Apr 18, 2009
Apr 16, 2009
Recommendation sites
Here are two interesting sites for image and typography inspiration. Go to the site, please click on the picture.
Apr 12, 2009
Ten Graphic Design Paradoxes
I’ve just finished writing a book about graphic design. Yep, just what the world needs — another graphic design book. In my defence, the book is about the stuff that doesn't get written about much. It deals with subjects like rejection, envy, and plagiarism. There are also entries on kerning, the wisdom of using only lowercase letters, and the merits of Univers. But mostly it’s a book about the soft stuff — the stuff that we deal with every day and tend to take for granted.
In writing this book I discovered that many aspects of graphic design are paradoxical. I’m using the word paradox here to mean an opinion or statement contrary to commonly accepted wisdom. And while there are many others, here are my top ten everyday graphic design paradoxes.
01: There’s no such thing as bad clients: only bad designers.
02: The best way to learn how to become a better graphic designer is to become a client.
03: If we want to educate our clients about design, we must first educate ourselves about our clients.
04: If we want to make money as a graphic designer, we must concentrate on the work — not the money.
05: For designers, verbal skills are as important as visual skills.
06: Ideas usually fail not because they're bad ideas, but because they're badly presented.
07: “I’m a professional: I know best.”
08: “All the good jobs go to other designers.”
09: The best way to run a studio is to be domineering and forceful.
10: If we believe in nothing, we shouldn’t wonder why no one believes in us.
From Design Observer Read more....
01: There’s no such thing as bad clients: only bad designers.
02: The best way to learn how to become a better graphic designer is to become a client.
03: If we want to educate our clients about design, we must first educate ourselves about our clients.
04: If we want to make money as a graphic designer, we must concentrate on the work — not the money.
05: For designers, verbal skills are as important as visual skills.
06: Ideas usually fail not because they're bad ideas, but because they're badly presented.
07: “I’m a professional: I know best.”
08: “All the good jobs go to other designers.”
09: The best way to run a studio is to be domineering and forceful.
10: If we believe in nothing, we shouldn’t wonder why no one believes in us.
From Design Observer Read more....
Apr 5, 2009
Microsoft Sustainability
It's not about the graphic design, but it might inspire you to do something for the graphic design in the future. Please take a look Microsoft Sustainability.Interview with Director: Mason Nicoll
New Assignment for Apr 6
create a zine:
using the many bits and pieces of great work you have lying around—
ideas that didn’t make it into a formal piece: drawings, poetry, writing, computer
mess ups that you saved for a rainy day—
today is the day.
compile them together based on a theme, topic, subject—
something you feel passionate about.
cut and paste or tape them on four 8 ½” x 11” pieces of paper.
make great compositions and interesting subject matter.
then copy on a copy machine.
make the copy machine work for you.
use both sides of the paper.
fold in half.
rethink the layout if needed and recopy.
then saddle stitch bind with a card stock cover.
use whatever paper stocks you find interesting and relate to your piece.
I’m thinking you can do this fast (3‐5 hours) and still create a strong portfolio piece.
it’s all in the swipe, due april 6th & 8th.
using the many bits and pieces of great work you have lying around—
ideas that didn’t make it into a formal piece: drawings, poetry, writing, computer
mess ups that you saved for a rainy day—
today is the day.
compile them together based on a theme, topic, subject—
something you feel passionate about.
cut and paste or tape them on four 8 ½” x 11” pieces of paper.
make great compositions and interesting subject matter.
then copy on a copy machine.
make the copy machine work for you.
use both sides of the paper.
fold in half.
rethink the layout if needed and recopy.
then saddle stitch bind with a card stock cover.
use whatever paper stocks you find interesting and relate to your piece.
I’m thinking you can do this fast (3‐5 hours) and still create a strong portfolio piece.
it’s all in the swipe, due april 6th & 8th.
Apr 1, 2009
Face Out Books
This is a great resource for book cover design. This venue has been created to appreciate the practice of book cover design. This is not a blog to rip apart what we dislike—everyone has a different aesthetic. This is a blog about the challenges and outcomes of a project We are here to teach and be taught by one another. More at FaceOut Books
All Things Typographic 4/09
1. What is a font manager? Do I really need to buy one, since my Mac came with Font Book? Check it out...
2. How do I stroke text (for example, give type a yellow outline and a black fill) in QuarkXPress? Check it out...
3. When starting a paragraph with a quotation, should the opening quotation marks sit outside the text so that it doesn't appear to be indented? Or can the opening quotation marks align with the line below? Check it out...
4. Why is there such a big space between the r and t in some typefaces, and what should be done about it? Check it out...
2. How do I stroke text (for example, give type a yellow outline and a black fill) in QuarkXPress? Check it out...
3. When starting a paragraph with a quotation, should the opening quotation marks sit outside the text so that it doesn't appear to be indented? Or can the opening quotation marks align with the line below? Check it out...
4. Why is there such a big space between the r and t in some typefaces, and what should be done about it? Check it out...
Mar 23, 2009
Mar 21, 2009
Is it time to retire the black and white logo?
I'm working on a couple of identities at the moment where their primary usage is online. You could call them digital identities.
Sure, they will be used offline at some point, people still have business cards, but the over riding majority of times they will be seen online. At least 95% of the time.
A couple of times whist working on these identities we've discussed a black and white version, that's a normal thing to do. And every time someone has asked, why?. Every time it's been a struggle to answer that question.
Lots of you will be horrified by that, but most of the time, I think I'm a pretty traditional designer. Function before form, ideas will always win, etc etc. And I can put together a decent case for a black and white version of a logo. But if you start to look at the evidence it becomes harder and harder to defend. We need to be clear that in the example above I'm specifically talking about digital companies that operate in the digital world. They don't have shops or vans. I don't know if you've noticed, but there's some pretty big money in this arena these days, Amazon, Facebook, Skype, Yahoo! et al. Do they need b+w versions of their logo? Read More...
Mar 5, 2009
15 tips to choose a good text type
Many people have asked me which text type is best for a magazine, a newspaper, a poster, a newsletter, a publication, etc. In general, I tell them which to use, but I know that this is not the best answer, because they won't learn to do this by themselves.
Today, I want to take time to analyze how to choose correct text typography design in different cases. It is very important to understand that these tips are not final word, but they can be good help at the moment of choosing a text type. In any case, it depends on what do you want to convey with this type, because many times legibility is as important as the character of the type. Try to be very careful and take in account the following points:
1. The Letterform
The ‘ductus’ represents the framework of a type. It is very important. For legible text we need typographies with a simple ductus without complex details. Those details distract from the reading process and we need the reader to pay attention to the content and not the text.
2. The Weight
When we discuss the ‘weight’ of a type, we refer to a consistent relationship between the characters themselves, and the light of the page that flows around them. If you use a light version of a type for a lot of text, reading of this text will probably become tiring and nobody will want to read it. More....
Today, I want to take time to analyze how to choose correct text typography design in different cases. It is very important to understand that these tips are not final word, but they can be good help at the moment of choosing a text type. In any case, it depends on what do you want to convey with this type, because many times legibility is as important as the character of the type. Try to be very careful and take in account the following points:
1. The Letterform
The ‘ductus’ represents the framework of a type. It is very important. For legible text we need typographies with a simple ductus without complex details. Those details distract from the reading process and we need the reader to pay attention to the content and not the text.
2. The Weight
When we discuss the ‘weight’ of a type, we refer to a consistent relationship between the characters themselves, and the light of the page that flows around them. If you use a light version of a type for a lot of text, reading of this text will probably become tiring and nobody will want to read it. More....
Free symbols!!! from AIGA
The complete set of 50 passenger/pedestrian symbols developed by AIGA is now available on the web, free of charge. Signs are available in EPS and GIF formats. Link!!
Feb 20, 2009
Styles, Weights, Widths; It’s All in The (Type) Family
This is about understanding the style of typeface. If you just start learning typeface, this is right for you.
Styles
The concept of coordinated type families consisting of different related typefaces or styles is a fairly recent phenomenon. The two most common styles are roman (upright) and italic (a different, slanted design). The basic shape of italics is a stylised form of handwriting. It took form in the Renaissance when Aldus Manutius looked for a space saving alternative to roman faces. Without going too much into details, originally italics were designs in their own right, unrelated to roman designs and used independently. Only by the sixteenth century did the italic assume its current role as emphasis, a variation on the roman design. Read more.....
Feb 12, 2009
A Good Resource of Graphic, Typo Poster
we intend to become a good resource of graphic and typographic posters to serve all your research needs – either historical or inspirational.
or ideal is simple: feed and consume quality.
although posters may contain illustrative and photographical content, we catalog only those with notable graphical or typographical quality.
just because we love the pure form of graphic design – shapes, types and colors. More work http://www.typographicposters.com/
or ideal is simple: feed and consume quality.
although posters may contain illustrative and photographical content, we catalog only those with notable graphical or typographical quality.
just because we love the pure form of graphic design – shapes, types and colors. More work http://www.typographicposters.com/
Feb 8, 2009
Interesting graphic sites
http://www.bitique.co.uk/ contain many graphic sites. They separate by categories.
Spaghetti is a Middle Eastern magazine featuring the best in contemporary graphic design, illustration, photo design, the new media, corporate design, advertising and typography.
Daniel Cassaro is a Long Island native and Graduate of The School of Visual Arts. He lives, works and trips the light fantastic in Brooklyn, NY. He is available for freelance work or to talk about early Wings albums. Take look his works more at http://youngjerks.com/main/
Feb 7, 2009
PSA Posters Examples
Look particularly at the file labeled "punched out holes."
it has text around it that explains what the designers were trying to accomplish.
Take look more examples at http://www.experimentaljetset.nl/
Gen said
"I agree that, at least in the punched out holes example, experimental design uses visual links rather than " conceptual" ideas, but...we still have a lot of discussing to do (in class) about what concept in graphic design. re advertising, it's relatively easy. but, re graphic design, it’s still a conversation underway. do your best to relate your design to a visual idea from your topic, or better, an abstract concept that conveys the message using intellect, emotion, or humor.
don't preach, don't caution. encourage the viewer to see your point in a positive way."
it has text around it that explains what the designers were trying to accomplish.
Take look more examples at http://www.experimentaljetset.nl/
Gen said
"I agree that, at least in the punched out holes example, experimental design uses visual links rather than " conceptual" ideas, but...we still have a lot of discussing to do (in class) about what concept in graphic design. re advertising, it's relatively easy. but, re graphic design, it’s still a conversation underway. do your best to relate your design to a visual idea from your topic, or better, an abstract concept that conveys the message using intellect, emotion, or humor.
don't preach, don't caution. encourage the viewer to see your point in a positive way."
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