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A notable theme in Jay-Z’s book Decoded is objectivity, defined as “a focus on external reality.” In fact, this objectivity is a major difference between graphic design and traditional forms of fine art, which can be subjective without contest.
Our messages must give people what they need in a way they didn’t expect, while looking holistically at the client’s message. As designers, do we resist the urge to take a message at face value? Or simply absorb and move on, cranking out a predictable solution?
Though very different than graphic design, the music industry is deeply rooted in story telling. There are many supporting elements in this niche of the arts, but while comparing and contrasting the process, I think Jay-Z’s book deserves some
attention. His popularity and persona have been at the forefront of the rap scene for decades, and the release of his book is another way of gaining access to his charisma. Check out page 57 for the real story behind "99 Problems" - pretty interesting.
But does true objectivity exist? Perhaps so, but most of what we normally reckon as objectivity is nothing more than subjectivity with a preconceived framework of interpretation that we regard as the objective norm.
I was reading Louise J. Ravelli’s “Museum Texts : Communication Frameworks” some time ago and was struck when I found her writing “it is now recognized that there is simply no such thing as actual objectivity. All communication involves selection, interpretation,
a pointof view: meaning can only be made in relation to other possible meanings, and soit is always relative.” I don’t think I completely agree with her viewpoint, but I do think there’s a lot of truth in that statement, namely that a lot of what we call objective
is not in fact true objectivity.
DESIGN READING: Joshua Foer’s book Moonwalking with Einstein describes his stumble into the weird world of memory mastery. What began as a casual interest rapidly sucks him into an existential crisis. The more intrigued he becomes, the more stumped he is: “I didn’t have a clue how my own memory worked,” he says. Foer finds himself shadowing memory champions and chatting with neuroscientists, who, eager to persuade, turn him into the subject of numerous psychological and intellectual tests. He hears repeatedly, “Anyone can do it. It’s memorization. It just takes practice.” So he dives in, emerging one year later in the finals of the USA Memory Championship.What I found most interesting about Moonwalking with Einstein is how quickly we all dismiss our “half functioning” memory. I wonder what our profession would look like if we began to explore the full capacity of our memories, especially since a designer’s work is always referential. Are we aware of these points of inspiration? What role does memory play in the design process? And if “our memories are indeed improvable,” should we be spending more time on improvement?
I am a senior design student graduating in May, and for my final portfolio class, the professor is requiring us to print 100 letterhead and 100 envelopes of our identity for the final project.
We, as a class, find this to be excessive, and wanted to get the feedback of the professional design community.
Is 100 of each excessive, since as emerging designers we are most likely to change out identity in a short timeframe, or should we just suck it up and waste the paper and money?
What is the general opinion of fiverr?
I'm a student designer. What is the average time that you spend researching/sketching for logo concepts?
Turkish artist Burak Arikan combined official promotional videos from dozens of countries into a network-driven deconstruction of the tourism industry.
Presenting Sponsor: Adobe
Karin Fong is a founding member of Imaginary Forces and the designer
behind a long list of stellar film titles and ads. Ideas, concepts and storytelling form the building blocks for her innovative motion work.
Section: Inspiration -
advertising, motion graphics, environmental design, title design, diversity
As webfonts are buoyed by a
wave of early-adopter enthusiasm, they’re marred by unevenness
in quality. In this video from the 2011 “Pivot: AIGA Design Conference,” Jonathan Hoefler raises compelling questions about what it means for typography to be visually,
mechanically, and culturally appropriate to the web.
Section: Events and Competitions -
typography, web design, Conference
Marketing Design InternshipImplus Corporation
Durham, North CarolinaFebruary 17 2014
Infographic: Discusses the role of designers in an evolving web design industry as it relates to a growing topic of professional vs amateurs
Shared in Inspiration by Shmulik Grizim
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