Posts Tagged ‘design’

original sins?

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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product, Paolozzi & Prima: David Keech on design & music

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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bottling decoration?

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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simple

Thursday, February 18th, 2010

apple

An explosion of communication and choice in recent decades has created the global climate of information overload that we are only now beginning to find ways to properly navigate.  The rise of the iPhone app and the price comparison website shows the information economy at work and there is growing recognition of the value of designing access to information.  But what took us so long?

In our personal areas of interest choice can seem miraculous: I can get my favourite version of my favourite song in less than 60 seconds; we can have customised trainers designed in-store; you can get your flat white-half-caff-soy-frappe-latte-cino just the way you like it in a coffee shop anywhere in the world (a distant time it was when coffee was purchased in only one of two states: black or white).  But in general, relentless second-by-second decision-making is required to navigate a deep sea of visual noise. Negotiating our choices can lead to unprecedented fatigue, confusion, stress – and disinterest.  As expectations rise, consumers are increasingly losing their patience. How do we solve this problem?

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brief encounter

Friday, February 12th, 2010

The brief is the key to a good design outcome. Einstein said if he had an hour to solve a problem he would use the first 55 minutes to formulate the right question and the last five to solve the problem. A good design brief is the definition of that right question. In design practice a good brief is extremely rare (I recall only one genuinely complete brief – thank you Nancy Bobrowitz/Reuters!) and its importance is easily overlooked in the rush to results.

Most design briefs are only a production specification, possibly including some vague musings on the brand, but with short-term specifics favoured over direction. The missing element is usually strategy – giving direction, focus and clarity of intent to what is otherwise just a shopping list.  A common reluctance to examine fundamentals makes clarifying design strategy about as easy as nailing jelly to a wall…

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