quarta-feira, 30 de abril de 2008
Does your company demonstrate best practice in environmentally conscious design?
Know which standards can help your products meet potential future regulations on ecodesign?
Attend this FREE 1-Day BSI British Standards Forum to learn how to manage sustainable design more effectively, and to have your say in shaping the direction the UK should take in regard to future standardization in sustainable design.
There is a growing focus on sustainable design within the design community and more widely amongst manufacturers and service providers.
New directives and regulations are currently being implemented in the UK which will place specific eco-design obligations on designers across the product lifecycle.
Another significant driver is the potential cost savings for manufacturers - sustainable product design can lower costs across the whole manufacturing process.
Setting Standards for Sustainable Design will communicate good practice in environmentally conscious design and identify priorities for development.
Feedback from this forum will be used to inform standards output in this area.
AIGA, in partnership with Adobe, seeks to define the critical attributes of tomorrow's designers, in terms of skills, education requirements and work environments.Share how you see emerging trends in your profession and contribute your own perspective.
terça-feira, 29 de abril de 2008
Max Kisman of Max Kisman Studio, San FranciscoDutch-born
Max Kisman was already a household name in the European design arena when he immigrated to California in 1995 to work for HotWired, the online version of Wired magazine. Today, Kisman freelances from his San Francisco studio, exploring the capabilities of desktop television and video for graphic design.
Kisman doesn't rely too heavily on places beyond his office walls as sources of inspiration, although sometimes concepts spring up as he tools around in his Alfa Romeo Spider or visits nearby Muir Beach and Mount Tamalpais. Still, he says, there's no predicting whether these activities will motivate ideas. "I'll probably just get distracted instead," he says.
That's why his favorite "place of incubation" is, simply, the shower. "A pleasant, warm shower makes me feel relaxed and disengaged," Kisman says. "Unexpected ideas often pop up in this state of contemplation." At least he's found a spot where he's not likely to be bothered.
Jack CK Chen of The Museum of Television & Radio, New York City
When you regularly work alongside design legends such as Lou Dorfsman in an environment that showcases the work of the most significant entertainment artists of this century, you'd better be able to keep great ideas coming. That's the challenge Jack CK Chen faces every day in his role as art director for The Museum of Television & Radio in New York City. Along with special-event graphics and a plethora of print work, Chen merges the look and attitude of the museum's Web site with Dorfsman's designs for its printed schedules.
Chen says many of his ideas come to him in visually overloaded settings, particularly those of Chinatown. He frequently mingles his esoteric needs with the pragmatic, inventing solutions for design problems while satisfying his gastronomic cravings. "Inspiration often comes to me from Chinatown's grocery stands as I'm doing my food shopping," Chen says.
"I find that the contrasts in color, pattern and texture from all the foods found there lead to a wealth of ideas." Chen's constant companion on these trips is a pack of Post-It Notes. When something sparks an idea, he quickly scrawls it out for later reference.
Joshua Berger of Plazm Media, Portland, OR
Plazm Media is involved in so many types of creative enterprises that ideas have to flow continuously. Plazm Media encompasses a design studio (Plazm Design), a digital foundry (Plazm Fonts) and an experimental arts magazine (Plazm). Partners Joshua Berger, Pete McCracken and Niko Courtelis describe Plazm Media as a small, international cooperative that focuses on "unrestricted creative expression" chronicling "now culture," devoted to the cause of promoting Portland, OR, as a vital creative community. In 1997, the group's personal undertakings—as well as work for Nike, MTV, Microsoft and Taco Bell—earned Plazm Media a spot on I.D. magazine's list of top-40 global design innovators.
While Berger doesn't have a designated thinking spot, he finds that some places are more favorable than others for stimulating ideas-—particularly those where good friends and good beer can be found.
"My creative process is fairly tactile; it only requires a pen and paper," he says. "I have a favorite pub where the noise isn't too loud to talk over and good beer is served. That's where I often get ideas. I don't know how many times I've held onto ripped, soiled napkins until I could transfer the ideas to something less ephemeral."
Other places that offer Berger oases for inventive thinking include his home, the Plazm studio (at 2 a.m. or on a weekend when the phone isn't ringing) or a jet in transit to and from clients in Japan. "There's nothing like a six-hour flight to get some work done," Berger says.
Detlef Fielder and Daniela Haufe of Cyan, Berlin
Cyan's work is considered "out there," even by today's standards, and is highly acclaimed throughout Europe. The studio's income reflects the nature of its clientele in the cultural sector, like the Bauhaus Museum and the experimental Form + Zweck magazine, offering a high degree of creative freedom in return for a "small to nonexistent" budget.
"The innovators have the ideas, the followers have the cash flow," jokes principal Daniela Haufe. Cyan staffers' design heroes are the avant-garde artists of the late 1920s and early 1930s because Cyan's staff relates to the financial hardships these creatives endured and their philosophy that artists can't separate life from art.
Taking this to heart, Cyan's tiny Berlin studio also serves as home for Haufe and her partner Detlef Fiedler. Constantly rubbing elbows might have its drawbacks as far as privacy is concerned, but in terms of inventive-ness, the payoff is huge. "Where we get our ideas is less a question of the room, and more of the table, since we have only the one room for everything (cooking, eating, drinking, sleeping, washing and working), but lots of tables," Haufe says.
"One is reserved exclusively for our morning idea-gathering sessions with cappuccino, cigarettes, and peace and quiet. A few weeks ago, we were sitting at the table discussing illustrations for a poetry-book project when we were disturbed by our cleaner vacuuming. This horrible noise gave us the idea of using vacuum cleaners in the book's illustrations."
Somi Kim, Lisa Nugent, Susan Parr and James W Moore of ReVerb, Los Angeles
The Los Angeles-based design firm ReVerb is known for its outstanding conceptual work involving almost all known types of visual communication, from Web sites and broadcast graphics to every form of print media. The three partners—Somi Kim, Lisa Nugent and Susan Parr, along with senior creative James W Moore—guide their intense collaborative design process by drawing on many forms of inspiration, including people (Tibetan monks; Dutch designer Willem Sandberg, who made his mark right after World War II; and their own contemporary, Zuzana Licko), places (Japan, the Netherlands, New York City and Los Angeles) and things (books, movies, music and food). But while their designs might result from collaboration, each artist has a favorite thinking spot.
Somi Kim's ideas often come during early morning walks. "Every day, I get up at 5:50 a.m. and go to Griffith Park with my dog, Stella Tulip," she says. "Our hike takes us to a ridge overlooking both the Los Angeles basin, edged by the Pacific Ocean, and the Glendale/Valley side. The view is spectacular, even when the smog line is pronounced, and the changing light, flora and fauna—including eccentric park regulars—are an important reflection of the systems and juxtapositions that permeate much of our work."
As a child, native Californian Lisa Nugent learned the art of "car thinking" (and, undoubtedly, patience) sitting in the backseat of her parents' vehicle during family roadtrips. "Today, the drive has evolved into a ritual, offering uninterrupted time to think about whatever comes to mind," she says. "Car thinking can result in great insights, unexpected flashes of wisdom and can often simply put things into perspective."
James W Moore takes his "food for thought" literally. "Every day between 3 and 4 p.m., I take a break from our hectic work schedule and walk to a nearby drugstore for my midafternoon fix of M&Ms—yellow bag, usually king size," he says. "This allows me a moment to clear my mind from the bustling studio activity by focusing on the sweeter things, like little chocolate-covered peanuts with candy-coated shells—dark brown, red, orange, yellow, green and blue—colors that complement each other extremely well." And by the time he's returned to the studio, any mental blocks impeding his creativity have melted away.
Susan Parr goes shopping for ideas. "Whenever I can, I go looking for whatever catches my eye," she says. "Random associations and relevant connections often pop up while I'm just browsing or scanning, whether it's at a garden shop, near the newsstand or just people-watching." The trick, she adds, is to have no expectations. "Not predefining what I'm looking for allows me to know it when I see it.' Better yet, it just clears my mind. It's amazing how the quiet idea, the simple twist or some-thing that's right under one's nose can become or inspire the 'big insight.'"
quinta-feira, 24 de abril de 2008
A resposta para estas perguntas é a mesma que justifica a inclusão do Design como categoria independente em Cannes, pela 1a vez, este ano. O diferencial do designer é a capacidade de, durante o processo criativo, usar como principal fonte de inspiração os desejos reais das pessoas. Não os desejos na superfície, empacotados aos montes nas qualis e quantis tradicionais. Mas os desejos que precisam ser garimpados, os mais profundos e às vezes impensáveis anseios do dia a dia.
Os designers têm essa incrível capacidade de garimpar desejos em investigações diferentes das qualis e quantis, normalmente numa 'investigação participativa'. Ou seja, fazendo parte da experiência da vida do consumidor para 'desenhar com' e não 'desenhar para'.
O Design de ambientes, especialmente o retail environment - uma das subcategorias do Design em Cannes - tem mostrado os resultados dessa conexão com os desejos das pessoas. Enquanto o varejo transforma as pessoas em shoppers e buyers, o Design quer falar com as pessoas e não com o papel que elas desempenham. Aí é que está a diferença.
Texto de Fred Gelli, diretor de criação da Tátil Design, diretamente de Cannes: www.canneslions.com onde é um dos principais jurados na categoria design p/ o site www.bluebus.com.br/
Pois é....somos os caras e as caras...., rs,rs,rs!!!!!
But Are Interaction Designers Part of Your Agency?
Micro-interactions are the everyday exchanges that we have with a product, brand and service. Each one, in and of itself, seems insignificant. But combined they define how we feel about a product, brand or service at a gut emotional level. In the case of Google, each time it helps us find what we are looking for, view a map, send an e-mail or connect with a friend, it deposits a positive impression in our memory banks.
Text by: David Armano
Full Article: http://adage.com/digitalnext/article?article_id=126579
terça-feira, 22 de abril de 2008
segunda-feira, 21 de abril de 2008
Despite doing no visible consumer advertising, search giant Google repeats as this year's most powerful brand in the third installment of research firm Millward Brown's Brand Z in partnership with The Financial Times. The rankings are based on public financial data and Millward Brown's proprietary brand-equity database that looks at 10 years of data on consumer relationships with 50,000 brands.
sábado, 19 de abril de 2008
The Tottenham brand, has been created to close the gap between people's current perception of Tottenham and what it has to offer as a place to live, work and play - presenting Tottenham as a destination for business, living, shopping, culture and fun. It was funded by London Borough of Haringey and the London Development Agency and led by North London Business, a sub-regional development agency.
The brand will be delivered and rolled out by the Tottenham Partnership, an initiative involving local businesses and the public sector, intended to drive business renaissance and promote sustainable economic regeneration by improving the image of Tottenham.
The Tottenham brand was developed by Lloyd Northover through a series of consultations, engaging with the local community and key stakeholders in order to better understand the aspirations of local businesses and residents, and creating momentum around the repositioning of Tottenham. The brand builds upon Tottenham's unique physical and cultural connections to encourage more people to embrace and experience the rich variety of opportunities that Tottenham offers - business, cultural, educational, social, leisure and sports.
The bold and distinctive "T" icon, in a palette of pink, orange, lime and blue, was developed to capture the essence of Tottenham using icons to represent the live, visit, work and play aspects of Tottenham. Specifically, icons of leaves and butterflies represent parks and open spaces; the globe and people stand for cultural diversity; the plane, taxi and tube sign all represent Tottenham's excellent transport links; the balloon and fireworks symbolise festivals and celebration, etc. It is an intricate logo that can be explored and delved into, yet is robust enough to be used on any application.
Phil Heaton, senior brand consultant at Lloyd Northover, says: "The brand is a rallying banner for everyone in Tottenham - repositioning it as a place with great opportunities for businesses, with a talented and skilled workforce, and as a diverse, vibrant, dynamic, safe place to live, work and play. It is a very exciting project to be involved in, as the brand and identity play a key role as both the inspiration and the vehicle for the important work to be delivered by the Tottenham Partnership - they are fundamental to its future success.
"Angie Chandler, Haringey City Growth board member, adds to this: "As Tottenham's image improves, the area's excellent location, transport connections and below average property prices will certainly place Tottenham in a very competitive position as a national and international business location."
sexta-feira, 18 de abril de 2008
quinta-feira, 17 de abril de 2008
Approximately 300 people attended the official signing ceremony to celebrate WDC Seoul 2010. Invited guests included Icsid President Prof. Carlos Hinrichsen accompanied by the Icsid Executive Board and the WDC Founding Chair Prof. Dr. Peter Zec, Diplomatic Corps from 41 countries, City Council Members, District Mayors, figures of the international and domestic design community, as well as other city officials.
The city government announced its intention to showcase Seoul as a city that attracts creative talents because of its creativity and innovation. Leading up to 2010, the Korean capital will truly be seen as a global city of design by implementing related projects and building on its image as a glamorous tourist attraction.During his celebratory speech following the signing, Mayor Oh expressed his firm commitment and confidence in design by stating "in addition to our amazing economic achievement, winning the WDC title is a great opportunity and excellent challenge for us to make a fresh leap forward through design.
The year 2010 will be a platform to present Seoul as a global city of design."At a press conference held after the signing ceremony, Icsid President Carlos Hinrichsen extended his support for Seoul's vision for the project by stating, "Seoul will be an exemplary World Design Capital as it develops a strong programme for 2010." Former Icsid President and WDC Founding Chair Prof. Dr. Peter Zec provided attendees with the background on the creation of the WDC competition and expressed his delight for Seoul.
Thank you to those who have commented on the Blog discussion on World Graphics Day. A number of great events have been highlighted, and we encourage you to take a look.
We are also accepting posters for World Graphics Day, which will be posted in our photo archive:
Please send your submissions to:
Icograda Blog: www.icograda.org/feature/blog.htm
Design for the World sends these lines to all those who collaborate in the project for the design of the push-pull pictogram, in order to inform you, that several petitions from participants have reached us, asking for a delay of the entry date of the projects, sketches or ideas. We attend now to this petition and declare June 15, 2008, the definitive deadline. From that moment on, we shall proceed to the next phase of which you shall be informed, as promised.
Grafist 12: International Graphic Design
WeekFrom 5-11 May, the twelfth edition of Grafist 12, the International Graphic Design Week will take place in Istanbul, Turkey.
Grafist is one of the longest running education focused graphic design events in Istanbul, Turkey, organised by Mimar Sinan Fine Arts University (MSGSU).Participants attend workshops, lectures, exhibitions and special events.
The programme includes workshops from 5-8 May, with presentation of the results on 10 May.The International Seminar will take place on 9 May.
quarta-feira, 16 de abril de 2008
Os Cadernos estão abertos à mais ampla participação de colaboradores, quer regulares, quer episódicos, que queiram ver os seus artigos e as suas opiniões difundidos por este meio. Os artigos assinalados com o nome do(s) seu autor(es) são da responsabilidade desse(s) mesmo(s) autor(es) – e também sua propriedade intelectual.
Conforme o nome indica, os Cadernos de Tipografia incidem sobre temas relacionados com a Tipografia, o typeface design, o design gráfico, e a análise social e cultural dos fenómenos relacionados com a visualização, edição, publicação e reprodução de textos, símbolos e imagens.
Os Cadernos, publicados em português, e também em castelhano, galego ou catalão, dirigem os seus temas a leitores em Portugal, Brasil, Espanha e América Latina.
Os Cadernos de Tipografia não professam qualquer orientação nacionalista, chauvinista, partidária, religiosa, misticista ou obscurantista. Também não discutimos temas pseudo-científicos, como a Semiótica, por exemplo.
Em 2008, a distribuição é feita grátis, por divulgação da versão em PDF posta à disposição do público interessado em :
E a última versão 7 está aqui:
Qualquer pessoa ou instituição pode propagar os Cadernos de Tipografia.
© 2007,8 by Paulo Heitlinger. All rights reserved.
terça-feira, 15 de abril de 2008
For information on how to prepare and submit your creations, please go to www.pentawards.org.
5 major sectors comprising 44 categories will afford every packaging an opportunity to compete with creations for all comparable market, giving each type of market the same chances to succeed. A detergent will not be up against a perfume, for instance, nor will a soft drink compete with champagne, etc.
A maximum of 3 bronze, 2 silver, and 1 gold Pentawards will be attributed by the international jury.
The packaging with the highest marks of all creations entered in each of the 5 major groups (Beverages, Food, Body, Other markets et Luxury) will receive the prestigious Platinum Pentaward.
The best of the show, for all categories, will be crowned with the Diamond Pentaward.
segunda-feira, 14 de abril de 2008
Artigo escrito por Jeanne Liedtka, que é professora da Darden School of Business, da University of Virginia, e diretora-executiva do Batten Institute, voltado para o desenvolvimento da liderança nas áreas de empreendedorismo e inovação corporativa. Ele fala sobre estratégia. Mas, mais que isso, ele faz uma provocação sobre a forma de se pensar e estabelecer as estratégias.
Será que ela precisa seguir as “receitas de bolos” fornecidas pelos MBAs? Será que tem que ser um processo tão científico assim? Não dá para pensar realmente “fora da caixa”? São estes os principais pontos do texto que ainda enfatiza as características criativas dos designers, que poderiam ter seus poderes de criação inseridos neste contexto de gestão: visão de futuro das empresas.
“Há tempos se conhecem os problemas das abordagens de planejamento tradicionais, como a tentativa de criar uma “ciência” (e a conseqüente perda de criatividade); a ênfase excessiva nos números; a priorização da eficiência em detrimento do conteúdo; e a predominância de técnicas isoladas, aplicadas de maneira incorreta.
Os estrategistas empresariais continuam a propor alternativas aos processos tradicionais, mas é do universo dos designers que chega a abordagem mais diferenciada e promissora. Estes sugerem processos com maior participação e diálogo, mais foco no tema do que no cronograma e disposição para aproveitar as lições dos conflitos em vez de evitá-los – ingredientes genuinamente dirigidos para a criação e o aprendizado e não para o controle.
Tudo isso parece muito bom, mas é preciso perguntar se não é bom demais para ser verdade. Qual seria o impacto se a fórmula dos designers realmente fosse adotada pelos executivos? "...
Texto completo, fonte e imagens: http://oglobo.globo.com/blogs/tecnologia/default.asp
sexta-feira, 11 de abril de 2008
Uma das peças premiadas na campanha foi o viral criado pela 511 Filmes. O filme se destaca pela linguagem eletrônica arrojada e moderna, associando o tema viagem com o ritmo eletrônica das baladas, oferecidas na promoção cultural. Segundo Carlos Ristow, diretor da 511 Filmes,“o vídeo serviu para ilustrar o clima do concurso que sorteou um pessoa para irem várias baladas ao redor do mundo”.
Now in its 55 year, the Cannes Lions International Advertising Festival is the largest gathering of worldwide advertising professionals and advertisers as well as the most prestigious international annual advertising awards."The Festival has an exceptional reputation in the creative community for its international scope and vision. Our endorsement celebrates the positioning of communication design as an integral process in brand building and the Festival's commitment to meeting Icograda's best practices for design competitions." said Brenda Sanderson, Icograda's Managing Director. "We are pleased to be working with the Festival organisers in achieving these shared values."
quinta-feira, 10 de abril de 2008
Join MCNY curator Donald Albrecht and Pentagram partners Michael Bierut, Michael Gericke, and Paula Scher Wednesday, April 16, 6:30 pm
quarta-feira, 9 de abril de 2008
quinta-feira, 3 de abril de 2008
quarta-feira, 2 de abril de 2008
building things atom by atom, are just becoming designers, so it really is interesting that design is the one that unites so many different forces today.