Designer:After initial research, I focused on the oratorio theme of St. Francis. Here, the composition of the title expresses the particular cross in the shape of a “T”, called the Tau Cross, used by St. Francis and his disciples. I photographed this statue at Saint Francis of Assisi Church in San Francisco, where I live.
Client response: It is a happy musical piece, therefore, this dark brown color scheme is too sad. The vertical – horizontal type does not allow easy readability in the street. The subject should not be too esoteric.
Young people entering the design profession sometime think that the ideas of seasoned professionals never get rejected, that the design is immediately embraced by the grateful client who insists on doubling your fee because it is so awesomely good. In your dreams!! Design is not called a “process” without reason. More often, there is give-and-take, client clarification and addition of new (and often pertinent) information, analysis and refinement, and sometimes your favorite design isn’t chosen.
In this case, we asked Swiss designer Jean-Benoit Levy, who works for clients worldwide and is a member of the prestigious Alliance Graphique Internationale, if he would share the behind-the-scene reasoning of a poster he designed for a concert performance of Le Laudi di San Francesco d’Assisi for Choeur Faller in Lausanne, Switzerland. Levy has been creating the graphics for this oratorio choir group for the past three years, in collaboration with its president Jacques-Henri Addor. For this concert, Levy presented his first sketches in December of 2008 and after 16 different versions, a final design was chosen in March 2009 for the May performance. We picked five of the concepts he presented and asked him to summarize both his and his client’s response to each.
Whether the delivery is graphic or spoken, Milton Glaser can be relied on to pare away the superfluous and focus on what’s relevant in the most direct, thoughtful and inspiring way. Today he celebrates his 80th birthday and a 60+ year career that is still going strong. A new documentary “Milton Glaser: To Inform & Delight” directed by Wendy Keys, now playing in select U.S. locations, provides convincing evidence that he is worthy of being called the most influential graphic artist of our time. It’s a must-see. And here’s something that we consider a must-read – a talk that Glaser gave in 200l to the London AIGA titled “Ten Things I Have Learned.” Great food for thought.
10 Things I Have Learned
by Milton Glaser
1. You can only work for people you like.
This is a curious rule and it took me a long time to learn because in fact at the beginning of my practice I felt the opposite. Professionalism required that you didn’t particularly like the people that you worked for or at least maintained an arms length relationship to them, which meant that I never had lunch with a client or saw them socially. Then some years ago I realised that the opposite was true. I discovered that all the work I had done that was meaningful and significant came out of an affectionate relationship with a client. And I am not talking about professionalism; I am talking about affection. I am talking about a client and you sharing some common ground. That in fact your view of life is someway congruent with the client, otherwise it is a bitter and hopeless struggle.
When people hear of a magazine called Meatpaper, they immediately conclude that it must be a recipe-laden publication for cooks or a trade magazine for those in the livestock and butchering business. Meatpaper is directed at neither. Actually, it is very hard to describe. Created by San Francisco-based Sasha Wizansky, whose background is fine art, graphic design and sculpture, the concept for Meatpaper started as an art project. About four years ago, Wizansky says she was struck by the realization that “everyone had a story to tell about their relationship to meat. I realized that a magazine would be a perfect way to explore this idea.”
Teaming with journalist/radio reporter Amy Standen, Wizansky self-produced what she describes as “the only magazine about the idea of meat – what we call the fleischgeist” — defined as “the spirit of the meat.” She says fleischgeist refers to “the growing cultural trend of meat consciousness, a new curiosity about not just what’s inside that hotdog, but how it got there, and what it means to be eating it.”
Particularly in this lousy economy, we are all victims…and victimizers. We are increasingly operating in a “used car lot” environment, where buyers feel it is their duty to bargain and don’t feel that they have gotten the best deal until they have eliminated virtually all profit from the sale. This video satire runs too close to reality for many, not just on the design-creative side, but up and down the line.
Editor’s Note: Alan Webber, who co-founded Fast Company magazine in 1995, has long recognized the role of design as the great differentiator in business. In his most recent business book, “Rules of Thumb,” Webber shares insights gleaned from his own life and work experiences over the past 30 years and distills them down to 52 rules of thumb. Webber’s rules aren’t the end of the discussion; they are the beginning, with readers invited to add their own rules. Here we reprint Rule #28. Webber’s other 51 rules are just as pertinent and interesting.
Rule #28 Good design is table stakes. Great design wins.
In the last few years since I left Fast Company and started traveling a lot, I’ve noticed a global leitmotif, as if the same piece of music were being played in different countries all over the world.
In Tokyo at a conference on innovation I sat down with an old friend, a business sociologist and strategist for leading Japanese companies.
“Japan used to be a low-cost exporter of manufactured goods,” I said. “But those days are clearly over. What’s Japan’s new national strategy?”
“We don’t think there’s a problem,” she told me. “Japan intends to compete globally on the quality of our design.”
It made sense to me. Japan has an exquisite sense of style and presentation.
This TV commercial for the new Honda hybrid, the Insight, is being aired in Europe, the Middle East, Africa and Russia where the environmentally friendly car is being sold. Made by Wieden+Kennedy Amsterdam, the TV spot appears to synchronize hundreds of Insight LED headlights, turning them into “pixels” to create animated images set to the tune of “Let It Shine” by Berend Dubbe.
Anyone who has ever been involved in designing or managing a graphic identity program (pretty much everybody in design and mar-com) has experienced fleeting impulses to rebel. Rigid rules and authoritarian orders run counter to freedom of expression and creativity. But identity guidelines are the foundation of branding. Consistent and repeated use builds brand recognition. And yet! Just once, wouldn’t it be fun to run the logo in pinstripes or push the corporate colors into a more punk PMS shade? Or tell the “identity police” that being forced to use the logo is a blight on your beautiful cover design?
From Gary Hustwit, the independent filmmaker of the award-winning “Helvetica,” comes a new documentary on industrial design. “Objectified” explores the creativity at work behind everything from toothbrushes to tech gadgets. A stellar lineup of the world’s most talented industrial designers talk about how they re-examine, re-evaluate and re-invent our manufactured environment on a daily basis. “Objectified” is a look at personal expression, identity, consumerism and sustainability. It is currently screening at film festivals, cinemas and special events worldwide. Check here to see where it is showing in your part of the world: www.objectifiedfilm.com.
To celebrate its 100th anniversary this year, the Bombay Store in India issued a series of ornately rich and colorful posters that incorporate a motif of patterns made from its vast assortment of products. Designed by Ashok Karkala and Vishu Nagula of Joshbro Communications in Mumbai, the posters blend the elegant sensuality of paintings by Art Nouveau artist Gustav Klimt and the psychedelic spontaneity of 1960s posters by graphic designer Tadanori Yokoo. The Bombay Store poster illustrations were done by Murali Alle and Ravindra Joshi, and the photography by Nilesh Patankar.
Is it possible to brand a product without creating a printed label? At the Accademia Italiana in Skopje, Macedonia, design student Petar Pavlov was determined to find out. In a Packaging Design class, he was assigned the task of creating a packaging prototype for “something very dear to him.” He chose chocolate, he says, because it is “something that I can’t live without.”
Petar, whose study focuses on graphic design and visual communications, says that his obsession with typography, along with his decision not to use any printing for the packaging, inevitably led him to the idea of turning the chocolate itself into letterforms that spell out the name of the product.
Editor’s Note: Although branding expert Marty Neumeier claims that he compresses his thoughts to be quick-read “airplane books,” his insights are so thought-provoking and inspirational that they are best read in short segments so you can chew on what he has to say. This is a chapter from his latest book.
Excerpted from “The Designful Company” by Marty Neumeier The discipline of design has been waiting patiently in the wings for nearly a century, relegated to supporting roles and stand-in parts. Until now, companies have used design as a beauty station for identities and communications, or as the last stop before a product launch. Never has it been used for its potential to create rule-bending innovation across the board. Meanwhile, the public is developing a healthy appetite for all things design.
One survey by Kelton Research found that when 7 in 10 Americans recalled the last time they saw a product they just had to have, it was because of design. They found that with younger people 18-29, the influence of design was even more pronounced. More than one out of four young adults were disappointed in the level of design in America, saying, for example, that cars were better designed 25 years ago.
Editor’s Note: The global marketplace is real. Some brands are as familiar to consumers in Rio de Janeiro and London as they are to shoppers in New York City and Mumbai. That does not mean that the world now speaks a common design language nor approaches design in a universal way. What resonates in one culture may be rejected as odd, irrelevant or ignorantly offensive in another. In some cases, consumers may find the product appropriate, but the sales pitch tone-deaf and riddled with cultural clichés. Designers working across cultures confront the challenge of understanding differences in business and social customs, technologies, and typical design assignments as well as aesthetic preferences.
In the interest of broadening our knowledge, we are launching a “foreign correspondents” feature, beginning with our dear friends, Anita Luu and Sing Lin, two American designers who opened their Affiche International Asia office in Shanghai two years ago. An innocent question about the availability of Chinese typefaces led to a fascinating discussion, which is presented here.
Molo Design is tearing down rigid beliefs about what walls should be. The Vancouver, Canada-based creative firm , founded by architects Stephanie Forsythe and Todd MacAllen, has come up with an innovative family of soft architectural products made from paper and non-woven textiles. The core of molo’s collection is softwall and softblock, a modular space shaping system that allows users to form a wall or partition off an area without need of nails or construction tools. Like party decorations made out of honeycombed crepe paper, molo softwalls are based on a honeycomb cellular structure that can be expanded or compressed at will.
“When we originally designed softwall, we were looking into a solution for making homes smaller and flexible,” explains MacAllen. “The idea was that a home could consist of one main space that could be divided into smaller, more intimate spaces when required.” The pair began experimenting with lots of small paper models and discovered that the structure of honeycomb itself gives paper amazing strength that could be scaled up to large sizes.
With text messaging, Twittering and typing with two thumbs on your cell phone, spelling is becoming an inexact and undervalued skill. The question is how far can this go before the human mind fails to comprehend? Too far, we’re afraid, as this fictitious Cambridge study proves.
A new series of engaging commercials for Sprint, done by Goodby Silverstein & Partners, turns factoids and data that would typically go into flat charts and graphs into motion pictures. Real people populate demographic maps. Flow charts flow. Kinetic infographics breathe life into what is actually a bunch of dry statistics.
For Art Center College of Design in Pasadena, the humble pencil holds special significance as an instrument of creativity. Traditionally, it has been the way that designers first give visual expression to raw ideas surfacing from their subconscious. The erasable-leaded pencil gives artists and inventors permission to test concepts, doodle and sketch without committing anything to the permanence of ink.
For decades, Art Center has used the pencil as a symbol for creativity and artistic endeavors. Each year it recognizes the outstanding achievement of alumni with Gold and Silver Pencil Awards. For its donor wall, it has made a display of oversized pencils etched with the names of donors to the College. This year when Art Center launched its fund-raising effort, it asked one of its most illustrious alumni, Michael Schwab (Advertising, class of 1975), to create a poster for the campaign. Although Schwab’s strong graphic illustrations have become the brand identity for countless companies and for the Golden Gate National Parks, he admits that being asked to create something for his alma mater was both a “proud moment…and daunting assignment.”