by victoria | Oct 24, 2012 | design methodologies
Our processes determine the quality of our products. If we wish to improve our products,we must improve our processes; we must continually redesign not just our products but also the way we design. That’s why we study the design process. To know what we do and how we do it. To understand it and improve it. To become better designers. Dubberly,Hugh. How do you design?, (San Francisco: Dubberly Design Office, 2005) Two things passed my way today that got me thinking about the process and students. One was a link to a site which had 50 examples of creative brainstorming for logo’s (noupe.com) and the above quote of Dubberly from the intro to his new book, How Do You Design. My own process is undergoing an amazing amount of growth, I am invigorated by expansion of my knowledge and skills. In class or shortly after a few students were hanging around and we were talking about what design education could look like. This was in response to which software to use. In a short span of 62 credits, there is not enough time to evolve and explore further the skills obtained. Too much emphasis is on the teaching of software and not enough on thinking. Yet as possible small steps can be made – at least for now to get students thinking. Yet the process is lost on most. While many balk at the limitations or assignment perimeters, the hope is one day they will think back to being forced to sketch or brainstorm and illumination will...
by victoria | Oct 24, 2012 | design methodologies
LOVE! Nathan Felde’s What the AIGA didn’t tell you,” process. The first step Felde lists first “acquiring a distinctive persona” is so spot on. It is a bit cynical and snarky yet so much of the industry is fitting the image. The bright side of this is that people with persona’s or personality that stands out – stands out. And anyone can take something about themselves and make it part of a persona. (Dubberly 49) Bryan Lawson, Creative Process is another that speaks to me in a real way. Insight, prep, incubation, illumination and verification. Such words put a magical spin on the process. Incubation and Illumination. The bright idea that sparks. Lawson gives credit to the period of time in the process where one is not conscientiously thinking about the process – rather they are not and that is when the solution shows itself. This is also know as the shower effect. (Dubberly 42) Lawson’s model doesn’t give much room for analysis, yet it it does give creed to the mental process of creativity. Ideo adds a step “rapid prototyping” which is an interesting concept – they feel you should not waste time, mock up everything from products to services. This seems like a useful way to brainstorm beyond the norm. It add excitement and energy that can push the ideas. (Dubberly 65) The system approach after Verein Deutscher Ingenieure, allows for continuous back and forth movement through every step which seems to be the most reflective of the design process where as anyone other than the designer is involved. (Dubberly 32) My own approach is evolving regarding my process. Room for brainstorming in alternative ways and analysis is developing. Hugh Dubberly, How do you design?, (San Francisco: Dubberly Design Office,...
by victoria | Oct 18, 2012 | design methodologies
Once upon a time — the process of working while the world slipped away was groovin, then it because in the zone and now its the flow. Go with the flow has been a saying for a long while. It is not necessarily the same as achieving design flow. Honestly have no idea when the actual concept came to my realization, yet I can remember spending hours in my darkroom as a teen, surprised later to find several hours had passed. Then drafting or drawing elevations, again hours would zoom by. Sitting at the computer pushing elements around on the page the same feeling of the world slipping away occurs. This tends to happen whenever I am engaged in the process of creation, particularly when it is going well. Or yoga. Sadly my running days never put me in the zone. Sometimes work is not going well and it becomes harder to focus. The groove, the zone, the flow don’t come. The mind wonders aimlessly and nothing great accomplished. It is at those times that I have to fake the groove. Usually find time when the house is quiet (or as quiet as possible with a teen, two cats and a dog who barks at every leaf that drifts by the window). I light some candles, yellow for creativity. Make some tea or hot lemon water. And trick myself into relaxed mode. I reread the requirements and then set to focusing on the project. Hadn’t thought of fitting it into my methodology because it organically happens once I am in the brainstorming or ideation stages. Yet the fake it till you make it zone could...
by victoria | Oct 18, 2012 | design methodologies
My creative process begins before I have an assignment. Naturally curious and desiring to learn, I explore as much as possible —new ideas, new ways to use typography, software, illustrative styles. And I observe — all the time. What are other designers doing, what are the trends? I look for ideas and ways to solve design challenges. When I begin a project, the first step is to research. What’s being done in similar areas, what does the collateral materials look like, what about branding? Research includes ways to communicate, as much background information about the client or project as possible. Brainstorming is process within a process. Mind mapping, word lists, word or idea associations, thumb-nailing, shower theory – step away for awhile, crazy ideas, more sketching. After arriving at several options it is time to analyze — have the objectives been meet? Does it communicate the message clearly? If so then I move onto ideation or the digital (or non) solution. Another round of analysis. It’s either on to refinement or back to the drawing board. This is not really the end, the final is never the final until it is approved by the client. One thing about the creative process is that is fluid, entailing far more research than ever thought. The course reading this week mentions the concept many young designers have – that designs magically appear out of nowhere, perhaps intuitively. While this is true to some extent, life and experience contribute to the process. You cannot work isolated, away from the happenings of the world. The ability to fit life into your work is what give your work humanity and relevance. COLLABORATION My skills set...
by victoria | Oct 14, 2012 | design methodologies
They often say there is a method to the madness, baby, I can feel the madness. The madness turns out to be very thoughtful approach to developing research methodologies. The blogs, the course discussions, the readings, the research, more reading, mapping, outlining, CRAPPing—it’s all starting to come together. Although it does feel a bit like my calculus class the night before the exam. Reading is key. Do it first. Get a grasp on the content of articles. I mistakenly gave credit to the wrong speaker yet the content spoke loudly to me. Organization is important. Make sure you keep quotes in context—reading in blurbs can lead to misunderstanding. Presentation Topic Introduction The first several presentation takes were too long. Thirteen minutes, the ten and finally 7 minutes and 18 seconds or there about. It was difficult to present the topics in a way that did not make a case or try to impress opinions on the viewer. Head long into the prep for the project, I realized mistakes in my preliminary prep and the organization of main topic points. However, for the video presentation I was able to highlight the topics. Presentation Tone Lets just say its a good thing the out-takes did not make it to air. Have a hard time pronouncing names like Poggenpohl and Guililium. And it may sound to anyone not familiar with me—like an accent. The words design decision roll off the tongue dezindeezcession. Talk a bit fast and can be a bit hyper excited. Vocabulary Presentation Pedagogy is probably the only word not everyone is familiar with, and really this speaks to the education of children. Yet it is the word we continue to use for...
by victoria | Oct 11, 2012 | design methodologies
graph·ic (gra-fik) Relates to a written or pictorial representation, described in vivid detail, realting to graphic arts, or a pictorial device used to convey a message. Shelly Evenson in her presentation for the New Contexts, New Practices Symposium discusses some of the changes int eh industry today. Among other changes she wondered if the word “graphic” was still relevant today. Once one gets past the immediate questions, you begin to see that what Evenson is proposing makes sense . She recognizes that many designers would go through a crisis of identity. (Evenson) Yet lately as someone trained in interior design and tangentially in graphic design, find that I do not need to put any qualifiers in front of designer. The term designer alludes to some one who is capable of laying out a pleasing organized system of something; words on the page, rooms in a building, the interior trim of a vehicle, pages on the internet. Much of this change of thinking has to do with a student who is required to take typography while studying architecture. I am constantly trying to relate typography to her in terms of architecture. Periods of design, classifications of typefaces. This could easily be periods of architectural design or classification of building structures. While there are distinct difference the principles of design are the same as is the ability to put things together skillfully. Why pigeon hole someone with multiple aptitudes? If we look at the definition of graphic in the most related sense, a graphic designer would be someone who creates a pictorial device to illustrate a message. This seems rather simplistic. In todays industry the designer needs to be able to create artifacts at the lowest end of the spectrum. While the other end has...
by victoria | Oct 5, 2012 | design methodologies
Another helpful tool of use is the shared in this weeks content is the “Domain of Knowledge Matrix” by Dr. Dennis Puhalla. In this matrix, Dr. Puhalla breaks down a list of authors, common themes and the tile of the publication. While is may be redundant along with some of the other tools, it is another way to help you find information as well as make an informed decision to use a particular resource. Perhaps the best of both world would be to use the matrix along with the What, How and Why method from the bootcamp, bootleg series of research methods. In use personal matrix to follow! Resources Puhalla, Dr. Dennis M., Color as Cognitive Artifact: A Means of Communication–Language and Message. Literature Review–“Domain of Knowledge Matrix” d.school, Institute of Design at Stanford, “bootcamp, bootleg.” Accessed October 5, 2012....
by victoria | Oct 5, 2012 | design methodologies
This week I would be a therapist dream client. Afraid to start because the failure factor looms. However survivor will kick in — the feeling will pass. Most designers experience this overwhelming feeling at times. Giving voice helps yet what most likely will help is tackling a research project as one would any other, through process, methodologies and a strategy. Ironic then that in reading through bootcamp bootleg, put together by the d.school at the Institute of Design at Stanford, that one of the first methods speaking the loudest is DEFINE. DEFINE as put forth by the d.school is this, “The define mode is when you unpack and synthesize your empathy findings into compelling needs and insights, and scope a specific and meaningful challenge. It is a mode of ‘focus’ rather than ‘flaring.’” My research is leading me to a paper that will defend or propose a position on the education of graphic designers in a changing technological environment. Before I can investigate how we might anything I need to pull together a defined statement or purpose. This step will take care of the fear of getting started, or fear of failing. The very act of figuring out what it is I have and what it means will undoubtedly help me pull it all together. WHAT HOW WHY would be secondary. Perhaps this is basic yet as I compile and read, especially a challenge for me in digital format, I am not tying the pieces together. Despite having a mind map or in addition, the areas of the map need to be explained. Once regrouped and back on track with determination other bootcamp bootleg methods will be...
by victoria | Oct 1, 2012 | design methodologies
Watching a video from the AIGA New Contexts presentation on shifting paradigms, Holly Willis was talking about the changing classroom. At one point Willis asked if the term “graphic” was even necessary in the term graphic design. She wondered if the nomenclature had been outgrown given the changes in the industry today. Of course she alluded to the loss identity many designers would feel if that word was dropped. We are in a phase of emergent technologies and the way we communicate is shifting daily. As well as the role of a designer. If we are moving away from artifacts and into systems of design, then what does the artifact designer do? And what if? Is it wrong to want to create? Willis continues with this move away from artifacts and isolation as designers and what they might mean to the classroom. Is it necessary to be tethered to a drafting table anymore? Or can the classroom move away from the indoor lab. And if we do retain the lab should we consider it the making lab? Because eventually there will be a merging of what happens in this classroom. Another idea that came through as a way to teach was to allow for less determined outcomes. This is what we experience as MFA students. Can it become part of earlier levels of education as well? This year I was asked to teach advanced projects at the community college. This course has print, web, illustration, multi-media and animators in the course all creating advanced projects. My role is not to teach software rather art direct the students as they create final portfolio pieces and a book. In effort to keep in mind the work the...
by victoria | Sep 26, 2012 | design methodologies
AIGA is playing a major role exploring the changing face of design education. In one article written by Jon Kolko, which highlights points made by Shelly Evenson at the New Context/New Practices educators conferences, Jon puts forth several changing dynamics of design education. Among the listed changing criteria, is specializing in one area. In the case of a designer it may be that we specialize on typography. This is in response to the pace that design is changing today. Rapidly. The idea is to focus on the traditional yet specialized. The article discusses the use of foundation courses as early entries into the design field. In contrast to this, the article offers that perhaps the early years should focus on typography, color and composition. This is a consideration that would free up the students to get into the core of design, sooner. However many schools which perhaps are finding their foundation arts programs dwindling, might lose even further ground. In the example given they layout the industrial designer with a greater understanding of anatomy, anthropometric and human factors. This may be at the expense of CAD training yet it also seems that the designer would be more effective having this grasp on human physicality. Similarly the designer who spent a year studying typography would find themselves using 2D concepts to work out a design. As time progressed in the program the student would have a working ability to create as well as communicate on a variety of typographic levels. Animators would do better with anatomy as well as life drawing. Yet does the multi media designer need the same courses?...
