Archive for the ‘information’ Category
Thursday, July 22nd, 2010
Randomly chosen newspaper spread with stories grouped under two page headings. The wide field of vision allows many other connections/reasons-to-read
The Death of Print is a phrase regularly bandied about since the invention of TV (and probably radio before that), appearing with renewed vigour with the arrival of every new communications platform. The actual death of some newspapers and print publications lends urgency to the drama, but the reality is less apocalyptic. Jobs are lost, companies fail, the media landscape changes, but old formats (with the notable exception of the unloved videocassette) assume new roles rather than become extinct. The life and death struggle of old vs. new media is the easy narrative but old media has unique value which should ensure at least a modest survival.
New media platforms have given us massive advances in accessibility and empowerment – but they also come with a predisposition for targeted communication, ‘narrowcasting’ and self-selection. Old media, print especially, has one underappreciated benefit that is absent from the new stuff. It doesn’t decide quite so forcefully in advance what information will be of value to me, limiting what I might learn about the world.
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Tags: communication, design, graphic design, information design, iPad, legibility, media, newspapers, TV, typography, words
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Thursday, June 17th, 2010
You don’t construct a building façade-first, then install services, framework and foundations. You don’t build a car by starting with the bodywork. We don’t (unless recovering from a big night out) dress coat & shoes first. So why are some brands designed from the outside-in, imposing personality at odds with experience? Outside-in brand design can set expectations significantly adrift of reality, resulting in dissonant and negative communications and an unsustainable brand. How do you build a sustainable brand? From the inside out.
Graphic design is superficial, ephemeral. Much of it ends up, if not as yesterday’s fish & chip paper (they don’t do that any more), in the bottom of the budgie cage’s (no-one keeps those any more either), binned and recycled until fit only for landfill. Pixels or paper, graphic design is largely transient, disposable. Its outcomes may be all about about the surface but there is every reason why its process should have more depth.
At Wolff Olins as far back as the 1970s a much-used maxim was “you can’t paper over the cracks” i.e. if your company/product/service is poor, a stunning visual identity will not help you long-term, it only creates a credibility gap that makes things worse. Advice that clearly never reached the ears of hapless BP CEO Tony Hayward…
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Tags: BP, brand design, brand names, branding, communication, graphic design, information design, packaging, retail, service design, signage, visual culture
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Thursday, June 10th, 2010
This is my favourite road sign. I like it because it treats me as a sentient human being rather than a mindless drone incapable of independent thought. It encourages me to consider the possible hazards of my situation and trusts that having so reflected, I will make good decisions. Were I not barrelling along at 70mph it would also inspire me to muse further on the meaning of life, the universe and everything…
The rarity of such ‘thoughtful’ road signs makes me wonder why few communications assume an intelligent audience. Too much ‘telling’ surely eventually breeds disinterest. On the roads we all see plenty of poorly regulated over-signing: badly placed, ugly ‘street furniture’ laden with overly instructive signs, sometimes there (it would seem) as much to prevent the local council from being sued as to actually help the public. Credible research now shows that careful removal of oversignage increases road safety. De-signing can be good designing. As in most areas of communication design, consideration of the user and limiting the number of messages to be processed increases the likehood of effectiveness. More thoughtful communications crediting users with some intelligence would be no bad thing.
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Tags: accessibility, communication, design, graphic design, information design, legibility, typography, visual culture
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Thursday, May 27th, 2010
Artwork, print and cheap uncoated paper – 1950s/60s comics’ matchless charm (pic via Half-man Half-static).
Forty years back (in the Life on Mars era) the fashionable aesthetic is an informal, natural look. There is lingering hippy talk of ‘getting back to nature’. These are lean years for the high street hairdresser, ‘male grooming’ is a laughable concept and clothes are mostly cheap and nasty or homemade. Design is still a cottage industry but it is looking to the future: Michael English’s Hyper-real airbrush illustrations seem new and extraordinary. Robert Moog’s synthesizer is the future of music (although he hasn’t yet worked out how to keep it in tune)…
March 2010, Farringdon. I’m in a tube carriage near an extraordinary-looking young woman who appears in no way real. Her hair, nails, makeup seem somehow beyond human and her high brow and flawless surface reminds me of the actor/digital hybrid as the Red Queen from Tim Burton’s Alice in Wonderland. Blankly shiny, expressionlessly ‘perfect’, she is the HD-ready paradigm of contemporary beauty. Music seeping from headphones is also soullessly bright, sampled, virtual, autotuned. All of this is in sharp contrast to the immediate noise and grubby texture of London, where illustrators, designers and musicians, bored with software slickness are increasingly going ‘wonky’ (surely the most irritating/overused phrase of 2009), working with the look and feel of handwork, crafts, ‘outsider art’ and forgotten technologies to rediscover ‘charm’….
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Tags: brand design, charm, communication, creativity, decoration, decorative type, graphic design, packaging, typography, visual culture, visualisation
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Monday, April 26th, 2010
Multidisciplinary designer, musician and teacher David Keech was an Associate with architects Foster and Partners, the first non-Japanese designer at Yamaha Design in Japan, and now runs his own product and interior design practise, Keechdesign.
Kumu chair by David Keech with James Johnson. A Japanese word meaning to join together or assemble, Kumu has only five components, no screws or mechanical fixings and is cut from a single sheet of plywood.
What inspires you? Everything. That’s a serious answer – not just design. Only a small percentage of my inspiration comes from that world, a very congested one, everyone following each other – I think it’s good not to be too involved in that. I probably get more of my inspiration from sculpture, fine art, music, popular culture, than design per se. I spend a lot of time and energy pursuing inspiration, it’s a big part of what I do. In teaching I kick off with slides about inspiration to surprise students a bit, not work by Phillippe Starck or Arne Jacobsen (much as I love them both)… I was at the National Gallery yesterday looking mainly at pre-17th century religious paintings, and I just thought to myself ‘this is fuel’. It’s profound, the human energy involved – let alone the skill. If you could get to half that level, you’d be going some…
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Tags: creativity, David Keech, design, drawing, Duke Ellington, furniture, industrial design, innovation, integrity, interior design, jazz, Louis Armstrong, music, product design, RCA, sustainability, Yamaha
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Wednesday, March 17th, 2010
© DC Thompson
Hats off to RCA graduate Min-kyu Choi, who has won the Brit Insurance Design of the Year Award.
The award – a slightly weird exercise in comparing apples with oranges (if not bananas, guava, macadamia nuts and kiwi fruit) – last year favoured Shepard Fairey’s Obama poster and this year pitted the late great Alexander McQueen’s spring/summer collection, a light aircraft and a social housing project against Mr Choi’s clever folding plug design. Anyone travelling any distance with a thin laptop will appreciate the value of his elegant solution to the problem of the ugly bulk of the UK plug when travelling. The new plug, which folds to 1cm or less, may not save lives but solves a daily irritation for potentially millions of people. Amazing a) that no-one did this sooner and b) that it is not in production already. We may now have to put up with endless ‘plugging the market gap’ headlines, but Min-kyu Choi deserves the success that will surely result from his clarity of thought and keen eye for a missed opportunity. Demos here and here.
Tags: creativity, design of the year, industrial design, innovation, Min-kyu Choi, plug, product design, RCA
Posted in distillation, information, inspiration | No Comments »
Thursday, February 18th, 2010
I put up a shed last weekend (yes, the designer lifestyle is that glamorous): two days of stressful toil lengthened in no small part by the appalling quality of the ‘instructions’ provided: 14 pages of verbal and visual redundancy, irrelevance and confusion. Well what did I expect for £99?
Most products arrive with scant, inaccurate or misleading information for assembly and use. Many well-designed consumer products neglect information as part of the product experience, leading to returns, safety issues, customer dissatisfaction and erosion of brand loyalty. This seems overwhelmingly the norm and we are accustomed to sucking up all the wasted time, the frustration and stress, and moving on with our lives. Why are ‘instructions’ such a design-free zone? (more…)
Tags: accessibility, communication, creativity, graphic design, information design, language, legibility, service design, typography, words
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Thursday, February 18th, 2010
An explosion of communication and choice in recent decades has created the global climate of information overload that we are only now beginning to find ways to properly navigate. The rise of the iPhone app and the price comparison website shows the information economy at work and there is growing recognition of the value of designing access to information. But what took us so long?
In our personal areas of interest choice can seem miraculous: I can get my favourite version of my favourite song in less than 60 seconds; we can have customised trainers designed in-store; you can get your flat white-half-caff-soy-frappe-latte-cino just the way you like it in a coffee shop anywhere in the world (a distant time it was when coffee was purchased in only one of two states: black or white). But in general, relentless second-by-second decision-making is required to navigate a deep sea of visual noise. Negotiating our choices can lead to unprecedented fatigue, confusion, stress – and disinterest. As expectations rise, consumers are increasingly losing their patience. How do we solve this problem?
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Tags: accessibility, brand design, branding, communication, creativity, design, graphic design, information design, information economy, language, typography, words
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Monday, February 15th, 2010
Well that’s it then. The End of Days. Armageddon. Civilization? all over. I have seen a sign: Someone with sufficient cash for a brand new Bentley has seen fit to customize it not only with a personalised license plate (tacky, but unsurprising) – but one set in design’s least favourite typeface: Comic Sans.
Momentarily traumatised whilst driving I failed to whip out the phone camera to record this portent of doom or to note particulars for the design police, but trust me – its out there somewhere… (more…)
Tags: graphic design, legibility, letterform, license plates, security, typography, visual culture
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Friday, February 12th, 2010
The brief is the key to a good design outcome. Einstein said if he had an hour to solve a problem he would use the first 55 minutes to formulate the right question and the last five to solve the problem. A good design brief is the definition of that right question. In design practice a good brief is extremely rare (I recall only one genuinely complete brief – thank you Nancy Bobrowitz/Reuters!) and its importance is easily overlooked in the rush to results.
Most design briefs are only a production specification, possibly including some vague musings on the brand, but with short-term specifics favoured over direction. The missing element is usually strategy – giving direction, focus and clarity of intent to what is otherwise just a shopping list. A common reluctance to examine fundamentals makes clarifying design strategy about as easy as nailing jelly to a wall…
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Tags: brand design, branding, communication, communication goals, communication strategy, creativity, design, design brief, design strategy, graphic design, problem-solving
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