Archive for the ‘blog’ Category
Thursday, July 22nd, 2010
Randomly chosen newspaper spread with stories grouped under two page headings. The wide field of vision allows many other connections/reasons-to-read
The Death of Print is a phrase regularly bandied about since the invention of TV (and probably radio before that), appearing with renewed vigour with the arrival of every new communications platform. The actual death of some newspapers and print publications lends urgency to the drama, but the reality is less apocalyptic. Jobs are lost, companies fail, the media landscape changes, but old formats (with the notable exception of the unloved videocassette) assume new roles rather than become extinct. The life and death struggle of old vs. new media is the easy narrative but old media has unique value which should ensure at least a modest survival.
New media platforms have given us massive advances in accessibility and empowerment – but they also come with a predisposition for targeted communication, ‘narrowcasting’ and self-selection. Old media, print especially, has one underappreciated benefit that is absent from the new stuff. It doesn’t decide quite so forcefully in advance what information will be of value to me, limiting what I might learn about the world.
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Tags: communication, design, graphic design, information design, iPad, legibility, media, newspapers, TV, typography, words
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Friday, June 25th, 2010
An illustrator, teacher and member of the editorial board of award-winning contemporary illustration magazine Varoom, Anna Steinberg creates beautifully drawn, witty and thoughtful images, some of which were recently selected for Images – Best of British Illustration and the London Transport Museum/AOI Cycling in London competitions. In this email interview she reveals the significance to her work of ingenuity, mountains, biscuits & old Bidies…
How do you work?
With professional commissions I usually problem-solve in words first and then develop through doodles into resolved pictures. With personal work I do visual experiments and it emerges more spontaneously.
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Tags: Anna Steinberg, communication, creativity, illustration, image-making, inspiration, language, visualisation, words
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Thursday, June 17th, 2010
You don’t construct a building façade-first, then install services, framework and foundations. You don’t build a car by starting with the bodywork. We don’t (unless recovering from a big night out) dress coat & shoes first. So why are some brands designed from the outside-in, imposing personality at odds with experience? Outside-in brand design can set expectations significantly adrift of reality, resulting in dissonant and negative communications and an unsustainable brand. How do you build a sustainable brand? From the inside out.
Graphic design is superficial, ephemeral. Much of it ends up, if not as yesterday’s fish & chip paper (they don’t do that any more), in the bottom of the budgie cage’s (no-one keeps those any more either), binned and recycled until fit only for landfill. Pixels or paper, graphic design is largely transient, disposable. Its outcomes may be all about about the surface but there is every reason why its process should have more depth.
At Wolff Olins as far back as the 1970s a much-used maxim was “you can’t paper over the cracks” i.e. if your company/product/service is poor, a stunning visual identity will not help you long-term, it only creates a credibility gap that makes things worse. Advice that clearly never reached the ears of hapless BP CEO Tony Hayward…
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Tags: BP, brand design, brand names, branding, communication, graphic design, information design, packaging, retail, service design, signage, visual culture
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Thursday, June 10th, 2010
This is my favourite road sign. I like it because it treats me as a sentient human being rather than a mindless drone incapable of independent thought. It encourages me to consider the possible hazards of my situation and trusts that having so reflected, I will make good decisions. Were I not barrelling along at 70mph it would also inspire me to muse further on the meaning of life, the universe and everything…
The rarity of such ‘thoughtful’ road signs makes me wonder why few communications assume an intelligent audience. Too much ‘telling’ surely eventually breeds disinterest. On the roads we all see plenty of poorly regulated over-signing: badly placed, ugly ‘street furniture’ laden with overly instructive signs, sometimes there (it would seem) as much to prevent the local council from being sued as to actually help the public. Credible research now shows that careful removal of oversignage increases road safety. De-signing can be good designing. As in most areas of communication design, consideration of the user and limiting the number of messages to be processed increases the likehood of effectiveness. More thoughtful communications crediting users with some intelligence would be no bad thing.
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Tags: accessibility, communication, design, graphic design, information design, legibility, typography, visual culture
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Thursday, May 27th, 2010
The matchless charm of 1950s/60s comics, which comes not only from the artwork but also the basic (but cleverly exploited) printing technology and cheap uncoated paper (pic via Half-man Half-static).
Forty years back (in the Life on Mars era) the fashionable aesthetic is an informal, natural look. There is lingering hippy talk of ‘getting back to nature’. These are lean years for the high street hairdresser, ‘male grooming’ is a laughable concept and clothes are mostly cheap and nasty or homemade. Design is still a cottage industry but it is looking to the future: Michael English’s Hyper-real airbrush illustrations seem new and extraordinary. Robert Moog’s synthesizer is the future of music (although he hasn’t yet worked out how to keep it in tune)…
March 2010, Farringdon. I’m in a tube carriage near an extraordinary-looking young woman who appears in no way real. Her hair, nails, makeup seem somehow beyond human and her high brow and flawless surface reminds me of the actor/digital hybrid the Red Queen from Tim Burton’s Alice in Wonderland. Blankly shiny, expressionlessly ‘perfect’, she is the HD-ready paradigm of modern beauty. Music seeping from headphones is also soullessly bright, sampled, virtual, autotuned. All of this is in sharp contrast to the immediate noise and grubby texture of London, where illustrators, designers and musicians, bored with software slickness are increasingly going ‘wonky’ (surely the most irritating/overused phrase of 2009), working with the look and feel of handwork, crafts, ‘outsider art’ and forgotten technologies to rediscover ‘charm’….
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Tags: brand design, communication, creativity, decoration, decorative type, graphic design, packaging, typography, visual culture, visualisation
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Thursday, May 20th, 2010
Why do so many brand logos appear unoriginal? Reading some press you’d think that graphic designers sit around all day either copying each other or channeling Vic Reeves: ‘that was my idea’. Are we running out of ideas? Is the media running out of stories? Are strangely familiar logos coincidences, remixes or ripoffs?
Tempting as the brand theft narrative is there are other factors at work. Designers work with the logical and the lateral seeking the ‘original’ – not just to impress their peers, but because an original and distinctive logo is more noticeable, memorable and protectable – a more effective and valuable brand property. This search for originality is not quite the free-spirited enquiry of the fine artist, being at least in part anchored at some level to brand messages and requirements of the client brief. Companies are rarely as unique as they would like to be and often want to communicate many of the same things. ‘Global’, ‘fast’, ‘efficient’, are just a few recurring themes (how many companies do not want to be seen as those things?). As global consumers we swim in an increasingly homogenous media soup (apologies for distasteful mixed metaphor), sharing the same cultural references, so perhaps it is not so surprising that brands are getting less distinct and that designers sometimes come to similar conclusions.
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Tags: brand design, branding, communication, design, graphic design
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Monday, April 26th, 2010
Multidisciplinary designer, musician and teacher David Keech was an Associate with architects Foster and Partners, the first non-Japanese designer at Yamaha Design in Japan, and now runs his own product and interior design practise, Keechdesign.
Kumu chair by David Keech with James Johnson. A Japanese word meaning to join together or assemble, Kumu has only five components, no screws or mechanical fixings and is cut from a single sheet of plywood.
What inspires you? Everything. That’s a serious answer – not just design. Only a small percentage of my inspiration comes from that world, a very congested one, everyone following each other – I think it’s good not to be too involved in that. I probably get more of my inspiration from sculpture, fine art, music, popular culture, than design per se. I spend a lot of time and energy pursuing inspiration, it’s a big part of what I do. In teaching I kick off with slides about inspiration to surprise students a bit, not work by Phillippe Starck or Arne Jacobsen (much as I love them both)… I was at the National Gallery yesterday looking mainly at pre-17th century religious paintings, and I just thought to myself ‘this is fuel’. It’s profound, the human energy involved – let alone the skill. If you could get to half that level, you’d be going some…
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Tags: creativity, David Keech, design, drawing, Duke Ellington, furniture, industrial design, innovation, integrity, interior design, jazz, Louis Armstrong, music, product design, RCA, sustainability, Yamaha
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Monday, April 19th, 2010
British Airways in a proposed merger with Iberia is to list on the London Stock Exchange as International Airlines Group. Boring! When I communicate with power utility E.on, the name always gives pause for thought (am I writing it/saying it correctly? what does it mean?). The two airline companies will continue to trade publicly under their existing well-established brands (volcanic ash permitting) and E.on is probably considered a ‘successful’ brand, but new brand names now seem to come in just two flavours: underwhelming or overwrought. When was the last time a big brand name was launched to anything other than universal derision? What’s up with brand names?
Naming strategies have evolved from simple ownership (Campbell’s), to acronym (BBC), description (Slimfast) and evocation (Breeze). Now ‘no-names’ like Muji (tr.:‘no-label’) and neologisms (or ‘stupid made up names’ as they are more commonly known) like Wii represent newer strategies that are a harder sell and demand a little more – sometimes too much – of the consumer.
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Tags: brand design, brand names, branding, communication, language, words
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Wednesday, April 14th, 2010
Award-winning illustrator and creator of book covers for novels by William Golding, Iris Murdoch, Isabel Allende and Alice Walker, Cathie Felstead has illustrated numerous childrens’ books and worked for big-name clients like British Airways, Channel 4, Ballet Rambert and Oxfam. An RCA graduate, she also teaches final year Illustration at University of Hertfordshire. She talks here about inspiration, deadlines, Angela Carter, Industrial design, Cheryl Cole and Arsenal Football Club…
Do you think you have a particular approach to illustration? There is a difference between the work I do for clients and my own work. My approach to work for clients is quite businesslike: I get a script, look through it and see if there is something interesting about it… (a good fee can make the dullest script more interesting!). The starting point of an advertising job can be less engaging, and more of a challenge. Books and editorial work are generally more inspirational and better suited to my approach…
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Tags: Cathie Felstead, creativity, illustration, image-making, inspiration, RCA, University of Hertfordshire, visualisation
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Wednesday, April 7th, 2010
Functionality, clarity and rationality reign supreme in contemporary design. The Bauhaus casts a long shadow and analysis of function, distillation of meaning and removal of the inessential gives us the calm spaces, ordered structures and clear interfaces that we need to navigate our complex modern lives. It could be argued that decoration is anti-design. Style is inevitable, but ‘decoration’ is just for cakes and wallpaper, no?
There are areas of design where indulgent visual richness remains desirable and appropriate, a signifier of value and/or emotion. Decoration blooms sporadically now – our rapid cultural turnover often rendering it ‘tired’ before it can establish itself. It may not be a dirty word any more but beyond the confines of fashion and interior design, decoration often coexists uneasily with cool minimalism and rational typography. Are we are in danger of losing the art of decoration?
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Tags: creativity, decoration, decorative arts, decorative type, decorative tradition, design, graphic design, ornament, packaging, packaging design, St Germain packaging, traditional typography
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