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Do those of you single member firms find that it is more advantageous to have an office space? Do you think it builds credibility and is easier to get clients?
it depends on your working style and clientele you are going to reach. I've had an office for about a year, and sincerely - didn't get even 50% potential of it. A lot of meetings with clients were in their offices or via Facetime/Skype. Now I'm working from
my home office, and one thing I'm missing most is easy collaboration & brainstorm with co-workers, which is now a little bit harder (need to schedule it eariler and so on). If you are working for small, creative and open minded firms, it's OK to optimize your
cost and do without office space.
BUT, if you feel like working for corporate businesses, they expect you have an office space. Even though they will probably not visit you at work (and demand you visit them instead), it gives them a notion you are a trustable business partner. If so, maybe
a virtual office service is good for you? You get then registered address, post & phone forwarding, what makes your business appear more professional for some people...
After two highly successful years with Gresham, Smith and Partners, the I Like Design competition has packed its bags and is headed to the Big Apple!
That's right, this year ILD has relocated to New York City and we are proud to say that the 2013-2014 winner will receive a paid internship with
ICRAVE in Manhattan, as well as paid housing costs for the summer. That means one lucky student will get the chance to live and work in the place where if you make it there, well, you know…
ICRAVE has developed a one-stage ideas competition open to any full-time student enrolled in an undergraduate/graduate program in the U.S., with a strong interest in experiential design. Submissions can have an overall emphasis on design/architecture/interior,
but ICRAVE is interested in all areas of exploration as long as the conceptual thinking and ideas are strong and unique.
So without further ado, here are this year’s contest details. You can enter by clicking the “submit” button below. Get your entries in by midnight on Monday, March 10, 2014!
Dear fellow graphic design educators,
AIA (architecture) has one. As does CIDA (interior design). ITAA (apparel design), with only 800 members, has multiple. And IDSA (product/industrial design) gives one too.
These design organizations, peers of the AIGA, give their educators an annual award for excellence in teaching and scholarship. We should do the same.
Well over two years ago I approached the AIGA Design Educators Committee with an idea for creating a national graphic design educators award to acknowledge graphic design faculty for their teaching, research, creative practice and service
to the discipline.
While the AIGA has awarded its Medal to full-time educators (Sheila Levrant de Bretteville, Meredith Davis and a few others), the vast majority of recipients have received it for their contributions to professional practice, and that’s as
it should be. The educator award would not replace or compete with the AIGA Medal or Fellow Award, nor would recipients of one be excluded from receiving the other.
I believe though that graphic design educators should be recognized annually with a specific award, reflecting AIGA’s large educational membership (students and faculty) and the maturation of graphic design from a service-oriented profession
to a full-fledged discipline, inclusive of social, cultural, critical and theoretical aspects.
The award could consist of three sub-awards, honoring faculty for particular achievements in teaching, scholarship and service, and acknowledging excellence, innovation, creativity and impact in graphic design education. A panel of AIGA design
educators and professionals would review nominations annually and make recommendations to the AIGA Board for a final decision. Concerns about how this might be financed could be allayed by requiring an application fee, just as the AIGA 50 Books Competition
charges $45 per book.
In a November 13, 2012 email to me regarding the proposal, former AIGA president Doug Powell laid out a timeline of approval processes over the year 2013, aiming toward a spring 2014 launch. He stated, of his and AIGA executive director Ric
Grefé’s, thoughts: “We are both very enthusiastic about this possibility….”
Apparently, the AIGA DEC has been working on this proposal, but I’m not sure it’s as far along as one might hope. Both the DEC and the AIGA presidency have different people involved since earlier interest. Perhaps more support from rank and
file members would help propel the concept of a national graphic design education award towards being a reality.
Please join me in encouraging the DEC and AIGA leadership to act soon to make this idea an award-giving one.
Steven McCarthy, Professor
College of Design
University of Minnesota
Question for creative directors (or personel in charge of hiring designers)...
I've worked hard to put together original, strong cover letters & resumes. Triple checked that grammar and punctuation is correct, even had others double check it before sending it. I address the creative director or person responsible. I have put together
complete book portfolios as well as a print sample folder that allows you to hold the piece, open it, and actually see the project. Then proceeded to have interviews. I am met with comments like "this is striking", your work is "fresh", "you have a lot of
talent", and "this is a beautifully designed piece". And then there is no outcome. I follow up and am told that they will get back to me. But I never get critiqued and it is like pulling teeth for people get back to me. I was once told by a creative director
that "persistence is key" and that if you want a design job to go in face to face. Now that the digital realm has pulled a majority of face to face communication away, how do you go about getting true and honest feedback?
I graduated from design school with the impresssion that I needed to prepare myself for harsh criticism techniques. I'm literally asking for criticism and not getting it. I want to better myself as a designer, support good values and ethics, and land a great
If nothing else, I'd love some advice on how to not be overlooked when I do all the right things (address the person responsible (and correctly), have correct grammar and spelling, provide to the point explanations of employment history.... so on..)
I am a sophomore going into Graphic Design, and right now I am trying to look at summer opportunities for studying abroad.
I was hoping that I could glean some information from you all about where you think the best places to study abroad are, or what are some of the best schools outside of the US.
Sarah Conaway is a Los Angeles photographer I came across a few years ago. I don't know a lot about Sarah or her work, except that I have a piece of hers in my living room that I truly love. It passes the "if your house was on fire, what...
Presenting Sponsor: Adobe
Punk rock was Pablo Medina's first
taste of graphic design: “All these symbols and logos and stenciled
typography. I was mesmerized by it.” Today he runs his studio, Cubanica, teaches typography and communication
design to undergraduate students at Parsons the New School for
Design, and has gotten
into filmmaking, too.
Section: Inspiration -
Design Journeys, graphic design, title design, typography, diversity, education, design educators, students
Debbie Aung Din and Jim Taylor are co-founders of Proximity
Designs, a social venture that designs, makes and markets affordable
products and services for rural families in one of the world’s poorest
Section: Events and Competitions -
Conference , Design for Good, Gain conference, international, social issues, social responsibility, innovation
Courtney Kuhstoss Moore
Information Architect / User Experience Designer InterniFactory
Boston, MassachusettsJune 1 2015
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