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."