorite devices, including iPods, iPhones and game consoles, like Playstation 3. That’s drastically changed the way marketing professionals evaluate (and present) media. Teens want to participate. Young adults are hooked on social media because it offers them instant feedback. And mainstream media have hopped on the bandwagon. Shows like American Idol encourage viewers to vote for their favorite contestants; Doritos, Dove, and other well-known brands invite consumers to create their own commercials and publishers like Penguin offer teens a chance to design book covers. Teens want to have a say—and even some ownership— in the products and content they use. And the more opportunities they have to personalize these things, the more engaged they’ll be.

THESIS MICHAEL BELL

13-17 YEAR OLDS THE DEMOGRAPHIC market of teens can be a very challenging endeavor to tackle for many reasons. To add to the challenge,

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marketing to teens can vary depending on which age range you may encounter. For example, the interests of a 13-year-old-boy is very different than those of a 17-year-old girl. Although just four years apart in age, the interests are still vastly different and the bells and whistles that may catch the attention of a 13 year old, may not even make a mire sound to the 17-year-old. However,

based on the research done prior to the launch of PUSH, the goal was to create a program that is both visually appealing to highschool aged teens, but also relevant with areas of connection that are meaning to them. A few of those areas include t-shirt branding, social networking, and email newsletters. All of those are effective

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marketing elements, which help achieve the goal of promoting the profession of graphic design to teens.

PARENTS OF TEENS

PUSH is also aimed at those parents who may have that traditional

For many years, the term “starving artist” has been a negative term

stereotypical mindset about graphic design and related fields. Push

many people are familiar with. And although the term is mostly

looks to enlighten those parents to the endless possibilities in these

considered negative, it comes with warrant, as it’s very difficult to be

fields as well as dispel the myth of it being a non-money making career.

financially successful as an artist. There are several professional fields where art is the foundation and many of those fields carry the same

It is found that may minority parents, particularly immigrants, may be

reputation as the foundational art; or have the stigma of “starving artist”

extremely reluctant to allow their children to pursue a career in design

relations. Most of those fields such as fashion design and acting to

due to fear of not getting an adequate return on heir financial investment

name a few rightly have that stigma as the odds of being financially

into their educations. It’s more natural for them to push careers that are

successful within them are very difficult to come by. However, things are

more rooted in math and sciences such as physician’s engineers, and

not quite the same in graphic design. Graphic design is an umbrella for

even careers in law. This has been the trend and rightfully so as these

many other fields such as web design, 3D graphics, and video gaming

do tend to be more financially lucrative fields. However, that does not

which are careers that pay lucratively and are not as difficult or rare to

mean that these are the only fields where one can have a career that is

be successful in as, say, modeling. However it does mean that the field

both enjoyable, as well as financially successful. Is not a guarantee that

does not require talent, skill, and hard work which is almost the case for

money will be plentiful but with the right kind of talent, education, and

any profession.

determination, the sky is the limit.

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PARENT INTERVIEWS WHAT THEY REALLY THINK

I was given the opportunity to ‘sit down’ and talk with several parents that are minority immigrants. I asked questions that partained to graphic design and their thoughts on the career and here’s what they had to say:

From your experience and knowledge, how would you define graphic design?

“I would define graphic design as working on websites or other brochures or print ads.” What is your opinion in general of it as a career?

“I don’t know a lot of people that do graphic design as a career, I see it as more of a hobby.” If it were your choice, what career field would your like your son/daughter to go in to?

“Medicine or Engineering.” Do you or have you ever pushed or strongly encouraged your kid to take up a particular field or academic curriculum? Why or why not?

“Medicine—They’ll be able to support their family and help others.” THESIS

How do you define “successful career” when it comes to your your son/daughter?

“One that affords them the opportunity to take care of themselves and their family and one that gives them fulfillment.”

How important is it for your son or daughter to have a career that makes them a large salary?

“I think it’s very important. Money can’t buy you happiness, but having money allows you to adequately take care of your loved ones and allows you to give back.” MICHAEL BELL

Which would make you prouder, having your son or daughter design the graphics for a nationwide Nike campaign, or them being lawyer and winning a high-profile court case? Why?

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“I would say having them be a lawyer and winning a high-profile court case. I know a lot of lawyers that have won high profile court cases. I have no clue who designed the graphics for any worldwide campaigns. If my son was very passionate about graphic design however I would support him, but if I had to choose a career for him I’d go with law.” Chief and Mrs. Chiejina | Nationality: Nigerian

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From your experience and knowledge, how would you define graphic design?

“I would define graphic design as a career that focuses on developing and creating different types of graphics. They would include both computer graphics as well as much of the print advertisements that we see in newspapers, on the sides of buses, and the like.” What is your opinion in general of it as a career?

“I don’t really have a strong opinion one way or another about graphic design. If it’s something you love to do, then that’s all that matters to me.” If it were your choice, what career field would your like your son/daughter to go in to?

“I’ve always told my children to find something you love to do and make a career out of it, that way, you’ll never have to ‘work’ a day in your life. With that being said, I don’t have a preference, per se. I just want them to be happy with whatever decision they’ve made. I’ll support them either way.” Do you or have you ever pushed or strongly encouraged your kid to take up a particular field or academic curriculum? Why or why not?

“I’d like to think that I haven’t! See answer to question #3.” How do you define “successful career” when it comes to your your son or daughter?

“I define a successful career as one where they are able to achieve what it was that they had originally set out to accomplish. Yes, having a child who’s a professional would always be nice, but I understand that those types of careers come with a lot of stress and demands on your time. I’ve raised my children to be as well rounded as possible. Therefore, a successful career would be one that would allow them time to be successful at things other than work, like family, hobbies, etc.” How important is it for your son/daughter to have a career that makes them a large salary?

“I know from personal experience that it’s not the amount of money that one makes but how you choose to spend the money which makes all the difference. I worked very hard when they were young, often times working up to 3 separate jobs in order to provide for my family. I didn’t make a lot of money, but I ensured that my children were never without the necessities in life. I didn’t get to spend a lot of time with them as a result, but I worked hard so that hopefully they’ll get a job where they wouldn’t have to repeat what I went through. Therefore, what’s important to me is that my children will have a career where they don’t have to struggle financially to make ends meet and that they are effective managers of their money. Making a ‘large’ salary is so subjective, and in today’s society, seems to never be enough for some people.” Which would make you prouder, having your son/daughter design the graphics for a nationwide Nike campaign, or them being lawyer and winning a high profile court case? Why?

As I mentioned before, I don’t base how proud I am of my child on their career. As long as they do their best at what they’re doing, I’m going to be a proud parent. I would be equally as proud in either scenario. Yes, I’m sure that other parents would be more impressed with knowing that my child was involved in winning a case that was high profile, but I would imagine that would only be because the high-profile case would have been covered on the news, and they would be more familiar with the situation so it gives them a chance to say that they have an association with something that might be widely talked about. You know how people get. But for me, that’s my child—I’d be proud either way. J. Morman | Nationality: Jamaican

From your experience and knowledge, how would you define graphic design. 37

“I guess it’s something with computers or generating images or pictures from the computer. We are not big on technology.” What is your opinion in general of it as a career?

“We respect it as a career, as long as it paid well enough to make a living. But we would prefer a career with a more stable market, say working for the government/federal.” If it were your choice, what career field would your like your son/daughter to go in to?

I (dad) have always, always tried to push my into a career with the government. It doesn’t matter what it is, as long as it’s within the government system. There’s obvious reasons to my logic, mostly because i’ve read that it’s a cushy job with very/no aspect of layoffs, and very steady income. Even just this week, I got my son a copy of the Korean newspaper and highlighted government jobs for him...even though he went to college as a Marketing major.” Do you or have you ever pushed or strongly encouraged your kid to take up a particular field or academic curriculum? Why or why not?

“We have never really pushed our son into a certain field, which is why he ended up a Marketing Major instead of engineering or pre-med. Although, we would probably not have agreed for him to chase an art degree or history degree...something along those lines.” How do you define “successful career” when it comes to your your son/daughter? THESIS

“If this question was asked 10 years ago, we might’ve said success equals your ability to ‘climb the ladder’ and become well known. Also your income willalso measure success. Strangely, they’ve relaxed a bit and would tell me that you don’t want to live to work, but work to live. Meaning work so that you can provide for your family and enjoy life, but don’t let work run your life.” How important is it for your son/daughter to have a career that makes them a large salary?

MICHAEL BELL

“To us, it would be very important to make a large salary only because this means you can provide the best for your family, including education for your offspring.” Which would make you prouder, having your son/daughter design the graphics for a nationwide Nike campaign, or them being lawyer and winning a high profile court case? Why?

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“We would be equally proud of either accomplishment, truth be told. To be honest, our Asian culture is very aware of artistic talents and push our children to become the best pianist, violinist, etc. It’s not that Asian parents don’t acknowledge art as a respectable way of life, it’s that they usually want their child to be the best that there is, no matter what the profession.” KIm & Susan Chong | Nationality: Korean

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From your experience and knowledge, how would you define graphic design.

“Most graphic designers are criminals, spreading graffiti all over New York City. Okay, really, they make posters, billboards, and marketing material for companies.” What is your opinion in general of it as a career?

“Like most liberal arts degrees, it doesn’t pay very well unless you are exceptional. There’s no defined career path and you should supplement the degree with something more practical that will pay the bills like math or science! Imaginery of the starving artist comes to mind. It’s a fine hobby, but you can’t make a real living as a graphic designer. It’s like being an English or Theater major. I mean, really?” If it were your choice, what career field would your like your son/daughter to go in to?

“Math, science, engineering or technology. I’d consider business as well. What else is there?” Do you or have you ever pushed or strongly encouraged your kid to take up a particular field or academic curriculum? Why or why not?

“Absolutely. I’m encouraging my 28 year-old son to pursue a masters in information technology now although he can barely turn on a computer. Perhaps, I’m exaggerating a bit, but the point is he doesn’t have an I.T. background. My concern is that this peace corp or psychology thing he is interested in won’t keep the lights on -- at least not for long. Years ago, I encouraged my eldest son to pursue an MBA/JD, instead of just an MBA. He had little interest in law and decided to go just with the MBA. Thankfully that worked out fine for him.” How do you define “successful career” when it comes to your your son or daughter?

“Doing what they enjoy doing and making enough money to support their family.” How important is it for your son or daughter to have a career that makes them a large salary?

“Not very important. They just need to make enough to live comfortably. There’s no need for the big house on hill with the Mercedes in the driveway. If that happens, great, but it shouldn’t be the goal.” Which would make you prouder, having your son or daughter design the graphics for a nationwide Nike campaign, or them being lawyer and winning a high profile court case? Why?

“Both would be spectacular. I want my children to be happy and earn a decent income. It’s not about status or world acclaim. The world is swirling down death’s drain anyway so why get sucked in with it.” Kayode Aje | Nationality: Nigerian

From your experience and knowledge, how would you define graphic design.

“I would define graphic design as a process of compiling creative pieces (visual and non-visual) of artifacts in order to convey a message to the audience. “ What is your opinion in general of it as a career?

“I think graphic design is a great career for right-brained folks espeically. Right-brained folks are typically strong in the arts because of their creative ability. If my child is gifted in graphic design and if that is what he/she wants to do as a career I would be supportive.” If it were your choice, what career field would your like your son or daughter to go in to?

“I honestly would like my son/daughter to go into a career field where their God-given talents are best met. I want them to enjoy and he happy in whatever they decide to do. As a parent, I do think it is my responsibility to advice my child that some fields like in healthcare (i.e. medicine, pharmacy, dentistry) have more stability in a slow or downward economy but they require more education and specialized training. Other fields like business, the arts, media may not require specialized training unless you want to earn additional degrees in that particular field. However, there is a concern for stability in a shaky economy. Will I be laid off? Will I be able to find work?”

THESIS

“Do you or have you ever pushed or strongly encouraged your kid to take up a particular field or academic curriculum? Why or why not?”

MICHAEL BELL

“Yes, I would strongly encourage my child to pursue the sciences because my parents steered me in that direction. It was not forced, because I ultimately made a decision on whether or not to continue in the field. I would encourage my child to take up a particular field or academic curriculum because as a parent you want to steer your child in the right direction and help shape their future because you don’t know what your child is going to ultimately go into. God positions us as guiding lights because we want God’s best for our child’s life. God makes the final call.”

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How do you define “successful career” when it comes to your son/daughter?

“A “successful career” is a career that my son/daughter thoroughly enjoys and loves waking up to everyday because my child knows that they are fulfilling their God-given ability. Regardless of the salary, if you are pursuing God’s will for your life and giving it 100%, God will provide and meet every need.” How important is it for your son/daughter to have a career that makes them a large salary?

“For my son, it is important to earn a good salary (not necessarily large) that will allow him to provide for his family just in case his wife cannot work due to unforseen circumstances. I believe the man of the household should earn enough so that he does not have to worry about his wife’s salary being a primary source of income. For my daughter, her career shourld earn her a salary that is comparable to the skills and education and even experience that she has acquired for the particular position. If her starting salary is below her expectations but she loves her career and knows that her salary will increase with additional experience then that should make her happy. I don’t want my daughter to worry about her salary being a primary source of income for the household.” Which would make you prouder, having your son/daughter design the graphics for a nationwide Nike campaign, or them being lawyer and winning a high profile court case? Why?

“Both options make me equally proud just as long as my son/daughter enjoys his career as a graphic designer or a lawyer. You can design the graphics for a nationwide Nike campaign and have all the success that comes with it and still be unhappy. Likewise, with being a lawyer and winning a high profile court case. I like the option where God’s best is in it.” Mr. N. Nwaneri | Nationality: Ghanian

WHY DIVERSIFY? THESIS

SINCE DESIGNERS are so heavily influential on American pop culture, a need for a diverse background is equally important and perhaps more so than any other profession. If every doctor in America were Asian, then it wouldn’t matter too much as the doctor’s cultural background has no determination of whether the doctor

prescribes the correct medication or diagnoses the correct illness. However, if all American designers were of the same race and culture, it could have a significant impact on how American culture is seen from a visual perspective.

MICHAEL BELL

If one were to look at the aesthetic of any culture and how they relate to graphic design, it would be beneficial to grasp the concept that certain aesthics only come into play when the project is aimed at representing a particular culture. The proper role of a designer is to provide a visual solution for a client that considers the needs of the audience rather the designer’s or client’s particular desire. Design provides the opportunity for communication

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to a particular audience in a way that persuades them and can impact their view on social, politic, economic, and other standards. Graphic design also helps provide specific cultures with a sense of tradition that resounds loudly within the cultures that they are aimed towards.

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â&#x20AC;&#x153;Design provides the opportunity for communication to a particular audience in a way that persuades them and can impact their view on social, politic, economic, and other standards.â&#x20AC;?

AT LEFT: Hereâ&#x20AC;&#x2122;s one modern-day example of how design within advertising can be used incorrectly culturally. There have been many different interpretations of this 2007 Intel magazine ad. There were even a small number of people who felt that nothing was wrong with it. It can make one wonder what type of diversity is present in the collaboration of this marketing campaign.

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THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

ACCORDING TO THE 2010 CENSUS, BY 2025, WHAT ARE CURRENTLY CONSIDERED MINORITY POPULATIONS ARE PREDICTED TO BE 40% OF THE U.S. POPULATION. BY 2050, MORE THAN HALF OF AMERICANS ARE EXPECTED TO BE MEMBERS OF CURRENT MINORITIES. IN CONTRAST, A RECENT SURVEY OF AIGA MEMBERS FINDS THAT OF GRAPHIC DESIGNERS WHO RESPONDED, 2% ARE BLACK, 4 % HISPANIC/LATINO, 6% ASIAN/ PACIFIC ISLANDER AND 2% OTHER. THE DESIGN PROFESSION IS STILL OVERWHELMINGLY HOMOGENEOUS IN ITS RACIAL COMPOSITION.

2011 AIGA SURVEY

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WHY INCREASE? THESIS

IN ORDER for there to be a balanced cultural representation in the things we encounter visually on a regular basis, it’s important to expand the profession culturally. It’s not only important to increase diversity, but also to increase the awareness and participation in programs that are associated with it and promote the profession as a whole. But some

may ask why. Why is it important to expand and draw attention to programs such as PUSH, AIGA, Inneract Project, XCD AIGA and many more? Well, the answer lies in the fact that we (the graphic-design profession) need to ensure the impact and relevance of the profession. Currently the graphic-design profession in the United States is made up

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of 180,0 0 0 practicing individuals. Two -thirds of those who work in corporate environments while another third come from private studios. Another reason why grow th not only of minorities, but also supporting organizations, is important is because it heightens the importance of design as a professional craft which in turn increases the value to others who use and need the services of designer’s. Various design-related programs can create an engaged community and help build the

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understanding of a designer role which can be vital to those in professional practices. Based on the percentages of Americans age 17 or younger, 42% are other than White. But still only 14% of the current profession is other than White. If the profession is to serve a diverse public, then it only makes sense for both the advancement of the design profession as a business and for moral reasons, to promote the grow th of more designers for diverse racial backgrounds. The rest of the globe in most places is already adjusting and growing in these areas of

change. The present opportunities for grow th does present challenges but they must be met in order to continue to sustain design relevance in the future. As the design profession continues to grow, consistent messaging about the profession and its standars is a vital as its influence on our culture. The more diverse the industry, the stronger the impact will be in terms of advancing design across diverse suppliers. Increasing under-

SPRING 2013

standing of the value that design can create a strong design economy and also helps spill over into other profession which can also helping eliminate some of the “starving artist” ideals that can be associated with the profession.

“Various design-related programs can create an engaged community and help build the understanding of a designer’s role which can be vital to those in professional practices.”

WHEN DESIGN GOES WRONG WARNING: NOT FOR THE SQUEAMISH

In earlier decades in America, there were a lot of design and advertising blunders that were often times either blatant disregards for other cultures or design blunders that THESIS

came about due to cultural stereotypes and ignorance. Some of these blunders have been replaced either visually with new icons or rebranded with a positive message that does not hinge upon a previous cultural stereotype from earlier decades. There

even still exists cases of conflict and debate over icons such as Aunt Jemima, the Washington Redskins and others. Some have changed and other currently still remain. Regardless of what design blunders created previously, diversity is beneficial not only

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as a means to represent a variety of visual cultures, but also to help avoid those design errors that can be incorrect or offensive to some. Additionally, it helps avoid negative racial stereotypes in design projects, which is also a subject that all designer should be sensitive to. It can be a thin line when it comes to using racial stereotypes in design projects, especially when the message is aimed at trying to make a humorous point. One example of this can be seen in the ad placed for a call for design entries by the Art Directors Club. (see ad right). The desire to tap into Black pop culture and make

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the connection between the ADC gold medal, hi-hops “bling”, and an accompanying slogan of “Ain’t No Such Thing As Too Much Gold”…well let’s just say that the ad was considered tacky and even offensive to some and is a misaimed portrayal. On the flip side of being offensive to some cultures, the “Pimp My Brand” ad as a call for entries could also be seen as a self-jab at what graphic designers as a whole do for a living. It’s also possible that this poke is how the White mass media sometimes exploit contemporary Black culture and stereotypes in order to sell projects. Since “branding” has become more sought after and known, it’s good when one of the leading

professional organizations can joke about branding. But that only remains positive when this company successfully hits it target audience mark.

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AT LEFT: Here are several modern day examples of how design within advertising can be offensive to some cultures. Or they can represent examples of old marketing icons from many years ago when it was the culture norm for the majority to use stereotypical imagery to promote a brand.

If the call for design entries is intended for a specific audience, which is usually those associated with White-run organizations and corporations and ad agencies, then this ad most certainly is off target, as the real audience is not addressed. Additionally, it misses the mark because it’s combining an exploitation of a hiphop aesthetic with McDonalds. McDonalds has in recent history been known for targeting minorities and the poor with its advertisements. This seems like some odd visual open of the same concept, which again doesn’t seem to be rightly directed at its true target audience, but in turn becomes ridiculous and offensive. Steven Heller puts it well when saying, “strident satire must often be distasteful and offend. When effective, satire is a finely tuned art that hits a target with accuracy and intelligence.”

A CLOSER LOOK AT THE RACE & AESTHETICS

[es-thet-iks] â&#x20AC;&#x201C;noun the branch of philosophy dealing with such notions as the beautiful, the ugly, the sublime, the comic, etc., as applicable to the fine arts, with a view to establishing the meaning and validity of critical judgments concerning works of art and the principles underlying or justifying such judgments.

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AFRICAN-AMERICAN AESTHETICS WHEN it comes to graphic design and its context of the Black (African American) THESIS

aesthetic, it is much easier defined by cultural cues within the African-American context rather then identifing it with any particular type, shape, color or cultural past-time. It is also not necessary for a particular design piece to be created by someone who is Black. In most cases, it is hard to tell whether the creator

is Black, which is often irrelevant. But it is important rather, for the designer to have a solid knowledge and understanding of Black culture in order to create an effective piece. This can be true of any culture. However, the connection of the

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piece to the intended audience can determine how the design is communicated and/or implemented. The Black aesthetic could be defined simply as how Blacks view themselves in connection with the past and future. It shows in how they dress, the music listened to and in the way they speak. To fully understand the Black aesthetic and how it relates to graphic design, one must understand the key elements

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of Black life which can be found in the evaluation of the most important Black experiences. When looking at the Black aesthetic and the experience of everyday life a designer has to consider social, economical and political factors. Particularly, economical factors such as the high cost of design schools, (or college in general), and the lack of Blacks running major corporations limits Blacks from implementing systems of a Black aesthetic. Often times, Blacks within those major corporations end up catering to other cultural aesthethicsâ&#x20AC;&#x201D;

mainly the Eurocentric. All of which are elements which currently block paths to creating bodies of work that could visually represent Black culture positively.

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â&#x20AC;&#x153;To fully understand the Black aesthetic and how it relates to graphic design, one must understand the key elements of Black life...â&#x20AC;?

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ASIAN-AMERICAN AESTHETICS MUCH LIKE the Black Culture has been generalized because there are so many aspects of the culture, Asian and Latino cultures can be seen the same THESIS

way. There are many different facets to every ethic race, and a book could be written on that subject (as many already have). However, the aesthetic for Asian culture is generally the same. When considering Asian culture

within the United States, it’s only feasible to look at how various aesthetics have traveled with immigrants and have been strongly held on to with pride, regardless of where it might come from geographically. Asian aesthetics can be used for showing a specific type of designed

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aesthetic within design. When taking a closer look at the aesthetics, one can see certain characteristics that are present across various Asian cultures. Characteristics such as color, typography and historical traditions in the context of metaphors, to name a few, can all link imagery within graphic design and be categorized as Asian design. By understanding philosophy’s role within aesthetics, it becomes easier to understand how visual elements within traditional culture connect to Asian consumers. For example, when

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looking at Asian graphic design, the colors, shapes, tones, simple graphics, and other elements become apparent. These characteristics have been consistently used for centuries and still support the aesthetics embedded in various Asian cultures. Also,it’s the cultural value that further helps define Asian aesthetics. This plays huge factor within graphic design no matter what the geographic location may be when it comes to being a consumer. Consumers of Asian culture connect to visuals because they are incorporated

within everyday life from the ubiquitousness of graphic design. It’s through imagery and type that Asian designers promote a sense of beauty, structure and cultural pride. The aesthetic system has been created for identifying visual attributes that are used to represent the people.

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â&#x20AC;&#x153;When considering Asian culture within the United States, its only probable to look at how various aesthetics have traveled...â&#x20AC;?

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LATINO-AMERICAN AESTHETICS WHEN CONSIDERING the values and representations of Latin Americans in THESIS

relation to graphic design, one must take a look at the historical context from both the recent past and distant past of Latin origins. The more recent past relates to the Chicano Arts Movement. Although â&#x20AC;&#x153;Chicanoâ&#x20AC;? only refers to Mexican Americans, the terms and specific culture will serve as an example of how it

could be used in context within the overall Latin culture. This movement saw several artists who created designs that reflected a sense of idealism. A large part of the Chicano Arts Movement was inspired by the Black Power Movement, as both were efforts to gain equality from and promote their culture which

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was largely ignored by the majority Eurocentric section of America. Much of the poster designs were targeted towards the Latino audience and contained parallels of past traditional elements. These elements included the color palette of deep reds, mustard yellows, green and black. The aesthetic of the posters also continued the style of language (cultural slang) and other patterns and visuals that were reflective of ancient Aztec elements. Some artists gave high praise to Aztec gods, Mexican Revolutionaries and immigrant farm workers. Creating and

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using these principle aesthetics helped create a strong Latino visual in American society that stills remains today and has also influenced (or re-influened) other Latin cultures globally. The sense of a visual cultural look that set Latinos apart provides a system, allowing designers from various backgrounds to create a body of work that looks to accurately define and represent Latin culture.

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DOES RACE AFFECT DESIGN? THE VOICE OF THE MINORITY DESIGNERS

I PUT THAT QUESTION TO A GROUP OF DESIGNERS OF DIFFERENT RACES AND ETHNICITIES. I ASKED: “DO YOU MAKE ADJUSTMENTS IN YOUR BEHAVIOR BECAUSE OF YOUR RACE? DO YOU THINK YOU TRY TO SLIP INTO ‘WHITE CULTURAL NORMS’ IN YOUR DESIGN WORK? DOES RACE AFFECT YOUR DESIGN?” THEIR VOICES GIVE US A SENSE AT WHAT’S HAPPENING IN DESIGN. “I hope to portray an image of a strong, opinionated, independent, intelligent Asian woman who can speak for herself in a manner that does not compromise her dignity or sense of self-respect. I want to dispel any stigmas associated with the Asian woman, and hopefully let other women know that they don’t have to be stereotyped as the demure, diminutive girl who must obey every command. I THESIS

would like other Asian women to know that there are other types of women out there who can have a spine, and not be so dependent. “I would prefer that people notice my work, not my race. Although I believe it is important to

embrace one’s heritage and background because it shaped us into who we are today, I don’t think it is discrimination to ignore racial identity. We are all ultimately made of blood, DNA, tissues, organs, and bones. We are no different from one another in the most basic sense. What makes us different is our background and personalities.”

MICHAEL BELL

WENDY THAI | DESIGN STUDENT | ART CENTER COLLEGE OF DESIGN, PASADENA, CALIF. WHAT’S YOUR RACE? “ASIAN AMERICAN.”

“I think the ‘model minority’ myth about Asian Americans is still prevalent. I can’t say definitely whether it works to my personal advantage or disadvantage. But it’s there, and I think it’s funny, ACADEMY OF ART UNIVERSITY

because I can point out plenty of Asian Americans who can dispel that myth perfectly. Does race affect my design? What does this mean? Is it asking whether my work is racially/ethnically stylized? Is it asking me whether my work delves into the context of race issues in America? In both cases, my answer is no. I believe there is a balance between placing too much emphasis on race and placing none at all. A little genuine sensitivity and positive curiosity for differences goes a long way.”

FIEL VALDEZ | LOVELY BRAND, LOS ANGELES WHAT’S YOUR RACE? “FILIPINO AMERICAN, WITH A LITTLE CHINESE AND PORTUGUESE MIXED IN FOR GOOD MEASURE.”

“Are you asking me if I am an Uncle Tom? Well, socially speaking I will curtail my colloquialisms and hold back some of the flavor. But am I acting white? I think not, but sometimes to avoid irrelevant contextual matter or uncommon references [I won’t divulge that I’m black]. Sometimes it’s an act SPRING 2013

of condescension. I may think, ‘This person would never understand.’ But ultimately I gotta be me, then the slang and obscure references fly with abandon. Most African Americans are incredibly adept socially and are bicultural. We can usually pick up on the unspoken request or insistence

to not be ourselves. Some of us walk into a room seeking permission to be who we are. Others are confident enough to be themselves, while more than you would believe still acquiesce almost subconsciously to a form of mental slavery. “On the design front, there is a huge cultural disconnect! Think about it: Most of the design we do is totally filtered through a European aesthetic. I clearly understand if I am to win a design award it must first go through an African American client, to whom I will have to explain what this European design ethos is all about, and how ‘white space’ isn’t yet another plot by The Man to take our shit, but room for the eye to rest and the design to breathe. (Can you imagine how alien that may sound?) After satisfying the client’s taste I have to be sure the customer will receive the design through their own set of filters. Sometimes I look for the unifying emotional or intellectual response that will move a piece beyond race. The only viable scenario is to create a design that is cross cultural or is transcendent of culture. It can be done.”

CRAIG BRIMM | CULTURE A.D, ATLANTA, GA. WHAT’S YOUR RACE? “I’M BLACK. DID I SAY BLACK? I’M SORRY, I WAS BLACK UNTIL JESSE JACKSON OUTED ME IN THE ’80S. NOW I’M AFRICAN AMERICAN. I STILL STRUGGLE WITH BREAKING THE NEWS TO MY PARENTS.”

“If I can and if it’s reasonable, I’ll make adjustments because of race. You cannot fight with the dominant culture and expect your life to be easy. Sometimes you have to make adjustments in your behavior whether you like it or not. It’s the cost of living in a foreign country. I try to adjust myself into the culture instead of analyzing or fighting it. Does race affect my design? I don’t think so. It’s become more personal than racial now, since I’ve lived in this country for a while. My design comes from myself, which is a mixture of two cultures. I think my design has a closer relationship with this culture than my own.”

YOONJUNG YANG | GRADY CAMPBELL INC., CHICAGO WHAT’S YOUR RACE? “ASIAN.”

“Do I make adjustments in my behavior because of my race? No. Do I think I try to assimilate into White cultural norms in regards to my design work? No. I do embrace ethnic and cultural metaphors, icons and symbols when it is appropriate. I think getting a different point of view based on cultural differences is important, but not the color of skin. Valuable insights could just as easily come from the affluent and non-affluent, the well educated and more mainstream educated, male/ female, single/married, hetero/ gay, etc. I think hard lines on skin color get counterproductive at some point. I also think that very deserving talent encounters reverse discrimination to make way for a representative from a possible disproportionate interest or group vs. the merits of just raw talent and ability. But I could see that White Anglos could find themselves a minority, in the not too distant future, where I might feel differently.”

REX PETEET | SIBLEY/PETEET DESIGN, AUSTIN, TEXAS WHAT’S YOUR RACE? “White.”

“I don’t make conscious adjustments in my behavior, but being bilingual shifts one’s mind constantly from one language to the other. It’s a fun ride! Having Spanish and English constantly bouncing ideas in your mind allows one to consider different possibilities on a single subject. Language has a strong influence on thought. One can say that the action resulting from thinking in one language or another may result in a different action or solution. I’m sure that the creative process is strongly shaped by the language that drives it, but not necessarily by race. My understanding of the U.S. and Latin American cultures has often given me the opportunity to help U.S. and Latin American companies do business in each other’s markets. The companies I normally work for are the global type. Their cultures may vary, but the businesses range from real estate, to financial, to tourism— entities that practice business in a sort of generic way. I think I’m just as comfortable working under any cultural condition including my experience with Asian and European clients. Does race affect my design? Not that I’m aware of.”

AGUSTIN GARZA | GARZA GROUP COMMUNICATIONS, INC., LA WHAT’S YOUR RACE? “FROM A BIOLOGICAL PERSPECTIVE, MY RACE WOULD BE MESTIZO; CULTURALLY SPEAKING, HISPANIC; BUT I THINK OF MYSELF AS A CITIZEN OF THE WORLD.”

“Wow. What an interesting question. This is a question of cultural awareness/connection, design ability and knowledge of the subject at hand and not race, by far. My method is nearly stream of consciousness by the time we do research, that if I had to try to assimilate something else I truly wonder if it would work. Does race affect my design? Not so much as my travels. I lived in Japan for four years as a young person—albeit on a U.S. Air Force base—and I think that informed my aesthetic a great deal. Having lived in Hawaii as a child, as well as California, Colorado, visited

Bali, Hong Kong, Côte d’Azur, Costa Rica, Cuba, etc., those experiences inspired and informed my thinking. It’s inevitable. If there’s a question of is there opportunity for people of different races in design, God yes. One of the great things about design is that even people without formal training can enter. (Thank you.) People can succeed because of talent, ability to connect and relate an idea, to tell a story, to change a mind, and to be creative in a way that affects thoughts and behavior.”

TERRY MARKS | TMARKS, SEATTLE WHAT’S YOUR RACE? “MY FATHER IS A EURO-MUTT: FINN, GERMAN, FRENCH, IRISH, SCOT, ETC. MY MOTHER IS KOREAN.”

“I think my assimilation is integral to my person. I think when you are a minority exposed to the majority throughout life, you assimilate to survive and thrive. I think that those who try or choose to stay true to whatever behavior they think is the norm for their race/culture have problems in society. That’s not to say that I don’t feel like I am not able to be myself, or that those who are true to their race/culture at all times are really being themselves. I mean that as a black American (or African American), my culture is what is around me, what I am exposed to, and I bring my black female flavor to it. As far as my design work, I think that’s an interesting question, though I feel like it can be answered simply. I design for my client. My style is clean and simple, and hopefully, different for each client. So, if I have a Black client, I can focus the style around him and his needs. With any other client, I try to do the same. I’m not sure if that’s a cultural disconnection. I don’t know whether my style developed because of my culture or in spite of it. It’s hard to separate the two.”

TRACI MOORE CLAY | TM GRAPHICS, ST. LOUIS WHAT’S YOUR RACE? “BLACK.”

“I mostly identify myself as a middle class, suburban, East-Coast American and I think my work THESIS

reflects that. Recently, my religion has been used as an identifier. It’s a new experience for me. (I don’t know if we consider Jews a different race?) I would hate to see anyone’s individuality be surpassed by their racial identity. However, it is hard not to notice how white and privileged the

design community seems to be. I think I would welcome the opportunity to see work that reflects other cultures and identities in this country.”

MICHAEL BELL

PETER KAPLAN | BIG, OGILVY & MATHER, NEW YORK WHAT’S YOUR RACE? “WHITE.”

“I’m not sure if I make adjustments to my behavior now, but I certainly did when I was younger to fit in. With regards to my work, I think White cultural norms are hard to escape because they are the norms for the majority of designers. They are the norms I was educated under and the norms I now work under, so it is difficult not to assimilate and to look at them more critically. I do not consciously disconnect from my culture, but maybe I do so subconsciously because as human beings, on a

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more basic level, we all seek validation and acceptance. Breaking things down into races makes everything much more complex. I think ignorance leads to discrimination. If people were educated about race we’d see we are actually more similar than different. Ideally, I would love to get to a point where we as human beings would consider race irrelevant (I am separating culture from race here). Obviously I am an idealist and a dreamer.”

OLIVIA MORAD | VH-1, NEW YORK WHAT’S YOUR RACE? “I AM OF MIDDLE EASTERN DESCENT. BOTH MY PARENTS WERE BORN IN IRAN AND CAME TO THE STATES, WHERE I WAS BORN, BEFORE THE IRANIAN REVOLUTION.”

SPRING 2013

THE NEW RACISM Like many schools, CalArts has a diversity initiative. Recently, University of California Irvine psychologist James Cones, Ph.D., led the CalArts faculty and staff— of which I am a part—in exercises aimed at raising personal awareness about race. We were challenged to uncover hidden biases, overcome fear and raise empathy. Brought to our attention was the need for white people to truly understand what their whiteness means in a multicultural society. We were shown how polite disregard for race, along with rampant political correctness, can actually reinforce the gap between Whites and nonwhites, trapping us in old prejudices. An article by Elizabeth Denevi, called Whiteness, introduced the idea that discrimination now exists in a more subtle form than ever—called color-evasion or aversive racism. Aversive racists have “internalized the espoused cultural values of fairness and justice for all, at the same time that they have been breathing the ‘smog’ of racial biases and stereotypes pervading popular culture,” notes Dr. Beverly Daniel Tatum, author and president of Spellman College, in the article. The notion of “color-blindness,” so present in the design community, often allows people to ignore each other’s racial identity. Discrimination can still exist—it’s just hidden from view, unchecked and unchallenged. Shelby Steele, a research fellow at Stanford University’s Hoover Institution who focuses on race relations and multiculturalism and author of the book White Guilt: How Blacks and Whites Together Destroyed the Promise of the Civil Rights Era, pushes the point further in his writings. Steele speaks about the role of white guilt in keeping Blacks out of the mainstream. Essentially, he postulates that Whites want to be inclusive of Blacks in order to get rid of Whites’ stigma of racism, while Blacks want to keep playing the race card in order to leverage this stigma. “White guilt, which I think defines liberalism, is a response to the stigma that white Americans bear for practicing racism for four centuries. Whites live with this constant pressure of having to demonstrate to the world that they’re not bigots, and this manifests itself in many facets of American life,” says Steele. He adds, “The educational system has been taken over by identity politics, and every identity’s wonderful except the white one. Whites have no right to an identity, to a racial identity. To say I’m white and I’m proud is to be a Klansman. But we encourage precisely that kind of thinking in minorities.” As long as this unhealthy relationship continues, there’s no hope for diversity. In fact, diversity itself is a white-guilt phenomenon. Being White and the privileges that that brings segregate and distance whites from nonwhite people. It creates an “us” and a “them” that most white people would never consciously approve of. Of the CalArts Diversity workshop attendees, 32 out of 45 were White. Feeling fear and guilt over a situation we didn’t create was abandoned, replaced by a desire to connect with others as human beings, eschew assimilation and celebrate our differences.

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THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

THE CAREER DETAILS

[kuh-reer] –noun an occupation or profession, especially one requiring special training, followed as one’s lifework. a person’s progress or general course of action through life or through a phase of life, as in some profession or undertaking.

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THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

WONDERING ABOUT YOUR FUTURE PATH? GRAPHIC-DESIGN RELATED CAREER POSSIBLITIES.

THESIS

MICHAEL BELL

ACADEMY OF ART UNIVERSITY

SPRING 2013

SOLO DESIGNER:

WEB DESIGNER

A solo designer is a freelance or self-employed design professional who

A web designer determines and develops the look and feel of sites

works independently of a company and has no employees.

and is responsible for site-navigation design and visual execution.

OWNER, PARTNER, PRINCIPAL

WEB DEVELOPER

An owner, partner or principal holds an equity position and has major business responsibility for a firm with employees.

CREATIVE/DESIGN DIRECTOR A creative director or design director is the creative head of a design firm, advertising agency or an in-house corporate design department. In all of these positions, key responsibilities can include the development of graphic design, advertising, communications and industrial design publications.

ART DIRECTOR

A front-end developer uses HTML/JavaScript/ASP/ColdFusion and other tools to develop static and dynamic web pages.

WEB PROGRAMMER A back-end programmer works with web server systems and web databases, develops web queries to databases and programs web applications.

WEB PRODUCER A web producer organizes web development teams and ensures adherence to budget, schedule and design of website development.

The art director establishes the conceptual and stylistic direction for design staff and orchestrates their work, as well as the work of production artists, photographers, illustrators, prepress technicians, printers

PRODUCTION MANAGER

and anyone else who is involved in the development of a project. The art

A print production manager is responsible for overseeing the publica-

director generally selects vendors and, if there isn’t a creative director

tion process from concept through production, including bids, schedul-

on staff, has final creative authority.

ing, photography, 4-color press work, digital production and delivery. Print production managers are strong project managers, handling

SENIOR DESIGNER The senior designer is responsible for conceptualization and design of solutions to their completion. In some firms, a senior designer directs the work of one or more junior designers, who generate comps and create layouts and final art. In some cases, senior designers do not manage staff but are designated “senior” because of their authority in design decision making.

multiple jobs simultaneously. In some cases, proficiency in InDesign, Quark, Photoshop and Illustrator is desirable in this role.

MARKETING/NEW BUSINESS MANAGER OR DIRECTOR A marketing or new business professional is responsible for seeking business opportunities, developing proposals and marketing the firm’s practices.

DESIGNER A designer is responsible for the conceptualization and design of graphic applications such as collateral material, environmental graphics,

CONTENT DEVELOPER A content developer, also known as a web writer or editor, is respon-

books and magazines, corporate identity, film titling and multimedia

sible for the production and repurposing of text/graphic/ audio content

interfaces, to their completion.

on sites.

ENTRY-LEVEL DESIGNER

COPYWRITER

An entry-level designer is one to two years out of school and requires mentoring in all aspects of design conception and implementation.

A copywriter writes, edits and proofs promotional or publicity copy for print or electronic publications. At higher levels, copywriters are often responsible for strategic and conceptual development of messages

PRODUCTION ARTIST

and stories.

A print production artist has a working understanding of layout, type and color and is able to take instructions from a designer and create a complete layout, working proficiently in InDesign, Quark, Photoshop and Illustrator. Responsibilities also include producing final files that image properly to printer specification.

AIGA | Aquent Survey of Deisgn Salaries

CAREER COMPEN$ATION STRAIGHT CASH HOMIE! 677

PROFESSION

SOLO DESIGNER OWNER, PARTNER, PRINCIPAL

CREATIVE/DESIGN DIRECTOR ART DIRECTOR

SENIOR DESIGNER

DESIGNER THESIS

ENTRY-LEVEL DESIGNER

PRINT PRODUCTION ARTIST

MICHAEL BELL

WEB DESIGNER

COPYWRITER

PRINT PRODUCTION MANAGER ACADEMY OF ART UNIVERSITY

MARKETING/NEW BUSINESS WEB DEVELOPER

(FRONT-END/INTERFACE SYSTEMS)

WEB PROGRAMMER/DEVELOPER (BACK-END SYSTEMS)

WEB EXECUTIVE PRODUCER

SPRING 2013

CONTENT DEVELOPER

SALARY/WAGES

TOTAL COMPENSATION

25% 50% 75% 25% 50% 75% # earn less earn less earn less earn less earn less earn less polled

$36,500

$52,000

$75,000

$40,000

$56,000

$80,000

1,341

$65,000

$95,000

$145,500

$75,000

$110,000

$160,000

803

$70,000

$91,000

$120,000

$74,300

$100,000

$130,000

1,270

$55,000

$70,000

$85,000

$56,000

$72,000

$90,000

1,290

$50,000

$61,500

$72,000

$53,000

$65,000

$76,000

1,860

$38,000

$45,000

$52,000

$39,000

$45,000

$55,000

2,132

$32,000

$36,000

$41,000

$32,800

$37,500

$45,000

705

$35,000

$43,000

$55,000

$35,000

$46,000

$60,000

400

$44,000 $55,000 $65,000 $45,000 $58,500 $70,000 499

$45,000

$60,000

$70,000

$50,000

$62,000

$77,400

367

$49,000

$60,000

$75,000

$50,000

$64,000

$80,000

400

$60,000

$75,000

$91,600

$60,000

$80,000

$100,000

335

$45,000

$60,000

$75,000

$50,000

$60,000

$75,000

331

$50,000

$65,000

$83,000

$55,000

$65,000

$85,000

188

$59,000

$69,500

$89,500

$60,000

$75,000

$90,000

144

$40,000

$52,000

$65,800

$40,000

$55,000

$75,000

122

AIGA | Aquent Survey of Design Salaries

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SEATTLE

SAN FRANCISCO

THESIS

LOS ANGELES

MICHAEL BELL

SAN DIEGO PHOENIX DALLAS

ACADEMY OF ART UNIVERSITY

HOUSTO

HIGHEST SALARIES

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1. Alexandria, Virginia 2. San Francisco, California 3. Arlington, Virginia 4. Irvine, California 5. Fairfax, Virginia 6. Los Angeles, California 7. Washington, DC

8. Rockville, Maryland 9. Sacramento, California 10. New York, New York 11. Boulder, Colorado 12. San Diego, California 13. Seattle, Washington 14. Lansing, Michigan

15. San Jose, California 16. Baltimore, Maryland 17. Norfolk, Virginia 18. Salt Lake City, Utah 19. Boston, Massachusetts 20. Ann Arbor, Michigan

MINNEAPOLIS

ST PAUL

BOSTON NEW YORK PHILADELPHIA

CHICAGO

BALTIMORE DC

ATLANTA

MIAMI AIGA | Aquent Survey of Design Salaries

TOP CITIES BY POPULARITY 1. New York, New York 2. Los Angeles, California 3. Chicago, Illinois 4. San Francisco, California 5. Seattle, Washington 6. Dallas, Texas 7. Atlanta, Georgia

MOST POPULAR CITY FOR: GRAPHIC ARTIST / DESIGNER MEDIAN SALARY CHARTS New York, New York Los Angeles, California Chicago, Illinois San Francisco, California Seattle, Washington THESIS

Dallas, Texas Atlanta, Georgia

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TOP DEGREES SALARY RANGE BACHELOR OF FINE ARTS (BFA)

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Graphic Design

$32,345 – $45,364

Bachelor of Arts (BA/AB)

$32,666 – $48,296

Bachelor of Arts (BA/AB), Graphic Design

$32,460 – $41,292

Bachelor of Fine Arts (BFA)

$32,796 – $50,775

Associate of Arts (AA)

$32,000 – $56,325

source: payscale.com

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RESEARCHING GRAPHIC DESIGN SALARIES Graphic design is a great career for people who love a meld of creative and technical work. New technology for creating and editing pictures and video is constantly being introduced, so a graphic designer’s tool set is ever-expanding. Whether using cutting-edge software or good old-fashioned colored pencil, a graphic designer is in the fortunate position of making a career from his or her art. Many highly artistic people struggle to make a living with their art, save for the very few who make it big (see musician salary data to compare). By contrast, graphic designers can make a stable living using their artistic skills in a vast array of industries, from publishing to web design to television and film. Since graphic artists are needed in so many different capacities, a Graphic Artist Job Description can be somewhat malleable. It follows that not all graphic designer salaries are created equal. The influx of new tools and fresh talent into the graphic design market mean that the average salary of a graphic designer may fluctuate from year to year. Using PayScale’s salary data, you can research how factors such as experience, location and industry affect graphic designer salaries.

GRAPHIC DESIGNER SALARY DATA West coast graphic designers have the right idea—the Graphic Designer Salary by City chart shows that Los Angeles, San Francisco and Seattle are all among the top cities for graphic-designer salaries, and measuring graphic design salaries by state shows California far out in the lead. When it comes to location, though, looking at salary numbers alone isn’t enough. Use the PayScale Cost of Living Calculator to compare the cost of living and graphic designer salary range in Los Angeles to the national average, and one will start to see why graphic designer salaries are as high as they are in the City of Angels. If you’re looking to increase your graphic designer salary without a big move, you might be able to just wait it out. After all, the average salary of a graphic designer by years experience increases dramatically over 20 years. Experience is impossible to come by quickly, however, and a fledgling graphic designer doesn’t have that option. Instead, take a look at graphic designer salaries by industry to compare the average salary of a graphic designer in industries such as publishing, marketing and manufacturing/distribution. A skilled graphic artist has a lot of opportunities to change industries, which could lead not only to earning higher graphic designer salaries, but also new skills and tools to put on a resume.

AIGA | Aquent Survey of Deisgn Salaries

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EIGHT NUGGETS FOR BEING SUCCESSFUL IN GRAPHIC DESIGN THINGS TO KEEP IN MIND

CHASE THE DREAM, NOT THE MONEY. THESIS

Most people spend their whole lives in one career and if you’re most people, you’ll probably have a career that entails one thing. Also, within that career, you may have to work in it for forty or more years. So, if this is the case, why put yourself through the misery of working in a job that you may

hate, just so you can empress someone or make large money? Graphic design isn’t a career where money comes easily in the six figure range, however it is still very viable and respectable. How cool would it be to have the box and bag for those Nike’s that you dad loves to wear so much be designed by you? Chase the dream, not the money.

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The design field is ever changing and expanding, with the role of designers rapidly evolving, providing opportunities for a myriad of distinct disciplines to exist. The designers of the future will play a significant role in communicating complex information because more and more organizations are looking to designers to communicate, visualize, educate and engage their audiences. As you prepare to enter the field of design, take the time to explore all the various specialties within design and find the one that is a natural fit with your talents and passion. It is important to focus on a design discipline that you can excel at and master, such as typography, motion, user interface or

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information architecture.

SEE NO BOUNDARIES Yet even this is not enough. As you become comfortable in this open field—no matter the discipline—

what is common is that you design for people. And an understanding of where design intersects with human behavior is critical to raising both the meaning and value of products and services. The studies of how people think (cognitive psychology), how people interact (interaction design), how people behave (behavioral economics) and the design of services for them (service design), can complement and enhance your understanding of your pursuit. So, start by reimagining your design studio. It’s not just the place where you have a desk, a chair and some tools—it is also the place beyond those walls. It

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is there, in your design studio at large, that you’ll find those who will inspire and instruct you that seeing no boundaries is one of the greatest lessons for a young designer. Going beyond yourself, then, can become a natural extension of your every day.

BE BROAD-MINDED Study an array of subjects in addition to design and be involved in current affairs. Throughout your career, you’ll work with multiple audiences: A broad understanding of business, the arts, the sciences and technology will be essential for wise leadership. In the future, design courses should ideally be treated like pre-med, pre-law, or pre-MBA classes—as preparation for an advanced degree. Think about it: If leaders in medicine, law and business had been trained first as designers, their views today might be richer, broader, more innovative. Steve Jobs is an inspirational example of bringing a designer’s perspective to the technology of computers. In his case, it changed the face of business. How and what can you learn now that will prepare you to learn about design later?

BE DETAIL-ORIENTED Big ideas are made up of details. Your intelligence is demonstrated in those details. Put design elements together in a deliberate way. Be aware of how your notes and files are organized, how your thoughts are layered, how you present yourself and how you take care of others. All of those details are part of craftsmanship and will help you succeed.

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BE A STUDENT FOR LIFE College is only the beginning. Use your college years to learn broadly and build a portfolio that opens minds and doors. Ask your professors to challenge your work; go beyond what’s required. Attend design conferences. Study industrial, product, architecture, fashion, theater, film/video and interactive design. After college, stay involved; keep learning, questioning, growing. Knowing how much there is to know will keep you humble, and creativity and humility make a good pair.

BE GENEROUS Volunteer for your professional design association. Mentor, write articles, teach. Use design to change minds about critical or controversial topics. By giving, you will get much back. My advice to young designers is to build a deep understanding of the systems that define contemporary experience. The goal of today’s audiences is to interact cognitively, tsocially and physically with complex cultural, technological and economic contexts. Under these conditions, our role as designers often shifts from the design of discrete, freestanding artifacts to the design of tools and systems through which audiences and users construct their own experiences. In meeting those challenges, great form and strategy mediate the interactions between people and their environment; design must be useful, usable, desirable, viable and sustainable in acTHESIS

complishing the goals people have for such interactions. Designers, therefore, need to know about more than software and visual invention. We need to understand how people perceive and process information; how they behave in social ways; what they value culturally; how they use

technology and what they think it means as a way of doing something. We need to understand what people want to do with information and how fits into the rest of their lives and how such goals change over time. We need to work collaboratively with experts in other fields, value research and identify new places where design can have positive influence.

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Young designers have greater opportunities to make a difference than previous generations—the field is less hierarchical and more diverse in its applications. Great opportunity, however, carries with it great responsibility. We need to work smart and to prepare for a changing practice.

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“Always bear in mind that your own resolution to succeed is more important than any one thing.” —Abraham Lincoln

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ERASE “QUIT” FROM YOUR VOCABULARY Although it may be harder to find a career in Hollywood or be a finalist on American Idol; diving into the field of graphic design isn’t always a guarantee for success. If you’re not the Lebron James of graphic design, then it will take some true dedication and hard work. When I started out, I worked for a designer who told me that there was a little regret in every job. At the time, I thought this was a negative outlook. But now I realize that if you don’t see that there are things that you could do differently or better, you won’t keep striving to improve. The designers who aren’t afraid to question themselves and their work are the ones who ultimately get better and succeed. Technical ability brings the idea to life. A creative director once said, “Don’t lie to me, because I will find out what you can and can’t do within one week. And if you can’t do what you said you could, I will fire you.” That type of situation can be terrifying. However, an employer needs to know what you’re skilled in and what you still need to learn. If you misrepresent yourself, it puts everyone in a bad situation. While you can learn on the job (and will), most firms don’t have time to teach you the software you should have learned in school. Bad execution can kill a great idea. But learning how to execute well will make your work sing. Always stay ahead of the curve. You need to know how to design for print and digital media, period. An understanding of both allows you to express ideas in any application and helps you to be a better resource. Communicate what you do best and don’t try to be everything to everyone. Know what your strengths are and develop them. If you’re a web designer, excel at that. And when you’re looking for a job, look at firms that you think fit well with your skills. Don’t try to say that you’re a great fit for the job if your skills aren’t a match for what they’re seeking. Neither of you will be happy. Do design because you love design. It shouldn’t be work; it should truly be your passion. Abraham Lincoln said, “Always bear in mind that your own resolution to succeed is more important than any one thing.”

WEAR MANY HATS It has never been easier to think that the world is your oyster simply because you sit, day after day, staring at a computer screen. And there’s never been a more misguided way to think about design in the 21st century. Like music, design is an international language, and it’s evident in everything from text to textiles, shelter to shopping. How we communicate in foreign places stems from the ways in which we engage material culture—not popular culture, but the real, tangible, material worlds inhabited by millions of people you’ve never met. Ignore them at your peril, because they’re going to be your next audience. As a student, your job is to learn how to learn; this means training your eye, your hands, your mind. Yet as you hone your craft, you must keep your eye on a much more distant goal, but a much more relevant one—and that is need. A designer is a student of the world. Look at the world around you as a personal palette that you can draw from at any time. Design books, annuals and catalogs are all great, but the most valuable resource you have is your own experience and how you uniquely view and resource your surroundings. The personal insights and experiences you bring to your work will set you apart. They will lend a passion to your projects that will result in creating the emotional connections we strive for as designers.

AIGA | Aquent Survey of Design Salaries

THE CRASH COURSE

[dih-zahyn] â&#x20AC;&#x201C;verb To prepare the preliminary sketch or the plans for (a work to be executed), especially to plan the form and structure of. To plan and fashion artistically or skillfully. To make drawings or preliminary sketches.

WHY SKETCH? IN COLLEGE, my design professors tried to get me to understand the value of sketching, but I didn’t THESIS

want to hear it. Why would I want to sketch in a silly little book when I have this computer, with all the design software I could ever want and more fonts than I could possibly know what do with? For years I fought the idea. Whenever a new design project came along I’d get out my sketchbook and hunt for just the right pen and go through the motions of sketching. The result was usually one

idea partially drawn out and then hours and hours on the computer refining that one idea. In my rush to get to the computer and start refining the single idea, I missed out on all of the opportunities sketching provides.

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Over time, I slowly began to open up more and more to the idea. Not because anyone was forcing me to do it, but because I was gaining a deeper appreciation for it and realized how much time I was actually wasting fleshing out my ideas on a computer. Sketching has since became a valuable part of my job, not just for the client who sees better designs sooner, but for myself as well.

YOUR FIRST IDEA IS RARELY YOUR BEST. The minute you are set loose on a project you’ll ACADEMY OF ART UNIVERSITY

have an idea, and for a while it will feel right. Go ahead and sketch it out—it only takes seconds and you’ll get it out of your system. Then sketch more ideas. You won’t know whether your first idea really is the best until you explore others. If you find something you like more, you’ll feel a rush and be glad you didn’t waste 5 hours in Illustrator adjusting the letter spacing on a bad logo.

SKETCHING IS FAST, ROUGH, AND DIRTY. Learn to embrace your pen and paper and you’ll be so thrilled by how quickly ideas can be expressed. You’ll wonder why you ever fought it. By giving yourself the freedom to scrawl out rough ideas, you’ll get to places you could never have

imagined otherwise.

YOU’LL SAVE TIME. At Forty, we like to involve the client in all of the steps of the project. Designers don’t like the big reveal because when the process is kept a mystery the end result is often a surprise (and it’s usually way off). Designers show clients a lot of sketches to show the direction they are taking things so if a course correction is needed, it’s quicker to spend a few SPRING 2013

seconds sketching a revision than moving pieces around in Photoshop.

IT SEPARATES CONCEPT FROM VISUAL DESIGN DETAILS. It’s natural for people to focus on the wrong details when you first present them with a concept. If you take your idea straight to a design program, clients tend to zero in on the shade of blue used, or the style of typography when what you really need is to know is, “are we heading in the right direction?”

SKETCHING IS FOR EVERYONE. I often hear people fret about sketching based on their lack of confidence in their drawing ability. Don’t worry! A good book to check out is The Back of the Napkin by Dan Roam. Using basic shapes (circles, squares, rectangles), lines and arrows, and some stick people will be enough to get your ideas out for others to understand. Sketching with your group or client is helpful because you can talk about your ideas as you sketch, moving the focus to your words.

LASTLY, SKETCHING IS FUN! When you stop worrying and start letting ideas evolve, you’ll be amazed at how enjoyable sketching can

“You won’t know whether your first idea really is the best until you explore others.”

become. It’s even more so when you find your perfect pen and paper combo. Mine’s the black Pilot Precise V7 on the gridded Moleskin. What combo have you found sketching nirvana with? Here’s my challenge to you: the next time you’re given a task to get across any bit of communication, whether it’s a logo, a brand concept, or even a map with directions to your favorite coffee shop, try your hand at sketching it out. By incorporating sketching into your daily life, you’ll probably find it makes an appearance in your professional one as well.

WHAT IS The CMYK color model (process color, four color) is a subtractive color THESIS

model, used in color printing and is also used to describe the printing process itself. CMYK refers to the four inks used in some color printing: cyan, magenta, yellow and key black. Though it varies by print house, press operator, press manufacturer and press run, ink is typically ap-

plied in the order of the abbreviation. The “K” in CMYK stands for key since in four-color printing cyan, magenta and yellow printing plates are carefully keyed or aligned with the

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key of the black key plate. Some sources suggest that the “K” in CMYK comes from the last letter in “black” and was chosen because B already means blue. However, this explanation, though plausible and useful as a mnemonic, is incorrect. The CMYK model works by partially or entirely masking colors on a lighter, usually white, background. The ink reduces the light that would otherwise be reflected. Such a model is called subtractive because inks

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“subtract” brightness from white.

instead of the combination of cyan, magenta and yellow.

In additive color models such as RGB, white is the “additive” combination of all primary colored lights, while black is the absence of light. In the CMYK model, it is the opposite: white is the natural color of the paper or other background, while black results from a full combination of colored inks. To save money on ink, and to produce deeper black tones, unsaturated and dark colors are produced by using black ink

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WHAT IS A LOGO? “A NAME, SYMBOL, OR TRADEMARK DESIGNED FOR EASY AND DEFINITE RECOGNITION.” As defined, a logo represents a special mark that is made to symbolize a particular company, subject or idea. Every logo can be thought of as a companys own recogniziable fingerprint. The concept of a logo in this context is something that has been in existence for thousands of years. It wasn’t until the early 19th century that the design of the logo became a craft that is learned by what is today called, the graphic designer. Here, you will find a brief overview about logo design. You will also find the various types of logos, the traits found in logo design, the difference between good design and bad design, as well as the logos relation to corporate identity.

THESIS

EVERY LOGO SHOULD... 1. BE SIMPLE – It can be said that the simplicity is one of the most

important attributes to logo design as it is a precursor to other visual characteristics. An overdesigned logo that may consist of too much

implied symbolism, too many colors, or too much type can be visually harmful for any company.

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2. BE DISTINCTIVE – Distinction is an attribute that sets a logo apart

from getting lost amongst the other millions of logos. In some cases, a distinctive logo can determine the success of an identity and even the success of a product or service. 3. BE DESCRIPTIVE – Being descriptive can be the next step to simplic-

ity as it is important to have an image that gives as much information about the company as possible—when possible. In some cases, having ACADEMY OF ART UNIVERSITY

a descriptive logo that speaks for itself is like having a logo that performs its own elevator pitch. 4. BE INSTANTLY RECOGNIZABLE – Instant recognition is important. It

should never take a viewer more than a couple seconds to see and recognize what a logo is intended to represent. No matter what type (word mark, typeface, etc), the logo should always be legible and clear.

6. BUILD EQUITY – A logo that can stand the test of time and doesn’t need

to be recreated, or isn’t recreated often, is a well designed logo. Thousands of dollars are spent in logo redesigns and in the rebuilding of brands based on the new. Therefore designers tend to think in terms of what will last when designing a logo. This concept is perhaps the most difficult to achieve as products and cultures constantly change. 7. BE IDENTIFIABLE – A logo should always identify WHO a company

is (like your name identifies you) but not necessarily describe WHAT a business does. The goal of the designer is to communicate attitude and values. This concept usually adds to the ability to keep a design as simple as possible. 8. BE SEDUCTIVE – This can be considered the fun part from the de-

signer’s and company’s viewpoint. The point of the logo is to identify and therfore why not identify in a way that is visually appealing to the target audience? However in design, simplicity is still the main focus, but logos are still intended to seduce— or capture the viewers attention with a dynamic image. 9. BE PART OF A SYSTEM – No logo ever existed inside a vacuum or was

used only by itself. Every logo is part of an identity. Therefore an identity

5. BE SUCCESSFUL IN ANY APPLICATION – Logos can be used in a

variety of ways (see p.11) and need to be designed in a manner that is consistent and allows for instant recognition whether the logo is a small emblem on a shirt or mega–sized for a movie screen or billboard.

system is usually designed based on a logo or the attributes that the logo intends to visually communicate. 10. BE STRONG – Having the previous nine attributes creates a strong logo.

Strong design addresses each goal and delivers the company’s message.

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THE 5 LOGO TYPES TYPEFACES

ABSTRACTS

Typefaces are simply logos that consist of a word or word characters

Abstract logos are logos that use images that do not necessarily

that are set in a specific font and color without any type of graphic

resemble anything. They are usually used for large multifaceted

alteration.

corporations and/or umbrella companies.

WORD MARKS

PICT-O-GRAPHS

Word mark logos are deriviatives of typefaces but my have an extra

Pict-o-graphs are simple image representations. They can represent a

graphic alteration given to individualise the image. Work marks are also

variety of different ideas or objects such as human forms, animals and

visually driven, and can be conceptually complex.

objects found in nature.

LETTERFORMS Letterforms are logos that consist of a companies intial. That intial becomes the focal point and then resembles a word mark with some type of graphic alteration.

Typefaces

Word Marks

Letterforms

Abstract Marks

Pict-o-graphics

GOOD DESIGN A good logo catches the eye. It makes the observer curious or engaged, even if just for a moment. That moment can be the moment when a company is embedded in the mind rather than filtered out with a million other daily visuals. A good logo design is crucial to just about any professional image. In most circumstances, the first thing the audience

Simple sail imagery and sans serif typfeace that works well for what the company represents.

Simple wordmark image that communicates movement. Works well in various size applications.

sees of a business is their website or printed material— with a logo! The visual impression they receive is of great importance to a potential client’s perception of a company. An image can impress itself on a mind in a way that words cannot. Many companies put forth a lot of effort to brand these images into our minds. Companies understand the importance that a logo plays in the promotion of their businesses. Whether it’s the start of a new business, or a logo upgrade for the identity of an existing business, a good logo is vital.

The use of simplicistic imagery works well as easy to recognize visuals for businesses such as Target.

Typeface in combination with image represents the simple and smooth attitude of the shoe.

THESIS

BAD DESIGN Bad logo design can consist of a number of different characteristics. There are quite a few elements or

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techniques that are regularly used in logo design that make logos not work visually and conceptually. Again, logos should always be as simple as possible, clear

Inappropiate typeface used for the type of message this company may intend to portray.

Use of gradient is not the best solution for logos as it may get lost in various applications.

to read, and aesthically pleasing. Common design elements that should not be used are color gradients, over use of drop shadows, non-contrasting colors, and illegiable type. If a designer doesn’t get the basic

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principles right, it doesn’t matter how much money or time is spent, a bad logo design won’t get a chance to stand up to the test of time. It can and will be replaced over a short period of time—if the company is still around and willing to make the cahnge. Too many symbolic references can become pointless when the viewer has to take more than a few seconds to understand it.

Inconsistent design of spacing of typeface around circular image. Overall amateur look.

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LOGOS IN RELATION TO IDENTITY Logos can be considered to be the focal point to an identity system. However, the two should not be confused as being one and the same. Identity or branding is the overall message or attitude in which a particular company portrays. An identity in terms of a company is just that...an identity. A visual indicator which in turn determines the perception and overall experience gathered by the target audience. The identity can include all visuals such as the logo, messages, commercials, actors within commercials, products, packaging, and even the environment presented when walking into a store such as a Starbucks or a Volvo dealership. It is never the designer who makes the identity, but rather the audience, while the designer sets the tone for the message through visuals such as the logo and the identity system.

Absolut Vodka advertisement

stationary identity brand

design packaging

Macromedia Dreamweaver packaging

Simply orange juice packaging

Firefly cell phone packaging

MacIntosh Apple campaign

Nike product and packaging

Pepsi ad

LOGO EVOLUTION

1934

1971

1937

1935

1978

1961

1953

1985

present

THESIS

1916

MICHAEL BELL ACADEMY OF ART UNIVERSITY

The change of a logo comes with the changing of society. Companies usually revamp a logo and often times, their identity in order to build and maintain relationships with their target market. The need for a logo makeover can also stem in the need from a

company to stay ahead of the competition in a potentially evolving environment. Many companies on a large scale have redesigned their logos over the years. These changes are intentionally subtle although the overall design elements may remain the same. This allows the logo to retain its association with the company. Most companies

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donâ&#x20AC;&#x2122;t change very often either which helps the message the company wants to communicate through its logo, to remain larger amongst its target market.

LOGO-BET SOUP QUIZ

THESIS

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2011

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BEGINS WITH A SKETCH.

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special thanks to: my grandmother...because school wasnâ&#x20AC;&#x2122;t free. mom...because direction comes from somewhere. and dad...because confidence is learned.

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Information resources: Internet: Retrieved August 10, 2010, from http://en.wikipedia.org/wiki/CMYK_color_model Why Sketch. Lamp, Amy. “Why is sketching such an important aspect of design?” Forty Agency.com., 2011. http://fortyagency.com/insights/why-issketching-such-an-important-aspect-of-design http://www.schoollibraryjournal.com/article/ca6555544.html “Career.” Dictionary.com. 2012. “Design.” Dictionary.com. 2012. “Aesthetics” Dictionary.com. 2012. “Push.” Dictionary.com. 2012. “Graphic Design” Dictionary.com. 2012. payscale.com google.com/images brandsoftheworld.com aiga.org/salary-survey designsalaries.aiga.org Harald-Wong, William. “Southeast Asian Design Reflects Diversity.” May 2003. http://www.icograda.org/feature/current/articles117.htm Print: Stone, Terry Lee. “White Space.” Step Inside Mag., 16 July/August 2006. Woods, Maurice. “Envisioning Blackness in American Graphic Design.” Univ. of Washington, School of Art. (2005) Lozner, Ruth. Lecture series. Univ. of Maryland; (1999-2003)

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