Scoala Norvegiana de Studii Creative isi propune sa pregateasca oamenii pentru o serie de profesii in cadrul industriilor creative. O idee foarte frumos livrata.

1. Start with needs
2. Do less
3. Design with data
4. Do the hard work to make it simple
5. Iterate. Then iterate again.
6. Build for inclusion
7. Understand context
8. Build digital services, not websites
9. Be consistent, not uniform
10.Make things open: it makes things better

Mai sus puteți citi cele 7 principii de design după care se ghidează activitatea Serviciului Guvernamental Digital al UK. Mi se pare excepțional că un guvern are așa un serviciu care lucrează după asemenea principii!
Numit de curând în funcția de ”Head of Design” al serviciului, amicul Ben Terret a lucrat la elaborarea și implementarea principiilor. Și multe alte lucruri menite să îmbunătățească comunicarea digitală a Guvernului UK.
Puteți afla mai multe aici și aici.

Mă întreb când vreodată va fi posibil așa ceva în țara noastră?

The Type Directors Club has asked a few designers to find a classified/personal newspaper ad from their local community to “hijack” typographically. When redesigned, the once banal and disposable classified ads will be reinterpreted by the designer into a one-of-a-kind collectible poster. Each poster will be auctioned, with proceeds to benefit the TDC Scholarship Fund

Design agencies are like nursery playgroups, except that the chairs are a lot bigger and designers don't go over the lines when they're colouring-in.

Like children in a playgroup, designers are never stuck for things to draw. This is because they have grown-ups who give them things to do. These things are called jobs and the grown-ups are clients.

Hilarious! And a lot close to reality.

from here

This year’s “World’s Best-Designed Newspapers™” are:

• Akzia in Moscow, bi-weekly, circulation 200,000

• Expresso in Paco de Arcos, Portugal, weekly, circulation 140,000

• Frankfurter Allgemeine Sonntagszeitung in Frankfurt, Germany, weekly, circulation 320,000

• The Guardian in London, daily, circulation 355,750

"We live in an increasingly uncertain world, where the tools that served us well for so long no longer do. Technology isn't sufficient; we can't simply add features to attract an audience. There is no more efficiency to squeeze out of our operations, nor defects to remove from our products.

How do we deliver great products and services in an uncertain world? The thing to keep in mind, not just in the abstract, but truly and viscerally, are your customers and their abilities, needs and desires. When you do that, when you truly empathies with the people you serve, you'll realize that for them the experience is the product we deliver and the only thing they truly care about." - from "Subject to change - Creating Great Products and Services for an Uncertain World" by Peter Merholz, Todd Wilkens, Brandon Schauer, David Verba

When I'm thinking about movie poster design, the first name that comes to mind is legendary graphic designer Saul Bass.

"Saul Bass brought a designer’s sense of iconography and purpose to film posters, and more importantly, to film-making in general. The man who created the AT&T logo designed only a few film posters in his early career, but his designs were enough to change the direction of film key art. When looking at his poster designs for films like Anatomy of a Murder, Vertigo, and Exodus, one can see how Bass was able to encapsulate a film’s narrative direction in a visual identity through graphic design." from Posterwire

The titles of great classics such as Anatomy of a Murder and The man with to golden arm had made design history, being very deep rooted in our collective imagination(as testifies a recent HP advertising campaign).

In 1954 he was asked to design and create a title sequence to the film Carmen Jones. Saul Bass saw this as an opportunity to enhance the film goers experience. He didn't want to just have his sequence inform the audience, nor did he want to use the time to do some fancy graphical work that would show of his talents but add nothing to the film.

"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it" -Saul Bass

At the Society for Parental Mind Control, we believe young people like us deserve the very best of everything. And more than anything else, we deserve wicked-sick computers that kick a whole lotta butt–serious butt.

Chrysler has a new logo. The Pentastar got a metalizing treatment. It was 1962 when then-Chrysler president Lynn Townsend wanted a new corporate symbol to represent all of the corporation’s brands. It had to be a symbol with a strong, classic look, instantly recognizable and universal. Wherever you were, in whatever country, that symbol had to say “Chrysler.”
Now Chrysler is being Chrysler again.

more here

"Adobe's desktop brand system is a pragmatic & systematic approach to creating a cohesive functional visual language carried across our hundred products and their thousands of branded icons and screens. With a specific emphasis on clarity and legibility, this system expresses a singular focus of better enabling our customers and their work.
Our approach is pragmatic and utilitarian, literally "less is more". We have created a concise and coherent unified language in a deceivingly simple and highly distinctive visual system – from the branded desktop work through to interface and product design. Top-level point products (authoring environments eg. Photoshop, Illustrator, etc) follow a two-letter mnemonic 'nickname' system as their primary identifier... A product's icons are paired with a specific color, usually based on historical color association (Flash is red, Dreamweaver is green) and familied within a particular vertical. This color association is carried throughout the product's desktop brand in lieu of 'primary imagery', from install screens through app icons and reinforced through details on document and supporting icons." - John Nack on Adobe

Karakiri is a creature of confort, a friendly octopus, made from cotton for a lasting relationship with your skin.



It holds you even when you watch TV. Is fully washable. Custome made for a perfect embrace

Karakiri is made by Oana Felipov. Great idea, Oana!

Check out the beautiful site for more info about how to get your Karakiri