Final Assignment: Social Design

While contemplating what I could propose regarding social design, I realized that many issues have already been dealt with. For example, I thought to myself, "Well, not everyone can afford to go to college." But, that's what student loans are for. I also thought about eliminating coins/change. However, that's part of the reason many of us have debit cards. Through research of social challenges, I came to realize that illiteracy is an issue. So, then, I thought about what I could design to help those who are unable to read as well as the rest of us.

I started thinking about reading in terms of traffic signs and street signs. Although there are some signs that are always a particular color and shape, like the "STOP" sign, not all maintain such individual qualities. Take, for example, the white rectangular signs we see while driving. These signs could read anything from "NO TURN ON RED" to "RIGHT TURN ONLY." Both of which mean two very different things. Since signs like these are not accompanied by any sort of picture, there is no way for one to differentiate between them, unless they are able to read. However, there could be an argument of whether or not one should be allowed to drive if he or she is unable to read.

Regarding traffic signs that contain only words, maybe we could assign a picture for each, like many other traffic signs. For example, for the "NO TURN ON RED" sign, a symbol consisting of a red circle, an "=" sign and a turn symbol circled with a slash through it (like the existing sign) could mean the same as "NO TURN ON RED." The "RIGHT TURN ONLY" sign, however, is not as problematic because there are often "right turn" symbols painted on the road or illustrated on a sign, as well.


While coming up with the previous idea, which I am not sure is that much of an issue, I also came up with the issue of streetlights that go out. Regarding this issue, I thought about the night lights that one might have throughout one's house that come on by themselves when it is dark in that area. Similarly, we could create streetlights that do the same. These particular night lights that I am talking about do not contain a bulb on any sort--they are LED lights. Therefore, they do not burn out. If we were to create streetlights the same way these night lights are made, there would be no issue of streetlights burning out. An out streetlight could be very dangerous, especially in an area where there aren't many in the first place. With this creation, that danger would be eliminated.

Research Assignment (Design Topic)

Throughout this course, we have discussed so many different design-related topics that I was having trouble thinking of one that we have not touched upon. However, I would like to learn a bit more about web design.

I would like to learn more about what makes for a good web design. If we were to discuss this topic, it would be helpful to look at examples, and maybe even do some web designing of our own.

I came up with the topic of web design because it is not something I know much about. I have learned only a little bit about web design. Even though I find this type of design to be quite difficult, I hope to learn more about it so that I can get better at it.

In researching web design, I have found that there are two different types of webpages--static and dynamic. Dynamic pages are more complex than static pages. I also found that there are different types of languages and scripting that can be used when designing for the web.

To me, web design is intimidating because there seem to be so many different components. However, it is true that the ways by which designers create webpages has not changed much over the years.

Research Assignment (Biography)

Stefan Sagmeister

Stefan Sagmeister, who was born in Austria, is one of the most well-known graphic designers today. He studied graphic design in Vienna at the University of Applied Arts. In 1987, he moved to New York. There, he attended Pratt Institute in Brooklyn on a Fulbright scholarship, and earned a master's degree. While studying at Pratt, humor became a prominent theme in his designs.

He pays great attention to even the smallest details in his works. Sagmeister treats every aspect of his designs as the most important one to the piece. The AIGA, among others, is a longtime collaborator of his. He has also designed for clients such as the Rolling Stones, HBO, the Guggenheim Museum and Time Warner.

Stefan Sagmeister's designs relate to many of the design-related topics and terms we have discussed in class. Some of these include vernacular design and design and ethics/communication.

Regarding vernacular design, particularly the article "We're Here to be Bad," Sagmeister definitely allows himself to step outside the box. This is evident in works like one he did for an issue of Paper Magazine, where he shredded up a pair of Levi's jeans and reassembled the threads into a poster. Another work that illustrates Sagmeister's amazing creativity is the one that consists of a wall made of thousands of bananas stacked on top of one another. In the center of this wall, the phrase "self-confidence produces fine results" is 'written out' using not-yet-ripe, green bananas.

Also regarding vernacular design in terms of the article "We're Here to be Bad," Sagmeister's works embody the idea of bigger being better. These include countless works that consist of very large words/phrases (made purposely for public viewing) that have been created from objects such as tree branches. His piece using bananas also falls under this idea.

In terms of design and ethics/communication, the "First Things First" manifestos in particular, Sagmeister's work evokes the idea of a sole image seducing viewers. In these manifestos, it is stated that "it is design that helps direct how we perceive it and how it makes us feel... what seduces us is its 'image.'" Before we dive into the content of a design, we notice the visual aspects; its outward appearance.


"I always kept my studio very small because in the design world the only thing more difficult than design is to figure out how not to grow." - Stefan Sagmeister


Sources not mentioned:

designmuseum.org/design/stefan-sagmeister

www.ted.com/speakers/stefan_sagmeister.html

www.brightsightgroup.com

www.kenyaferrand.com/pics/web/css_layout/stefan1.html

www.soundauthors.com/interview-with-stefan-sagmeister-sound-authors-radio.htm

www.designboom.com/eng/interview/sagmeister.html

Film Response: Milton Glaser

The film about designer Milton Glaser illustrates him not only as a designer, but a person, as well. In addition to discussing his design ideas and preferences, he discusses his likes and dislikes in terms of hobbies and food, for example. Because of how articulate he is, Glaser's voice is requested in many places. However, it is unusual that a designer is heard--usually they are only seen.

Glaser, who believes art to be an instrument of social enhancement, tells viewers that he enjoys doing work that is public--work that people see. He likes when people have to work to understand what he is showing them. Glaser enjoys when things look as though they just simply happened. He states that one secret of design is to withhold certain things--not to give viewers every piece of information.

Whenever Glaser has the time to draw, he does. He believes drawing is a way of understanding the world. According to Glaser, the movement and rhythmic response to music even has an effect on the way one draws.  Glaser enjoys teaching others his way of perceiving the world.

Among many other things, Glaser is known for the I 'Heart' NY symbol. Regarding the success of the symbol, he states, "People saw [it] and they remembered it."

Glaser tells us that he has always been looking for the true definition of art. The following is the definition he found to be the best he's come across, "The purpose of art is to inform and to delight."

Film Response: "Monterey Pop" & "Playtime"

The films Monterey Pop and Playtime are both perfect examples of modernist design. However, they evoke feelings of modernism in completely different ways. On one hand, Monterey Pop shows us a group of people that know no conservative values, and have moved far away from the traditional. On the other hand, Playtime provides viewers with subjects that are modern in appearance rather than attitude.

Modernist design is evident in the film Playtime through the color palette (or lack thereof) used and the structure of the buildings shown. The entire film consists of only the skin tones of the characters and grey tones, with very few exceptions. All of the buildings are of modernist design in that they are geometric in shape and structure. This film exemplifies modernism in a visual way.

Monterey Pop contains evidence of modernism design in terms of the way the people in the film dress and act. The people at the Monterey Pop musical festival are outgoing and carefree. They are comfortable in their own skin, and seem passionate about music. These people illustrate individuality and independence by dressing and acting however they please, unlike the people in Playtime.

Postmodern Design

"Pixel Perfect"
Pascal Dangin, "the premier retoucher of fashion photographs," is often referred to metaphorically. For example, he has been called a "translator," "conductor" and an "interpreter." In order for him to keep track of his many clients, he has to give each of them a three-letter abbreviation. According to the author of this article, Lauren Collins, Dangin's success "lies in his ability to marry technical prowess to an aesthetic sensibility."

Throughout this article, Collins provides examples of Dangin's interactions with clients and the jobs he has worked on. Collins writes about the time she asked Dangin if "the steroidal advantage that retouching gives to celebrities was unfair to ordinary people." Dangin replied, "I'm just giving the supply to the demand." He also explains that a good photograph has the ability to guide the viewer through it. I, too, believe this because when I look at a good photograph I take a mental journey, starting with the focal point, through the world portrayed in the image. In my opinion, if a photograph can't make you do that, it's not worth looking at.

The following statement of Dangin's that Collins provides us with is one with which I both agree and disagree: "'It's dangerous when you just press a button and go, 'Oh, that looks cool,' without any reason why you're doing it.'" Now, I know that one should have a reason for everything he or she does when designing, making art, etc., but it is just so tempting sometimes to do something just because it looks cool! However, that does, in fact, lessen the meaning of the work.

Key points:

• Dangin's ability to incorporate the style of the particular photographer with whom he is working plays a big part in his skillfulness.
• "Hair, to me, is really one of the most important retouchings that you can do. Because I look at life as retouching. Makeup, clothes are just an accessorization of your being, they are just a transformation of what you want to look like."
• "'Technology is in many respects mechanical, but somebody's got to run the machine.'"
• Dangin believes that technology should follow creativity.
• He does not agree with the way digital photography is dealt with nowadays.
• "'Software, right now, is objective. 'Let the user create whatever he wants.' Which is great, but it doesn't really produce good photography.'"
• Dangin discusses how often we are touched by color, whether we realize it or not.
• "But this world is not reality--it's about drawing people toward an ideal vision, if we're talking about fashion photography."

April Greiman piece

A relationship to technology is much more prominent in April Greiman’s work than in any other designers’ work we have looked at. Greiman’s approach to art and design is a fusion of both art/design and technology. The elements of art and/or design and technology are illustrated equally within each of her works. Her hybrid approach is interesting because it is so different from any work I have ever seen.

Although design is clearly done technologically nowadays, Greiman’s work has such a different feel than other designers’. Her work evokes the feeling of technology, whereas many designs do not typically present to viewers a technological, scientific feel.

Also, I found it interesting that Greiman is so drawn to the look of the actual pixels in an image. From personal experience, most designers do not want to see a single pixel in their work. To many designers, pixilation is a sign of a low-quality image which takes away from the design.

Key points:

• "The delicate balance of the old and the new is crucial to Greiman's working philosophy. Her work shows respect for classical Swiss typography, while allowing for a contemporary flair."
• Her unique style and amazing use of color are vital to her works.
• "Challeng[es] the traditional programs in design. 'The purpose in changing [my] program from 'Design' to 'Visual Communication' was to stress the impact of technology and the proliferation of disciplines within the profession,' Greiman states."
• "The Modern Poster created by Greiman exemplifies the exciting, effective uses of hybrid imagery—a process pioneered by Greiman. 'By creating layers of informative 'bits' (from the history of the poster), hybridization allows a design to carry a message, be visually stimulating, as well as help solidify the significance of the modern poster as an important communication device,' says Greiman."
• Greiman hoped to represent both the past and the future of the poster itself.
• "Projects like these, labors of love, are always the most rewarding and special," says Greiman. The unrestrictive environment on the project allowed Greiman to present her interpretation of what the Modern Poster is.
• When looking at The Modern Poster, one is looking at many of the tools Greiman had readily available.
• "Three things knock me out" says Greiman. "First is the profound impact, the discipline, this technology has upon one’s vision of the future. Second is the principle of change involved in this technology. Even though one encounters accidents in the normal design process, there is an abundance of chance influencing one’s solution to a problem when utilizing technology. Third, it is great to have clients who are receptive and encouraging, and who need these technological applications to solve their problems."

Modernist Design

"But, Is It Art?"
This article discusses the differences between a designer and an artist.  Designers often create things for someone else's purposes.  Artists, however, work toward goals they create themselves.  They also "strive to influence the feeling or thinking of an audience."  The article also states that, unlike artists, "designers often limit the horizon or their thinking to the confines of a project."

According to the author, "the border between art and design is permeable." In other words, there are times when art crosses over into design and vice-versa.

Key points:

• A designer's goals are basically determined by other people, whereas an artist's goals are determined by him or herself.

"Art's Little Brother"
This article brings up the same idea that was presented in the first article--"A designer, unlike an artist, 'works through and for other people, and is concerned primarily with their problems rather than his own.'"  The author also writes, "the designer must deal with matters of practicality and function while artists are free to do what they like in pursuit of their self-chosen goals."

Although I agree with the above, I do wish designers were able to work toward self-chosen goals at times, as well.  However, how can one design something without knowing its purpose?  I guess that doesn't really work out too well.

According to the article, art critic Matthew Collings "suggests that the essential difference between design and art is that design has function while art has mystery."  However, there are pieces within which design and art merge together, and, therefore, contain both function and mystery.

Another difference the author notes is that art is more about visual thinking than design.  Artists view the idea of beauty as being simple-minded, whereas designers have no problem with "the beauty of visual form."

From reading this article, I would assume that 'art's little brother' is 'design.'  Since 'art' is a much broader term and is seen as being dominant over design, artists are often more popular than designers.

Key points:

• "Designers have always had an inferiority complex when it comes to their relationship with artists and art."
• Design is most often treated as simply a lifestyle issue.
• All art is designed even if it doesn't appear that way.
• "'... the essence of a designer's work... is to supply clear instructions so that others can complete the production of the design.'"
• Work that can be viewed as either art or design, or both, seems to be most interesting.
• "Since the 1960s, art has become increasingly suspicious or forms of expression that are merely visual."

"Discussion"
This piece is a discussion amongst graphic designers.  They discuss matters such as respect within fields (in particular, from artists to designers), specialization and collaboration.

According to the designers involved in this discussion, specializing in a particular field is important because it provides one with a specific point of view of the world.  This allows one to meet and work with artists that specialize in other fields.  Through this, one can form a relationship with a field other than his or her own.  One designer states, "Our belief is that the more you are a specialist in your field the closer you get to the essence of things."

In their discussion of collaboration, one designer complains that artists have the freedom to explore, but designers do not.  He then states that in order to gain this freedom, designers must collaborate with artists.

The last statement in this piece, "Perhaps all we can say with conviction is that some art is as bad as design, and some design is as good as art," is not one with which I agree.  To me, this statement is saying that, in general, design is bad and art is good.  Such a perception is one that stems from ignorance.  There is no generalizing art and design--it varies too much to belong to one particular category ('good' or 'bad'.)

Key points:

• Artists are constantly wondering how they can make their work 'successful' in the eyes of those outside the art world.
• "Design is omnipresent and fundamental in a way that art just is not."
• Collaborating with artists plays a key role in a designer's freedom to explore.
• "The boundaries of art seem to be infinitely flexible, but only to the extent that it is useful to the art world for them to be so."
• "...some art is as bad as design, and some design is as good as art."