In the Adbuster Véronique Vienne Interviews Kalle Lasnreading there is a dialogue of question and answers going on between Véronique Vienne and Kalle Lasn. Vienne asks, "What would be your guidelines for finding the true cost of a product?" The way that Lasn gives the example with the leaf blower is something I have never really thought about. The way that even a small thing can have such long term effects.
Q: My question is, which I suppose this may have been already discussed, but if a designer either graphic or industrial new the exact outputs of a products or adertisement and how it related to the people, would they still go through with the design?
He Might Be Giant: Shepard Fairey
By Michael Dooley
I actually wrote a research paper on Shepard Fairey my freshmen year about his how the majority of work is taken from something or someone else and he simply alters it and calls it his... the escapade with the Obama "HOPE" poster. Now, after being in design and having more exposure to Gorilla Advertisement I think my views may have changed. I think I understand the concept better the point that is trying to be made in that he just wants peoeple to react wether it be negative or positive.
Q: This made me start thinking in terms of people's reactions. Shepard Fairey is just taking part in Gorilla tactics. He went to RISD just as all of us have gone to KCAI, but yet he is not necessarily doing things to for anyone else or a specific client. I suppose the general public is seen as his audience. I just wonder if any of us would go through the education that we have to create work that is purely based on reaction...? I do understand that he obviously went through training and understands the history and "rules" of the arts, but does this just depend on the person and what they want out of their work? Many designers design because their work will solve/help for a sole purpose (ex. doing a campaign for a hospital) but Fairey does it for himself in a sense. Could anyone live a life of design like that?
Guerrilla Street Postering Civil Disobedience in Los Angeles
By Robbie Conal
I am glad I read this after the SHepard Fairey piece. This also made me think about the lifestyle and who their work is producing. It is mentioned that people are going to see posters whether they want to or not.
Q: Is design/posters that are more tailored to an audience more effective or is the repetition of something more effective?
Showing posts with label Reading Responses. Show all posts
Showing posts with label Reading Responses. Show all posts
10.9.12
VA // WEEK 4 READINGS
Design With Intent
Rober Fabricant
Q: My question again lies within being neutral as a designer. We discussed this last time but I think it is possible to design something and be neutral. Of course everyone has different history and backgrounds. But I don't think that looking at a magazine layout or the grid can show a designers opinions on certain topics. Agreed? (I suppose that was more of statement within a question...)
Designer Authorship
Michael Rock
"The performer metaphor is based on the traditional performing arts of theater and music.
The actor is not the author of the script, the musician not the composer of the score, but
without actor or musician, the art cannot be realized. The actor is the physical expression of
the work."
Q: Rock makes this comparison and I think the role of the designer is changing. We are becoming the authors. We are creating content and doing the research now. We are no long just taking someone else's text and designing it. We are now doing it all.
The Designer As Producer
Victor Margolin
"With the development and distribution costs for these typefaces being fairly low, there is
nothing to prevent a young typographer from becoming an entrepreneur."
Q: This writing talks about the rise in technology and how designers have the a9ility to easily be entrepreneurs with the rise of technology. I have thought about this before in that in make it easier to create and be seen, but I also feel that it makes it even harder to be recognized. Instead of a select few designers having the abilities to create typefaces for example, anyone can. Does this lesson the value of our work?
29.1.12
IA, What I Learned About the Web in 2011, reading response
What I Learned About the Web in 2011
I wanted to read this article before starting my wire frames for this next class to see if it could help me with this process. It didn't necessarily give me answers to any of my curiosity about web design, but it was good to read and process how web creators think. I just pulled some parts of the reading that I agreed with and that stood out to me...
We have to expand our definition of what the “web” is. More and more, the “web” is not a platform. It’s a service with clients on many platforms. Wired Magazine called it the “death” of the web. I call it an evolution.
-–Jeff Croft, Chief Designerd, nGen Works
This instantly brought to my attention in that we need to really take the web to the next level. We are creative minds and we need to push our personal limits along with the limits of current projects. The web is evolving on such a accelerated pace and we are the ones that need to continue the push forward.
And that’s why I’ve learned to let go and focus on incrementally folding these new ways of thinking into daily work as I grasp them—while at the same time trying not to worry about everything being perfect or solving a problem “correctly.” The web is an ever-changing beast, full of flaws and imperfection and experimentation. And that’s why we love it.
–Dan Cederholm, Founder, SimpleBits
I think this goes hand in hand with our discussion about really pushing the possibilities of the web. We might come up with an idea that seem impossible to create, but as designers we have to push our ideas even if we are told it won't work. It is like a big "experiment" in that we have to explore all of the factors, because who knows what the outcome could be.
For the past couple of years, we have gotten into the habit of presuming that mobile means on-the-go, desktop denotes a desk, and tablet is on the toilet. But increasingly the lines are blurring on where devices are being used and how they’re being used in unison. This year I have learned to see devices as location agnostic and instead associate them with purpose—I want to check (mobile), I want to manage (desktop), I want to immerse (tablet). This shift away from objective context toward subjective context will reshape the way we design experiences across and between devices, to better support user goals and ultimately mimic analog tools woven into our physical spaces.
–Whitney Hess, UX Designer
This statement makes me realize that the mobile phone and tablet are now becoming a person's main source to the web. Laptops and desktop computers are not a main source to the web anymore. Our society is constantly on the go and want the instantaneous, and when designing a web space it needs to be able to adapt to these devices.
I wanted to read this article before starting my wire frames for this next class to see if it could help me with this process. It didn't necessarily give me answers to any of my curiosity about web design, but it was good to read and process how web creators think. I just pulled some parts of the reading that I agreed with and that stood out to me...
We have to expand our definition of what the “web” is. More and more, the “web” is not a platform. It’s a service with clients on many platforms. Wired Magazine called it the “death” of the web. I call it an evolution.
-–Jeff Croft, Chief Designerd, nGen Works
This instantly brought to my attention in that we need to really take the web to the next level. We are creative minds and we need to push our personal limits along with the limits of current projects. The web is evolving on such a accelerated pace and we are the ones that need to continue the push forward.
And that’s why I’ve learned to let go and focus on incrementally folding these new ways of thinking into daily work as I grasp them—while at the same time trying not to worry about everything being perfect or solving a problem “correctly.” The web is an ever-changing beast, full of flaws and imperfection and experimentation. And that’s why we love it.
–Dan Cederholm, Founder, SimpleBits
I think this goes hand in hand with our discussion about really pushing the possibilities of the web. We might come up with an idea that seem impossible to create, but as designers we have to push our ideas even if we are told it won't work. It is like a big "experiment" in that we have to explore all of the factors, because who knows what the outcome could be.
For the past couple of years, we have gotten into the habit of presuming that mobile means on-the-go, desktop denotes a desk, and tablet is on the toilet. But increasingly the lines are blurring on where devices are being used and how they’re being used in unison. This year I have learned to see devices as location agnostic and instead associate them with purpose—I want to check (mobile), I want to manage (desktop), I want to immerse (tablet). This shift away from objective context toward subjective context will reshape the way we design experiences across and between devices, to better support user goals and ultimately mimic analog tools woven into our physical spaces.
–Whitney Hess, UX Designer
This statement makes me realize that the mobile phone and tablet are now becoming a person's main source to the web. Laptops and desktop computers are not a main source to the web anymore. Our society is constantly on the go and want the instantaneous, and when designing a web space it needs to be able to adapt to these devices.
Tear down the cubicle walls In this brave new multi-device world we’re all designing for, I’m convinced more than ever that designers and developers need to be working more closely together. I spent the majority of my year on a large responsive design project, where the traditional “design team” and “development team” divide didn’t exist. –Ethan Marcotte, Independent Designer, Developer, and Ragamuffin
Tear down the cubicle walls first caught my attention. I think as students this plays such a huge roll in our learning. I completely agree with Marcotte's, "I’m convinced more than ever that designers and developers need to be working more closely together." Two heads are usually better than one. Why not really dig into group projects and work in teams. Collaboration is such a large part of design and with the rate of media growth in society, working in a groups is a way to keep up with the pace, provide more research, and reach faster outcomes.
It’s all about the experience
The most important thing I’ve (re)learned this year is that the greatest experiences in life aren’t designed at all. I’ve spent less time on blogs and Twitter and more time watching sunrises in beautiful places. I’ve obsessed less over gadgets and tools and more over finding the right wine to go with a great meal. I’ve remembered that I love my work more when it isn’t also my life. All of these things make me more patient, more optimistic, and more inspired…which can only make me better at what I do. –Kim Goodwin, Author, Designing for the Digital Age
I suppose I will end with this articles ending. I actually sent this to my best friend and she responded with, "You wanna do it?" I know being a student may change things in the fact that it is school and it is our life at the moment, but often it catches up to us in many ways. That meaning, we are often all huddled up in studio or our face is constantly on the computer screen. But I know as an artist I have to get external inspiration. The world around us shapes our design and we have a greater appreciation for it when we get to experience it. We also gain more gratitude for our work when we have opportunities to remove it from our lives, because then when we return we have a new awareness of what is important. I often have to remind myself that if I am not being inspired and motivated then how, through my design, will I be able to inspire others?
26.1.12
Experimental Type, Reading Responses
Peter Bil'ak // Experimental typography. Whatever that means.
Triggs // Typographic Experiment: From Futurism to Fuse
These readings brought up a lot of new ideas for me. Bil'ak's writing made me think about the word experiment and what it really means to make/do/create/complete an experiment. He took me back to my high school biology class and performing experiments with the test tubes, Bunsen burners and what not. I agree that we often get wrapped up in the word and use it much more loosely than necessary. I feel that usually when I don't know what to call something, have a new discovery or outcome I say, "I was experimenting..." I think that Michael Worthington put experiment in good context by stating that experimenting= risk. What is at risk? An experiment is not knowing the outcome. I would agree with that. We often might dabble around in something and call it experimenting, but really when know what the outcome is or probably will be, then how can it be an experiment? "The experiment lies in the result." In the Triggs reading found the Weingart experimenting the most interesting. He embarked on a five year period of typographic experimentation. Like we talked in class, 'the only to break typographic rules was to know them.' We have to know the basics and know the history in order to be new and inventive.
Triggs // Typographic Experiment: From Futurism to Fuse
These readings brought up a lot of new ideas for me. Bil'ak's writing made me think about the word experiment and what it really means to make/do/create/complete an experiment. He took me back to my high school biology class and performing experiments with the test tubes, Bunsen burners and what not. I agree that we often get wrapped up in the word and use it much more loosely than necessary. I feel that usually when I don't know what to call something, have a new discovery or outcome I say, "I was experimenting..." I think that Michael Worthington put experiment in good context by stating that experimenting= risk. What is at risk? An experiment is not knowing the outcome. I would agree with that. We often might dabble around in something and call it experimenting, but really when know what the outcome is or probably will be, then how can it be an experiment? "The experiment lies in the result." In the Triggs reading found the Weingart experimenting the most interesting. He embarked on a five year period of typographic experimentation. Like we talked in class, 'the only to break typographic rules was to know them.' We have to know the basics and know the history in order to be new and inventive.
24.1.12
IA, Reading Responses
"The future’s not only fun, it’s messy. Welcome it with open arms."
10 New Years Resolutions
First off, I appreciated reading New Years resolutions for the designer. Design being something that I do everyday and that I can relate to. Let’s find problems to solve that actually improve people’s lives. Whether it’s figuring out a better way to access medical records, figuring out how 14 year olds can stop carrying forty pounds of textbooks back and forth to school every day..." this is so true! I hope I can really focus on this and the issues going on today and use the skills and abilities that I have to improve issues. Blame Yourself First. Being a student I believe that this happens all to much. We need to take responsibility for our own actions. "This year, everything will be your fault. It’ll feel good." I think we can all have excuses, but in the end our work is a representation of who we are and if we constantly choose create excuses and don't take responsibility than how does that make our work look? I could say something about each point he made, but those are the ones that will stick me with me.
Web Design is 95% Typography & Reactions to 95% Typography
I suppose I never really saw being a web designer as a typographer, but after reading this article by Oliver Reichenstein, it makes perfect sense. Of course I understand that type plays a huge role in web design, but I basically thought it was the grid system and layout of the page. In order to understand that grid though the type has to be understood as well. The type contrast, hierarchy, and legibility makes a site successful or unsuccessful. Reichenstein says that, "I should start with the text mass and organize it with a grid that guarantees optimal readability." I also like that he says we need to get off line and start collecting and reading. We need to know the basics, "There are clear rules for leading, spacing, kerning, and measuring font sizes. And if you know and apply these rules, the text will look better and will be easier to read." As designers we have to shape things so that they work for our viewer. We are designing for them and if they do not see it clearly than what is the point? We have to make wise choices so that the reader gets "optimal viewing experience." I like that so many people had positive and negative things to say about the writing. Reichenstein had to go back and explain more which caused me to learn more as well as see all the opposing views.
10 New Years Resolutions
First off, I appreciated reading New Years resolutions for the designer. Design being something that I do everyday and that I can relate to. Let’s find problems to solve that actually improve people’s lives. Whether it’s figuring out a better way to access medical records, figuring out how 14 year olds can stop carrying forty pounds of textbooks back and forth to school every day..." this is so true! I hope I can really focus on this and the issues going on today and use the skills and abilities that I have to improve issues. Blame Yourself First. Being a student I believe that this happens all to much. We need to take responsibility for our own actions. "This year, everything will be your fault. It’ll feel good." I think we can all have excuses, but in the end our work is a representation of who we are and if we constantly choose create excuses and don't take responsibility than how does that make our work look? I could say something about each point he made, but those are the ones that will stick me with me.
Web Design is 95% Typography & Reactions to 95% Typography
I suppose I never really saw being a web designer as a typographer, but after reading this article by Oliver Reichenstein, it makes perfect sense. Of course I understand that type plays a huge role in web design, but I basically thought it was the grid system and layout of the page. In order to understand that grid though the type has to be understood as well. The type contrast, hierarchy, and legibility makes a site successful or unsuccessful. Reichenstein says that, "I should start with the text mass and organize it with a grid that guarantees optimal readability." I also like that he says we need to get off line and start collecting and reading. We need to know the basics, "There are clear rules for leading, spacing, kerning, and measuring font sizes. And if you know and apply these rules, the text will look better and will be easier to read." As designers we have to shape things so that they work for our viewer. We are designing for them and if they do not see it clearly than what is the point? We have to make wise choices so that the reader gets "optimal viewing experience." I like that so many people had positive and negative things to say about the writing. Reichenstein had to go back and explain more which caused me to learn more as well as see all the opposing views.
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