quarta-feira, 30 de abril de 2008

Sustainable Design Forum / London

Want to have your say on the future direction of sustainable design standards?

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.

More: www.bsigroup.com/en/Training-and-Conferences/About-conferences/UK-conferences/SustainableDesign/

Defining The Designer Of 20015

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.

More: http://designerof2015.aiga.org/

terça-feira, 29 de abril de 2008

Where do You Find Your Best Inspiration?

Some people do it in the shower; others in the car. But, no set standards make one thinking spot a better idea generator than another. The only common bond is that your spot must be a place where you feel at ease, where you can relax to a point at which you're able to put your challenges in proper perspective. Find out where top designers let their minds run wild:

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.'"

Font: http://howdesign.com/article/findinspiration/

Joseph Binder Design Award 2008

The call for entries is open for the Joseph Binder Award 2008: Graphic Design & Illustration.
This international performance review is a biannual independent competition for graphic design and illustration (2D).Design Austria (DA), the Austrian professional association of graphic designers, illustrators and product designers, organises an annual international design competition, the Joseph Binder Award, which for the first time was held in 1996.
Joseph Binder (1898-1972), one of the founding fathers of the association, revolutionised contemporary visual communication both in Europe and in the United States, using a reduced vocabulary of form.His principles continue to be valid today.The subjects of the competition alternate annually between product & environmental design and graphic design & illustration.This year's focus will be graphic design & illustration.

quinta-feira, 24 de abril de 2008

Porque o Design vai a Cannes como categoria independente?

"O que faz do Design uma ferramenta cada vez mais estratégica no mundo dos negócios? Porque grandes empresas, como a Procter & Gamble, estao criando 'super times' de designers para atuarem praticamente como gerentes de produto? O que explica a reportagem de capa de uma recente edição da revista HSM Management que revela que de cada 10 CEOs de companhias de sucesso 9 eram designers, mesmo que não soubessem disso?

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!!!!!

Brand Interactions Are the Future

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

Where Do You Find Your Best Inspiration?

Discover Where Top Designers Find Their Best Inspiration
Do you ever wonder how the designer who created your favorite packaging or design piece came up with the concept? We asked 5 top designers—one agency being dubbed a top-40 global design innovators on a list by I.D. magazine—where and how they tap into their inspiration.
Come with us behind the scenes and learn how these creative minds transform the ordinary and everyday into the kind of captivating work that you pin up at your desk or wish you'd done.

segunda-feira, 21 de abril de 2008

Best Brand on Earth? Starts With a G ...

Search Giant Keeps Its Spot Atop Millward Brown Rankings NEW YORK (AdAge.com)

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

A New Brand for Tottenham Spearheads the Tottenham Partnership Initiative

A new brand and identity for Tottenham has been developed by brand strategy and creative consultancy Lloyd Northover.

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

FIAE 2008 - 3º Festival Internacional de Animação Erótica

A terceira edição do FIAE – Festival Internacional de Animação Erótica, irá ocorrer entre os dias 7 a 14 de Novembro de 2008, no Rio de Janeiro - Cinemateca do MAM - Museu de Arte Moderna.
As inscrições para os filmes estarão abertas até o dia 1 de Agosto.
O regulamento e a ficha de inscrição estão disponíveis no site: www.fiae.com.br
onde poderá também ver as imagens das edições anteriores.

quinta-feira, 17 de abril de 2008

Seoul City Government Host Offcial World Design Capital 2010

On behalf of the Seoul Metropolitan Government, Mayor Oh Se-hoon signed a memorandum of agreement with the International Council of Societies of Industrial Design (Icsid) during a ceremony at the city as the World Design Capital (WDC) 2010.

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.

Font: www.dexigner.com/design_news/seoul-city-government-host-official-world-design-capital-2010.html

World Graphics Day

As we approach 27 April, World Graphics Day, we are looking back to past events and highlighting activities around the world taking place this year. Marking Icograda's anniversary, this day is an opportunity to recognise communication design and its role in the world.

Planned events
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.

Poster gallery
We are also accepting posters for World Graphics Day, which will be posted in our photo archive:



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.

More: www.designfortheworld.org/


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.
More: http://www.grafist.org/

quarta-feira, 16 de abril de 2008

Cadernos de Tipografia 7 - Parte 2

Os Cadernos de Tipografia são redigidos, paginados e publicados por Paulo Heitlinger; são igualmente propriedade intelectual deste editor. Qualquer comunicação dirigida ao editor – calúnias, louvores, ofertas de dinheiro ou outros valores, propostas de suborno, etc. – info.tipografia@gmail.com.

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

Pentawards 2008

Pentawards, the only worldwide competition online dedicated exclusively to packaging design, will be open for entries in less than two weeks!

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.

Memória Gráfica Brasileira

Foi lançado, no último mês de março, o site "Memória Gráfica Brasileira", que pretende resgatar o legado do design e das artes gráficas no país, fortalecendo a memória nacional e sua contribuição para a formação de uma identidade brasileira. Iniciativa do caricaturista Cássio Loredano e da designer Julieta Sobral, o site tem também entre seus responsáveis os professores da Esdi Guilherme Cunha Lima e João de Souza Leite assim como os ex-professores da Escola André Stolarski e Rafael Cardoso, além de outros profissionais e pesquisadores.
Como projeto paralelo, foi criado também o site "J. Carlos em revista", que documenta o trabalho do carioca José Carlos de Brito e Cunha, o J. Carlos (1884-1950), um dos maiores nomes da caricatura e da ilustração editorial no Brasil, por meio da digitalização das revistas "O Malho" e "Para Todos", dirigidas por ele entre 1922 e 1930.
"Memória Gráfica Brasileira": www.memoriagraficabrasileira.org
"J. Carlos em revista" : www.jotacarlos.org

segunda-feira, 14 de abril de 2008

Sustainable Brands Conference 2008

The global move toward innovation for sustainability is alive and well, and leading companies big and small are capitalizing on this new opportunity to build sales and brand equity.How can you join their ranks?Join a vibrant mix of top brand leaders, leaders in product design and innovation, sustainability executives and the network of experts who support them, in the world-renowned setting of the Northern California Coast.Meet like-minded executives while examining the underlying issues, hard choices, and proven success stories of those at the forefront of creating profitable change for sustainability.
You'll find a world-class speaker roster, inspirational stories, best practices, and networking with like-minded professionals in a business friendly, collaborative learning environment.In-depth sessions help you understand market trends, update your products and operational strategies, improve internal communications, and strengthen customer affinity for your brand.If you seek to be part the next wave of innovation for the 21st century, SB'08 is the one learning opportunity of the year you can't afford to miss.

Se os executivos pensassem como os designers...

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


The creative ideas of designers can have an impact far beyond the design world. they canbe a powerful force for social good.this is a call for involvement. a call for change.
Deadline May 30, 2008

sexta-feira, 11 de abril de 2008

One Show Design Finalists

Congratulations to our 2008 One Show Design finalists. Pencil winners will be revealed at the One Show Design Awards and Exhibition on May 6 at The Chelsea Art Museum. Now in its 8th year, One Show Design has become a highly-respected worldwide competition that's unique in the industry for recognizing excellence in design.
View the 2008 One Show Design Finalist: www.enteroneshow.org/images/pdf/2008DesignFinalists.pdf


A campanha online "Smirnoff Experience" ganhou o troféu de prata no Lester Wunderman Awards. A premiação que aconteceu em Nova York, em fevereiro, contoucom votos de diretores de criação de quase 80países.
Criada pela unidade brasileira da Wunderman, o vídeo disputou com ações realizadas pelas Wunderman's do mundo.

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”.

Cannes Design Lions 2008

Montreal (Canada) - Icograda is pleased to announce its endorsement of the inaugural Cannes Design Lions.

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

Spotlight on Pentagram: Designing New York's Visual Identity

Pentagram has created identities for the Brooklyn Academy of Music, the Public Theater, the New York City Ballet; designed packaging for Saks Fifth Avenue and graphics for the new New York Times Building; and conceived of everything from museum exhibitions to the cornerstone of Lower Manhattan's Freedom Tower.

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

Bombay Sapphire

Bombay Sapphire, the word’s leading premium gin and one of the co-sponsors of the red dot award: design concept, has collaborated with three of the biggest names in the segment of luxury design – the French crystal manufacturer Baccarat, the London jewellery house Garrard, and world-renowned designer Karim Rashid – to create an outstanding design. The outcome of this collaboration is the limited edition Revelation bottles, the world’s most luxurious gin bottles.

quinta-feira, 3 de abril de 2008

The Red Dot Design Museum

Mozart, Falco, Viennese Schnitzel and coffee house tradition – most Germans will have these associations when thinking of Austria. This notion is as likeable as it is clichéd and incomplete. Today, Austria is one of the EU countries with the highest export growth rates and this is also the result of its investment in design. An insight into prize-winning Austrian product design is provided from 9 April until 4 May 2008 by the red dot design museum in Essen with the “abstrakt – konkret – ausgezeichnet (abstract – concrete – prize-winning)” exhibition. In co-operation with the Austrian association of designers ‘Design Austria’ it presents the prize-winning and award-winning projects of the Adolf Loos State Prize for Design 2007, Austria’s most important design prize with the largest prize purse, which was created to make the outstanding achievements of the Austrian design scene visible. The vernissage will take place on 8 April from 6:30pm.

Hillman Curtis Films

I've recently had the pleasure of filming the artist/designer Stefan Sagmeister over the course of his month long residency at Deitch Projects in New York City.
Testimony by Milton Glaser, Bob Gill, Massimo Vignelli and Debbie Millman.

quarta-feira, 2 de abril de 2008

Design and Elastic Mind

Paola Antonelli, senior curator at the Museum of Modern Art's Department of Architecture and Design talks about her approach to putting together her latest show, Design and the Elastic Mind as well as her opinions on the state of design and its role as communication.
What do you hope viewers take from the exhibition?
I just want them to have this soaring feeling of possibilities. Every single show I do is to explain to as wide an audience as possible how sublime design is. I really consider design one of the very highest forms of human creativity. I consider it very complex and very tough because it's not only about having a great idea it's about going through all the steps and reality checks that design entails and still having the great idea at the end. I just want to communicate that. Also, every show that I curate always has different levels.
I am at the MoMA, I'm very lucky to be here, because I have a big audience, but they're not necessarily here to see design. Hardly ever. They come here to see Matisse and Picasso, God bless them, and then they stumble upon my show and I keep them there. To this audience I need to be able to speak. To an audience like this you speak through beauty, through the sense of surprise and delight. So you enter the show and you immediately feel that it's a special space. You see the objects and see that the objects are gorgeous.
Then you start reading and you can go deep into things. Then, of course, I talk to the audience, my community, the design community. I want them to feel proud of themselves. I want them to be inspired by what they didn't know yet so I try to make an effort to show things that they might not have seen in other shows. It's a special moment for design, for the history of the world, from a technological and ethical moment. I want them to feel that, feel their important role and that somebody's talking about this important role and feel their responsibility to their potential. And then, I'm talking to my other audience in another community, which is the audience of people that are slightly more advanced in art and culture. I want them to understand the important position of design.
How did you go about starting to collect this vast group of items?
What conditions or tenets did you keep in mind? When I started out, there were hardly any conditions. Whenever I start an exhibition of this scope, one of the first steps is to bug everyone I know. I sent out this message, saying I'm doing this show. In the beginning it was not called "Design and the Elastic Mind," it was called "The State of Design," very wide. I said Have you seen anything? Is there anything I should look into? Any school I should visit? And with Patricia [Juncosa Vecchierini, curatorial assistant] we collected, we look at blogs, we look at magazines, we travel, we go to schools, shows. And then, we gathered, I think it was about 1,700 ideas.
The first filter is that, well, they all happen at the same time. The ideas shape together with the submissions; it's a give and take. But definitely one of the very first priorities is that they are gorgeous, not beautiful in a platonic sense, they just have to be really, almost unimpeachable from a design standpoint. You look at them and say, That's a really great design process, which means it's about seeing the idea at the very end. Of course, as you know, there are also science projects in the exhibition. There are many people who don't' call themselves designers who have two PhD's in neurophysics and nanotechnology, so one second thing they all have in common is the attempt to really reach the real world. Because even in the scientists' works that you see in the exhibition you'll notice there's always a way to try and communicate with a wide audience, by any means possible.
Sometimes its comfort, sometimes it's prettiness, like the SMIT solar cells, the idea that instead of covering your house with solar panels that are really ugly you can have this ivy growing on your house, or by means of humor, Paul Rottemund does the DNA Origami in the form of smilies or by means of clarity, so you have Thomas Mason doing the lithoparticle alphabet soup. So they all try to reach out. They have that in common. Then what they have in common is this attempt to be propositive, to propose something for the real future. I don't really like science fiction, but I like to think of tomorrow and the day after tomorrow. So everything that you see in the show is based on hypotheses that are plausible. There's no teleportation. Even though that's my dream. But there's already the idea that nanophysics can really help designers and architects grow things. So that's plausible.
Even when I show the blind date agency where people base their pairings not on sight or other profiles but on smell, the funny thing is that I found an article in The Economist two months ago that says there really is such an agency in Boston. You think it's hypothetic and then it works. So they have in common this propositive nature. Once you've filtered that, hopefully your ideas start to crystallize, then you start having very precise themes. The next skimming is according to the themes. The final skimming really starts being the imagination of the show. We're still also visual designers in a way, you try to compose things together in a way that's beautiful and makes sense, so that's a whole different way, it's really a mise en scene. The exhibition takes shape in a totally non-linear way, but in the end, if you have a strong idea from the beginning it all comes together, sort of like nanophysics.
Something that I wanted to bring up, is that this idea of design and science coming together was developed slowly over a year and a half with a collaboration with Seed magazine. That was a very, very important collaboration because really that taught me so much and built up the enthusiasm of the dialog. One of the things that I realized early on is that both design and science want to change their position in people's culture. Scientists wanted to stop being considered lofty and abstract; and wanted to show how engaged they were in the real world. And designers wanted to stop being considered decorators. This dialog also helped them establish a certain ground in people's culture so as not to be ignored any more, to be boxed in certain dogmatic clichés.
The exhibition notes refer to a major change in human behavior that's reflected in designers' work and the objects in this collection. What sort of change in curatorial behavior is going to have to reflect that?
It's a big change. And actually one of your colleagues helped me figure it out during an interview. Instead of making a statement and establishing a canon and saying, This is the way things are, it's about establishing a trajectory. I only work in a collaborative way, and in the way I like to keep things open, to present a nice comfortable environment in which designers can thrive, my catalog designer, my website designer, Yugo Nakamura, all of the designers in the show. Also I wanted to really put my foot down and say, This is what design is doing now, but then it's open. I hope that this trajectory is what I'll be remembered for, not for rules and recommendations.
How does that apply to digital things? I think one of the big challenges now for curators is how they're going to present digital work, work on the web.
The challenge is only practical, it's not conceptual. It's a huge practical problem, and there's an example that has to do with our collection and not with the exhibition. I want to acquire the first graphic interface, Xerox Parc's Star in 1981. The computer is so obsolete, it's lovely to see, but what do I do? Do I make it run on the original computer and then go nuts because every day you have to go crazy [with maintenance], do I simulate it interactively on a computer of today, do I show a video of a period piece maybe with David Liddell or somebody else using it, so I show it in pictures? What do I do? There are many ways to do it; it's really complicated, but to me, it's only pragmatic, the problem, it has to do with migration. When something is in the present, it's much easier.
To give you an example, I'm trying to develop this idea, I don't want to call them virtual acquisitions, but they're acquisitions based in the public domain. One of the biggest changes in human behavior is that more and more we don't want to own objects, but rather we want to use them and they remain in the public domain. There's not any need anymore to acquire objects, like Zipcars, even cell phones in the United States, they cost so little. I've been wanting to acquire a 747 for the collection. My idea is not to have it, there's no room and there's no need. Not everybody can afford to take it, but everybody can afford a ride to the airport to see it, everybody's seen it, there's a feeling about what a 747 is like.
I almost don't need to own a specific model. It's the 747, this beautiful, gorgeous clumsy dromedary of the sky that changed the way people traveled that I feel that needs to be celebrated as a masterpiece of design. So I developed this whole idea, I went pretty deep into figuring it out. MoMA would license its name to an airline so three aircraft going through New York would be the MoMA aircraft. Maybe inside the upholstery fabric is different, the cutlery is better, the onboard library, instead of having only golf magazines has architecture and design magazines, maybe the little cart sells MoMA design store items, It's just MoMA saying, Oh, we love this plane, without needing to own it. When you develop this model, you can really not be stopped by scale anymore, which is really is one of the most important tenets of contemporary society, not to be stopped by scale.
You touched on not including teleporting and things like that. With the speculative nature of some of these projects, does placing the museum's stamp on them worry you? When you're dealing with these future technologies you're dealing with things that might not have the applications you think they would.
You take risks. I would rather be remembered for saying something would work and it didn't work than saying that something is not going to work and then it works. I even started my essay in the book showing all of the wrong predictions. I would rather take risks and say, Oh, this will work, and give confidence, rather than do the opposite. We've had quite beautiful discussions here amongst curators in the museum and with the director about taking risks, saying, Let's take risks. And let's fall on our butts, if necessary. I think it's better that way. So no, I'm not scared. Whatever it takes to make people think and have opinions I'm happy about. If there's any far out things in the exhibition, maybe in Design for Debate, the concepts of nanotechnology and how it can transform our bodies. But, you shouldn't take that; it's not about objects that will happen, it's about building scenarios that make us think about how we should deal with nanotechnology.
Also, you mentioned this earlier, there are lots of disciplines represented where the people who come from those disciplines would not consider what they do design, (such as) coders and software engineers. How do the objects coming from those fields straddle the line between being functional as a great website or Google Maps mashup and also a design? Design is about communication; it's about this extra step to reach people. That's why I felt the right to include things that were not born as design in this particular exhibition. And it's very funny because the scientists and artists were happy.
I thought of instances in the past where I did design shows and wanted to include artists, I tell you, there's one artist that did not want to be included because he said, Oh, it's a design show, it's not art. He regretted it terribly. There's still this nuttiness, artists think that they're higher than designers, but it's changing. The umbrella of design has become a desirable umbrella for artists, scientists, engineers, to the point that there's a book called Sensorium, (and in it) there's an essay by Peter Galison who is a science historian and much more at Harvard, and it's a beautiful essay about nanotechnology and it's a beautiful essay because it talks about the concept of nanofacture, and it says how scientists, because of nanophysics and the possibility of
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.
Just the idea of making. Another beautiful neologism is thinkering, that's John Seely Brown, this idea of experimenting with a goal that is also communicative, not just theoretical. Notice I'm not saying aesthetic, I'm saying communicative, because I think that what makes design design, is communication once again, not beauty. There's also beauty, and beauty can be a way to communicate, but it's communication.
At what point in putting together this show did you say to yourself, Wow, we've got a really great representation of the state of design here?
Whenever you start thinking of a show you don't think of a show ever as a landmark or a blockbuster, anything like that, you think of a show that gets your juices going, it really gets you excited. The concept forms itself as you go, it's a work in progress, and you have no clue as to how it's going to be received. To be totally honest with you I realized this was going to be a special show a day and a half before the opening, because I started to see it coming together and I realized it was really good. This is like "Mutant Materials," it's another little leap.
And it continues "Mutant Materials" in a way, because that was a portrait of the state of design at that time. What was happening was designers were starting to design materials themselves, and not only objects. Today, they're starting to design the inner laws that create behaviors and objects; it's going even further into the deeper scale of design. So this show probably couldn't have happened before, because there are cycles in history; when you're in my position all you do is observe and something happens at some point and if you're lucky enough and have your antennas up at that time you catch it.
It seems like this is a pretty wide-ranging show, it encompasses a lot. From my limited view, I don't think I've seen anything that's deigned to tackle this wide a group of things.
It's not for me to say; I haven't seen it either. The way I see museums and design exhibitions, it's really like an amazing network, we all have our functions and we all do things differently. Like the Victorian Albert is great at doing the sweeping historical shows, design and Surrealism, Modernism, now they're doing the Cold War, they do that best. The Design Museum, right now it's changing but there was this interdisciplinarity under [former director] Alice Rawsthorn so they were doing Phillip Treacy hats and the Eames exhibition so they had great graphic design shows, Peter Saville, they were really looking at design this multifaceted way, and now Deyan [Sudjic, director] is trying to, he's done Zaha Hadid, so they do that.
And then you go to the Denver Museum, they're the ones that do postmodernism, which we don't do. Then you go to the Cooper-Hewitt, they have a more historical mandate, so we all do different things Centre Pompidou does different things. This is what I do best. I'm good at making this kind of, I really consider myself a reporter in a way, no reporting is ever objective, but what reporters are good at doing, if they have that talent, is synthesis. They're able to catch this broad view and put it together that marks this moment in time. That's what I do best. So, very humbly, we all do our thing. No, I haven't seen another show like this. I'm glad to be put in my own little tassel in this big puzzle.
Read more here: exhibition's website.