Consumers are unknowingly involved in daily design decisions. Every time they choose one book over another based on the cover, for example, they have made a design decision. Whenever they choose an app rather than another based on the ease of use, they have made a design decision. They may not be able to articulate why one product is better than another, but they recognize quality when they see it.
Yet when it comes to their own business—whether in the public or private field—they often don’t experience design as a positive contribution to their work and prefer a “do-it-yourself” approach. Most entrepreneurs, in fact, think that technical skills are synonymous
with design skills. The rationale behind this thinking is that if designers can use a PowerPoint template to make a presentation, they can certainly create, say, the company’s annual report or e-newsletter. To them, designers’ technical skills equate to communication: if they
can type letters, then they can communicate a message.
This way of thinking sometimes leads to getting rid of the in-house communication department in times of need or tasking any employee with design projects. Unfortunately, this doesn’t work. You can find evidence in the abundant pile of communication tools such as business cards, brochures or mailers, to name just a few, that get discarded every day. Communication flawed with too much information, lack of alignment or poor hierarchy of information rarely makes its mark.
Good design plays a central role in championing, advancing or popularizing a product, service or cause. It imbues commercial projects with depth and meaning, not just beauty. It informs every form of communication with grace and function. It provides smart solutions to address daily problems and profoundly influences our world.
Designers are individuals who have been trained in or have an interest in aesthetics and functionality. Like others, they help make the world a better place one humble project at a time. But, unlike others, they have also been trained to create things that are
seductive, provocative or graceful but still fulfill their function efficiently.
Skimping on design is never a good idea if you want to leave distinct imprints on people’s lives. Because good design can define a great product, service or cause (and create the consensus that will recognize it) why would you want to miss the opportunity to inform, challenge or stimulate our world with what you have to offer?
Sara Nicoletti Altimari Suttle is a graphic designer, illustrator, and editor from Naples, Italy. She has studied Foreign Languages and Literatures at the University of Naples, Italy and Graphic Design at The Art Institute of Pittsburgh, U.S.
She has a passion for creating engaging content and bringing a lot of inspiration and experience from the editorial field into graphic design. In a very rewarding career through editorial design roles in diverse industries, she has had a measurable impact
on advancing her clients’ agenda.
Primarily focused on completely new ways of doing editorials, she excels at creating designs that generate interest while capturing the heart of the storyline. Specifically her expertise includes conceptualizing and integrating design solutions across
digital, direct and print from creative brief to final delivery.
She thrives on challenge and challenging people and always has an upbeat and collaborative attitude, which makes a good combo on Mondays.
Sean Adams and Noreen Morioka were recognized with the AIGA Medal for bringing wit, charm and a distinctly Californian sensibility to design, and for their commitment to leading the design profession through an era of change.
Section: Inspiration -
AIGA Medal, interview
Preparations are underway for The Big One 2015! Curious about entering? Here is what you need to know to be ready.
AIGA member Jessi Arrington made this video about creating her skateboard for “Bordo Bello,” an annual skateboard art show hosted by AIGA Colorado. Her skateboard design is one of many on view at the AIGA National Design Center in New York City April 22–July 2, 2013.
Mirko Borsche design museum identity uses type that reflects big-name designers' aesthetics
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