WKemble Graduate School Application (Public Version) by Whitley Kemble

GRADUATE APPLICATION for Whitley Kemble

Graduate Application for W. Kemble

APPLICANT PROFILE 5 WHAT IS DESIGN? DESIGN HISTORY & ITS DIRECTIONS TODAY

ON RAND & MAEDA

WORKS CITED

PORTFOLIO 19

TABLE OF CONTENTS Graduate Application for W. Kemble

FULL NAME MY WORK ONLINE EDUCATION

Whitley Rashelle Kemble http://www.whitleykembleonline.com Find me on LinkedIn IOWA STATE UNIVERSITY Candidate for M.F.A. in Graphic Design DRAKE UNIVERSITY Graphic Design, B.A. Advertising Creative, B.A.J.M.C. Magazines, B.A.J.M.C.

BACKGROUND

My current design background lies primarily in printed promotional and informational design, with a few websites and a very basic understanding of application development. In my time at Drake, I wrote, edited and designed for several campus publications. During that time I also had the pleasure of doing freelance and pro bono work in the Des Moines area. At this time I’m working towards my M.F.A. in Graphic Design at Iowa State University. I’m hoping to develop a greater understanding of web and user interface design. I’m currently conducting research with Professor Andrea Quam in the areas of gender, diversity, and student mentorship. For my thesis, I intend to investigate how the integration of different media impacts the learning process.

WHAT IS DESIGN DESIGN HISTORY AND ITS DIRECTIONS TODAY Design is many things. In his essay on Paul Rand, John Maeda makes an important point—that graphic design is “the art of visual ideas.” It’s really a very simple definition, but in that simplicity lies a wealth of meaning. Design is considered by most to be a very young art with even more obscure beginnings. For the most part, its history has been tied closely to all other fine arts. In the words of Rand himself, “If the artist happens to wear two hats—a painter’s as well as a designer’s—more time is spent discussing the relative merits of the “fine” as opposed to the ‘applied’ arts…a blank stare is the usual reaction when (notable designers are mentioned).”1 For this reason, the true history of graphic design is rather ambiguous. Graphic design arguably began in China in 1041 with the first clay glyphs, and resurfaced in the 1450s when Gutenberg’s moveable press and the publishing boom demanded typesetters and, therefore, type designers. It was not until the early 1900s, with the emerging Art Nouveau movement, that graphic design really gained ground as an independent art form—Peter Behrens, Gustav Jensen and Walter Gropius among its pioneers. Design as a formal profession would not begin in America until the late 1930s. At the time, America knew graphic design simply as “commercial art”, a field largely driven by advertising and a need to differentiate products to a post-war consumer.5 Since then, it has evolved into a much more complex discipline. The way designers work has changed drastically, too. In the last 50 years— the last 10 years, really—technological developments have revolutionized the profession. As the tools we use become more sophisticated, so, too, do the roles we fill. The result is an explosion of creativity, sending designers in a multitude of directions. I’ve outlined several of these in this essay.

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DESIGN IN RETRO -SPECT

LESS IS MORE

Perhaps the first and most obvious new direction lies in style itself. I’m talking about the ways color, line, structure, and form are being used. All art academia is marked by a study of the masters. Just as a modern painters draw on the styles of Dali or Van Gogh, modern designers are making references of their own.

Simplicity is key to good design, from the tools we use to the designs we create. Apple recently released Objectified, a documentary detailing the development of its MacBook and iMac computers—tools favored by most designers. The design of these computers is very simple, but very attractive. Not only do these computers last longer, but the production of the Mac is Consider, for instance, recent artwork for Phoenix’s Wolfgang Amadeus, below, in which less wasteful than the machines of yesteryear. The no-nonsense design actually improves the Jody Barton utilizes zeppelin silhouettes, a subtle reference to Constructivist imagery. Even user experience. Similarly, a well-designed logo or promotional piece can serve a company for ColdPlay’s cover for X&Y, designed by Mark many many years. Tappin and Simon Gofton, is reminiscent of minimalist DeStijl design. According to Rand, the impulse to overdesign runs rampant among young designers, Similar to working a vintage piece into your myself included. “Trendiness,” he says, “is wardrobe, a successful reference depends seductive…for the principal reason that it on the designer’s ability to make it his or her offers no restraints…The equation of simplicity own. By giving new life to a classic style, the with shallowness, complexity with depth of meaning is strengthened. By infusing old with innovation meanings with new ideas, designers are able to understanding, and obscurity 1 (results in mediocrity).” create richer design, extending the longevity of the design and strengthening the piece.

Cover for Wolfgang Amadeus by Jody Barton

Ouch. His comment is harsh, but it’s true. Designers everywhere are figuring it out, too, moving toward cleaner, clearer design. In his book, The Laws of Simplicity 7, John Maeda explains how to give your audience more by giving them less. Like his mentor, Maeda urges us to strip away meaningless elements and unnecessary decorations that otherwise create confusion. In addition to strengthening the brand itself, keeping the design simple makes it more adaptable while conserving creative and nonrenewable resources.

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San Antonio-based design firm adapted one of the binders from The Naked Binder for one of their clients.

The now controversial 2008 Obama”Hope” poster, stylized by Boston-based designer Shepard Fairey.

GREEN IS GOLD

DESIGN ART DESIGN

Perhaps one of the biggest directions is the Green movement, and Green is quickly becoming the new golden rule. As our natural resources dwindle, sustainability is becoming one of the greatest challenges for businesses and designers alike. You and your business must be socially and commercially responsible.

Historically there has always been great rift between “fine art” and “design”, as if one could really exist without the other. Conceptually they remain separate, however, more and more people consider design a “fine” art.

These used to be competitive responsibilities that forced designers to choose between the greater good and the bottom line, but the pressure to make socially responsible, cost effective design decisions has forced designers to become more creative. Today’s designer utilizes everything from recycled materials and soy-based inks to homegrown package designs. Des Moinesbased company The Naked Binder offers chic customizable binders made from completely repurposed materials. What’s more, these binders are more durable than standard office binders, lasting up to 10 years. Innovations such as these give design a whole new identity as a “green” industry, adding “environmental expert” and “savvy entrepreneur” to a designer’s list of roles.

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For starters, consumers are finding more value in handcrafted design pieces. This tends to be placed further on the fine art end of the spectrum. The ability to craft something with your hands is highly desirable, but so are the technical competencies and the ability to produce these designs for mass consumption. Think of the thousands of books created by graphic artists for gallery shows versus the artistic (now very controversial), folk-inspired “Hope” poster for Obama’s 2008 campaign. It seems paradoxical that a work of art can be both original and mass-produced, yet it is possible in the field of design. These pieces are both considered “higher art” designs, but one is displayed behind glass and the other plastered on the walls of dorms, break rooms, etc. This new direction is helping to blur the lines between that once divided “fine art” and graphic design.

Digital publishing is growing rapidly as a result of mobile apps and products like Kindle and iPad. User interface design gives us the ability to produce and experience print media in a digital, environmentally friendly format.

PUBLISHING A NEW MEDIUM FOR AN OLD ART Proficiency in print and digital design is an absolute must for today’s designer. It’s no secret that the relationship between print and digital media is changing—the lines between the two have been blurred, and will likely be erased altogether.

The principles at the heart of both are the

same. Good design is good design, and I believe that digital design will play an increasingly important part in the future of our field. The question is, How can we bridge the gap between print and digital design? How can we integrate them? How can we give someone the print experience on a digital medium?

The concept of a digital book is a contradiction by definition, yet Kindle and Zinio have built their companies on it. As designers, it’s our The answer is user interface design. It’s the duty to make sure print and digital elements future of our media and our industry, and I hope complement each other, and that they are to master this at Iowa State University. integrated in such a way that’s user-friendly and pleasing to the eye. The problem becomes how to create the illusion of a handcrafted, tangible piece in a digital format. There is an increasing need for a well-designed user interface, one that feels and functions like a physical book or magazine but fits in the palm of your hand. This direction fascinates me most. There’s a certain thrill that comes with a printed piece, and it lies in the experiential qualities. Most digital media just isn’t very sexy. Media is changing, and there needn’t be a rift between print and digital design.

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On Rand AND Maeda There’s something magnetic about Stefan Sagmeister’s raw, raunchy renderings, and something wistful about about Louise Fili’s use of scripts. Paula Scher’s punchy posters for Pentagram make me melt, while Spiekerman’s metic-ulousness and affinity for Helvetica are endearing, and Where we be if the ever-elusive Steven Heller hadn’t wowed us with is wit?

I admire these and many more designers—all for different reasons—but the designers I most admire are Paul Rand and his contemporary counterpart John Maeda. Rand has influenced all of us (in one way or another), and Maeda has brought his ideologies into digital media with renewed flare.

Graduate Application for W. Kemble

ABOVE:

Left to Right, Rand’s infamous IBM, ABC and UPS logos are still easily recognized today.

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BELOW:

Maeda’s Simplifying Credit Card Debt makes it easy to visualize what using credit really looks like. Above I’ve entered the cost of a new computer I plan on purchasing.

If Peter Behrens gave us the first corporate identity system (for AEG 8), then Rand “almost single-handedly convinced business that design was an effective tool…(he) largely made it possible for us to work.” John Maeda seems to be doing the same in the digital age. Rand showed businesses the importance of design for print, while Maeda continues to demonstrate the importance of good design in web. These pioneers have done incredible things for graphic design—it’s really not surprising how much they had in common.

Coincidentally, Rand would become Maeda’s mentor and one of his greatest friends. Maeda often interviewed him, and actually invited Rand to join him at the Rhode Island Institute just days before his death. The similarities between Rand and Maeda are evident in their style and philosophies, but it is their differences that have made such an impression on me.

Thankfully he persevered, enrolling himself in design school and developing his talents independently. It was Rand “more than anyone else, (who) made the profession reputable. We went from being commercial artists to being graphic designers largely on his merits.”2 Maeda, likewise, had other plans. His father had hoped that he would become a dentist— Maeda himself actually considered it prior to enrolling at MIT.3 Thankfully Maeda discovered design in his sophomore year, and shortly thereafter pursued the field. As a student, Maeda actually got to spend a day working in Rand’s studio. Rand gave him a bit of advice, which he (and I) took to heart:

advice, cautioning us against less-than-ideal work and giving us much-needed tough love. Rand’s no-nonsense, straight-shooting style of writing presents a stark contrast to Maeda’s more empathetic essays. His humility makes him more approachable philosophically, and his constructive criticism of youth in the profession is nothing short of inspiring.

Rand was rather rigid, and at times a bit contradictive. Highly influenced by the Bauhaus and De Stijl movements, he followed a strict set of rules. The results were some of Rand and Maeda were both discouraged from America’s most beloved brands—IBM, ABC, pursuing design careers. For Rand, it was UPS, and many more. The boom in American quite literally a forbidden fruit. Rand’s Jewish manufacturing during Rand’s early career is heritage forbade graphic design as idolatrous likely to have shaped his beliefs about design, iconography. Rand’s father, himself an orthodox as well. Rand’s later writings were extremely Jew, believed design would not provide a critical of young designers and educators alike, sustainable livelihood for Paul and enrolled him but I believe there is some truth behind them. in business courses at Pratt Institute. Rand’s essays present us with a bit of fatherly

“The things you really love to do in life will make you absolutely no money…The things that do make money for you are different. There is stuff that is work. Do the work to do what you love…”3

Maeda’s work tends to be more expressive than Rand’s. He uses more stylization, and allows for more flexibility in his forms. His work also tends to be more socially driven and playful. He balances out more practical designs such as Simplifying Credit Card Debt with more conceptual works like Illustrandom and purely playful ones like his Text Squeezer. His calendars for Shiseido seems to capture the best of both worlds, while his limited edition Reebok kicks seem to deviate entirely. The bold splashes of color are only slightly reminiscent of his graphic illustrations. The fact that he has the drive to develop such a wide variety of designs is very impressive.

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Although the two had very distinct styles, Rand and had similar tendencies. In addition to an affinity for typographical designs—men after my own heart—they were also highly conceptual designers that leaned toward cleanliness and emphasized simplicity rather than merely “decorative” work. In fact, they shared many beliefs about the nature of design. If I was to sum up their views, it would be this:

LESS IS MORE

This is something many designers (myself included) tend to forget. In a quest to wow our audiences, we tend to overpower and sometimes confuse them. We forget how complex and sophisticated simplicity can be. This is obvious in Rand’s logos. Rand’s logos were so deceptively simple, in fact, that he made a habit of developing briefs to present the complex symbolism behind them. Maeda, likewise, argues that there are certain laws that govern good design. He ought to know, too. He wrote the book—really. In his book, The Laws of Simplicity, Maeda outlines some of Rand’s principles and applies them to today’s media, reinventing them (as is common practice for designers), preparing the way for a new age of design. Maeda’s digital creations exemplify this, too. His 2006 Darfur piece is one of my favorites.

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Design doesn’t have to be flashy to make a point. Maeda’s Darfur page is a perfect example.

At first Darfur, above, is an ugly mass of text, but then you read it. Artistically it makes you feel nothing, and at first read it’s sort of like a conceptual-conscientious slap in the face. It’s SO simple, but that intensifies his point. His other works, such as Fontpark Golf, typify the concept of simple is beautiful in practical and artistic, sometimes even playful, ways. That’s what I love about the work of these designers— it communicates their values so clearly. Design should not get in the way of the experience, merely enhance it. Rand and Maeda both emphasized this. Maeda even expresses regret in making the mistake of over-doing/ it in his own work. Where Rand is more critical—more of a father figure in his writings, Maeda seems to be more empathetic and understanding of the problems designers face. He understands that there is a fierce competition for a consumer/an audience’s attention, a problem he seems to respond to with more colorful, lyrical work. Even so, he notes a dire need for simplicity. This small bit of advice is one of the reasons these two have been endeared to me.

At the end of his life, Rand spent a great deal of time studying the history of design and recording his philosophies on the art. His work demonstrated the simple-is-complex paradox he so emphatically wrote about in his books. By stripping his designs of irrelevant imagery, he was able to give strength, power and timelessness to his identity systems/ work. In his wake, he has left us with greater understanding, greater appreciation, and greater standards. As a young designer, these are things I hold dear and expectations I hope to fulfill. Rand’s impact on design is limitless, and his contribution to the future of our field is invaluable. Maeda’s work is no less inspiring. His pioneering spirit and dedication to the advancement of graphic design in the digital age is still relatively new, but I believe Maeda will pick up where Rand left off. Rand set the bar very high for exceptional design, and John Maeda has become a guide to those of us who hope to explore the new world of digital design.

Graduate Application for W. Kemble

WORKS CITED

PUBLICATIONS 1. RAND, PAUL. (1985). A DESIGNER’S ART. “CONFUSION AND CHAOS: THE SEDUCTION OF CONTEMPORARY GRAPHIC DESIGN”. ENTRY ON PAUL-RAND.COM / NEW HAVEN: YALE UNIVERSITY PRESS. 2. LEWANDOWSKI, DANIEL. (2007). “PAUL RAND: A BRIEF BIOGRAPHY”. ENTRY ON PAUL-RAND.COM 3. MILLMAN, DEBBIE. (2007) HOW TO THINK LIKE A GREAT GRAPHIC DESIGNER. “JOHN MAEDA”, P. 115-120. NEW YORK: ALLWORTH PRESS. 4. MAEDA, JOHN. THOUGHTS ON PAUL RAND. IDEA MAGAZINE, 97(2). MIT/IDEAMAG.HTML 5. HELFLAND, JESSICA, & MAEDA, JOHN. (2001). SCREEN: ESSAYS ON GRAPHIC DESIGN, NEW MEDIA, AND VISUAL CULTURE. “PAUL RAND: THE MODERN DESIGNER”, P. 137149. NEW YORK: PRINCETON ARCHITECTURAL PRESS. 6. MAEDA, JOHN. (2007). CREATIVE CODE. DESIGN ISSUES, 23(4), 103-104. DOI: 10.1162/DESI.2007.23.4.103 7. MAEDA, JOHN. (2006). THE LAWS OF SIMPLICITY. CAMBRIDGE: MIT PRESS. 8. AEG. (2011). THE FATHER OF INDUSTRIAL DESIGN. HTTP://WWW.AEG.COM/EN/ABOUT-AEG/HISTORY/

PHOTOS 1. WOLFGANG AMADEUS

5. IBM & UPS LOGOS

2. THE NAKED BINDER

6. ABC LOGO

3. OBAMA HOPE POSTER

7. SIMPLIFYING CREDIT CARD DEBT

4. KINDLE

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Bold Women of Design Series A close-up of my April Greiman brochure. I admire her choice of vivid colors and bold imagery.

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Bold Women of Design Series This brochure series was developed to honor women in the design field. It promoted a fictional book meant to rais scholarship funds for young women pursuing design education.

Graduate Application for W. Kemble

Elmcrest Country Club Identity System Elmcrest was trying to reach out to a new demographic. They wanted to stay true to Elmcrestâ&#x20AC;&#x2122;s legacy , but they also wanted to communicate family-friendliness.

MCREST L E

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R MC E

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R MC E

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The one that was chosen is only a slight modification, however it does feature a more modern font and richer colors.

country club

I developed several logo variations that featured the elm leaf with buds to symbolize family and new growth.

Graduate Application for W. Kemble

Elmcrest Member Application & Golf Scorecard A membership application and golf score card wer among the materials to be redesigned. I chose to make a sleeker tri-panel application to keep sections succinct and clean.The scorecard has a similar layout.

Graduate Application for W. Kemble

Elmcrest New Member Book The primary goal of redesign was to attract new members with families. This book is essentially a marketing piece for potential new members. It outlines the clubâ&#x20AC;&#x2122;s amenities, as well as its social offerings.

Graduate Application for W. Kemble

Bauhaus Manifesto (Pop-Up Book) I designed the Bauhaus Manifesto as a pop-up book for new members of the National Bauhaus Foundation.

Graduate Application for W. Kemble

Bauhaus Manifesto (Pop-Up Book), 2 The colors and paper were meant to give a feeling of craftsmanship. The format meant that the reader would actually have to interact with the piece.

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Bauhaus Manifesto (Pop-Up Book), 3 Because the Bauhaus manifesto placed so much emphasis on skill and the ability to create with your hands, I felt that it was important to demonstrate a level of craftsmanship in creating this pop-up book.

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Graphite STD Font Book I made this book for the font Graphite, designed by David Seigel. The font itself was based on the handwriting of an architect, but it made me think of comic strips. I used a story out of Seigelâ&#x20AC;&#x2122;s blog and developed a comic strip around it. All of the characters and images were created using type.

Graduate Application for W. Kemble

SPIN Gallery Spin is a fictional gallery for handcrafted dinnerware, stemware, and flatware. The name reflects the fun atmosphere, as well as the motions of creating the pieces themselves. The logo conveys these ideas, while indicating what they sell.

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SPIN Gallery, Packaging Packaging was something I really enjoyed designing. Because these were meant for a gallery, I chose to keep the primary colors muted. SPINâ&#x20AC;&#x2122;s packaging and collateral would be primarily black and white. This allowed the focus to remain on the actual pieces. I did incorporate accent colors by employing patterns to the tissue paper and tags (opposite page).

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SPIN Gallery Site Spin’s website serves two purposes—first to allow customers to view the gallery’s most current pieces, and second to inform customers about upcoming events, demos, and artist visits.

GLASSWARE

STEMWARE

DINNERWARE

FLATWARE

FUNCTIONAL

ORNAMENTAL

WELCOME

Spin acts as a lia ers. Our stemw as unique as the products are ha

JUDE RECOMMENDS:

COOKWAR E

SSWARE GLA

DINN ER W E AR

RE WA EM

ARTIST PROFILE NAME: AGE: INFLUENCES:

Jude Smith 27

I draw a lot of inspiration from nature. My forms tend to be more organic and lyrical. I recently started a series inspired

JUDE’S WORK

WHY GLASS BLOWING?

I took a course when I was in college, and I haven’t stopped since. There’s something about working with your hands and being able to shape ‘the elements’. I feel totally connected to the materials I work with. It’s like nothing else I’ve ever experienced before.

E TO SPIN GALLERY

aison between artists and art seekware, dinnerware and cookware are e people who shop here. All of our andcrafted and one of a kind. ENTER THE GALLERY

UPCOMING EVENTS COMMISSION A PIECE SIGN UP FOR OUR NEWSLETTER

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Greenwood Park Map When I started this project there was no existing map of the park. In developing this one, I wanted to point out other artistic points of interest in the Downtown area.

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Greenwood Park Map, 2 Because this map had an artistic focus, I chose to employ softer colors and less text. The mobile application would allow users to tour independently and control the amount of information.

DES M

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HIB NT EX

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Greenwood Parm Mobile Application The mobile application essentially takes advantage of QRlike technology. Although I didnâ&#x20AC;&#x2122;t actually program the application, I felt it was important to show how it could be used to navigate the park. The app gives users the option to read information or take an audio tour.

DES MOINES ART CENTER

CURRENT EXHIBITIONS

GREENWOOD PARK TOUR

FIND SITE

Welcome to

Greenwood Park 45

Take the Full

CAPTURE IMAGE

Tour

About This St

USE YOUR MAP EXPLORE ON YOUR OWN

ROUTE TO THIS SITE

es List of Sit ur on This To

ABOUT THIS SITE

FIND SITE

FULL TOUR

BROWSE BY SITE

THREE CAIRNS THREE CAIRNS Andy Goldsworthy, 2002

Andy Goldsworthy, 2002

The word cairn, from the Scottish Gaelic word “carn”, refers to a heap of stones, typically used as memorials or landmarks. Scottish-born sculptor Andy Goldsworthy constructed this

FIND SITE

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Diabetic Living Eat What You Love App As a Diabetic Living reader and a person with diabetes (PWD) myself, I thought it would be helpful to have an application that would allow access to Diabetic Livingâ&#x20AC;&#x2122;s recipe database. I also thought it would be useful to have an app that would help PWDs calculate nutrition information for personal recipes. The idea here is that they can enter their own recipes, share with other users, and stay up-todate on products and dieting tips geared specifically toward PWDs.

MY RECIPE BOX RECIPE OF THE DAY CARB-COUNTING TIPS RECIPE CALCULATOR RECIPE SEARCH

Recipe Search

Recipe Calculator

Filter by...

Recipe for…

Recipe of the Day

COOK TIME…

Fresh-Herb Pasta Primavera (Serves 4)

MEAL TYPE…

+ ADD RECIPE TO BOX

8 oz multigrain or whole grain penne or mostaccioli 3 c assorted fresh veggies 1 c halved cherry tomatoes 1/2 c low-sodium chicken broth OTHER TOP RECIPES

carbs

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# Servings… Ingredient

Gluten Free Low Sodium Low Carb Low Calorie Low Fat

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Red Po|tatoes

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Ingredient 2…

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Notes…

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My Recipe Box SORT Alphabetically Basil-Chicken Skillet Easy Chicken Chili Fresh-Herb Pasta Primavera Grandma Kathy’s Apple Crisp Roasted Pepper & Artichoke Pizza

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My Modern Art Site My Modern Art Online was developed in cooperation with an art history class in the spring of 2011. The site was meant to give high school students a resource to explore Modern Art and its underlying movements. My design focuses on giving the user multiple options for navigation. The navigation bar at the top allows users to browse by image, theme, movement, or medium. The bottom navigation bar is an interactive timeline using images that best represent the styles of each movement.

My Modern Art Website

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My Modern Art Site, 2 Because the site was meant for a slightly younger audience, it capitalized on the strong visuals and utilized a lot of interactive features. You can see how some of these features functioned at left.

Graduate Application for W. Kemble

his book was completed in application to Iowa State Universityâ&#x20AC;&#x2122;s Graphic Design program for graduate study.

It was completed using Adobe Creative Suite, version 5.5.

Graduate Application for W. Kemble