To assist the progression of Assignments 2-5, related articles were posted to summarize the theme of each project. As a starting point, the first article provided additional information on what is commonly termed design research (“Design Research for Radical Innovation”). The author suggests that there is more to the process than mere “data collection”. One must work with the personal and organizational mind-shift to create innovation and make creativity, energy, enthusiasm, confidence, and reassurance applicable to our purpose, exploration, and objective. It serves to help readers gain the understanding to guide them in the right direction in order to think of concept and carry it through.
With a concept formed, the objective evidence that follows must also involve the ability to “recognize emergent patterns, empathically connect with people’s motivations and behaviors, and intuitively interpret different impressions”. For example, through morphing, framing, and combining different elements into one, Jerry Uelsmann’s photographs provide a visual illustration of how two images can be manipulated to appear seamless. All the photographs displayed in his exhibition The Mind’s Eye: 50 Years of Photography in the Peabody Essex Museum provide designers a view at the various techniques utilized in his photographs, from Journey into the Night to Apocalypse II.
In the link, “Ah, but Can Photoshop Do This?” the techniques Uelsmann used to create a number of his photographs was manipulated manually. It begs the question “is it fair?” that the time and effort spent to produce these high quality images can now be produced by various software programs. It might, but the technique could add to our interpretation of each photo further helping us to see what adds a connection between the viewers and the images ultimately made.
In an interview with Michael Bierut, he states that for him “graphic design was a perfect way to combine art, usefulness, and literacy… I take real pleasure in seeing the things I’ve designed out in the world coming into contact with people… and improving their lives in even the smallest of ways” The client is the audience and it becomes a goal to develop a design that will motivate them to have different interpretations of your work.
As a means to call attention to an artist’s identity, a logo could be used associate to the work produced. Even without pattern complexity, a simple shape can suggest the depth of influence. Paul Rand carried this simplicity through a number of his designs creating highly recognizable logos. Examples include IBM, ABC, and UPS. He notes that, “everyone has a different definition of art… art is an idea that has found its perfect form… the simplicity is not the goal. It is the by-product of a good idea and modest expectation”. A simplistic model is one that is more recognizable and more easily drawn upon to gain a greater shape. It is a design that possesses quality. Rand questions, “Should a logo be self-explanatory?… It derives its meaning and usefulness from a quality of that which it symbolizes”. For most, through this understanding, our creations of a logo were based on a symbol that is unique to our own topics; its variation was unique to the subject. To make a complete design is “not the rocket ship, but the launching pad”.
In the final link posted, Chip Kidd discusses that book covers are good visual first impression but there is more than meets the eye. “When you take the pant’s off of it you get something much deeper than you expect”. The cover is an interpretation and translation of the story that will unfold. Through all the factual research that was done up until this point, we were able to create a book cover that would suggest our underlying themes. In doing so, the book was altered to gain an identity before it was even opened. It is something that is present in tangible books adding to “the tradition, sensual experience, and comfort of thingyness” that is lost with ebooks.
The combination of all these articles helped us learn and understand the reasoning behind the process of the exploration to reach our goal in each assignment.
The impact of the two toned greens present in my fellow classmate’s, AJ Sonnick, logo hit home by promoting sustainability indirectly because it feeds on the going green concept. Similar to, Eco Snacks Logo, the multilayered greens compliment each other because they are comparable with muted intensities while the brown veins on the leaf offer a counterbalance of warmth in color. The added effect of blurring the background also helps as it provides sharpness, lessening any surrounding distractions that might have pulled one’s eye away from the intended subject. The overall image’s color scheme and message of sustainability increases the logo’s functionality.