Posts Tagged ‘communication’
Saturday, November 5th, 2011
Back in nineteen-seventy-when? a young me wrote to the Astra Fireworks Company for some samples of their firework labels – the examples here are from the collectionette I received by return. Within a few years, the postwar explosion of richly decorated British firework packaging had suddenly fizzled out and most firework production had reverted to its original source, China.
Now our fireworks are designed to appeal to the Michael Bay generation, named ‘Street Legal’, ‘Air Strike’, ‘Big Bad Dangerez’ (whatever that means) and so on, their packaging fit only to be viewed in the dark. UK ‘Bonfire Night’ never went away but got transformed into two weeks of shock & awe nervously monitored by the Noise Abatement and Dead Pets’ Societies. Thanks to Health & Safety we must now ‘stand well back and be well amazed’. As if looking at the TV, watching Baghdad burn.
Remember Remember is a wonderful exhibition in conjunction with The Museum of British Folklore at stately Warwickshire art gallery Compton Verney (past events include The Tulse Luper Suitcases) that vividly reminded me of what we have lost. Revisiting fire festivals going back centuries, the exhibition also focuses in delightful detail on post-war packaging & presentation of fireworks in Britain. Names like ‘Martian Ray’, ‘Barrel of Imps’ and ‘Mine of Serpents’ evoke a more innocent time. Simple designs, largely by semi-skilled employees rather than designers, printed in limited colour have all the character, wit and fun of what used to be a thrilling, intimate and accessible celebration of darkness, fire & sausage rolls.
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Tags: charm, collections, communication, creativity, decorative tradition, fireworks, graphic design, illustration, inspiration, visual culture
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Thursday, September 8th, 2011
An awful lot of very good graphic designers celebrate their success in the profession by leaving it. Is this because they cannot wait to get away from design? Surely not…
A recent blog post by Steven Heller concerned one Kent Hunter, a gifted designer I met briefly in the 80s whilst working for a transatlantic corporate graphics concern. Kent is a very talented chap indeed who amongst other things I remember art directed some ground-breaking annual report work for Time-Warner. Having had a very successful career with Franfurt Balkind, Kent and his partner have now opened an antique store in Millerton, NY.
Around the same time, in our London office Suzi Godson was a highly talented, clear-thinking designer I enjoyed working with. She bailed out of a very promising design career to become a successful Author and Times Columnist.
John Larkin was co-founder (with Tim May) of Design House Consultants, which was (and still is as far as I know) a very successful business, although John has long since departed both design and the UK to St Tropez for a new life as a hotelier.
There are plenty of other and higher-profile Poachers-turned-Gamekeeper: For Ben Schott (of Original Miscellany fame) and Dave Eggers (of A Heartbreaking Work of Staggering Genius, What Is the What, McSweeney’s and-much-more fame), graphic design activity was just step on the road to greater things.
What makes these escapees so keen to leave design? A desperate desire to never work for the man again? (understandable); a fundamental hatred of hard work? (not likely); A sudden need to assume a new identity for tax purposes? (possibly)…
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Tags: communication, creativity, design, graphic design, innovation, inspiration, problem-solving, service design, words
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Tuesday, July 26th, 2011
Having lately spent far more time than I care to in and around NHS facilities it is hard avoid noticing how much energy / resources are wasted when information is badly managed. I am no systems analyst, but even without an abacus for a mind the potential benefits of sorting out information in the NHS seem clear in three areas:
In some trusts, budgetary adjustments have reduced willingness to create / maintain good patient communications. Visits to dreary GP surgeries are not elevated by leaflet / poster displays that climb the walls like mutant strains of rising damp. Clip art and Comic Sans feature heavily in DIY print productions in which clarity and communication have taken a back seat. Patients should have the right to clear information in support of their treatment.
Physically navigating the NHS, its hospitals, clinics and other facilities can be complex. Some of the larger hospitals have decently planned sign systems and an air of calm efficiency as a result, but many smaller or regional ones do not, and those that are building / reorganizing often fail to consider users by properly re-routing them. How many late / missed appointments are caused by being in the wrong place at the wrong time? Exceptional facilities like the Kentish Town Integrated Care Centre seem to be from another world entirely. Owing its existence to an opportunity of history, the persistent vision of an individual and a gifted design team, such a paragon is unlikely to ever be anything like the norm, in this universe at least.
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Tags: accessibility, communication, design, graphic design, information design, nhs, service design
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Friday, February 4th, 2011
Photo: Damon Easley
Most designers prefer visual to verbal communication and often do a poor job of explaining the profession to outsiders, some of whom may have an inkling that problem-solving is involved, but most of whom cling limpet-like to the idea that design is about ‘making things look nice’. If only there were a handy phrase to describe what really goes on… I have just discovered (thank you BBC Radio 4) that there is a name for what is probably the key design aptitude.
In 1958 neurologist and psychiatrist Klaus Conrad coined apophenia to describe “the unmotivated seeing of connections” with a “specific experience of an abnormal meaningfulness”. Finding connections and meanings in experience – is that not the most interesting/valuable part of what designers do?
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Tags: apophenia, communication, creativity, design process, graphic design, information design, visual culture
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Monday, January 31st, 2011
Feather Times a Feather, 1987
Last month the musician/artist variously known as Don Vliet/Don Van Vliet/Captain Beefheart died after a long battle with MS. Much will have been written about his influence by now, but I doubt that his wilfully eccentric music, abstract poetry and visual works are too frequently cited as inspirational by many designers (over-rational control-freaks that we tend to be) but… they worked for me.
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Tags: communication, creativity, design, graphic design, innovation, inspiration, language, music, words
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Wednesday, December 29th, 2010
Satisfaction is an uncommon commodity. In the context of work and in tough times, its scarcity and value rises like that of gold—the accumulation of which for some is satisfaction. Designers cannot rely on generous material reward for their labours—with each project unique, there are few easy profits or economies of scale. Wealthy designers have usually arrived there via success in ‘business’ rather than designing alone. But we are pretty fortunate in other benefits that design activity can bring. Designers can often see, if not always touch, the results of their labour and although these might have limited life, their physical existence—and on occasion, their effect on others—produces fleeting glows of satisfaction. Good design also demands a healthy interest in the world that many professions and modern lifestyles discourage.
I recently re-read a book (remember those?) which I had all but forgotten since my late teens: Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance. It is not really about Zen, Art or keeping your Motoguzzi on the road. It is an odd piece of 70s autobiographical post-hippy-lit combining road trip, father-son relationship, nervous breakdown and fairly heavy (man) philosophical enquiry. It takes its time to get going, makes your head hurt here & there and although it does eventually offer some (unsettling) drama, a reprint is unlikely to give Dan Brown sleepless nights. Written at least 15 years before the the first personal computer, some of the language of this book is of its time (the word “groovy” appears at least twice without irony) but the relevance of its central theme—our relationship with technology—has increased a hundredfold.
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Tags: communication, creativity, design, design philosophy, design process, graphic design, inspiration, language, problem-solving, Quality, Robert M. Pirsig, satisfaction, Zen and the Art of Motorcycle Maintenance
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Tuesday, October 26th, 2010
I wrote on this blog some while back that I feared we were losing the art of decoration, in passing referring to Marian Bantjes as bucking that trend. With the publication of I Wonder she has singlehandedly rescued ornament & craft from untimely demise at the hands of modernist graphic design.
For those unfamiliar, Marian Bantjes is a Canadian illustrator/typographer/designer (there is no appropriate single word) living near Vancouver who after a decade in book typography and production reinvented her career to a extraordinary degree. She is a kind of missing link between contemporary design and the rich decorative craft traditions of the religious world(s). Her work is entirely secular but there is a strong sense of devotion in it, and she has a gift for creating something something truly extraordinary—spiritual even—from the most unpromising materials or observations.
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Tags: communication, creativity, decorative tradition, decorative type, graphic design, I Wonder, illustration, inspiration, Marian Bantjes, ornament, typography, visual culture, words
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Monday, October 11th, 2010
The increasing power of brands has also seen the rise of the logo lynchmob, pitchforks and flaming torches aloft in pursuit of another artless arrangement of a few Helvetica characters. This now routine negativity reached a new pitch last week when Gap unveiled its new logo to a tsunami of online invective, much of it from designers. Healthy debates are overheating and professional dysfunction threatens to encourage design-by-mob.
The talking-up of graphic design into rocket science always invited public criticism, but once upon a time the industry avoided attacking itself in public. Somewhere late in the 20th century that began to change. When BP (pre-pinwheel identity) italicised it’s old shield-based logo, the Sun and other esteemed UK print media ran ‘NEW LOGO COST £40m’ and/or similarly misleading headlines (the agency will have been well-paid, but the vast majority of that sum will have been ongoing global implementation costs). A bruising PR fail in itself, but there in the news story text was one of the big branding figures of the time quoted as saying how terrible the logo was—helping to fuel a popular view of designers as overpaid charlatans.
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Tags: brand design, brand names, branding, communication, crowdsourcing, design, design criticism, design industry, Gap, graphic design, iTunes, logo, logo rage, London 2012, MySpace, new logo, Twitter, visual culture
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Friday, September 17th, 2010
How often do you feel really gripped by a piece of contemporary art? I don’t know much about art and am often unsure about what I like, but I like Fiona Banner’s ‘Harrier and Jaguar’ a lot. I wonder why?
Tate Britain’s Duveen Galleries are a special context. Tate Britain is so much more approachable than its Modern big sister which, much as I like the building, seems to engulf the ideas it holds, the gazillions of tourists pouring through not helping matters. Tate Britain has less space but the bigger picture – the broader context of art tradition a foil for the limited amount of contemporary works.
The sheer improbability of this 20th century hardware robbed of motion is enhanced by the neoclassical architecture. The Harrier is strung up like a hung gamebird, the Jaguar an impossible accident. The planes could not be more surreally out of context. We can experience their spectacular physicality up close and you can’t help but wonder ‘how did they get them in here’?
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Tags: art, communication, creativity, design, Fiona Banner, Harrier and Jaguar, inspiration, Tate Britain, visual culture
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Tuesday, August 24th, 2010
That ‘knowledge is power’ is not disputed, but acceptance of the value of information is under threat. With unprecedented budget cuts becoming ‘normal’, the cost of communicating is called into question whilst its value is ignored.
With Crazy George & chums currently riding roughshod through UK public services, machetes flailing, there is financial pressure of the most intense kind on public institutions. Used to state regulation, detached from the free market’s instant and unforgiving feedback, there is no solid tradition of objectively balancing prioritities. Forced to plan big cuts, decision-makers may already have reached the “if I cut this will the entire institution fail tomorrow?” stage. Can we hope for measured appraisal of the worth of communications design in this climate? This must be a good time for designers to argue for the value of communications and information design wherever they get the chance.
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Tags: accessibility, brand design, budgets, communication, cost-cutting, cuts, economy, effectiveness, graphic design, information, information design, institutions, language, legibility, public services, spending, value, value for money
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