Debbie Millman is the president of the design division at Sterling Brands, a leading brand consultancy based in New York. She is known for also being the host of Design Matters, a radio-show on DesignObserver.com. Design Matters is a radio-show that takes listeners into the world of prominent design professionals and discusses their processes and philosophies on designing.
I chose to listen to the interview with Ann Willoughby, the president and creative director of Willoughby Design Group, a brand, innovation and identity design firm she founded in 1978. Aside from the fact that Willoughby is based out of Kansas City, I found some other interesting things in the interview concerning her and design. Miller first started off with discussed an icon project concerning the nature of pain. She designed some icons for a chart for patients in a hospital to associate levels of pain with an icon. Miller then explained how pain has then become subjective because of the brain's ability to articulate pain through other visual means. When it came to Willoughby, what I thought was compelling was her perspective on design's current environment. Her opinion was that it is harder now to balance outside life with design now with more distractions of technology. Willoughby went on to discuss how today relationships of designers and clients has certainly changed from being in less touch personally with the concern with technological innovations increasing the rate of communication to beyond a capacity that would build relationships. She also brought up issues of time management and isolation, and how they can be more of a problem now with the technological distractions that she discussed earlier. I definitely connected with the interview in terms of relation with designer issues, and what Willoughby says to combat these things reassures me in a way that I hope to incorporate into my daily process.
Me llamo Jon Duong. This is a blog for design school.
Sunday, April 24, 2011
Speech Project: Answer the Question
How do you think the audience experience will change based on the media? What will the audience exprience in print. In Motion. What can you do in print that you can't do in motion. What can you do in motion (in aftereffects) that you can't do in print?
- I think with the innovations in interactive designs that the audience experience will certainly become more intimate. What seems to interest people in design is the act of interacting with the product/design, and I think that with that fascination that the audience experience will become a more important part of design than ever before. In print, I think that any sort of mood conveyed will not change for the audience, but the level of dynamism will certainly increase to flow naturally with pieces within different media, say web or motion. For motion, the visualization of language will carry a stronger presence, as it is a quick, interesting way to put forth what one is trying to say in a given subject. For print, things you can do that can't be done in motion are things like manipulating level of control. For the viewer/reader, print enables them to control how long they delve into any aspect of the design. In motion, a large part of what makes it distinct from print is the designers ability to control experience without ambiguity. This can engage the audience in a great way, as options open up with sound and pacing. What is great about both options though is the sheer fact that the audience is compelled to interact with the design no matter the form.
- I think with the innovations in interactive designs that the audience experience will certainly become more intimate. What seems to interest people in design is the act of interacting with the product/design, and I think that with that fascination that the audience experience will become a more important part of design than ever before. In print, I think that any sort of mood conveyed will not change for the audience, but the level of dynamism will certainly increase to flow naturally with pieces within different media, say web or motion. For motion, the visualization of language will carry a stronger presence, as it is a quick, interesting way to put forth what one is trying to say in a given subject. For print, things you can do that can't be done in motion are things like manipulating level of control. For the viewer/reader, print enables them to control how long they delve into any aspect of the design. In motion, a large part of what makes it distinct from print is the designers ability to control experience without ambiguity. This can engage the audience in a great way, as options open up with sound and pacing. What is great about both options though is the sheer fact that the audience is compelled to interact with the design no matter the form.
Sunday, April 17, 2011
Journal 9 & 10: Trollback and Good.is
Journal 9:
Jason Trollback brought up some interesting ideas concerning design and motion graphics. In his talk, he discussed things like designing for a purpose, using motion to let a story flow in a natural, seamless way, and designing for purpose rather than pure visuals. I thought it was cool to hear how he explained designing with expression, and how one can design with a certain message to create impact. I do agree that designs have more relevance when trying to convey or promote a very particular cause, movement, or action with a lot of emotion. I also liked how Trollback spoke about inspiration. I tend to forget that inspiration can be found outside the world of art and design, it is just a matter of exploring. The strength of visual communication relies on many things, from the self-determination of the designer to the concept in itself, which should be well-explained and developed before actual designing begins. Trollback did well to reinforce some older points that I've read while bringing some new ones to my attention.
Journal 10:
Good.is:
What I found most interesting about GOOD is its ability to condense information to its simplest form while still retaining valuable information. The infographics carry a great deal of information, but through use of strong, simple icons and repeated imagery, a reader/viewer is still able to soak in the basic idea conveyed. For example, two infographics I looked at were one that depicted worldwide oil usage through size contrast of oil barrel icons, and an infographic depicting heart disease myths using symbols as the dominant imagery. I thought both were well-designed and they let the information flow in an extremely successful manner. I also watched two motion graphics videos, one depicting the cost of war and another reviewing the year of 2008. I found with both that the narration, type, and imagery were well connected and the pacing just right. It was cool to see how well the dialogue synced accordingly with quirky illustrations and well organized type. The transitions were unique, and each subject within the videos had a natural change without becoming disconnected.
As far as the style goes, I love GOOD's aesthetic. The illustrations are well drawn but still grounded in a way that doesn't leave me overpowered when I'm trying to look at all the little factoids. The color usage tends to be limited, but this only strengthens the overall design. The type isn't necessarily dynamic, but the standard usage of two or three typefaces just made me understand that GOOD only does so to let one know that whatever you're looking at is clearly something GOOD did.
Simplicity and concision seem to be a large part of GOOD's representation. You can learn a lot through very little.
Jason Trollback brought up some interesting ideas concerning design and motion graphics. In his talk, he discussed things like designing for a purpose, using motion to let a story flow in a natural, seamless way, and designing for purpose rather than pure visuals. I thought it was cool to hear how he explained designing with expression, and how one can design with a certain message to create impact. I do agree that designs have more relevance when trying to convey or promote a very particular cause, movement, or action with a lot of emotion. I also liked how Trollback spoke about inspiration. I tend to forget that inspiration can be found outside the world of art and design, it is just a matter of exploring. The strength of visual communication relies on many things, from the self-determination of the designer to the concept in itself, which should be well-explained and developed before actual designing begins. Trollback did well to reinforce some older points that I've read while bringing some new ones to my attention.
Journal 10:
Good.is:
What I found most interesting about GOOD is its ability to condense information to its simplest form while still retaining valuable information. The infographics carry a great deal of information, but through use of strong, simple icons and repeated imagery, a reader/viewer is still able to soak in the basic idea conveyed. For example, two infographics I looked at were one that depicted worldwide oil usage through size contrast of oil barrel icons, and an infographic depicting heart disease myths using symbols as the dominant imagery. I thought both were well-designed and they let the information flow in an extremely successful manner. I also watched two motion graphics videos, one depicting the cost of war and another reviewing the year of 2008. I found with both that the narration, type, and imagery were well connected and the pacing just right. It was cool to see how well the dialogue synced accordingly with quirky illustrations and well organized type. The transitions were unique, and each subject within the videos had a natural change without becoming disconnected.
As far as the style goes, I love GOOD's aesthetic. The illustrations are well drawn but still grounded in a way that doesn't leave me overpowered when I'm trying to look at all the little factoids. The color usage tends to be limited, but this only strengthens the overall design. The type isn't necessarily dynamic, but the standard usage of two or three typefaces just made me understand that GOOD only does so to let one know that whatever you're looking at is clearly something GOOD did.
Simplicity and concision seem to be a large part of GOOD's representation. You can learn a lot through very little.
Tuesday, April 12, 2011
Type in Motion
On Black Power:
Who is speaking?
- Malcolm X
Why was/is the speech important to society?
- Was addressing the civil disobedience of followers of Martin Luther King
Why do you feel this is important or interesting?
- I find it interesting how he calls for action and unity within the black community before trying to make efforts to unite with the rest of the nation. He is trying to reinforce a strong foundation within his race.
What is the emotion, mood, tone, personality, feeling of the speech?
- It seems a little less formal with frequent "um's" and "uh's" and therefore more inviting to a listener, as if it were in conversation rather than speaking to a large group. It is intimate.
What is intonation, emphasis, what is loud, stressed, or soft. Where are there pauses...
- Emphasis is placed on the racial identifiers. Words like "black" and "white" are raised slightly in volume. Problems like "drug addiction" are stressed.
What do you FEEL should be loud or soft, long pause or rushed?
- I would have to say the problems addressed by Malcolm should be louder if anything, and the rush of locations at the end of the speech should be as well.
Is there a call to action? When listening to it what are key/emphasized words?
- Before trying to unite with the whites of America, Malcolm stresses that blacks need to first become accepting of each other and unite together, rather than on their own movements. Some stressed words include "blacks" "whites" "potential" "vices" "community"
How does it make you feel? How do imagine that the audience felt?
- It made me feel that every point he made was correct. I felt motivated, and I can imagine the audience felt the same way when it came to taking action.
Could there be another interpretation of the speech?
- I doubt it, it wasn't really cryptic by any means. Pretty much a straightforward speech during the civil rights movement.
Write/find a short bio, of the person giving the speech.
- Malcolm X (born Malcolm Little) was an African-American Muslim minister, public speaker, and human rights activist. To his admirers, he was a courageous advocate for the rights of African Americans, a man who indicted white America in the harshest terms for its crimes against black Americans. His detractors accused him of preaching racism, black supremacy, antisemitism, and violence. The beliefs expressed by Malcolm X changed during his lifetime. As a spokesman for the Nation of Islam, he taught black supremacy and deified the leaders of the organization. He also advocated the separation of black and white Americans, which put him at odds with the civil rights movement, which was working towards integration. After he left the Nation of Islam in 1964, Malcolm X became a Sunni Muslim, made the pilgrimage to Mecca and disavowed racism, while remaining a champion of black self-determination, self defense, and human rights.
On February 21, 1965, in Manhattan's Audubon Ballroom, Malcolm X began to speak to a meeting of the Organization of Afro-American Unity when a disturbance broke out in the crowd. As Malcolm X and his bodyguards moved to quiet the disturbance, a man rushed forward and shot him in the chest. Two other men charged the stage and fired handguns, hitting him 16 times. Furious onlookers caught and beat one of the assassins as the others fled the ballroom. Malcolm X was pronounced dead at 3:30 p.m., shortly after he arrived at Columbia Presbyterian Hospital.
Malcolm X has been described as one of the greatest and most influential African Americans in history. He is credited with raising the self-esteem of black Americans and reconnecting them with their African heritage. He is largely responsible for the spread of Islam in the black community in the United States.Many African Americans, especially those who lived in cities in the Northern and Western United States, felt that Malcolm X articulated their complaints concerning inequality better than the mainstream civil rights movement did.
Who is speaking?
- Malcolm X
Why was/is the speech important to society?
- Was addressing the civil disobedience of followers of Martin Luther King
Why do you feel this is important or interesting?
- I find it interesting how he calls for action and unity within the black community before trying to make efforts to unite with the rest of the nation. He is trying to reinforce a strong foundation within his race.
What is the emotion, mood, tone, personality, feeling of the speech?
- It seems a little less formal with frequent "um's" and "uh's" and therefore more inviting to a listener, as if it were in conversation rather than speaking to a large group. It is intimate.
What is intonation, emphasis, what is loud, stressed, or soft. Where are there pauses...
- Emphasis is placed on the racial identifiers. Words like "black" and "white" are raised slightly in volume. Problems like "drug addiction" are stressed.
What do you FEEL should be loud or soft, long pause or rushed?
- I would have to say the problems addressed by Malcolm should be louder if anything, and the rush of locations at the end of the speech should be as well.
Is there a call to action? When listening to it what are key/emphasized words?
- Before trying to unite with the whites of America, Malcolm stresses that blacks need to first become accepting of each other and unite together, rather than on their own movements. Some stressed words include "blacks" "whites" "potential" "vices" "community"
How does it make you feel? How do imagine that the audience felt?
- It made me feel that every point he made was correct. I felt motivated, and I can imagine the audience felt the same way when it came to taking action.
Could there be another interpretation of the speech?
- I doubt it, it wasn't really cryptic by any means. Pretty much a straightforward speech during the civil rights movement.
Write/find a short bio, of the person giving the speech.
- Malcolm X (born Malcolm Little) was an African-American Muslim minister, public speaker, and human rights activist. To his admirers, he was a courageous advocate for the rights of African Americans, a man who indicted white America in the harshest terms for its crimes against black Americans. His detractors accused him of preaching racism, black supremacy, antisemitism, and violence. The beliefs expressed by Malcolm X changed during his lifetime. As a spokesman for the Nation of Islam, he taught black supremacy and deified the leaders of the organization. He also advocated the separation of black and white Americans, which put him at odds with the civil rights movement, which was working towards integration. After he left the Nation of Islam in 1964, Malcolm X became a Sunni Muslim, made the pilgrimage to Mecca and disavowed racism, while remaining a champion of black self-determination, self defense, and human rights.
On February 21, 1965, in Manhattan's Audubon Ballroom, Malcolm X began to speak to a meeting of the Organization of Afro-American Unity when a disturbance broke out in the crowd. As Malcolm X and his bodyguards moved to quiet the disturbance, a man rushed forward and shot him in the chest. Two other men charged the stage and fired handguns, hitting him 16 times. Furious onlookers caught and beat one of the assassins as the others fled the ballroom. Malcolm X was pronounced dead at 3:30 p.m., shortly after he arrived at Columbia Presbyterian Hospital.
Malcolm X has been described as one of the greatest and most influential African Americans in history. He is credited with raising the self-esteem of black Americans and reconnecting them with their African heritage. He is largely responsible for the spread of Islam in the black community in the United States.Many African Americans, especially those who lived in cities in the Northern and Western United States, felt that Malcolm X articulated their complaints concerning inequality better than the mainstream civil rights movement did.
Sunday, April 3, 2011
Journal 8
Type Means Never Having To Say You're Sorry:
I think a few alternatives to Futura would have to be Gotham, Helvetica, and Trade Gothic. The character widths of Helvetica and Trade Gothic are similar to Futura and Gotham retains the same cohesiveness of most geometric san-serifs. While I do believe that Futura is a great typeface in terms of versatility of applications, I should always remember that lots of other typefaces can serve the same purpose as Futura. Even though which tends to be a safe choice, it may not be the best for a design.
Designing Under the Influence:
Michael Beirut's article initially discusses the iconic usage of Futura in Barbara Kruger's work and how she created a definitive style through her usage of the typeface. It then goes on to question if a graphic design style can actually be owned by any one person amidst designing from influences, as homages, or even approprations. The article also asks the amount of design history one must know before even conceptualizing. As for me, I think this article brought up a valid point on the terms of plagiarism in the design world. Being a student, I have to draw inspiration from somewhere, but to the degree it is reflected in my designs needs to be evaluated all the time. For me there's quite an amount of apprehension to making design risks when all I see risk-wise seems to have been done in the many years that have past. So to question originality, I should really evaluate my designs constantly, always wondering what I can do to make something that follows good conventions but hone in on what makes it my own.
I think a few alternatives to Futura would have to be Gotham, Helvetica, and Trade Gothic. The character widths of Helvetica and Trade Gothic are similar to Futura and Gotham retains the same cohesiveness of most geometric san-serifs. While I do believe that Futura is a great typeface in terms of versatility of applications, I should always remember that lots of other typefaces can serve the same purpose as Futura. Even though which tends to be a safe choice, it may not be the best for a design.
Designing Under the Influence:
Michael Beirut's article initially discusses the iconic usage of Futura in Barbara Kruger's work and how she created a definitive style through her usage of the typeface. It then goes on to question if a graphic design style can actually be owned by any one person amidst designing from influences, as homages, or even approprations. The article also asks the amount of design history one must know before even conceptualizing. As for me, I think this article brought up a valid point on the terms of plagiarism in the design world. Being a student, I have to draw inspiration from somewhere, but to the degree it is reflected in my designs needs to be evaluated all the time. For me there's quite an amount of apprehension to making design risks when all I see risk-wise seems to have been done in the many years that have past. So to question originality, I should really evaluate my designs constantly, always wondering what I can do to make something that follows good conventions but hone in on what makes it my own.
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