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IS FOR TEAM Art Directors : Heriman Ha Greg Hughes James Riddell Editors: Salwa Bachsinar Jessica Croker Designers/Typographers: Jacqueline Bayot Annie Phan Flash Managers: Kimuly Chung Jonathon Iskov James Purnell

Studio Director: Greg Hughes Branding and Launch: Christopher Swan Kathleen Vrinat Production and Studio managers : Andrew Evan Justin Temporal Image Directors: David Fogarty Priscilla Laycock Thomas Melville

1. Heriman Ha 2. James Riddell 3. Kathleen Vrinat 4. Christopher Swan 5. Jessica Croker 6. Salwa Bachsinar 7. Andrew Evan 8. Justin Temporal 9. Jacqueline Bayot 10. Annie Phan 11. David Fogarty 12. Thomas Melville 13. Priscilla Laycock 14. Kimuly Chung 15. James Purnell 16. Jonathon Iskov SANS WHATE ER

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Editor ial

Letter from the editors

Hey! Thanks for taking the time to look at our awesome online publication. Join with us and travel through our own little space to discover what we are all about and our view on design today. Our title may be a tad misleading but definitely not our message. “Sans Whatever” is an online magazine all about leaving the ‘whatever’ attitude behind. It’s for all the young

designers out there who want to be more than just the usual; ‘problem solver’ designer and become, truly CREATIVE. Design for us is more than just answering the brief; it’s about bringing to life designs that people can relate to and connect with. We are all about moving forward, being open to change, creating with a fresh or refreshed outlook, being not just the youth of today but being forward thinkers. Sans

Whatever is about inspiration and guidance for informing sensitive, purposeful and meaningful designs. At this stage you are probably thinking to yourself; “what has space got in relation to our meaning?” The whole space theme is a metaphor for design. Visualise this. Space exploration; we as the creatives; are the explorers, moving from ‘old-school’ space ships and planets

towards the futuristic; abstracts, colours and compositions. Ultimately it portrays us as being forward thinkers, yet still considering all those that have come and gone before us, because without that we wouldn’t be where we are today. So, leave your whatever attitude behind and journey through the passage of our space, and escape into our little world of design.

Editors Salwa Bachsinar Jessica Crocker

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Contents 09. Design Needs Purpose Justin Temporal

15. Emotions in Motion Kimuly Chung

21. Technology and the Internet: Should We Care? David Fogarty

31. Dominating Design Andrew Evans

45. Recycled

Jacqueline Bayot

53. How do we go about Design? Whatever? Chris Swan

75. Stepping Back Kathleen Vrinat

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Heriman Ha

93. An Eye for Detail Rocks My World Tom Melville

99. Be Inspired James Riddell

103. The Creative Life Salwa Bachsinar

109. Express on your Chest Jonathon Iskov

113. World Wide Web of Design Trends

69. Paper Playful!

119. Dreaming Reality

Annie Phan

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81. More than just Fashion; R.I.P. Alexandra Mcqueen

61. Think Outside the Frame Jessica Crocker

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James Purnell

Priscilla Laycock

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{ The stronger you feel about a design the harder you will work to make it effective

}

Adding understanding and meaning to Design. Justin Temporal

Studying design has enabled many students to see the world from a different perspective. It has become very important within today’s society whether or not people acknowledge it. Due to the dramatic increase in designers we have become ‘immune’ to design that goes outside the box. There are always different designs to be made, yet it seems so hard to come up with a totally different and original idea. There is nothing wrong with this ever expanding world of design, as it shows progress. Just designing without cause is not a smart thing to do within the industry. Knowing what you are working on and understanding the client’s needs is very important when it comes to design.

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Making something look pretty doesn’t always count as being a good design. Good design starts with understanding. This article is not to go against the idea of being creative, in fact it should push the designers to be more creative and to choose designs that they find work well with the information given. Not only that, but I think that designers should be able to work on jobs that line up with what their convictions are. The stronger you feel about a design the harder you will work to make it effective. The work that you create will reflect who you are as a designer. If you do not enjoy a design, there will be a sense of ‘burden’ about what you are doing and you may be doing the client a disservice.

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From a personal perspective, if someone has asked you to work on a job, this job can strike you emotionally and become a personal view of your reaction. I feel as though this is important; as it will affect the overall design. Someone who has invested in a design and its cause will definitely want to make the design work as well as possible without any limitations. The 2012 Olympic Games logo was designed by Wolff Olins and is extremely creative. There was no doubt that it was considered cutting edge. But the information it was trying to portray definitely made it lose its integrity as a design.

One article had said it well; the Olympics are meant to be a source of inspiration to up and coming designers, we don’t want to see something that we have already seen before. We don’t want to see a design that is essentially something familiar. The name “London” was written in lower caps, while this works effectively with the design, the idea of putting a countries name in lower caps is [and was considered by the country itself] rather demeaning, if not speaking against the country and putting it down. Understanding who is going to be viewing your work is important. We can see from the same example of the 2012 London Olympic Games. While the logo was creative, it used all the wrong assumptions as its base for the design. The final result was fluorescent colours that only made the design look worse. The design in itself was illegible, making a vague ‘2012’ out of what seemed to be rock fragments that made it onto my screen. The way they went about creating the design was to say ’we’re being different’. In this case, it’s already been seen before. To top it off, it wasn’t liked in the past as much as people like it now.

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{ Understanding who is going to be viewing your work is important }

Comments from the London general public likened the new logo as one from a poorly designed 80s music cover. There is no disagreement on this part that it could’ve been designed better. A petition had been sent around trying to change the logo, forty thousand people who had also agreed that the design could’ve been a bit more inspiring. Understanding the audience is key. Their intent to design to a younger generation was trumped by the fact that they didn’t understand what the generation would find as good design. When you neglect the audience’s needs, you find that your designer battles will be more uphill than they need to be.

Staying up to date with not only, current affairs, but with the design world is important. Not being active in design can leave anyone feeling rusty and struggling to find inspiration. You may even feel as though you don’t understand the audience. Getting inspiration from other designers and ‘mimicking’ them to see if you can do it yourself can be interesting, as long as you don’t claim it as your own work. Your works at first may just look like copies of designs people have seen before but as you move within the design world you soon create your own style of work which others may try to imitate.

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{ Creativity is possible without an ulterior motive } The graphic design industry can sometimes be so engrossed in making money rather than creative effective designs. But it appears that this isn’t the only industry to be influenced by money. De La Soul, a classic hip hop band commented on the music industry as they worked with the Gorillaz. “Hip-hop needs the spontaneity Gorillaz have. It’s become too much like a business – everyone’s just

out to make money from it in any way possible so it’s halted the creative side.” (De La Soul) I feel as though this happens in most creative industries but this statement is relevant to design. I believe that the ‘creative side’ can be halted when one starts to focus on “what they get out of it.” In an era where having money is very important we seem to miss why we wanted to join the design industry.

While I agree that graphic design is a business, it can also be viewed in a different way. Creativity is possible without an ulterior motive. Designers should understand that their creativity should come back to its purpose. Once the design has purpose and direction creativity should be able to follow closely. While we have seen that there can be many different kinds of people who do not seem to listen

to the audience against the design and others who have understood that the creative industry needs to see the purpose first to focus creatively. With these examples in mind, I hope that you will think about what you design and its purpose.

References Bb News. De La Soul: ‘Jay-Z Could Do With Being As Spontaneous As Gorillaz’ | Worldbbnews. 5 March 2010. 16 March 2010 <Http://Worldbbnews. Com/2010/03/05/De-La-Soul-Jay-Z-Could-Do-With-Being-As-Spontaneous-AsGorillaz/>. Geoghegan, Tom. Bbc News | Uk | Magazine ‘Oh No’ Logo. 5 June 2007. 16 March 2010 <Http://News.Bbc.Co.Uk/2/Hi/6719805.Stm>. The New York Times. Design – British Design – Not What It Used To Be – Nytimes.Com. 7 August 2009. 16 March 2010 <Http://Www.Nytimes. Com/2009/08/24/Fashion/24iht-Design24.Html?_R=1&Pagewanted=2>.

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This is pretty engaging stuff; it is technically beautiful with its eye catching and seamlessly integrated effects that give strong emotional impact. Before we know it, we find ourselves completely hooked. Kimuly Chung

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This is pretty engaging stuff; it is technically beautiful with its eye-catching and seamlessly integrated effects that give strong emotional impact. Before we know it, we find ourselves completely hooked. Motion graphics is one of the most revolutionizing and influential designs of today. It is fast becoming an evolution towards the presentation of film and video, commercial art and graphic design. It

has fundamentally helped us better understand our world by imparting information and providing entertainment. The art of motion graphics is about giving life to inanimate words and images through time and space to communicate and deliver unparalleled experiences such as emotions. Emotions are seen as one of the most powerful tools for designers and play a big part in design. Rob Chiu a UK based graphic designer specialising in motion graphics, directing film, photography and design for print, effectively shows this through all his works. His portfolio is very unique and

expressive and is widely becoming internationally recognised. One of his most favourite and well known projects , â&#x20AC;&#x2DC;Black Day to Freedomâ&#x20AC;&#x2122; is emotionally captivating and brilliantly told, as it expresses the subject of refugees (Kelly). It is an entirely animated story that visually portrays the tragic loss of a young family caught in the centre of city turmoil and delivers a powerful impact. The stories that Chiu tells through his motion are both personal and inspiring. Fear Love is another moving piece that emotionally captivates us. Rob Chiu wrote, directed and edited this film, as it expresses about todayâ&#x20AC;&#x2122;s problematic youth and lack of identity. Most of his pieces created, show us an astute understanding and experiences about the uneasy life. (Stout)

{ Emotions are seen as one of the most powerful tools for designers 17

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{ Rob Chiu is definitely a key inspiration Rob Chiu founded the website ‘The Ronin’ in May 2000 to showcase his collection of designs that emotionally impact and inspire a great deal of audiences. His leading reputation in motion graphics has created attention to young creative designers around the world and places a new trend in motion design. Chiu constantly creates evocative stories to his work and sets a new perspective on

}

designers. His style is without a doubt a valuable skill to favour and follow. (Chiu) Rob Chiu first undertook motion design when he was completing his final degree piece at the Manchester Metropolitan University in North West England (Kelly). His clients include, Leica Cameras, Nokia, BBC, EMI, Greenpeace, Channel 4, IDN and Hybrid Studios. His short films have been awarded and featured in a number of film festivals such as Edinburgh, OneDotZero and Resfest. He also regularly speaks at design conferences and Universities around the world. Chiu is currently represented by London based Stink and New York based

Curious Pictures. (Chiu) Rob Chiu is inspired and heavily influenced by film, travel, music and poetry. His design intention is to make films that really grab you, as he said, “I never want someone to look at my work and say ‘oh that looks cool’. That’s failure to me. I try and put my heart on my sleeve and put it out there.” (Stout). Chiu is driven by sound and suggests that, “50% of all good motion design is sound” (Chiu). He prefers to know the direction of the audio before making the motion, as the music is generally what inspires him to create the emotions in his work, and also helps him fuel the visuals. (Kelly)

For further insight on Rob Chiu, follow him through his blog, ‘Untitled Memories’, which is accessible through his website. His blog personally gives us an extensive background to his latest and best works, interviews, design conferences, trips, and upcoming projects. In conclusion, his works have influenced designers today to utilise the tool of emotions. Designing an emotional piece

can really impact and reflect your very own personal style. Emotions can help assist and direct a response to the style of your design and Chiu is definitely a key inspiration for that. So, check out his blog and growing portfolio on http://theronin.co.uk/, it’s definitely worth a look.

References Chiu, Rob. Contact. The Ronin. 2008. Web. 13 May. 2010. <http://theronin.co.uk/ Contact/> Chiu, Rob. Untitled Memories. The Ronin. 2010. Web 13 May. 2010 <http://www. theronin.co.uk/blog/> Kelly, John. Interview with Rob Chiu. Streetgraphic. 2006. Web. 13 May. 2010. <http://www.streetgraphic.com/issue/3/ronin/> Reuter, Markus. Rob Chiu – The Ronin. Better Taste Than Sorry. 2010. Web. 13 May. 2010. <http://bettertastethansorry.com/2010/01/rob-chiu-the-ronin/> Stout, Lyndy. Searchlight: Rob Chiu. Young Director Award Blog. 2009. Web. 13 May. 2010. <http://youngdirectoraward.wordpress.com/category/lyndy-stout/>

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Technology and the Internet: Should we care?

We all own computers, have access to the internet and now the new trend seems to be iPhones. This and other applications such as the internet and games like World Of Warcraft are changing the way we communicate. Is this good or bad? David Fogarty

{ They keep people from doing what theyâ&#x20AC;&#x2122;re suppose to do and have ultimately replaced face to face socialising }

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These days the iPhone has become the common phone used by people our age, 17-25. We almost all have laptops, are using the computer everyday and are communicating more online than not online. Writer for The Oron Kelly Chandler, states that, “These sites have become distractions to our everyday lives. They keep people from doing what they’re supposed to do and have ultimately replaced face to face socialising”(Chandler). As designers should we care? The answer is,Yes! We should care! It is our purpose to people of today to keep the face-to-face communication up by designing products that make

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us stay in the real world, not on our facebook or in our computer game world. The Internet has become huge over the last 20 years. It has gone from becoming a simple communication to a way of life. Things such as Secondlife, Ebay, World of Warcraft, Pokemon, and Facebook have created a generation of younh people who are stuck on their computer for very long peiods of time, often hours and hours on end! You may think that there is no harm in this but it has been shown through studies that over the last 10 years because we use the Web, communication in the “real

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world” has become slower and people have actually had entire lives on the computer. For Amy Taylor and David Pollard this was all but true. David was caught having virtual sex in Second Life and because of this action of “cheating” the couple divorced in real life (Cheng). The reason this is in relation to what I am saying to you, is that these actions should be done in “real life” not through the computer. I know this idea can be strange or hard to relate to, but I also know that this is true for many of you reading this. Who of you have a World of Warcraft account (WoW)? Or who uses Facebook? WoW and

Facebook are two of the main sucking in powers of the Internet. They both make the user spend endless amounts of time on the Internet often not needing to see people in reality. I can almost guarantee that you, right now, have a Facebook account and have it linked to your e-mail address or your phone. This is a lot more rampant than you may think. “Its mobile website, and SMS, a full 65 million members reach Facebook via mobile devices every month. That comes to 26 percent of the 250 million total active members that Facebook puts out as its official number”(Schonfeld).

facebook

{ 65 million members reach facebook via mobile devices every month } 25

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A huge number of people do not even need to go to a computer to get now thanks to this device. This space aged device has taken its place using the internet and our technology as a base. Though we have the internet, it shouldnâ&#x20AC;&#x2122;t replace human interaction. It is important to not be immersed into the virtual world. A happy medium can be found. The danger is falling into the trap that many others have and to actually start living another life. One in the real world, and the other on the computer, on your games or on your facebook account. So what do we need to do as designers? We need to design

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products that encourage face-to-face connections to people and move away from the idea of just talking online or just living in a computer world. This isnâ&#x20AC;&#x2122;t reality, I know sometimes we like to believe it is reality, what with virtual presents and being able to see what people are doing instantly, but it does not replace real connections. We need to recognise this aspect in society and address it and not simply disregard it. A whatever attitude is not called for, in fact quite the opposite, we need a Sans Whatever, or a caring attitude in where we are interested in this new way of life, trying to design away from it.

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A good example is the new Pokemon pedometer. Yes that’s right; Pokemon are on the right step. This is where you can trade Pokemon and gain experience points the more you walk, moving towards the goal of a more reality based life. It may be simple but it’s a good way of moving away from the stuck-on-the-computer way of life that has been designed for our generation.

References: -Chandler, K. “Gadgets induce lazy behavior.” The Orion 10 Dec. 2008: Web. 12 May. 2010.<http://www.theorion.com/2.694/gadgets-induce-lazybehavior-1.4445>. -Cheng, J. “No second chance for marriage after Second Life “adultery”. Ars Technica 14 Nov. 2008: Web. 5 May.2010. < http://arstechnica.com/gaming/ news/2008/11/no-second-chance-for-marriage-after-second-life-adultery.ars >. -Schonfeld, E. “About a Quarter Of Facebook Users Connect Via Mobile Phones Teen Crunch 3 Sept. 2009: Web. 14 May.2010. <http://techcrunch. com/2009/09/03/about-a-quarter-of-facebook-users-connect-via-mobilephones/#ixzz0oL5PmDu6>.

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{ moving away from the stuck-on-the-computer way of life } SANS WHATE ER

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Dominating Design It’s pretty daunting standing on the edge, about to take your first steps into this entirely competitive and ever changing world of design. Learn not only what worked well in the past, but learn how to make it better, then you can conquer the world. Andrew Evans

It’s pretty daunting standing on the edge, about to take your first steps into this entirely competitive and ever changing world of design. So much uncertainty and wonder about how you might be able to make your mark in the industry and stand out. It leaves you thinking, what is design, really? No one has given you the answers. When people find out you are studying design, they say, “Well what does that mean, what kind of design?” Giving them a good answer is sometimes hard when you are not even sure what design is, in essence.

{ Those who forget the past

are condemned to repeat it }

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The best answer you might be able to give someone could be to tell them what a graphic designer is, rather than try to define ‘design’. You might tell them that “Graphic designers are defined by the tasks they perform” as they are not limited to doing one type of design. Designers are not always remembered for their name, but their footprint on the design landscape. Creating something that can change a whole industry is something that all designers should aspire to do. One of the most important things to remember is to appreciate the things that have worked in design in the past, and avoid stepping backwards. Use what has worked, but strive to make it better.

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Being unique at the same time as following the trends of successful design is also something that is very hard to do. It’s hard, impossible even, to make a completely original and unique design. Every designer has their own influences that dictate the way they think and the type of style they design in. These influences can range from the way they were brought up, and artistic material they were exposed to as a child and throughout their school life, as well as the music they listen to, and the movies they like. Someone can be influenced and inspired by anything; whether it is a beautiful sunrise, or a childhood memory. The more experiences and things you see, the more you can learn. It’s these things which shape a designers style and inspires them to become a better artist.

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One other main thing that influences a designer, and points them in the right direction is the trends of successful designs of the past, and the predicted trends of the future. A designer can learn so much from the success or the failure of a design of the past. They can observe what worked and what didn’t. Using this knowledge, they can then predict what is going to work in the future, as well as allow for new ideas and trends that may be accepted due to new technology or styles.

{ People think that there is some

mystical and wondrous standard of excellence to judge a web design against, this is certainly not the case

As George Santayana, a Spanish philosopher of the 1800s, has said, “Those who forget the past are condemned to repeat it.” We should learn from not only our own, but other people’s mistakes too. Without being aware of other people’s successes or failures, mistakes will just be new and improved. It’s easy to say a design is bad, but knowing why is the essential part of moving forward. The same goes for successful design. Knowing why it works is the only way you can apply the ‘trends’ of good design into your own work, without just copying it.

}

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Enough can be said about the theory behind making a successful design. Putting it into action is another thing. There are so many industries out there that fall under the umbrella of design. For example, there are websites, animations, photo media, print media, illustrations, interactive designs. These are just a few main categories. There are countless other cross over sub-categories that designers can be concerned with, but its best to learn the basic trends of the core design types first to be confident enough to step out into the world of design, and probably the most relevant and important design industries right now is web design.

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Web design is so important because it utilizes animations, photo media, illustration and interactive design. Websites can be like a showcase of a designers best work, because, not only do they have to create the coding and structure of the site, but also manipulate the pixels on a screen to look like something youâ&#x20AC;&#x2122;d want to read. Because there are literally countless websites on the internet, it should be easy to understand why youâ&#x20AC;&#x2122;d want yours to stand out.

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{ It’s easy to say a design is bad, but knowing why is the essential part of moving forward }

To dominate design, and the design of a web site to be specific, a designer must have a good understanding of how to judge whether a web site is good or bad, and spot the important trends that make it work. Sometimes people think that there is some mystical and wondrous standard of excellence to judge a web design against. There is no way that could work, even thought it would make it a lot easier for designers to make good work. For example, you don’t judge a graphics software website like Adobe in the same way you would judge the website of a church. Because no matter how well the church site may be designed, it will rarely be able to compete with the resources that were used in creating the website of one of the world’s greatest graphics and design software manufacturer. You judge a type of website by how well it lives up to the ideals of the standard for that style of website. 39

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For example, the styles of websites could be broken down into several groups. Portal Websites, like Google and Yahoo, are like gateways to the internet. Just think, why do you prefer Google over yahoo, or vice versa? News Website, they provide news. Which ones present the news in a more relevant way? Entertainment Websites, they grab your attention for long enough to make you want to buy a product or see more of something. What website entertains you the most? Informational Websites, they tell you what you want to know. Facts are facts, so why is Wikipedia so popular? Last but not least, Personal Websites. Sites made to discuss the events of someone’s life, could also be considered as blogs. How do individuals stand out to get their story heard? If you take the time to look at more sites in these categories, you’ll see that within each type of site, there are many similarities in design, and you’ll see why some work better than others.

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So what are the big web design trends of 2010? There are several different trends that can be combined into a design which create an overall trend. For example, currently in web design the obvious trends in new web sites are, but not limited to: Oversized Logos/ Headers, Sketch/ Hand-drawn Design, One Page Layouts, Huge Images, Change of Perspective, Interactive Design, Minimalism & Grids, Retro.

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Knowing these trends will give you a great platform to dive into the big wide world of design, and apply them; to whatever type of website you are creating. Making a website with the necessary technical skills is easy, however creating a winning design that provides a memorable experience for the user is another story.

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{ Learn not only what worked well in the Trends in design can only give us a direction to head in. To dominate design, a designer must know how and why they are important. Being on the verge of stepping into the industry is something all young professional designers must face at some point or another. They must prepare themselves with every resource available, and in 2010, there has never been a better time to take the plunge. With the internet at their finger tips, they have access to examples of design from any period in the history of mankind. Knowing what worked and didn’t work will give them the upper hand in conquering the world of design. As soon as they cross over they will become the next generation’s leader in design, and create the next wave of trends.

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past, but learn how to make it better, then you can conquer the world }

References Drucker, Johanna, and McVarnish Emily. Graphic Design History A Critical Guide. New Jersey: Pearson Prentice Hall, 2009. Flanders, Vincent. Son of Web Pages That Suck. San Francisco: Sybex, 2002. Nickla. “Design Trends (Predictions) in 2010”. Web Designers Wall. 21/1/2010 <http://www.webdesignerwall.com/trends/design-trends-predictions-in-2010/>. Thomas, Jacqueline . “Web Design Trends For 2010”. WDL - Web Design Ledger. 2/11/2009 <http://webdesignledger.com/tips/web-design-trends-for-2010>.

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Our inspiration stems from many things; looking to the past to see what has been done before can give us direction to push forward and create meaningful design. We can reinvent the old to create the new. Jacqueline Bayot 45

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{ History repeats itself; like in the fashion world. Fashion styles are recycled from the inspiring designers who shocked the world }

Now don’t let the title mislead you, this isn’t an article all about saving trees! Recycling is a good way to address past issues in order to create the new. “Very few ideas are truly original; we recycle thoughts of previous generations and combine them in new ways via increasingly advanced processes” (Carney 55) Our society is constantly changing, upgrading and evolving with the use of technology. As young designers we want to be noticed, we want to produce good designs, we strive to be creative, however, rarely is a design original. The ideas we have are always in some

shape or form influenced or inspired by something. When we are given a brief, we need to come up with an idea. How do we get this ‘idea’? Where does it come from? How will I come up with an idea that’s going to be unique? We need to research! Identify the needs and problems, gather information and then develop different strategies for the brief. We should think about the industry context and the audience which we will be designing for. Our inspiration can come from many forms; from our hobbies (which don’t have to be design related!), artists, designers, images,

{ By being informed in our own design practice we can refresh ideas to form creative, purposeful and meaningful design

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{ Our society is constantly changing, upgrading and evolving with the use of technology. As young designers we want to be noticed, we want to produce good designs, we strive to be creative

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movies, stories, music, our daily surroundings like taking the trip to Uni everyday or walking the dog; there are countless possibilities that we can take inspiration from. We gather information consciously and subconsciously and by having an open mind we can think about things we see and things we don’t see. These ‘things’ may give us a kick start into an idea that is fresh, and by utilising these forms of inspiration we can start to develop our own style. Research allows us to produce designs that we like and can relate to, thus being able to communicate the message effectively to the audience. 49

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Don’t be afraid to look at and learn from those who have come and gone, the ones that started the ‘trend’ from eras that we see in books, movies and photographs; they themselves were inspired by other people and the society of the time. We can learn from their actions, both their accomplishments and mistakes. Looking to history we can learn from previous designers and see what has and hasn’t worked in the past. Researching what has been done before can give us direction, we can then tackle a brief with a stance that has been creatively informed. In this way, we can move forward and create a new spin and our own style on

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{ Finding inspiration and researching in order to come up with an idea that is creative and fresh is a rewarding process

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the design. We don’t have to reinvent the wheel; we can take these inspirations and make them our own. History repeats itself; like in the fashion world. Fashion styles are recycled from the inspiring designers who shocked the world of their time with their designs, as they pushed the boundaries of body image. Peter Ingerwersen is a fashion designer inspired by rock and roll, who is responding to worldwide contemporary issues surrounding global warming. He creates his youthful unique designs with sustainability in mind. With the use of technology he is able to successfully mix

ethics and current eco issues with high fashion design, proving that sustainable fashion can break the stereotypical images of models wearing potato sacks, plastic and paper (Rachlin 24) As designers; we should keep up with the; dare I say, recent ‘design issues’. This is not something that is hard to do; how many hours a day do we spend on the internet? Visiting blogs and websites is an easy and effective way to find out what’s happening out there, what’s new and upcoming. Mathew Daley on Design Inspiration Blogspot says:

present moment all while trying to forge my own style that I hope is distinct and consistent but not too alienating and that satisfies me as well.” Looking at current trends is a way to be informed about what’s out there at the moment. We want our designs to have our own style, however, not be totally different that it is alienated and socially irrelevant. Finding inspiration and

researching in order to come up with an idea that is creative and fresh is a rewarding process. We should look to history to be able to reinterpret what has been done successfully; being informed allows us to be able to move forward, update the old; keeping in mind ethical and current trends to create the new. By being informed in our own design practice we can refresh ideas to form creative, purposeful and meaningful design.

“I try to keep track of what’s in vogue stylistically at the References Carney, Rob. “Be more creative.” Computer Arts (2010): 52-55. Print. Jeff Andrews. Matthew Daley. Design Inspiration, 12 FEB 2010. Web. 12 MAR 2010. <http://designinspiration.blogspot.com/>. Rachlin, Natalia. “Sense and Sustainability.” Zink (2009): 24. Print.

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OW DO WE, GO

ABOUT

DESIGN

“WHATEVER?”

H

Designing often requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design. Chris Swan

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{ Design underpins every form of creation from objects such as chairs to the way we plan and execute our lives }

According to the College of Design, Bachelor of Fine Arts, Graphic Design, Iowa State University, “Designing often requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design.” With such a broad definition, there is no universal language or unifying institution for designers of all disciplines.” It is clear through the versatile and in depth processes that designers go through whether young or old, that the term “whatever”, clearly doesn’t exist. “Whatever”, is a stereotype that follows the youth, but; it is clearly seen that such terms are not part of our vocabulary when it comes to aspects of life, especially in design. There are many design processes that designers go

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through to reach a final product to present. It is said that the youth of today has a negative attitude towards design, a “whatever” attitude.

achieve a final product that has a certain stylistic quality about it.

This “attitude”, states that we don’t care, cannot be bothered and/or have no real aspirations. But when it comes to design you can throw this attitude out the window. In no way do young designers have a negative or a “whatever” attitude when it comes to design. Design takes a lot of effort and a lot of time if you wish to present a good final product. To begin work on any design, you must have an idea of the design philosophy for the given product. A design philosophy; is a guide to help make choices when designing such as ergonomics, costs, economics, functionality and alterations. An example of design philosophies being put into action is when a designer uses “dynamic change” to alter the existing design and

Due to how broad the idea of design is, there are countless philosophies that are put into place. Design philosophies are usually for determining design goals. Ivar Holm stated, “A design goal may range from creating the least significant aspect to the most important function of the product.” Once this has been put in place you may start to go about your design for your product. Dino Dini stated at a talk given at the 2005 Game Design and Technology Workshop held at JM University, “design underpins every form of creation from objects such as chairs to the way we plan and execute our lives”. So when designing, try and find similarities in design, something that this design has in common with something else, whether this be for video games, consumer products or your own personal life.

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{ A design goal may range from creating the least significant aspect to the most important function of the product } Planning is the number one process you must go through in defining a process. You have to do the research and background checks for your client before you start the design. Once you understand who your target is, what your product is and who your client may be, you may begin you design. There are many ways you can go about your design. And each way is known as a design approach. Design approaches are to guide the designer. Several approach techniques can be used at a given time. The designer must first plan how they are to attack the brief, by exploring different possibilities, limitations, researching the product, client and users, exploring the various techniques that can be carried out and defining the original problem. This is known as brainstorming. Examples of other approaches to design are; exploring and defining the product, prototyping, creating and researching. Once you begin your design approach, you know you are on your way to achieving a final product. 57

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{The young are permanently in a state resembling intoxication } Aristotle stated, “The young are permanently in a state resembling intoxication”. Is this a truthful statement on youth? Answer me this: How can a designer go through all this and still be considered to have an attitude of “what ever”? These are processes and activities that designers whether young or old all go through before even attempting the physical designing of a product. Do you think that design could be where it is today with the attitude “whatever”? No chance. When it comes to design we are looking to the future, looking to the youth. We are the future. Do u feel as though the statement of “whatever”, is a true testament to our lives, our design morals and attitudes? Young designers have a very

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positive attitude and open mind when it comes to design and this stereotypical “whatever” attitude does not exist in the head of a young designer. It is seen that good design cannot be done with the attitude “whatever”, much work is needed in original research alone, to present a final product. If a designer had an attitude of “whatever”, the final product will not consist of evidence of research and design processes. Therefore, be of poor quality. References: Monash University “What is design”, online, http://www.artdes. monash.edu.au/design/study.html 2009, last visited April 2010. College of Design, Bachelor of Fine Arts, Graphic Design, Iowa State University. (Mission statement, 2nd paragraph, from “Analytical thought...”). Holm, Ivar (2006). Ideas and Beliefs in Architecture and Industrial design: How attitudes, orientations and underlying assumptions shape the built environment. Oslo School of Architecture and Design. Dino Dini’s blog, online, http://dinodini.wordpress.com 2010, last visited May 2010.

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Think

OF

utside t he rame

““ Thinking outside the frame”“, to the world

around you; you can reflect on your brief and create meaning in your own designs and work. Jessica Crocker

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Most designers are always striving to achieve the best that they can, to create something that has meaning, something to inspire, not wanting to settle for something that is mediocre. Where does this meaning come from? Putting meaning into a design isn’t always something that’s simple and can be done with the click of your fingers. It takes time, and reflection. Designers often find their inspiration and meaning in many different forms, it can be found in the world around you, the people places or things that directly influence and relate to you. It can be a combination found in the past, present and future. The past relating to those things that have happened in the world or your own history, the present, what’s happening in the world, and your world right now, and the future, where you the world is headed, your hopes, dreams, and goals.

To illustrate this point, that a designer can take inspiration from several aspects in their own world to place meaning in a work, I’m taking an example from my own work, in relation to a photography brief given to me in 2007. The photography brief; entitled temporal account, was asking for a body of work that had a theme or narrative structure to the images. This left the scope of the brief extremely broad and diverse in terms of what you could produce. I wanted to create something that held a strong meaning and message. Just before the assignment was handed out, we had undertaken study into portraiture and its

history, I was fascinated at the way in which the trends in portraiture had changed over the years, and this got me thinking. The starting point from there was reflecting on what I knew about the history of portraiture and how that could develop into a concept to answer the brief. This took me into a deeper research of portraiture; over time, concerning its history and development. There were distinctive similarities in those portraits produced early on with the invention of the camera and before, in most cases the subject was lit in the same way, the angwle in which the

{ Over the centuries, portraiture, noted as a peculiarly British obsession, has changed, if not developed, in terms of its aims and the influences to which it has been subject (Davids) } 63

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frame was shot, or painted, the pose of the subject, and even the way in which they were dressed; in their “Sunday best”, a new hair cut and for the men cleanly shaven.

{ I broke down the components of portraiture

Roy Davids; a Historian, teacher and writer, who has also run his own business as a dealer and has “also acted as adviser and expert witness to the lawyers representing the family of former President Richard Nixon, and as expert adviser to the Zapruder family in the valuation of the Zapruder film of Kennedy’s assassination.” (Davids) Davids also notes another distinctive thread; he notes that portraiture early on, was only accessible to those of higher class; though throughout the centuries this has changed dramatically. He says: “Over the centuries, portraiture, noted as a peculiarly British obsession, has changed, if not

developed, in terms of its aims and the influences to which it has been subject, and has served the several needs of royalty, nobility, the rising middle classes, families and lovers, demagogues, institutions and other groups and hierarchies, including, largely through the medium of photography, the poor.” (Davids)

With this concept in mind, I wanted to incorporate the traditional conventions of portraiture, as well as the more modern and contemporary styles. This led to more reflection, when I came up with the idea that I could use my old traditional family history, where a lot of my ancestors were either photographed or painted.

Not only had the look of the portraits changed but also their function; early on they were purely documentation of a person as they were at the time the portrait was produced, whereas now there are several reasons that a portrait can be produced, even purely for artistic reasons of the photographer, which in the case of this brief it would become for me.

This idea developed further to represent the overall concept, incorporating an antique frame covered with paper, I had my subject literally break through the frame revealing herself as the subject of my own portrait. I broke down the components of portraiture to resemble the modern conventions, how a portrait can purely be an isolation of someone’s body parts; a hand, or arm, in any pose, not the traditional torso and head, or full body shot. This representation also incorporated the use of a frame or other props

All this research and reflection led to the concept behind my work, breaking through the traditional conventions of portraiture.

to resemble the modern conventions, how a portrait can purely be an isolation of someone’s body parts; a hand, or arm, in any pose, not the traditional torso and head, or full body shot } 65

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or items, just like in the portrait of Tracey Moffat, by Greg Weight. These photographs, taken in digital form, were then placed on the computer, and using Photoshop to super impose the scanned in images of my ancestors to make it look like the subject of my series had broken though these traditional conventions of portraiture. Through this example you

can see that being aware of historical development, taking your own history and influences, and the present world around you, you can reflect on your brief and create meaning in your own designs and work. That it takes time and reflection to come up with a brief that goes above and beyond the expectations of the client and all that the brief asks for.

References “Changing the face of portraiture: [1 All-round Country Edition]”. The Australian 19 Jun 2006,ProQuest ANZ Newsstand, ProQuest. Web. 28 Mar. 2010. Davids, Roy. “Portraits” Last Updated 25 August 2007. Web. <http://www.roydavids.com/portraitsale.htm>. Last Accessed 28 Mar. 2010. West, Shearer. Portraiture. Oxford History of Art. <http://smg.media.mit.edu/classes/ DesignSocMedia07/West.portraiture. pdf> Last Accessed 28 Mar. 2010. Greer, Fergus. Portraits : The World’s Top Photographers and the Stories Behind their Greatest Images /. Mies, Switzerland : RotoVision, 2004. Web. Mirror with a Memory : Photographic Portraiture in Australia. Ed. National Portrait Gallery (Australia). Canberra, A.C.T.: National Portrait Gallery, 2000. Web. The Portrait in Photography /. Ed. Graham Clarke . London : Reaktion Books, 1992. Web.

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P aper Playful!

Moving beyond the usual purpose of paper. Annie Phan

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It all starts from a simple idea. Who would’ve thought that the folding of a single piece of paper could take design so far? Nowadays designer’s don’t just use paper to document their research and findings, or for random doodling. Origami is one of the paper can be used as a creative hands on process. Usually when we think of Origami, we think of the conventional paper cranes, small boxes within a bigger boxes, planes and animals.

{ when we think of Origami, we

think of the conventional paper cranes, planes and animals.

}

How can this form of art be anything but useful? Or better yet, functional? The Japanese word Origami, “Oru” meaning folding and “kami” meaning paper, is none other than the art of paper folding. This leads to the common misconception that origami began in Japan; although originally this art of paper folding started in China. However; it did not reach Japan until the 6th Century where it had a large cultural impact on the Japanese. They adapted to this art form quite quickly and willingly during its early stages and origami was used for formal and practical purposes such as folding letters and envelopes.

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{ Origami is evolving every day, and many people use mathematical logic to make new complex shapes

}

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Today origami is commonly known throughout the world. Designers took origami to a more digital and collective form creating pre-made and customizable templates of paper vinyl figurines and objects; as it has grown in popularity and recognition. Shin Tanaka is one of the many paper toy artists in the world who have the skill and technique to create such figurines. Being influenced by origami at a younger age, has assisted him in his design making when it comes to creating new templates. “Origami is evolving every day, and many people use mathematical logic to make new complex shapes” he says. This breaks people’s

preconceived perceptions of what the conventional Origami is and to what extent it can be used. As artistic as they may appear to be, many of us tend to view origami as an art form and less as a functional form of design. This is where people tend to overlook the use of origami required within packaging design. Folding large cardboard boxes, to unfolding the covers of products; they all require a set of instructions to fold in specific order to create the end result. This strategy has been used by Apple, in their iPod gift box packages, as an attempt to create a ‘wow’ factor.

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{ It’s great if you can be there when they open it, even better if you can watch their faces light up.

}

Apple calls the signature gift boxes ‘origami style’ with the use of only a piece of amendable cardboard and red ribbon. The Apple Store says “It’s great if you can be there when they open it, even better if you can watch their faces light up.” Opening it up surely will have many people amazed at the original and creative origami packaging. Putting it back together however may be a bit tricky.

Though this evolutionary type of origami packaging design may take many people aback, it’s the appearance as well as the branding of the packaging that engages and captures people’s attentions and interests. This causes people to overlook the fact a single folded cardboard box uses the same origami strategy.

Though people tend to categorise Origami as immovable and nonfunctional figurines with no purpose, by quickly taking a tour of its social and cultural impacts in the design industry, it is fair to say that the art of Origami is something that many designers cannot do without. This just goes to show how a single piece of paper and the simple idea of folding can expand to quite extraordinary possibilities. References

Angell, LC. ILounge; Apple offers iPod gift boxes, Nov 2006. <http://www.ilounge.com/index.php/news/comments/apple-offersipod-gift-boxes/> Nakamura, Eric. “Fold School.” Giant Robot Dec. 2004: 30-33.

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SB

tepping ack

It is important for us to take a step back and re-immerse ourselves with our design past. Kathleen Virant

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{ without history there is no future } As young designers it is our ultimate goal to be at the forefront of design. We wish to be new, different, cutting edge. Having to live up to past expectations can be daunting and we often find ourselves ignoring all precedents. At times it seems as though all that could be designed, has been designed and our community stands still waiting for the next revolution to arise. It is at moments like these, that it is important for us to take a step back and re-immerse ourselves within our design past, for without history there is no future. We often over look the relevance of researching and revisiting the history of design, itâ&#x20AC;&#x2122;s not our fault history is often associated with dense texts, over complicated explanations and outdated theories. As visual communicators we find comfort in quick to the point, easy to understand, visual dominant representations of information and ideas. The study of history is often not engaging, but that does not mean that design history is boring. The history of design should be inspiring. In todayâ&#x20AC;&#x2122;s society we are quiet spoilt. The digital revolution changed design forever. It has allowed us to create and communicate our ideas and that of our clients almost instantaneously. Without research and understanding, we do not appreciate how far we have come. Now letâ&#x20AC;&#x2122;s go back in time, before the revolution of the computer, starting with photography. Photography began in the 1830s, through the combination of the camera obscura which was used as a tool for painting and a trial of chemical mixtures for developing the images. Taking the photo was the easy part, getting the captured image to remain permanent on the canvas was much harder. The first successful photograph was made in 1927 and took eight whole hours to develop. SANS WHATE ER

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{ Snow White and the Seven Dwarfs revoluntionalised the film industry }

These days it takes us only a matter of minutes to develop and with digital photography that translates to seconds. Another sector is typography. Way back, typography was highly specialised, typographers such as Jean Jannon, suffered to create type casts by hand. These typecasts then needed to be manually arranged on a linotype machine; adjusting the leading, tracking and kerning. During a raid by the French government Jean Jannon’s type casts were seized for producing them illegally. Typography visually communicates what the text has to say. The struggle that these designers went through to alter the way we design and facilities we use is priceless. These days, typefaces are created regularly and often are just a rip off of older typefaces. Though there is one man, often over looked and this is the writer’s inspirer; Walt Disney, with the classic Snow White and the Seven Dwarfs. It revolutionised animation and the film industry, being the first of its kind. With this film he broke down the boundaries and succeeded. The concept for Snow White and the Seven Dwarfs began in the 1930s. Never before had anyone attempted to create a feature length film out of a cartoon. Walt Disney had little support, his wife was famously quoted saying “Nobody will go to see your stupid dwarf cartoon”, it was said to be “Disney’s Folly”. Walt Disney placed a lot of faith into this film. He believed that this could be achieved and mortgaged his home and his studio to receive the funds needed to begin production. 77

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It took Walt Disney and his team of over 700 artists and musicians, working shifts night and day for three years to create this film from start to finish, where as these days they can be made in a year. Disney and his team created over three million paintings not including drafts for the entire film. They developed more than fifteen hundred colours for Snow White and the Seven Dwarfs and each background is painted in watercolour and then photographed in sequence onto the film, this was done more than half a million times. Next time you watch Snow White and the Seven Dwarfs you will truly see the beauty and effort they put in to create every moment. There is a timeless grace that rarely transcends into recent films. Remind yourself on how other sectors of design have changed to benefit you. Photography is an enduring example of how designers before us transformed it into a design practise that takes minutes instead of hours. Also how typographers have assisted in providing the written word another means of communication. It is important to revisit the past and learn how things were done. Embrace design and take the time to awe over earlier works and you will find motivation; because without history there isn’t a future. SANS WHATE ER

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References A History of Photography. Robert Leggat. 1995. 6 Marc 2010 <http://www. rleggat.com/photohistory/> “Garamond”. Absolute Astronomy. 6 March 2010 <http://www. absoluteastronomy.com/topics/Garamond> Hart, Brad. “The True Origins and History of Snow White and the Seven Dwarfs.” Goodread.com. 11 February 2010. 15 March 2010 <http://www.goodreads.com/story/show/60644-the-true-origins-and-history-ofsnow-white-and-the-seven-dwarfs> How Walt Disney Cartoons are Made. RKO Radio. Television, 1938. Youtube 16 March 2010. “Walt Disney.” Encyclopaedia Britannica Online. 15 March 2010 <http://www. britannica.com/EBchecked/topic/165713/Walt-Disney>.

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R.I.P

A

More Than Just Fashion;

Alexander McQueen

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Alexander McQueen found dead on February 2010. A fashion designer shows how issues like war, class struggles or poverty can be placed on the runway and in a fashion context. Heriman Ha

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{ McQueen thwarted frequently shocking runway shows and lines of clothing that almost always managed to live up to the hype surrounding their creator } Alexander McQueen (1969-2010), a British fashion designer, demonstrates how issues like war, class struggles or poverty can be placed on the runway and in a fashion context. This approach allows the issues to be highlighted via inappropriateness and glamourisation. Mcqueen’s fashion designs demonstrate that; designers not only need to have good techniques, but also being culturally aware of the different issues happening in the world around you. This helps designers to create meaningful and effective design. Not everyone will recognise Alexander McQueen. Do you remember those super

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high platform shoes in the Lady Gaga’s “Bad Romance” music video; or those skull print silk scarves worn by Rihanna, Kate Moss and Gwyneth Paltrow? That crazy designer, who has super high expectations for fashion, is Alexander McQueen.

ringmaster and his design always challenges the boundaries of what a runway show and fashion design can be (Burton). Beside,he treats his fashion as performance art, each season is more breathtaking and unnerving.

Unlike other designers, he not only wanted his fashion creations to be well made, he wanted them to have content and even depth (Sischy).

In the Remembering Alexander McQueen, Burton stated that:

This is why he shows his clothing in high drama and shocking style; to use a fashion term on the runaway. Interview magazine describe him as a fashion’s original

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“McQueen thwarted convention, producing stunningly elaborate and frequently shocking runway shows and lines of clothing that almost always managed tolive up to the hype surrounding their creator (Burton).”

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{ There are very few real designers who have a real craft, which is to say a sense of cut, proportion and tailoring. Alexander has it } You may think having produced such elaborate work, had come from a wealthy family or a fashion design related family background. This is not the case. He started out just like us, from a normal family, his father a taxi driver, his mother a teacher, he also has three sisters and three brothers. From a very young age, he developed an interest in fashion design (D’Souza). He started day dreaming and drawing women’s clothing, which his father was not impressed with at that time. During his teenage years, he started making dresses for his sisters; this has led

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him to discover his talent and potential in becoming a fashion designer. McQueen’s education background is simple, but enabled him to learn a lot of the technical aspect of fashion design. He left high school at O level, equivalent to the Australian education system’s year 10. After which he attended technical college. In 1986 he got an apprenticeship at Sabile Row; plus an internship with the Japanese designer Koji Tastsuni and as a pattern cutter with Italian designer, Romeo Gigli. McQueen completed a master design degree at

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{ He came from a different era, yet he designed clothes for our era }

Central St Martin’s College of Art and Design before he started setting up his own label (Alexander). He came to discover what he found most interesting and developed his skills; this shows us that his success does not come easy, but with a lot of hard work and time. Paul smith during a interview with The Guardian suggest that there many stylists claim themselves as a designer in the fashion industry, but there are not much designers like McQueen, who has the real craft techniques to give his design an extra kick (Cartner). Therefore McQueen show that being

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a skilled craftsperson is part of the major quality to be a good designer. In the McQueen Leaves Givenchy,Cartner stated this: “There are very few real designers who have a real craft, which is to say a sense of cut, proportion and tailoring. Alexander has it (Cartner).” During an interview at 2003 with Telegraph McQueen suggest that he believe he came from a different era, yet he designed clothes for our era. This is so true; and can be seen in his fashion design and on the runway. It is always innovative,

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{ When you see a woman in his clothes, you want to know more about them. To him, that is what distinguishes good designers from bad designers } shocking and crazy. In his theatrical runway production, his garments were extreme, for example his spring 2003 collection recreated a shipwreck; in spring 2005 a human chess game; after Kate Moss’s holographic appearance at his autumn 2006 show, his autumn/ winter collection shown in Paris in March 2007 was inspired by the witches of Salemhe (Moore). Additionally, in his runway show he cast models to be rape victims and even spray painted on their dresses in the show, in front of everyone (Moore). His runway shows and his garments design are not just memorable and

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history-making, but also the experimentation of style, techniques, and refresh the meaning of fashion design should be. McQueen’s design style may be dramatic and controversial yet he was not blind to commercial opportunity. He launched the ready to wear collection Kingdom and My Queen, during 2005 collaborating with Puma to create a new collection of trainers (Alexander). This demonstrates a successful designer, not only to be good at what we are doing, but also to make a living from our creativity. McQueen, however, did not

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seek to profit from celebrities. He declined to invite Victoria Beckham to his London show, simply because he believes her presence will distract from the appearance of the models on the cat walk. In addition, he made a comment to the socialites Paris Hilton: “if she comes past the shop, hopefully she will just keep walking (Menkes).” Moreover, he is a designer without a ‘whatever’ attitude. This is because he believes his clothes should be worn by a person who really love his work, and he believes by wearing his clothes, would tell a story about that person.

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In Remembering Alexander McQueen, Burton stated that: “Clothes and jewellery should be startling, individual. When you see a woman in his clothes, you want to know more about them. To him, that is what distinguishes good designers from bad designers (Burton).” This is what being a designer is all about. It is about creating something that is creative, but also with

meaning and depth. His fashion designs have changed and refreshed the world, changing what is beautiful and grotesque. For me, he conveys that a designer should be more than just a problems solver; they should be able to take risks in their work and be culturally aware. This attitude would help a designer become more successful and create meaningful work.

{ He conveys that a designer should be more than just a problems solver; R.I.P My Queen

Alexander Mcqueen. Wikipedia . n.d Web, 16 Mar.2010, <http://en.wikipedia. org/wiki/Alexander_McQueen>.

{

References:

Burton, David, et al. Remembering Alexander McQueen. Interview Magazine. 11 Feb.2010. Web 16 Mar.2010, <http://www.interviewmagazine.com.> Cartner, Jess, et al. McQueen Leaves Givenchy.The Guardian, 2001. Web. 16 Mar. 2010. <http://www.guardian.co.uk.>. D’Souza, Christa, et al. Alexander Mcqueen. Design Museum , n.d. Web. 16Mar. 2010, <http://designmuseum.org>. Menkes, Suzy, et al. Alexander McQueen. Telegraph, 2010. Web. 16 Mar.2010, <http://www.telegraph.co.uk.>. Moore, Booth, et al. Alexander McQueen Dies at 40: iconoclastic fashion designer. 2010. Web. 16 Mar. 2010, <http://www.latimes.com>. Sischy,Ingrid, et al. Why We Love Fashion: It’s Genius. The New York Times, 23 Feb. 2010. Web. 16 Mar. 2010, <http://www.nytimes.com.>.

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Adetail, n Eye

for

Rocks my

world

Rock of Eye is an attempt to bring the work of the worldâ&#x20AC;&#x2122;s top cult illustrative designers to the attention of young creative designers in Australia. Tom Mellville

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{ Rock of Eye is one of the most useful and inspiring design websites that a young design student could have up their sleeve

}

designer and illustrator in 2007. His clients include; Nike, The Rolling Stones, Nixon, British Airways, CocaCola, The Guardian, Non Format, Wieden + Kennedy, Saatchi and Saatchi, BBH, Fallon, and Beautiful Decay. Trochut is currently based in Barcelona.

Rock of Eye is one of the most useful and inspiring design websites that a young design student could have up their sleeve. Rock of Eye is an attempt to bring the work of the world’s top cult illustrative designers to the attention of young creative designers in Australia. The website is seen as a gateway for young designers to gain a perspective of favoured illustrative styles and even new and original techniques. No matter how the website is 95

utilised, it is without doubt a valuable resource to all that make use of it. The idea of making illustrative designs accessible through a website is not new, but the idea of its audience being young Australian designers is. The impact this has on new designers like us, is one of inspiration and excitement. With tear sheets to download (a PDF file of the artist’s latest and best works) and an extensive biography of each

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artist available, we are given an extensive background to the artist and how they came about. Alex Trochut; is a designer who has a very extensive range of typographic and illustrative styles. His portfolio is one of the most expressive and inspiring collections on the website. As his biography states, Alex Trochut was born in 1981 in Barcelona. Studied Graphic design at Elisava, and started working as freelance

Trochut’s website bio explains that his illustrations, designs and typography take the modern notion of minimalism and flip it on its side. Trochut’s work philosophy is “More is more.” It is rich with elegant, brilliantly detailed executions; that simultaneously convey indulgence and careful, restrained control. Trochut is driven by a desire to constantly evolve which can be seen in his diverse body of work. Renowned for his technically exquisite type creations and designs; Trochut attributes his special connection with typography to his grandfather Joan

Trochut – a typographer and the creator of a modular typographic and ornament system built in the 40s. Coming from such a family tree of design, with branches like Joan Trochut & Esteban Trochut (two well known typographers in their time) Alex Trochut had a lot of respect for his grandfather and father as they were both influential figures in his life. In doing so, Alex himself, has become an influential designer of his time,

pushing the barriers technically and thoughtfully. Rock of Eye is able to create the next generation of designers who now use Alex Trochut’s designs as key influential works. Working across offices in Sydney and Melbourne with dedicated staff and resources in each city, Rock of Eye is a natural extension of the pairs existing agency. Simply known as ‘Jeremy’ and ‘Rebecca’, the host designers cater to the public by hosting

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{ ...it’s not dangerous to have such a distinctive style of design... Rock of Eye is an extremely useful tool in assisting designers of every level and expertise in reinventing and perfecting their own style and technique } see if they’re presenting in an area near you.

some of the most influential designers on the web page. Those of which include; The Jacky Winter Group, representing Australia’s finest contemporary illustrators, as well its sister agencies, The Hatch, The Jacky Winter Incubator, and the soon the be launched Bowery, which represents Visualisers, Renderers, and Storyboard artists.

Rock of Eye shows us that it’s not dangerous to have such a distinctive style of design. The website allows young Australian designers to not only evolve within this field but perfect a personal style. In conclusion, Rock of Eye is an extremely useful tool in assisting designers of every level and expertise in reinventing and perfecting their own style and technique. So for some pointers on how to ‘rock’ your own design world, keep an eye out for http://www.rockofeye.net.

You’ll find some really neat features on the site; like useful work filters and the ‘in person’ section which is essentially a stalking device that lets you track the whereabouts of Jeremy and Rebecca and the team, and

References Drucker, Johanna, and McVanish Emily. Graphic Design Histroy A Critical Guide. New Jersey: Pearson Prentice Hall, 2009 www.rockofeye.net wGill, Bob and Noel, John. Illustration: aspects and directions. New York, Reinhold Pub. Corp. [1964] Three illustrations by Tom Melville 2010. Illustration left. Alex Trochut / Beautiful Decay 2004

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ndividual nfluential innovative nspired nventive maginative We all hear time after time, how heavily influenced young people are. Whether it’s through media, music, movies, video games or the internet we are all at risk of being influenced in one way or another. James Riddell

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All these influences are what build our personal opinion or even an attitude to particular worldly aspects. So how is this relevant? Well, it is these very influences, in conjunction with our place in culture and society that contribute to our ideas, concepts and design imagination (Roja). Through our design work we express our opinions and attitudes, just as many designers have done in the past(Fabricant). Whether it was; Henry Cole; Great Britain’s leader in designs separation from art, or German, Jan Tschichold and his revolutionary typography introductions, or the controversial David Carson; as a leading deconstructionist. They have all utilised these influences, beyond the commercial design brief, in their lives to produce their work.

Personally, I draw influences and inspiration from a group of designers, dubbed for the purpose of this article, “The Fab Five”. Two have already been mentioned in this article, being Tschichold for his innovative and extremist

work in typography, and Carson for his appealing post-modernistic approach and by his city beach, grunge type layouts. Milton Glaser, William Caslon and Neville Brody also make the list as my five most influential

{ Through our design work we express our opinions and attitudes, just as many designers have done in the past }

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designers. I tend to find that by immersing yourself in favoured designers work you are able to build a silent rapport. Today you are able to find this inspiration online or in journals, however nothing is better than first hand experience. Other major experiences that I’ve felt have impacted my design are my visits to various art shows, design conferences or galleries. From inside these you can witness work from the top designers that fulfil current design trends. They, no doubt will have a great variety of design styles which you are able to draw inspiration from. Besides these options there are: your surroundings, environments, friends, family, university, media and general cultural and societal perspectives(Stone). All will have a large influence on your design styles(Poynor) If you find yourself struggling for inspiration try altering some of these. In a professional work place you may find your design influences to be limited, as you need to design for a particular purpose to match

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marketing criteria. The online article “Design with Intent” highlights and discusses perfectly four main influential design practices in a professional workplace (Frabicant). Questioning User-Centred Design – Developed from extensive research into client needs, functionality, user testing and user feedback, the designer creates their work to match perfectly to the current needs of the client. User-centred design is likely to be the least flexible with functionality and style(Stone). This design practice can be employed if the designer is updating /upgrading old material, or following an already defined brand identity or style guide. Persuasion Design – A less appealing practice to clients, persuasion design is the process of the designer proposing concepts other than the one specified by the clients. The designer attempts to build a new identity, usually based around the designer’s strengths. This would be efficient for the designer, though may not meet the expectations or fit the criteria of the clients (Fabricant).

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Catalyst Design (Participatory Design) – This approach attempts to share the roles between user and designer. By actively involving all users, designers should be able to cater for all their needs. The advantage of this is evident; the final outcome should be an almost perfect fit to the user criteria(Frabicant). A common disadvantage and limitation to this process is time. Using prototypes for testing can be a lengthy process, and relies on accurate user feedback; which is time consuming. Performance Design – Through market research, the designer constructs his/her work on already successful concepts/competitors. A safe though less imaginative process, this is based on “what works”(Fabricant). Similar to user-centred design , this process influences the designer by limiting its outcomes. So to sum it all up; everywhere we go, everything we see, hear, touch, smell and taste has an influential impact on us, whether we believe it or not. And these impacts generally do come to earth in our personal design styles.

Though, if you believe your style is becoming stagnant and your looking for a new idea then perhaps try a holiday, travel and see sights, read unfamiliar magazines or visit an art show or design conference.

Your imaginative design process has no limitations so aim high. Because when you find yourself entering a professional workplace that does have limitations you still want to be able to shine.

{ A safe though less imaginative process, this is based on “ what works” } References Frabricant, Robert. Design With Intent: How designers can influence behavior. Design Mind page, June 2009. <http://designmind.frogdesign.com/articles/power/design-with-intent.html> Roja, Paula. Society influences designers, design processes and designed objects. June 2008 <http://www.paularojas.com/society-influences-designers-design-processes-anddesigned-objects/> Stone, Summer. Type Design Influence: Lloyde Reynolds, Hermann Zapf, Jack Stauffacher. November 2004 <http://www.aiga.org/content.cfm/type-design-influences-lloyd-reynolds-hermann-zapf-jack-stauffac> Poynor, Rick. The end of graphic design as we know it. Web. July 2001. <http:// www.eyemagazine.com/opinion.php?id=160&oid=453>

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the

C

reative life

How? Lose the fear of making mistakes. Every designer goes through some sort of creative block, so donâ&#x20AC;&#x2122;t think you are the only one. Being more courageous towards your designs allow you to expose yourself to more randomness and flex your creative muscles. Salwa Bachsinar

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{ ...it’s not lack of our talent, but the limited sources of inspiration we follow

}

It is just a common misconception in society that we regard failure as a negative concept. That we all should stay away from it like it is some lethal, life threatening disease. Throughout our lives, we have been taught to do the right thing, from getting high grades in your general maths class (and face it, not many designers are mathematical geniuses!), to learning how to

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drive only to get lectured by your instructor that we didn’t park on the curb. Let’s get real here, not everyone is a prim and proper, perfect person. Actually let me rephrase that… no one is! Yes, we scored below average on that impossible algebra quiz, and yes, we didn’t know that we were meant to look at the side mirrors when

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parking. But we learnt from our failures, and our failures turned into experiences and we eventually learnt from them and never looked back.

universe; replied, “I did not fail- I just learnt 999 ways on how not to make a light bulb.” (Creative Wealth Building)

This is what I am trying to put in your heads. If you want to push forward a new idea for that magazine layout, and you spent hours trying to put that image in the right position, and you see that 2 am mark on your computer, and then think to yourself, “ THIS IS CRAP!” and then delete. You beat yourself up thinking that you’re not good enough to be a designer, have an hour of depression and think you should change career paths.

And look what he made of himself. No, not a crazy old loony, but one of the greatest inventors in the world. We would be in total darkness right now if it wasn’t for him. You too can achieve great things, even if you keep failing, you will learn from it. Each time you fail, is a step closer from achieving that fresh, out of this world, magazine layout or poster design, or whatever it may be.

Did you know that Thomas Edison failed 999 times when he was creating the light bulb? During an interview, someone asked him what it felt like failing that many times. Edison, who was very aware about the laws of the

Sometimes you think, why me?! Well let me tell you this: every great, successful designer goes through such failures. No lie, it’s a known fact. Charlie B. Johnson, a blogger from graphicdesignblog.org even said; “At times when

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{ Don’t worry about being flashy; keeping your work classic and clean will win out over time

}

designers if we keep limiting ourselves to such nonsense? Get inspired today, look at the world, look at the things next to you, live a “Creatively Curious Life” as once said by, Von Glitschka from the company – Glitschka Studios. (Graphic Design Blog)

designers run short of brilliant ideas, after putting in so much of research and brain storming, they feel down thinking maybe they are in the wrong profession” We all go through it, yes even Jacob Cass of Just Creative Design, gets mind blocked, and he regularly visits hundreds of sites to get inspiration. Charlie B. Johnson said “Whenever, we fail to succeed in any project, 107

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we start questioning our capabilities but I think it’s not lack of our talent, but the limited sources of inspiration we follow.” Nubby Twiglet, an infamous graphic designer/ blogger junkie said “Don’t worry about being flashy; keeping your work classic and clean will win out over time. Don’t be afraid to put yourself out there (especially through a blog) and to charge what

you’re worth. The more work you do, the more your style will develop.” (Nubby Twiglet) What I am trying to say is, do not be afraid to try new things, to break through the boundaries… design has no boundaries. Who said you cannot put stripes and organic shapes together? Who said red and blue cannot work together? How can we be innovative and original

I’m not promising you that the things you create and design will be liked, or even look good, but that is ok. It is all about taking risks, chances and being ruthless. The design industry is a jungle out there, and you have to push yourself through it, and show why your work is the best, by simply being different and original. You will get criticised, but you can use this as a powerful force to help you become a better, much stronger designer. Do not close your blinds and turn off the lights in your room, with your head on the desk and just wallow in your misery, thinking you

are not good enough. Did you know Walt Disney went bankrupt over seven times before Disney Land hit? Did you know Donald Trump went bankrupt and then four years later earned his billions again? This is what I call persistence and the key to success. As young designers, you should keep in mind that every failed attempt you do is one step closer to success. Be brave, and live the creative life!

References B. Johnson, Charlie. “Top 10 Graphic Designers reveal their secrets – Let’s get inspired!.” Graphic Design Blog. Graphic Design Blog, 14 March 2010. Web. 15 Mar 2010. <http://www.graphicdesignblog.org/graphic-designers-inspirationresources/>. “The Law of Opposites.” Creative Wealth Building. Creative Wealth Building, n.d. Web. 15 Mar 2010. <http://www.creative-wealthbuilding.com/law-ofopposites.html>. “About.” Nubby Twiglet. Nubby Twiglet 2007, n.d. Web. 15 Mar 2010. <http:// nubbytwiglet.com/fall2007/about/about.html>.

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{ The t-shirt, after all, is one of the world’s most purchased products

ON ON

T-shirt design-Say What you want while keeping it close to your chest. Show the world your style! Jonathon Iskov 109

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In this new age world surviving as a designer can be hard. Trying to get your work out there to be recognised seems a daunting experience. One great way that many graphic designers choose to show off their skills is the designing of t- shirts. The t-shirt, after all, is one of the world’s most purchased products; we are always out looking for cool shirts to show off to our friends.

}

Not only do you have the chance to promote yourself and your designs but also obtain some extra cash. But be warned, quality design is a must, people aren’t going to buy some crappy half ass drawing you threw together. It is a big business now, just do a search online for custom shirts and you will be swamped with hundreds of sites selling all sorts of shirts; but that’s not to say you shouldn’t get out and try. SANS WHATE ER

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{ The exposure Threadless has given me has helped, definitely, and I have received a few offers of work

}

Places like Threadless (www. threadless.com), which is one of the most popular T-shirt sites around and is competition based. Threadless allows designers both professional and amateur to submit their t-shirt design and each week the public votes to choose the best 6, they are then printed and sold on their online store. The winners not only have the pride of their work being shown on people’s chest, they also receive a cash prize of $2000. Threadless is probably one of the best ways to promote yourself as a designer. Steve Maggs, co-creator of T-shirt design company 2 smart 111

monkeys in an interview with Creative Pro: “The exposure Threadless has given me has helped, definitely, and I have received a few offers of work, it’s given me a decent level of exposure to people who almost certainly wouldn’t have heard of me otherwise.” (as cited in Ashcroft) If the idea of competition stresses you out, there is also the option of setting up a shop within one of the already established Custom t-shirt places. With this option you just do the designing, they will do the hard work, and risk-free! If you sell nothing, you lose nothing. The downside is that in the end they still have control

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over the whole thing; they can deny a design because it’s too outrageous. You never know, you might get picked up by a company and get a job designing for them. In an interview with founder of Shred Clothing Jon Kruse mentions that he doesn’t “do any shirt design anymore. I contact a designer I like, make sure he is with in our budget, give them 50% up front and work with them to create a bad ass design.” (Teezine.com) This design trend won’t be going anywhere any time soon, just look at the boom in the remake of 80s t-shirts. Everyone is out there buying and wearing them. That is just the beginning,

there are a large number of niche markets out there that need to be tapped into; Nerds for example, there’s now a huge market for Nerdy shirts with references to Sci-fi movies and large amounts of 1337 speak (a type of communications used mostly online where a user replaces letters for numbers or other characters). So why not get out there and make some controversial shirts, give people the chance to share things they think about but don’t want to say out loud. The biggest thing you need to remember is that starting out like this you can’t be in it for the money, just do it for the fun, and watch the doors of opportunity open up for you.

References Ashcroft, Sean. “How to break into shirt design.2008.” http://www.creativepro. com/article/how-break-t-shirt-design Teezine. “Shred to pieces – Shred Clothing interview”. 2009. http://teezine. wordpress.com/2009/09/13/shred-to-pieces-shred-clothing-interview/ SANS WHATE ER

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WORLD WIDE WEB OF

DESIGN TRENDS

2010

Every year web designers make prediction on what wil l be the years latest trends. After weeks of sifting through various blogger accounts and the websites of design professionals I have formed my own list of what I feel to be the cream of the crop. James Purnell

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The web is an ever expanding and changing environment. As web designers we must be constantly aware of how the web is being used and what changes we must make to our designs so that they remain fresh.

It is no longer the case of the young designer learning from previous generations when it comes to web design, but rather the young designer leading the way .“…design has been in a constant change since the burst of the Internet; however it seems that the direction of who is doing the designing has also changed from those who are ‘professionals’ in their field to the new breed…” (Designer Matt Hamilton)

The ever-changing nature of the web relies on young designers experimenting with new ideas, and hopefully starting new trends, which will shape the future of the web. Until then please take inspiration and learn from the current trends of 2010.

{ … design has been in a ...

constant change since the burst of the Internet;

}

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{ People are busy, who wants to be wasting time clicking buttons? }

Minimalism

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Large Images

6

“Recently I’ve seen an increase in the number of clean, uncluttered websites. I think this trend is going to continue into 2010 as people try to simplify their site designs” (Anthony Hortin, Maddison Designs)

Much like the large header logo, the large image is all about visually impacting the viewer allowing them to remember your site easily. The image does not have to be part of your branding but rather re-enforce the websites tone and style.

People are busy, who wants to be wasting time clicking buttons? Yes; the one page website is here. This design method isn’t practical for a lot of people, but for a freelance designer, it’s kind of like a fancier business card.

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“...I think that for 2010 we’re going to see more personalization in design. I think this will include seeing more hand drawn and collage elements...” (Angie Bowen, Arbenting)

Close to full screen logos and headers are becoming increasingly popular and thankfully reducing the use of splash pages. Designing large and creative headers is a great way to leave a lasting impression on your sites visitors.

The manipulation and combination of different typefaces within your website is not a particularly new trend, but it is one that still continues through to 2010. So go out there and experiment with different fonts and sizes, as they can be a great substitute for pictures and reduce the size of your website.

Sketches/ Hand Oversized Logos Typography Drawn Elements and Headers

Websites today can sometimes have a template feel. Using hand drawn elements within your website will give it a unique and personalized look. Don’t be afraid if you can’t draw well, as overlapping your drawing with pictures in Photoshop can give your amateurish handy work a professional boost.

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Well you can’t really call it a new trend; but rather a tip for all web designers. Keep your web page clean! White space is a powerful tool if used right. Like all designers; we have a thousand ideas running in our head. Like so many young designers, we have a desire to show them all; this is fine, just don’t do it on one website.

One Page Layouts

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8

Icons/ Visuals

Magazine Layouts

Introduction Blocks

Today’s web user is a lot more computer savvy than five years ago. Long gone are the days when you would have to show your parents how to turn the computer on; let alone surf the web. So as the webs’ user knowledge changes so must our designs. Interactivity is a great way to step out from the crowd and leave a lasting impression. Programs such as Flash; are easy to use and more people are using browsers which are compatible with the program. Just remember less can sometimes be more; so don’t overdo it.

Keeping your website clean can be a difficult task. Using icons or visual aids is a useful way to save room; this can work a lot quicker than words when it comes to presenting information. Many websites use icons to link their viewers to their Facebook and Twitter pages. Just remember to keep your icons clean and simple, and stick to already established icons when possible; no need to re-invent the wheel.

“In web design I think there will be a further shift towards bringing together inspiration from traditional print design into website designs” (Chris Spooner, Spoon Graphics)

In a world where things move so fast; it’s nice to sit down and enter a website to be greeted with a “hello.” Introduction blocks are a nice way to introduce your website to your audience, giving your site a welcoming touch. This technique is very popular with freelancers who work on creating a relationship with a potential client. As I look into the future; I can see this becoming another over used trend and becoming more annoying than welcoming, but for now its happy days; so go out there and start welcoming

Interactive

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As people migrate away from paper and towards their computer screens, we shouldn’t overwhelm them with our flashy websites, but rather let them slowly adapt. Laying out your page like a magazine, especially for blogs and e-magazines; is a helpful way for newcomers to feel comfortable in their surroundings.

{ Recently I’ve seen an increase in the number of clean, uncluttered websites. I think this trend is going to continue into 2010 as people try to simplify their site designs

}

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References Thomas, Jacqueline. Web design trends for 2010. Web Design Ledger.Web.2009 . 5th April 2010. <http://webdesignledger.com> Bmackler. Top 10 Web Design Trends for 2010. Design Tutorials 4 u. 2009. Web. 13th April 2010. <http://designtutorials4u.com> Hamilton, Matt. “The Harsh Future of Web Design?” . Elite by Design. 2008. 1st April 2010. <http://elitebydesign.com> Roy, Sney. Designers predict design trends or 2010 part-i 2010. Little Box of Ideas. 2009.Web. 4th April 2010. <http://www.littleboxofideas.com/> Help us Chose the Best Web Design Trends 2010 your Expert Options Wanted. Template Monster Blog. 2010. Web. 10th April 2010. <http://blog.templatemonster.com>

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reaming Reality

Day Dreaming has long been considered as a state of inactivity attributed to laziness. Itâ&#x20AC;&#x2122;s time, however, to shrug off these preconceptions and explore what Day Dreaming really is and what it can offer designers. Priscilla Laycock

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{ The daydreamer has complete freedom to design, no restrictions of ability or technology, through dreaming we can push the boundaries of design

}

Daydreaming, a reverie indulged in while awake, “a state of mind where thoughts that are experienced by an individual are unrelated to what is going on in the environment around them” (Mason) its something that everyone does and can occupy between 10 and 50 percent of our waking hours depending on the individual. Daydreamers are often described as wool-gatherers, lazy and brain dead so to be called a daydreamer has often been perceived as a negative thing. As long as it is controlled however daydreaming is one of the most powerful tools a creative can have! To fantasize, dream and muse. The daydreamer 3 121

has complete freedom to design, no restrictions of ability or technology, through dreaming we can push the boundaries of design. Not only is daydreaming giving us access to infinite possibilities but in this state our brains also work overtime. Through magnetic resonance imaging reserchers can see what parts of the brain are active during a daydream, one of these is labled the “executive network” which is capable of complex problem solving skills (France-Presse).When you daydream your brain calls in these extra recourses that wouldnt normally be used if concertrating on a specific task and this helps us

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develop new ideas and plans. Often, however, as our concertration waynes and the ability to resist fairyland lessons it can be as restricting as it is liberating. Have you ever drifted off during a lecture? or while reading notes only to have to read it over again? I sure have plenty of times and it can make it difficult to excel in acedamic areas. Does this then make daydreamers stupid? certainly not! and quite the contrary. Often the reason we do daydream is because concertrating on the task doesn’t take up enough of our brain capacity to make it interesting. Being to smart for study in this way, however, doesn’t make it any easier

to get through all of those assignments so here are some tips to help keep your mind on track: - Use an object of focus while reading, like a pen or a pacer this makes it easier to focus because it activates your peripheral vision and is also an important tool used in speed reading. - Try and interact with the task, ask yourself why? how? which? and whatif? if you keep more of your brain capacity focused on the task it will help you avoid getting bored and drifting off. - Reduce distractions, go somemwhere quiet when you need to concertrate on something and clear your SANS WHATE ER

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{ Have you ever drifted off during a lecture? or while reading notes only to have to read it over again? }

work area of objects that can distract you. - Take lots of breaks, this will help reduce the liklyhood of you getting bored. If you find you start to wander alot go take a break and come back when your fresh. - Follow basic health principals, things like sleep, a good diet, excersise and fresh air all help to aid concertration and keep you focused.

The ideas that bring them to life and make them into something unique and inspiring. Hopefully with the help of some of our tips you can learn to control and use this aspect of your imagination to its fullest potential. Happy Daydreaming!

Next time you catch your mind wandering, don’t scold yourself or feel guitly. The most important asset that you can have as a designer are not your skills in the latest programs and techniques, but how you utilize them. 5 123

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References H. Bernard Wechsler. “Is Daydreaming Holding You Back?” Ezine Articles 2007. web Latham, Caroline. “How can I improve concentration and memory.” Sharpbrains 1 March 2007. web Jones, Hilary. “Daydreaming Improves thinking.” Cosmos Online 19 January 2009. web France-Presse, Agence. “Daydreamers might solve problems faster.” Cosmos Online 14 May 2009. web SANS WHATE ER

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Sans Whatever interactive magaizne (PDF Verson)