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."

Wasteful Design

I see this piece of design as being wasteful because of how much paper must be wasted to create these cards.  Think about all of the paper that was disposed of to create just these four bird-shaped cards.  Although I am not sure as to what size paper these were printed on, it seems as though there is a good amount that was not used in this design.

If the designer of these cards were to just print this shape (either filled in or just an outline) on a whole card, he or she would be wasting much less paper.  This way, instead of the unused paper being thrown away, it becomes a part of the design.  In my opinion, the extra space around the bird shape would be a nice addition to the card.  And, not to mention, this card is a very awkward shape.  It looks nothing like what a "normal" card looks like.  I am not sure if this is a business card, but, if it is, I don't think it'd be very easy to stash in your wallet, or even your pocket.

My idea to rework this design stems from number five from my list of "Ten Ways to Practice Sustainability."  Number five reads: "Recycle any unwanted papers."  But, rather than recycling the papers for someone else to use, you are getting your money's worth by just using it all yourself.

Ten Ways to Practice Sustainability

1. Create designs on paper of high quality and durability--the design and the paper itself will last longer and  will more likely survive excessive handling.
2. Buy paper in bulk.  (It will save you money.)
3. Use typefaces that are light or regular in weight, rather than bold.
4. Print on recycled paper.
5. Recycle any unwanted papers.
6. Print double-sided whenever possible.
7. If an oversized project needs to be printed, try printing the entire piece on all 8.5 by 11 in. sheets of paper.  (It's less expensive.)
8. Fit as much as you can on a single sheet of paper--use a small (but legible) font size, decrease the margins, line space, and the space between paragraphs, among other things.
9. Whenever possible, create products that can in some way be reused.
10. Print as few test prints as possible.

Vernacular Design

"Professionalism, Amateurism and the Boundaries of Design"
This article discusses numerous terms and themes--all relative to one another.  These include amateur and professional design, influence and alterity (in design), DIY, the English Arts and Crafts movement, "ghosts," vernaculars and dilettantes.

Three terms from this reading that are very closely linked are amateur design, DIY and the English Arts and Crafts movement.  Following the English Arts and Crafts movement, amateur practice became more popular.  This inspired people to get creative and make certain objects they might normally purchase.  As stated by the authors, a special issue of the journal (the one from which this reading comes) discusses "democratization of the design process through amateur practices--practices that allowed individuals to find personal meaning and that opened up design to a wider range of participants."

From this reading, I have come to realize that amateur design does, in fact, influence professional design.  Considering amateur design is much more open and less constricting than professional design, it is, in my opinion, inevitable that a wider variety of ideas and design elements are present in amateur design.

Key points in this reading:

• 'Amator,' which is defined as "someone who loves what they do and does it for its own sake rather than financial reward," is the Latin root for the word 'amateur.'
• Professional and amateur practices will always be connected to one another.
• Modernity does away with tradition.
• "The vernacular is an inescapable part of modern design."
• Vernaculars are associated with tradition and pop culture.
• "For professional designers, whether they design buildings, products, information, furniture or experiences, it is imperative that they find ways of accurately envisioning those who use design, in order to become partners in the creation of successful solutions."

"We're Here to be Bad"
Although this piece was, literally, difficult to read, its message came across quite clearly.  This article discusses the importance of designers' taking risks and stepping outside the box--an idea I believe to be relative to just about any circumstance.  In my opinion, taking risks and temporarily removing oneself from a given situation once in awhile offers a designer insight and experience, while simultaneously protecting his or her sanity.

I enjoyed reading the portion containing information about products and individuality.  To my understanding, when most people think of others expressing themselves through specific products (the brands of the products, in particular), they think of the girl who walks around wearing a Juicy Couture jumpsuit and Chanel sunglasses while she carries her newest Louis Vuitton handbag.  But what about the other end of the spectrum?  What about those people that refuse to associate themselves with such name brands?  Doesn't that say something about them?

Like this article states, "products have to appear to express different attitudes."  This provides people with choices.  This way, people are able to choose the products they want and the products they don't want.  Without choices, there is no possibility of individuality.

Key points in this reading:

• It is necessary for designers to step outside the box; "[they] need to function as outsiders."
• Today, bigger is definitely better.  However, that is not true in all cases.  For example, big corporations equal big risks, and big risks equal big consequences (positive or negative.)
• It is natural for people to knowingly or unknowingly express themselves through the particular brands and products with which they choose to surround themselves.
• "Design is playing a more prominent role in everyday life, but the designer isn't."
• "Vernacular design is design that's so familiar that we don't really see it.  Seeing the vernacular is seeing the invisible."
• "Unfortunately, schools teach students to design by imitating what the professionals do rather than developing their own approaches."

Design & Sustainability

"A Question of Design"
This article discusses the Industrial Revolution, how it came about, the effects it had on society, and its relation to design.  My favorite statement from "A Question of Design" is the following: "You may be referred to as a consumer, but there is very little that you actually consume--some food, some liquids.  Everything else is designed for you to throw away when you are finished with it.  But where is 'away'?" This statement happens to be my favorite because it brings up such valid points--ones I have never thought about myself.  Why are we called 'consumers'?  What are we 'consuming'?  When we throw something away, where does it go exactly?

The Industrial Revolution, provided society with a much needed positive change.  This included new work opportunities and better standards of living.

Another statement that caught my attention is, "The waste, pollution, crude products, and other negative effects that we have described are not the result of corporations doing something morally wrong.  They are the consequence of outdated and unintelligent design."  I found this point particularly interesting because we are, in fact, quick to blame a corporation for being careless and lazy when it comes to issues such as pollution.  However, in reality, these corporations have not yet caught up with technological advances, nor have they acquired proper design knowledge of the machines they put to use.

Key points in the article:

• "The Industrial Revolution as a whole was not really designed.  It took shape gradually, as industrialists, engineers, and designers tried to solve problems and to take immediate advantage of what they considered to be opportunities in an unprecedented period of massive and rapid change."
• "Cheaper products, public transportation, water distribution and sanitation, waste collection, laundries, safe housing, and other conveniences gave people, both rich and poor, what appeared to be a more equitable standard of living."
• "Ford's innovation was to bring 'the materials to the man,' instead of 'the man to the materials.'"
• "New work opportunities in factories improved standards of living, as did wage increases.  Ford himself assisted in this shift.  He actually created his own market, and raised the bar for the entire world of industry."
• "Viewed from a design perspective, the Model T epitomized the general goal of the first industrialists: to make a product that was desirable, affordable, and operable by anyone, just about anywhere; that lasted a certain amount of time and that could be produced cheaply and quickly."
• "Today the International Style has evolved into something less ambitious: a bland, uniform structure isolated from the particulars of place.  Such buildings reflect little if any of a region's distinctness or style."
• "In product design, a classic example of the universal design solution is mass-produced detergent."
• "To achieve their universal design solutions, manufacturers design for a worst-case scenario; they design a product for the worst possible circumstance, so that it will always operate with the same efficacy.  This aim guarantees the largest possible market for a product.  It also reveals human industry's peculiar relationship to the natural world, since designing for the worst case at all times reflects the assumption that nature is the enemy."
• "The waste, pollution, crude products, and other negative effects that we have described are not the result of corporations doing something morally wrong.  They are the consequence of outdated and unintelligent design."

"The Sincerest Form of Flattery"

This piece is an interview with Janine Benyus, a biologist and science writer.  When I first took a look at this reading, I was not sure as to what this subject had to do with design.  However, after reading deeper into it, I discovered that, in this interview, a different type of design is being discussed--one that creates devices that will better the environment and make for a more economical society.

I found it hard for me to personally relate to this interview because it consists of information regarding environmentally-related design--a type of design that does not exactly interest me.  Though, I suppose in order for one to be a well-rounded designer, one must be knowledgeable of every type of design.

Benyus' love for nature and her allowing it and its aspects to become such a huge part of her life is awesome.  However, it is just not a lifestyle to which I am able to relate.  But, I enjoyed seeing the world through Benyus' eyes because it is a design perspective which I have never before explored.

From this interview, I obtained the fact that Benyus believes we should create technology based only on what nature has already been doing.  This way, we can simply improve what we've already been given.  However, weren't we put on this earth for a reason?  Two of those reasons being to express our personal opinions on things and use our minds creatively.  These reasons, among others, don't come into play if we are solely going to build from something that already exists.  Humans are supposed to make mistakes--that's how we learn.

Key points:

• "Biomimicry is the practice of borrowing nature's design principles to create more sustainable products and processes."
• Benyus believes that biomimicry allows designers and others to extract design principles from nature and use them in their own designs.
• Benyus believes that fossil fuels have been in existence for longer than we could even imagine.
• "People think all we need to fix our predicament is a free source of energy, but I think we need to change our behaviors.  More energy would just help us deplete the earth's lifeblood faster."
• Benyus took part in the design of a website titled, AskNature.org.  This site is a place where biologists can connect with engineers/designers and vice-versa.  They can then discuss projects they hope to create collaboratively.
• "There's no time for untested technologies that may not be fit for the earth.  We've got to use technologies that have already been tested by nature herself."

"Buckminster Fuller" Extract

The main focus of this article seems to be the effects the design, the environment, and wealth have had on humanity.  According to the author, there are "four billion real-wealth billionaires" on this Earth.  This wealth, of course, does not necessarily equal billions of dollars.  "Wealth is the accomplished technological ability to protect, nurture, support, and accommodate all growful needs of life."  This statement is probably my favorite from this article because its perspective is so true, yet unseen in the eyes of many.

Another interesting statement the author makes in this article is, "The world's power structures have always 'divided to conquer' and have always 'kept divided to keep conquered.'  As a consequence the power structure has so divided humanity--not only to special function categories but into religious and language and color categories--that individual humans are now helplessly inarticulate in the face of the present crisis."  These divisions create an issue when it comes to crises because people have become unaware of how to interact with those of different religions, cultures, and races.  If people are unable to identify with one another, how can they possibly communicate?

Key points in the reading:

• "The overall design of humanity's present social, economic, and, political structuring and the physical technology it uses wastes 95 out of every 100 units of the energy it consumes.
• The omni-engineering-integratable, invisible revolution in the metallurgical, chemical, and electronic arts now makes it possible to do so much more with ever fewer pounds and volumes of material, ergs of energy, and seconds of time per given technological function that it is now highly feasible to take care of everybody on Earth at a 'higher standard of living than any have ever known.'"
• "Money is not wealth."
• "Humanity does not understand the language of science.  Ninety-nine percent of humanity thinks technology is a 'new' phenomenon.  Most people therefore think they are against technology, not knowing that the technology they don't understand is their only means of exercising their option to 'make it' on this planet and in this life.  Physical Universe is technology and the technology does make possible all humanity's option to endure successfully." 

Design & Ethics

"First Things First" Manifestos
Although I initially had some trouble understanding these two works, I ended up finding them to be extremely informative.  To me, these works, especially "Design Is About Democracy," contain interesting and useful information.  One of the most interesting statements I came across while reading is, "What seduces us is its 'image.'  This image reaches us first as a visual entity--shape, color, picture, type. But if it's to work its effect on us it must become an idea."  In other words, a successful design must be both visually appealing and mentally stimulating.

It seems to me that advertising and design are quite closely related.  According to the "Design Is About Democracy" piece, "We imagine that we engage directly with the 'content' of the magazine, the TV commercial, the pasta sauce, or perfume, but the content is always mediated by design and it is design that helps direct how we perceive it and how it makes us feel."  Therefore, the design of an advertisement can essentially make or break a product and its level of success, or lack thereof.

The article by Matthew Soar, "The First Things First Manifesto and the Politics of Culture Jamming," discusses, in length, the focus, the opinions, and the pros and cons of the manifesto.  Relative to the piece "Design Is About Democracy," Soar brings up the topic of advertising versus design.  He gives his readers the opinions of others on the subject of how similar they really are, and how they relate to one another.

I found the following statements to be important ones in the articles:

• "By far the greatest effort of those working in the advertising industry are wasted on [trivial purposes, like selling cat food, detergent, etc.], which contribute little or nothing to our national prosperity."
• "We are proposing a reversal of priorities in favor of the more useful and more lasting forms of communication."
• "We imagine that we engage directly with the 'content' of the magazine, the TV commercial, the pasta sauce, or perfume, but the content is always mediated by design and it is design that helps direct how we perceive it and how it makes us feel."
• "What seduces us is its 'image.'  This image reaches us first as a visual entity--shape, color, picture, type.  But if it's to work its effect on us it must become an idea."
• "The critical distinction drawn by the manifesto was between design as communication (giving people necessary information) and design as persuasion (trying to get them to buy things.)"
• The British designer Jock Kinneir stated, "Designers oriented in this direction are concerned less with persuasion and more with information, less with income brackets and more with physiology, less with taste and more with efficiency, less with fashion and more with amenity.  They are concerned in helping people to find their way, to understand what is required of them, to grasp new processes and to use instruments and machines more easily."
• "It's possible for visual communicators to discover alternative ways of operating in design."
• "At root, it's about democracy.  The escalating commercial take-over of everyday life makes democratic resistance more vital than ever."
• "In contrast to design, there seems to be something resolutely furtive or even confessional about the notion of ad people taking the time to criticize the workings of their own profession."
• "By broadening the focus of critical attention in these ways we can continue to tease out the characteristic contours of the relationship between the subjective claims of designers and ad creatives and the structural constraints within which they generally operate; to explore the ways in which commercial practice enables non-commercial endeavours; and, to identify those subjective and/or structural elements that ultimately result in conservative, regressive or even pernicious 'texts.'"

"A Critique of American Apparel"

The company American Apparel is praised for their 'sweat-shop free' practices and 'environmental initiatives,' but people are more concerned with the way by which the company promotes itself.  The advertisements for American Apparel are said to 'emulate amateur pornography,' which contradicts the idea of 'ethics [being] central to their production.

This article brings up excellent points regarding the controversy that surrounds American Apparel.  If this company is so 'ethical and socially responsible', why are its advertisements so provocative?  Shouldn't they be more on the conservative side?  But, I guess it's true--sex does sell.

Key Points:

• "It is ironic that a company that so heavily markets itself as being 'socially responsible' has no problem using images of young women that continue practices of subordination."
• "The re-appropriation of 1970s imagery [is one of the tactics the company uses.]  This is seen to be an attempt to invoke nostalgia for a sexually liberated time, pre-AIDS consciousness."
• "Ethical practices American Apparel employ detract from their unethical portrayal of women within their advertisements."

"Ethical Design Education"

My favorite statement from this article is, "We're all slaves of seasonal trends and fickle consumers, we're creatures of a throwaway culture."  This statement caught my attention because it has so much truth to it. Although we might not realize it, we all, in some way or another, follow these trends.  Such styles come and go from season to season, hence the name 'trends'--they don't last forever.

In order to learn, we must 'step out of our comfort zone.'  Just as in any other profession, designers learn from their mistakes.  A successful designer is one who accepts his or her failures as experiences.  From these experiences, he or she is able to improve his or her design skills.

Key Points:

• "I interpret ethics to mean that we have a moral duty, an obligation to our fellow humans and other living creatures."
• "We're all slaves of seasonal trends and fickle consumers, we're creatures of a throwaway culture."
• "It's important, at times, to step out of our comfort zone."
• "Even though people's circumstances and cultures are different, they value the same things."
• "We'll just call it design--a nobel and necessary human activity."

"The Responsibilities of the Design Profession"

This author of this article makes a valid point when he states that, "Designers should in the future be educated and not merely trained."  I strongly agree with this statement because I believe that in order to create a successful design, one must educated on the subject of design.  Without an educational background in design, one is not able to accurately design.

It is amazing to me how prominent design is across the globe.  Everywhere we look, design is there.  Even when we don't see or realize it, design is there.  It seems to me that so many people are unaware of the impact design has on everything.  I suppose if one is not a designer it is not really something one thinks about.

Key Points:

• "The majority of today's designers are formally trained and highly professional in their attitude to their work, and their training has given the best of them great fluency in the visual language of this age.  This change in the status and training of designers is perhaps the most significant development in the profession during the past decade."
• "If we examine the development of design over the past 150 years it is apparent that designers are faced today with a profound challenge not to their ability, but to their integrity."
• "No matter how brief the message or how small the article (or how bad the end result) every product and every printed sheet is designed by somebody.  Quite often many people contribute to the final results."
• "Unhappily, there are clear indications that both in the graphic and product design fields far too many designers are today working for the approbation of their colleagues rather than in an honest attempt to solve specific design problems to the best of their ability.  They are motivated by fashion rather than conviction and they are rapidly undermining the basis and principles of twentieth century design."
• "As design has progressed from an amateur to a professional activity the jobs and the opportunities have grown larger, too."

Corporate Identity & Consumption

"No Logo"
The article "No Logo" discusses the value and extreme importance of brands.  Nowadays, rather than working together, brand identities and factory production are in direct competition with one another.  Instead of worrying about the quality of their products, companies are more concerned with how much money they have left over for branding.  However, I would think that most people would want the most for their money.  If I were to buy an expensive name-brand product of poor quality, I would be sure to never buy anything by that brand again.  If I am going to spend money on something, I want my money's worth.  I'd rather buy a good-quality store brand product than a poor-quality name brand one.

The following is a list of key points I came across while reading the article:

• "A product is something that is made in a factory; a brand is something that is bought by a customer."
• True value = "the idea, the lifestyle, the attitude."
• "Superbrands need lots of space on which to stamp their logos."
• Brands live on.
• "Many companies now bypass production completely.  Instead of making the products themselves, in their own factories, they 'source' them."
• "Things are now made cheaply, so there's lots of money left over for branding."
• The needs of brands are important, as opposed to the needs of workers.
• "Manufacturing can be outsourced, which leaves the focus primarily on product development and brand management."

"Bing! It's Fabien!"

The article titled "Bing! It's Fabien!" discusses the many of the likes, interests, and beliefs of French art director, Fabien Baron.  I found many of Fabien's opinions to be similar to my own.  For example, he believes that when too much text is cluttering a page, "you need to let some oxygen in [there.]"  Personally, I am more partial to simple, straight-to-the-point, organized, "clean-looking" designs.  Too much text is often overkill.  The words "simple, direct, honest, and 'forward'" are used in the article to describe a typical "Fabien" design.

The typeface Didot is often mentioned in this article, as it seems to be Baron's typeface of choice.  The author of the article writes (about Baron's designs), "When space is slightly bluer or pinker or browner than white, it is set off with a block of aqua or charcoal or bronze-colored type in the Didot typeface."  He also states that Baron enjoys "Didot, with overlapping, multicolored letters, swimming in oxygen."

One of the most interesting statements I came across while reading the article is the fact that, "Baron finds it hard to articulate his aesthetic; he is not a word person."  This struck me as quite interesting because if one is not comfortable with words, how can one easily incorporate words into one's designs?

I found the following to be key points in the article:

• 'The composition of the text should reflect the meaning of the words.'  "Fabien [Baron] has tossed that principle out the window, more or less.  By changing the size and color of letters in mid-word, by ordering letters vertically as well as horizontally, by using overlapping courses of type arranged in an inverted pyramid, Fabien manages to make the words as graphically interesting as pictures."
• "Modern is clean and young and direct.  Modern is graphic as opposed to classic."
• Fabien's philosophy of life: "Tomorrow is not today.  That is the beauty of the world.  There will always be change.  Tomorrow, people will be different.  So if you don't look forward you might as well do something else."

"Branding the Individual"

Of the articles "No Logo," "Bing! It's Fabien!," and "Branding the Individual," the one titled "Branding the Individual" definitely struck me as the most interesting and informative.  I took three times as many notes on this article as I took on each of the others.  According to this article, "the consumer defines the brand, but the brand also defines the consumer."  Consumers can make or break a brand by how often they purchase it.  The brands that a consumer purchases says something about that consumer.

"We attach much more significance to the purchases we make when we are shopping for leisure; these are the goods that may give us identity or bring to us a sense of belonging."  For example, I put much more time and thought into a clothing purchase than I do a purchase I make at the food store.  I take my time when purchasing things such as clothing and handbags because these are things that I will eventually be associated with it; these are things that I will own and with which I will be seen numerous times.  Like the article says, "brands are used as a means of expressing personal identity and identifying with a collective taste."

According to the author, "Consumption is either a tool for the 'invention' of self, or a process that strips away our individuality."  This statement is definitely true.  By buying certain items and certain brands, one expresses one's individuality and creates the way in which one will be viewed by others.  However, if one were to buy all items and brands bought by many others, that person would likely just blend in with the crowd.

I believe that the following points are key in the article:

• "The post-modern subject, it has been argued, constructs him or her self through the appropriation of goods, 'surfing' through style cultures and 'trying on' personal identities like clothing."
• "The contemporary consumer is pictured as 'the isolated individual, juggling with assorted signs and symbols in a never-ending attempt to construct and maintain identity in a fragmented and ever-changing environment.'"
• "All material possessions carry social meanings... we must think of goods as 'communicators.'"
• "For most of this century, consumption has been associated with not individuality or the 'authentic' self but mss culture and a loss of self.'"
• "Consumption has become our primary mode of living."
• "As new cultural forms emerge, whether in music, literature or fashion, our preferences will adjust."
• "We make meaning with the goods we buy."

"Media, Gender and Identity"

According to this article, "modern media has little time or respect for tradition."  It seems as though we are constantly trying to move further and further away from tradition in every aspect.  Today, society holds perceptions and opinions totally unlike those it held forty, even thirty years ago.  In my opinion, society has become almost too 'outgoing.'  Although movies with sex scenes and Nickelodeon shows with controversial topics such as teen pregnancy are no big deal nowadays, what happened to not having to lock one's front door at night?  Or letting your child ride his bike to his friend's house alone?  We can no longer do such things.  Why is that?  Maybe people have been given too much freedom--they feel free to do whatever they want whenever they want however they want?  I am not quite sure.

In my opinion, one's identity is made up of so many different aspects.  One creates one's identity through personal thoughts, opinions, and experiences.  Although identities are thought to be unique and individual things, it is not unlikely for one to try to be like someone else.  However, such a situation is indeed a personal experience.  Nevertheless, the topic of identity is anything but clear.

The following is a list of points I found to be key in this article:

• "The mass media has become more liberal, and considerably more challenging to traditional standards, since then, and this has been a reflection of changing attitudes, but also involves the media actively disseminating modern values."
• "Role models serve as navigation points as individuals steer their own personal routes through life."
• "The binary division of 'male' and 'female' identities should be shattered...and replaced with multiple forms of identity--not a new range of restrictive categories, but an abundance of modes of self-expression."
• "Contradictions are important because the multiple messages contribute to the perception of an open realm of possibilities."
• "Today, nothing about identity is clear-cut, and the contradictory messages of popular culture make the 'ideal' model for the self even more indistinct--which is probably a good thing."
• "To discuss gender and media is to aim arguments at moving targets."