wood chipboard accordion [updated version] by Jamie Turpin

eS sW

gg tru

a Ag

ins

t it

We Should Encourage Collaboration + Communal Experience

liberating to others.

THREE

GRAPHIC DESIGN:

le gg tru

tic

as a template design

7 57 s ain

t it

Design Increasingly

Lives in the Actions of its Users

We Should Encourage Collaboration + Communal Experience

Users approach software and the web with the expectation of filling in their own content

SOCIAL NETWORK and shaping own visual identities often we hat’s thetheir good of multi-touch technology The Central Metaphor of our Current Society is the Network

SIX eight SIX +eight + user experience eight has put a spin on our aesthetics user experience

scale: 1/2" = 1"

with from prepackaged forms. Dmitriand don’tguidance want to sit down together? Collaboration

user experience

COLLABORATION online experiencing personal isolation

Siegel calls fuel this worldphenomenon “the templated community changing design solutions. ven if we don’t all understand the mind.” are grappling ownare DespiteDesigners our connections online, with manytheir people computer codes that run the back end place in this DIY phenomenon. no experiencing a growing sense ofCreativity personal is isolation. of our digital age, we can comprehend longer thewe, sole of acombat separate How can asterritory designers, the“creative isolation networked structure of our day & design class.” Designers can lead this new participatory with projects that foster community? Media activist to meet it. Avant-garde artists at the very culture by developing that enable Kalle Lasn has warnedframeworks designers: “We have lost beginning of the last century, including Si others toOur create; our plot. storydoing line. so, We however, have lost means our soul.” Marinetti, László Moholy-Nagy and Alek allowing our once-specialized skills to become Producing work that fosters real connections Rodchenko, were adept at activating their more wide accessible. may be onespread way ofand getting that soulThat back.transfer own networks: newspapers, magazines, of knowledge is threatening to some, lectures and written correspondence. So liberating to others. recently, I heard lectures given by Emily

of Project H and Cameron Sinclair of the Architecture for Humanity, two young designers who are creating opportunities,

locally and around the world, for designers

to improve basic human living conditions. The connectivity of the web is critical to their success change and prosperity are already

TECHNOLOGY has put a spin on our aesthetics

seven TECHNOLOGY seven seven FIVE ll a We te FIVE wri re o m ay FIVE tod n we a th 15 go did ars a FIVE e y

7 57

in place. Efficient networks for spreading Designers in the early 20th century rose to the e to the triv ite es challenges of We too can take on the complexities of our time, the rising esptheirnsocieties. d her sd yw y a into our theoretical base equips us to address critical material ice Delving h ver millennium. o p e v l ra s tive r a g a e u o e t n r and our discipline. visproblems Cworld ho in the esig ique kp e ple obe d by ;w toc un Ad peo e h, ter of s ld of vic not ate ore If wit ,T cre nce ano es, ho ym ch. , as s n le to il e M ly ic a a a e g v re sp lith ous ic Lev ngua em hm g ctu pre wit ono gs, ugh tru ane la d rit ritin o s e lt m lo e r t c t u ic d h a ic in w ne. im the ola an nt tist dia n g r S e a r e is u a s . h e m m ein ly ipli tt rd s, ea ite s c b d m x r o e u u n c o is e e u t s S a r d t rce in y h vio sa par hniq ign twa roug and ated b this pre ion tec sof r im then des th iety ries ofess ss deb k, Elle new mma cific soc ula ts, cro a ue pr c his spe ocab our of ugh iss da sgr Ro .T o ual o e a l s n t v t h e r t id n rse e o ,a iv nd ha sio and our cou ind valu ya exp ive ship e Mic fes the gs idit act hin ual hor k and d pro ybr ver wit vis s li brin the aut h o e ed n t t r d n f s a r lf u e o eo ns mo ge, He nd ing esig ial fig g a u h io e a imp D t a t o ic im th gr ent lica any ngu nd ess gh re the ke app influ n & J n la throu xt a , fo lso unli mo as to n te se. A ade y, , is yh kes r com abilit Lup st dec etwee se log ork ma cou n o b w ix n la e n is s d h atio rem the s to ur ship now . Tec its do tion unic tion , and th e ists e u r o t la m g r o b ib r a m y re ef ne us han ont nb f co ipli nb ing ly c sig ul c isc no f e iv see ib t d io d g s h f s, ug ss. ans ver eo tho irre sthetic d le exp urs phic n le o a a c r ib e s g is er he of a pos rger d pow of t la re ce . mo the r sli tion ide ula p w o a p ign des

rs o

front panels: each 5” x 7”

Eve

ERS

GN ESI

GRAPHIC DESIGN: THEORY:

D HIC

as a template design reading + writing more

P RA

ti he

333 of knowledge is threatening to some,

communicate via and textthe instead of of speechThreadless, multitude blogs. blogs

lte

has put a spin on our aesthetics

A le

tru eS

c eti sth

in ga

st i

We S

WRITING MORE NOW We Sho

TECHNOLOGY has put a spin on our aesthetics

in place. Efficient networks for spreading Designers in the early 20th century rose to the to the rive

allowing our once-specialized skills to become Producing work that fosters real connections more wide accessible. may be onespread way ofand getting that soulThat back.transfer

A gy

to improve basic human living conditions. The connectivity of the web is critical to their success change and prosperity are already

passionate + smart.

culture by developing that enable Kalle Lasn has warnedframeworks designers: “We have lost others toOur create; our plot. storydoing line. so, We however, have lost means our soul.”

est

SIX

We Should Encourage Collabora-

locally and around the world, for designers

designers who are creating opportunities,

This body of work is small compared

longer thewe, sole of a separate How can asterritory designers, the“creative finecombat arts, but itisolation is to architecture class.” Designers can lead this new participatory with projects that foster community? Media activist

Think Flickr, Facebook, Etsy, Lulu, WRITING MORE NOW

olo

Architecture for Humanity, two young

mind.” are grappling ownare DespiteDesigners our connections online, with manytheir people place in this DIY phenomenon. no experiencing a growing sense ofCreativity personal is isolation.

has put a spin on our aesthetics

ers

of Project H and Cameron Sinclair of the

with from prepackaged forms. Dmitriand don’tguidance want to sit down together? Collaboration Siegel calls fuel this worldphenomenon “the templated community changing design solutions.

446 FOUR: 6 FOUR: 8 y

and shaping own visual identities often we hat’s thetheir good of multi-touch technology

TECHNOLOGY

Alt

online experiencing personal isolation

Tec

user experience

COLLABORATION

with from prepackaged forms. Dmitriand don’tguidance want to sit down together? Collaboration Siegel calls fuel this worldphenomenon “the templated community changing design solutions. ven if we don’t all understand the mind.” are grappling ownare DespiteDesigners our connections online, with manytheir people computer codes that run the back end place in this DIY phenomenon. no experiencing a growing sense ofCreativity personal is isolation. of our digital age, we can comprehend longer thewe, sole of acombat separate How can asterritory designers, the“creative isolation networked structure of our day & design class.” Designers can lead this new participatory with projects that foster community? Media activist to meet it. Avant-garde artists at the very culture by developing that enable Kalle Lasn has warnedframeworks designers: “We have lost beginning of the last century, including Si others toOur create; our plot. storydoing line. so, We however, have lost means our soul.” Marinetti, László Moholy-Nagy and Alek allowing our once-specialized skills to become Producing work that fosters real connections Rodchenko, were adept at activating their more wide accessible. may be onespread way ofand getting that soulThat back.transfer own networks: newspapers, magazines, of knowledge is threatening to some, lectures and written correspondence. So liberating to others. recently, I heard lectures given by Emily

the expectation of filling in their own content

TECHNOLOGY seven ? seven seven t I FIVE s l l e a We to e FIVE D wri re Or mtooday we FIVE n a th 15 go FIVE did ars a e gy

olo hn

SIX eight SIX +eight + user experience eight has put a spin on our aesthetics user experience

Users approach software and the web with

ll n fa ry.” esig “theo g. ic d f so akin aph r ie m r g s f o ut gie so teg abo olo ces t ca nal d ts o n o r x has put a spin on our aesthetics e e p r th atio iffe me to rn the rd tal trive f Inte the rary ze e n ly d e o e o un .” ana perimere srella espittemp h e c m ex wh mb s d on nd ar So us ery t u ice d c hy a rese d uha ev der l vo , an ap n ive hin Ba nersll un isuaStyle otog“rdesigreat s be ns t fa ue vphic k ph led be C idea y sig esig a h er t niq ra toc labe do the d b d” de, e ple u A g s e wid h a t e o f f s r; w e peo e e rk at Typ ce o tion old oamin s nors “r novic to a itte r e n o f wo r a in a , c Tw mo ow h. I h I lenxplor hic h ts ex sly, uthov Ma em ges me d a ils, v h o t a x u A any speescearc re toof our rs pre eonoli e teaneo ork. itic Leput t ngu nd s to , ema ith m u e t r g he s h e c w m Som ult al w cr and tic laxt. A tedurse logs ug my struvalu ritinire ot n o e e r t la ia h u w d e p th th g go Simvis ed xts rtis nte iso co ing tion nica an rou r ane th e in ins ne. kin ite. the nd mign teues, aral cously al dis ing bestruce mmu t th h ordeasiz creasand iscip.liWor e x Su ic a r u ink io s r t o e n n r de hniq cult rev ore ns a co twa c rtes mph is inbase nd d ore by e th ht ig a g e f l/ p c s he e o p y m d u l d o h a te ric ries e th ssio n s s an ewhro de im to en t tica ty arite mbategot e ace t ic r ig o t e s M t if f f a ie id n e s t ll t e c c is ula ts ro e ro s. is th r c w m ts, heo r so nd ue d oje k, Etha spe hocably ouual p hic d d actudie . Thlu am ugh t to ouead a n issok pr l Roscues e ofan v app ivid rap orte r s ns , b r d asgr o d h n e io t g a bo ae is rs c e r an ind of exp end ess urse y a alu torshipc,ent Micghe of e cohueory tive our hin field andtics g profof coybridit ual sv c o e e n th T wit . t vis ring uth a r es litka ra overday. the a. ed n d s, h ort emio s a text of ions os r d m na g b o iguabou Helfion t undes the age, sig hin f imp sationinal uagoerizatthe m t e l y a D tia ic fess grodres d im lic sem lang teg ugh an n s p e s e e o p e n a d e r r a n c ro nlik o th influ n & J p e, fous a text a s m o uch y , t h Als is u gy ha to ad elp n s com sabilit se. rk, Lup st dec h etwee ake nse olo wo ix our m e n c s m b h w n la is c re no our th Te the s to ship d its d nicatio ists ed re. ion o ion n t u t g o b f a u n art la m e , s ib re ha om by ntr nb gu line ly c of c ful co ign cip ivin see sib t dis ion des s, g less. ver ugh se of ans irre sthetic tho nd hic exp ur a p le o e r a c e sib gr is of a he pow pos rger d re of t la mo ce n. the r sli latio ide u p w a po ign des

can alter history

SOCIAL NETWORK and shaping own visual identities often we hat’s thetheir good of multi-touch technology The Central Metaphor of our Current Society is the Network

Helfand, Dmitri and Kenya Hara. Threadless, and Siegel the multitude of blogs.

+ user experience online experiencing personal isolation

GOOD DESIGN

the expectation of filling in their own content

COLLABORATION

GRAPHIC DESIGN:

t st i

in ga

hink Flickr, Facebook, Etsy, Lulu,

Users approach software and the web with

We Should Encourage Collabora-

VALUE

as a template design

A le

Lives in the Actions of its Users

Brockman, Karl Gerstner, Katherine McCoy,

Janhink vanFlickr, ToornFacebook, and, moreEtsy, recently, T Lulu,Jessica

+ GRAPHIC user experience DESIGN

Tec

t it

FIVE FIVE FIVE

EG AR

st Ae ur

TWO: TWO:

GRAPHIC DESIGN: THEORY:

as a template design reading + writing more

ins

446 FOUR: 6 FOUR: 8 SIX

Lives in the Actions of its Users

communicate via and textthe instead ofofspeechThreadless, multitude blogs. blogs

hn Tec

st i

ain Ag

FIVE FIVE FIVE

all e W te wri re mo ay tod n we tha 15 goDesign Increasingly did ars a T WRITING MORE NOW ye

7 57FIVE

has put a spin on our aesthetics

tru eS

gle

g tru

sW na

c eti sth

THREE

all e W te wri re mo ay Jamie Turpin . Wood + tChipboard od n weDesign . Portfolio Design tha 15 goDesign Increasingly did s a T

liberating to others.

TECHNOLOGY

We Should Encourage Collaboration + Communal Experience

GRAPHIC DESIGN:

rs o

s e o B

333 of knowledge is threatening to some,

7 57FIVE

has put a spin on our aesthetics

as a template design

lte

g olo

seven ? seven seven t I

TECHNOLOGY

s e o B

can alter history

THREE

TECHNOLOGY

allowing ourwork once-specialized skills to become Producing that fosters real connections more wide accessible. transfer may be onespread way ofand getting that soulThat back.

Moholy-Nagy, Herbert Bayer, of Josef Lives in the Actions itsMüller Users

FOUR: 22SIX FOUR:

TECHNOLOGY

We Should Encourage Collabora

hn Tec

fall .” ign ory des f “the g. hic o akin rap ies m r g f o t o u ies teg log abo ess al t ca odo ation roc h exts feren p t has put a spin on our aesthetics e e rn h if m t e d l t o ze er nta riveotf In theorary ly d e a n p t u ” an erim e srella pitteem ch. me exp wheurmb s decson andsear s So t y d u e e r yn r ind uha veder l voleic, an rapshig tivebeh Ba erslleun uaS y e ns n t fa visic t otodg“d Creeaas sig esig er tha iqueraph cklapbhele obtehe id byd” de e ple d e tedrea h, a wid npog stons u A r; w e peo in ork to n ate Ty ce oraf tio old oxaf m s noors “ novic itte r in do e If I w r ow Tw c mo nxplo hxts e ly, Aauth Mahem eso, me le cha. rch o ur ic ny ils, a t g s e s s v pereese turee tof o lithe te eouork. Lepvut guand to ma ma s o her e s pre h n A n h c , m n e ic g my truvalu ritinirge ot wit uh moSo ultaual w ctrsit and tic tla xt. lateodurs longs on o s e e r t e p e w trhoug aned th im x th vis edia tiscon isodisc ing ctio ica ind ins ne.rking e r S n g t n e a . e a r l h u l h u li o s n h e iz kin ite t nd smign ueslt,ura usly tica e bnestr mm xt t ordhas craesae a discreip. W hin Su noar de hnaiql/cu rehveioore ns adreco twayrceo o d byme t h te partes mp is in b d the g ig l m n f p c s u t n h t n tetoric rieside im to en et tica ty arite batet go e face s.oMa etwhro sio de ig r s s s ic r a w ie e s t h c is s cif h m Ell a de je , t eo oc d ula ut rof de ro ies isrn am hts th ourasd an sukepro ocuke, s th of n spe ocpapbly o ualapphic d asctud . Tbhlu asgr thoug s , v a ividf gr orteder e an bisoo el Riss rse ca nd y ion se e too r a f and indld o expgen escsour y a alu t rshipc,ent Micghe o e cohueor tive our e ke ran T sv c h r hin fie aniodtics prso, fof ybrsid. it ual o t g . it h y a r is t li a ea w u h n ed n d xt tv brin ovteoda d them. res ut na ort sem ns aal te e oizfatio mos ing iguabo Heslfion undses th age, sig g f r in h e io e imp l t a t o a h D ny casem ngauteg gh t fes e grdodre d im ntia essic li a o e p r n e la c p for s a t a the k ap n h rou influ n & J x , u lso unli mosuc y, th as to adheelp n te se. A s , is yh com abilit Lup st dec etwee ake ur se log ork o n o m w ix c e n b n la s is h rem ur now . Tec the s to ship d its d nicatio do th e ion ion ists e n t u r t o t g a r u o b la m f , a ib e s re han om by ntr line nb gu ly c of c ful co ign cip ivin see sib t dis ion des s, g less. ver ugh se of ans irre sthetic tho hic nd exp ur p a le o a e c r e sib gr is of a he pos rger d pow of t re la ce mo n. the r sli latio ide u p w a po ign des

passionate + smart.

culture by developing Kalle Lasn has warnedframeworks designers: that “We enable have lost others to Our create; doing our plot. story line. so, Wehowever, have lost means our soul.”

Eve

liberating to others.

This body of work is small compared

longer thewe, sole of a separate How can asterritory designers, the“creative to architecture fine combat arts, but itisolation is class.” Designers can lead this new participatory with projects that foster community? Media activist

s tic

of knowledge is threatening to some,

mind.” are grappling their ownare DespiteDesigners our connections online, with many people place in this DIY phenomenon. no experiencing a growing sense ofCreativity personal is isolation.

seven ? seven seven t I

GOOD DESIGN

333

+ user experience online experiencing personal isolation

e sth

allowing our once-specialized skills to become Producing work that fosters real connections more wide accessible. may be onespread way ofand getting that soulThat back.transfer

with from prepackaged forms. Dmitriand don’tguidance want to sit down together? Collaboration Siegel calls fuel this worldphenomenon “the templated community changing design solutions.

ll n fa ry.” esig “theo g. ic d f so akin aph r ie m r g s f o ut gie so teg l abo ces t ca dolo tiona o o r h exts feren p has put a spin on our aesthetics t a if me o rn the rd tal rive tf Inte the rary ze e n ly d e o o t a e p s un ” an erim re rella spittem ch. me exprywheumb es decon andsear s So u e t y re d ic d uha ev der l vole, angrapshign tive ehin Ba nersll un isuaS ty oto “de reaas b ns C e h d t fa v ic sig esig er tha niqueraphtocklapbele dobtehe idd byd” de e ple g , wid u A a s e e o h s t f e f r; w e peo ork oa ate Typ ce oation old oamin s nors “r novic t itte r e r in do If I w wn x o c Tw mo lenxplor hic hxts e sly, Aauth v Mahem geso, me ch. rch o ur o a ny ils, v e olit te eou rk. rs preeesea ture tof o Leput t nguand s to , ema ith ma s pre e n o s e n ic g the h c w moSom ultaual w crit and tic la uhg my struvalu ritinire o t. Alatedurse logs x o e e on r t e w p th ica Simvis ediaexts rtis ont iso isco g tion n thoug and the in ins ne.rking g o ite. the nd mign t ues,uaral c uslyical d e besintruc mmun xt tha hr rdearsize reasaend cipliW kin s e o Su t a r . io n r e c h o lt is e d ore by e thin he n r de hniql/cu reveore ns a eco twa c rtesmp is in as nd m ht ig a b g f p o c s t y m l p d a d u h teoric ries e t ssioign s so an ew de ro im to en ethtica ty arite bategot e face h r ic t M t e id s s t a ie if f c his ula ts ro de ro s. is n m Ell at , th or oc d w de c am spe ocapbly ouual pphic d actudie . Thlu r hts the our ds an sueproje ocke, s th of is k n a v ap ivid gra orteer s ns e, b d asgr thoug R u n io e to re an boo ael iss rse ca and ur ind of exp end ess urs y a alu to rshipc,ent Micghe of e cohueory tive al o sv c hin field andtics g pro, fof coybridit u e h n T o e t r g it a . is h k r r t w u a es lit a ove day the a. brin tedemio s antdexts of hions. ost v a r m o r d u n o g t e lf s ion al ge izat e m sig figu bo He n nde th ge, imp thin a r t in h De ial a sicafessio groduress ima licasem langautegough t any ent nd es ro re d ke the app n c ro influ n & J p e, fous a text a unli lso mosuch y, th as .A to adhelp een s , is yh e c p com abilit k g s e u e r L o ake ur tw td ns olo o w ix m e s e n c b s m h n la dis re now . Tec atio our th the s to ship its ists ed re o tion unic tion , and g o b u f n la m art e s ib re ha om by ntr line nb gu ly c of c ful co ign cip ivin see sib t dis ion des s, g less. ver ugh se of ans irre sthetic tho nd hic exp ur a p le o e r a c e sib gr is of a he pow pos rger d re of t la ce mo n. the r sli latio ide u p w a po ign des

DESIGN + GRAPHIC user experience

COLLABORATION

online experiencing personal isolation

This body of work is small compared

culture by developing that enable Kalle Lasn has warnedframeworks designers: “We have lost others toOur create; our plot. storydoing line. so, We however, have lost means our soul.”

and shaping own visual identities often we hat’s thetheir good of multi-touch technology

+ user experience COLLABORATION

mind.” are grappling ownare DespiteDesigners our connections online, with manytheir people place in this DIY phenomenon. no experiencing a growing sense ofCreativity personal is isolation. longer thewe, sole of acombat separate How can asterritory designers, the“creative to architecture fine arts, but itisolation is class.” Designers can lead this new participatory with projects that community? Media activist passionate + foster smart.

FOUR: 22SIX FOUR: of

VALUE

rs o

with from prepackaged forms. Dmitriand don’tguidance want to sit down together? Collaboration Siegel calls fuel this worldphenomenon “the templated community changing design solutions.

the expectation of filling in their own content

+ GRAPHIC user experience DESIGN

lte

and shaping own visual identities often we hat’s thetheir good of multi-touch technology

has put a spin on our aesthetics user experience

VALUE

FOUR: 22SIX FOUR: yA

the expectation of filling in their own content

Users approach software and the web with

Graphic designers have written about the

has put a spin on our aesthetics user experience

Helfand, Dmitri and Kenya Hara. Threadless, and Siegel the multitude of blogs.

g h iz nd kin Wo has ase a thin re. mp b the me mo to e etical got ace rite f t r w t c o a je the and s th n pro sue ead book ca to r of is eory nt ece range Th . y ar . da ta m o u t e o n ab s th sio res fes add pro us help

ideas behind their work since the inception of

SIX

a Ag

SIX

g olo

st i

VALUE of SOCIAL NETWORK W GRAPHIC DESIGN +

Janhink vanFlickr, ToornFacebook, and, moreEtsy, recently, T Lulu,Jessica

has put a spin on our aesthetics user experience

Users approach software and the web with

Brockman, Karl Gerstner, Katherine McCoy,

VALUE of SOCIAL NETWORK W GRAPHIC DESIGN +

hn Tec

ain Ag

Jan van Toorn and, more recently, Jessica hink Flickr, Facebook, Etsy, Lulu, Helfand, Dmitri Siegel and Kenya Hara. Threadless, and the multitude of blogs.

446

le gg

Brockman, Karl Gerstner, Katherine McCoy,

We Should Encourage Collaboration + Communal Experience

We Should Encourage Collabora-

Moholy-Nagy, Herbert Bayer, Josef Müller Lives in the Actions of its Users

gg tru

tru eS

446 SIX

Moholy-Nagy, Herbert Bayer, of Josef Lives in the Actions itsMüller Users

VALUE of SOCIAL NETWORK W GRAPHIC DESIGN +

ideas behind their work since the inception of

the profession. Consider F. Marinetti, László Design Increasingly

Design Increasingly the profession. Consider F. Marinetti, László

SIX

Graphic designers have written about the

GRAPHIC DESIGN FIVE

ideas behind their work since the inception of

the profession. Consider F. Marinetti, László Design Increasingly

SIG

na ve

GRAPHIC DESIGN FIVE

tic

est

ers

TWO: TWO:

Graphic designers have written about the

ERS

Alt

r ing ize nd Wo ink has ase a re. e th mp b the mo to e etical ot m face g rite t r w t o jec tha the and pro n ues a s ead book r c to of is eory nt ece range Th ar ay. . ut a tod em abo ssion s th res fe d o d r p sa u help h

GRAPHIC DESIGN: THEORY:

as a template design reading + writing more

olo

Iw wn has put aarchspin r o on e f ou ers res eo oth alu my e n ourroaesthetics v ir h p go ug the ins kin ork

GN ESI

sTECHNOLOGY ? e t I o FIVE s D e Or Do FIVE r O VALUE of FIVE D

D IC

THREE

has put a spin on our aesthetics

iz nd kin Wo has ase a thin re. mp b the me mo to e etical got ace rite f t r w t c o je tha the and pro n ues a s ead book r c to of is eory nt ece range Th ar ay. . ut a tod em abo ssion s th res fe d o d r p sa u help h

one

We Should Encourage Collaboration + Communal Experience

3 ?3 3 t I

DoTECHNOLOGY

Tec

liberating to others.

Iw wn has put a r o on chspin ear f ou rs res eo the alu my eo n v ir ourrouaesthetics h p e g go ins g e th rkin

o Iw wn has put a r o on chspin ear f ou ers res eo oth my n valu pire ourroaesthetics h e g go u ins e th rkin

GRAPHIC DESIGN FIVE

s It ? e o s FIVE D e Orr Do FIVE O FIVE VALUE of ork

one

has put a spin on our aesthetics

? sTECHNOLOGY t e I o FIVE s D e Orr Do FIVE O FIVE VALUE of O

TECHNOLOGY

Eve

of knowledge is threatening to some,

THREE

others to create; doing so, however, means

one

has put a spin on our aesthetics

culture by developing frameworks that enable

It experience est ? o D I Or es

We Should Encourage Collabora-

d oke n lo el. ofte l mod as a e h u n ect h th ig ll it s e w t de ge s in ork hic led y e a our w w r rap o u n t dar se al k itec gen infu oretic fall g le.” We rch a o t in n to s he esig rang eory cts. t ng f lo les o d f “th ite . We ind hic d o of ch ing is e kt grape kinoriesnot afr makur role nd u sam teg re s o . O gies rint a sam o b s s a p a l lo r a he t c e ce e do n na sier exts & tferenBut we proesignetho tweenatio is ea th d l m s btoe nter ork ry l. This dif s. s eof I r tw er critalyzeaphicenta roriv heora era d e n u an e gr erimWree csrtella Ds. pOituteemp hemch.” e wid e b -e p r me ar exped w.h um ds3d con e end ea lin s So au deevfeindryer t D oaicn,eand mpohry na resdeiscipind icult h u h v f d ig a l tyle angr es haativ be dif s Ba nersll un b,u2aS to d Citreeas s it ign t fa wevisic dupcheoled “lede w id ayke des of er esig tha niqueraphporo ck be pob e b ” y u og tost s la coAud e th kte, dmead bohd, a wid ate Typ ce oraf tionidoitldy,oxaf minsstrenaoors “rinneodvic o e into r c n plo fluh ts e aly tic, auth deMf ahem y.geso, me d le ic a x A s x v h a m v e lit te agou rk. hLe ut t eoura d s to o s g n r e e pre p h o li n t p n ic n laxnt. A tedurses moSom ultaual westacbrsit andsig ic t e e o th Simvis toediaext dretis ont islodlaisc ing ction ite. the nd smign taupehsic,uaral c usly a e bestru ic t r e Su n a lt r io e r e g o ignor d echnaiql/cu prethveor ions adec oftwnay t oric ies e s a w des ss ign cifichist ularutsid rofedes rosss. M is ne r s spe ocapbly o ual pphic d asctudie . Tbhlu e a s a v t p r r r id n a e g o d iv f io se, nd and indld o expgen essour y a al hin fie andtics pro, fof c ybrid. it it isu w tesdemio s antdexts of htions ost v r o g hin ion al geriza e m imp nyt castemin ngutaego gh th li a p a e la u ap onuch c , thro nlik s u m a s y is yh com abilit rk, log nse wo ix hno ur se rem now . Tec o ists ed re oth g o b f n art e s ha nb gu ly c ivin see sib s, g less. ver irre sthetic nd a e r e of a pow re mo

Do TECHNOLOGY RA

This body of work is small compared longer the sole territory of a separate “creative to architecture fine arts, but it is class.” Designers can lead this new participatory passionate + smart.

3 ?3 3 t I

Or es

ti he

place in this DIY phenomenon. Creativity is no

VALUE of allowing our once-specialized skills to become user experience GRAPHIC DESIGN more wide spread and accessible. That transfer

+ user

st Ae ur

mind.” Designers are grappling with their own

others to create; doing so, however, means

t? s I? + user experience e Do It

TWO: TWO:

FOUR: 22 FOUR:

Siegel calls this phenomenon “the templated

culture by developing frameworks that enable

with guidance from prepackaged forms. Dmitri

This body of work is small compared longer the sole territory of a separate “creative to architecture fine arts, but it is class.” Designers can lead this new participatory passionate + smart.

and shaping their own visual identities often

place in this DIY phenomenon. Creativity is no

liberating to others.

rs o

the expectation of filling in their own content

has put a spin on our aesthetics user experience

mind.” Designers are grappling with their own

of knowledge is threatening to some,

d oke n lo el. ofte l mod as a e h u ect h th ign wit tell des k in ge r ic h as led wo e r w r rap u o ary tu eo l kn end itec fus ticnafall g le.g” in rch e e r a o eoesig ngineory ts. W to gt h t n ss a h c f d r t ite g. lo is le d o hic of f “ We kingrap kindries o t arcmhakin role e nd r s f o t o e eg re nss o . Oulogie rint la t saam bou s a m a s e a p na r do ier c e tc exts & tfheren ut weepro signeetho weennatio eas if s. Be th de l m btoet ter rk isy his d seof In r twhoeorar ral. T er critalyz phicenta oiv s d n r r u an graerim ree csret lla .spOituteemp emech.” wide emb 3d-Decon enpdhear line me areexp d.hW u w s s So s e a d e t y d u e ip r r d n ean inr oaic mpohy n deisechin ifficult uha evf eder , Ba ersdlleun ,u2a-SlDtvyle atongd“rdaesig heaativ s b it digns n fa evbisic eo d witr ea hat iquew ph dkupchele polebdeheCid bayke”sdes of ider estig d e t kte, dmread ohd,ya w npogratosptnorosc lab cfoAuin u to o ateTy ce roaftio idoitldy,xoam stsrenaoors “ neodvbic cre nplo fluhts e ly a em in es, me d tic, auth eMfin valeex lithic tex muask. A hLaepvdut th egouryan.gd so to pre s nome rnaego or ic thxnt. A ed rses ntla moSo ultpaual w stactbrsitliandsig u t ic e t o e n is eia n isodlaisc th Sim e v toedtex dretisco inguctio l ite. th nd smign aupehsltic,uaral usly ica re obnestr re t Su e e a r io u r d ignor echicngaiql/c prethveo ionns daec oftwnay t tor rieside s. Ma ew ssig des s s ic e s s is e cif h ro ies isr n ulaut rof d spe ocapbly o ualapphic d asctud . Tbhlu e as v ap ividf gr ortder ionsse, nd and indld o d esxpgen ofefscsour ity a al id n tic r, o hin fie aio p it ybnrs. t visu w tesedm s alntdexts of htio s r o o g geriza e m hin ionina imp nyt castem ngauteago gh th li a p e la c u ap n h ro nlik s mosuc y, th is u gy ha , com abilit k e r lo ns wo ix hno ur se rem now . Tec o h ists ged s bot ore art bef u han c n g ly ivin see sib s, g less. ver ic e t r ir he and est er of a pow re mo

e Alt

Users approach software and the web with

VALUE of SOCIAL NETWORK GRAPHIC DESIGN +

Siegel calls this phenomenon “the templated

VALUE of allowing our once-specialized skills to become GRAPHIC DESIGN more wide spread and accessible. That transfer user experience

Threadless, and the multitude of blogs.

with guidance from prepackaged forms. Dmitri

FOUR: 22 FOUR: gy

Janhink vanFlickr, ToornFacebook, and, moreEtsy, recently, T Lulu,Jessica Helfand, Dmitri Siegel and Kenya Hara.

and shaping their own visual identities often

has put a spin on our aesthetics user experience

Brockman, Karl Gerstner, Katherine McCoy,

the expectation of filling in their own content

olo hn

THEORY

Moholy-Nagy, Herbert Bayer, of Josef Lives in the Actions itsMüller Users

Users approach software and the web with

Tec

VALUE of SOCIAL NETWORK GRAPHIC DESIGN +

ideas behind their work since the inception of

the profession. Consider F. Marinetti, László Design Increasingly

Threadless, and the multitude of blogs.

ERS

N SIG DE

TWO: TWO:

Graphic designers have written about the

Brockman, Karl Gerstner, Katherine McCoy, TH EO RY Jan van Toorn and, more recently, Jessica T hink Flickr, Facebook, Etsy, Lulu, Helfand, Dmitri Siegel and Kenya Hara.

oTECHNOLOGY D THREE r

rs o

HIC

Individual Vertical Form Front Panel Design T

Moholy-Nagy, Herbert Bayer, Josef Müller Lives in the Actions of its Users

Or es

e Alt

P RA

Iw wn ro ch ear f ou rs res eo the alu my eo v ir on h p e s ug ing e th nd in hro ing ork siz a W a ink . e h as e th ore mp b the e m l m to ot ce tica g a rite f e t r w t o jec tha the and pro n ues a s ead book r c to of is eory nt ece range Th ar ay. . ut a tod em abo ssion s th res fe d o d r p sa u help

GRAPHIC DESIGN: THEORY:

EG AR

ork

ideas behind their work since the inception of

liberating to others.

s It ? Concept 4.final designe o s D e r o Or D O VALUE of GRAPHIC GRAPHIC DESIGN GRAPHIC

as a template design reading + writing more

THREE

Or final design execution T

one

Graphic designers have written about the

the profession. Consider F. Marinetti, László Design Increasingly

3 ?3 3 t I

t? s I? + user experience e Do It

of knowledge is threatening to some,

d oke n lo el. ofte l mod s a a e u nh ect h th esig intell wit d k ge r hic as led wo y e r w r rap u o tu dar eo l kn itec g” en fus ticnafall g le in rch e e . r a y to g to f thedoesig angthineor cts.. W s n lo les o ic frf“ ite g We indaph d os o chakin ole is e kt gr e kginorie not oafr m ur rie nd s te re ess . O log rint la saam bou s a m a c a o a c pn rs d t ier exts & tfheeren ut weepro signeetho eennatio eas twer rk isy e m th dif . B his ze hicedntal sseobtfoeInt w er critasly eoorar ral. T d h t iv n p o r r p r u an graerim ree csrtella . pOituteem emech.” wide me areexp .hW eumb 3d-D ecson enpdhsear ne d s So li w s a t e d u e y d e e r ry n r iscipind ult uha evfeinder lDvoaleicn, an drampsohig h Ba ersdlleun ,u2a-S y e ehaaativsdebe diffnics b ic t cheotaodng“d w n t fa evis Citr e s it sig f er esig tha iquew aph kdupbele polebdtehe id baykde” de y ow mrea ohd, a id npogr osptonrocs la f oAudin d e , u e k t c ate Ty ce oratf tio oitldye,oxam sstrenaoors “ neodvbic into do h cre n plo fluhidts ahem eso, me eMfin tic, aut valeex litheic tex m usaly k. A hLaepvdut t egourayn.gd s to pre s nom parnaelgowor britliic thxnt. A edurses lt ua stacts and ig ntla moSo uis t e ic o t e n la c ia s n th Sim islodis inguctio e v toedetex dretisco ite. th ndesmign upehsltic,uaral usly ica re obnestr e t e Su a a io u r r l/c nor d hngaiq ethveo ns adec ftwnayr r ig p c s n tetoric ieside soMa w de ssio sig cifichis ularuts rofede rosiess. isrne spe ocpapbly o ualapphic d asctud . Tbhlu as v a ividf gr orteder n s e, dld o expgen essoiours y and and in c al hin fie aniodtics prso, fof ybrsid. it isu wit tesdem s alntdext ofahtion ost v r o g geriz e m hin ionina imp nyt castem ngautaego gh th li a p e la c u ap n h ro nlik s mosuc y, th is u gy ha , com abilit k e r lo ns wo ix hno ur se rem now . Tec o h ists ged s bot ore art bef u han c n g ly ivin see sib s, g less. ver ic e t r ir he and est er of a pow re mo

ol o hn

culture by developing frameworks that enable

others to create; doing so, however, means VALUE of allowing our once-specialized skills to become GRAPHIC DESIGN more wide spread and accessible. That transfer user experience

Tec

sue ea can ook to r of is eory nt b h ece range .T ar a day em. t o u t abo ssion s th res fe add pro us help

esign

t s I? e Do It Or es

FOUR: 22 FOUR:

C DESIGN:

] [submittal 3 ?3 3 t I d oke n lo el. ofte l mod as a h u t the ign llec ith des kw inte ge r ic s o h a led w e r w r rap u o ary tu eo l kn end itec fus ticafall g le.g” in rch e e r a o n eoesig ngineory ts. W to gt s h t n a c f lo o d f r “th ite g. is les We ind phic d o of ch kin e kt gra e kinoriesnot afr ma ur role s and m saabou samateg are ss o s. O logie print l e t c e ce er do n na sier exts & tfheren ut we pro signetho tweenatio is ea his dif . B th de l m be er rk er critaslyze phicenta ross of Int r woorary ral. T d n u an graerim e crella . Outemp hemech.” wide me areexp d. W mb d 3-Dcon e ep sear ipline u s So e t r d u e n in c d r lt uha deufnder2-D ale, an d msoign a disehin ifficu Ba , ty a n de h s b d ns ll t fa wepbhic Sduceled “ d witidea kes itesig f d o er e le e tha grato pros lab coup e th k, meaad” odya wid o p r Ty tion ity, amin trears “ ed b to do lora fluidts ex atic sutho definem in. me exp tex g m rk. A h a ut th o r y d so s to me pral wo ablisnd p n thet. An rse a est ts a sig tex So u u o vis to tex de con isc tion the ruc al d ign phicural nst etic des gral/cult eco ny eor or nd a rica ide th ig o M t s . s s his de ut die r hic ly o stu blu rap app er se, of g end our field tics g , of c . io ns xts sem al te atio in oriz sem categ h c u s

RS NE

VALUE of GRAPHIC DESIGN

O D r O VALUE of GRAPHIC GRAPHIC DESIGN GRAPHIC l st bl rap app er se, of g end our field tics g , of c io ns . xts m e e io t t s l a ina oriz sem categ h suc

TWO: TWO:

This body of work is small compared to architecture fine arts, but it is passionate + smart.

communicate via text instead of speech- blogs

page

.45