When you try to please everyone, you end up diluting the substance of your work. “The duck-rabbit” was used by Ludwig Wittgenstein in his "Philosophical Investigations" to illustrate a point about perception. The name Flux is about fluidity; about adapting to become or remain effective within the surrounding context. Gyula Gefin 05.10.11 11:25. When I take on a project, I like to ask many abstract questions up front. This all maps on to the well-trodden philosophical territory of the shift through structuralism to post-structuralism. It’s a no-win situation. In essence, the clients act as their patrons to support their aesthetic pursuits. For me, graphic design is not about personal expression. My personal expression will never perfectly coincide with the needs of my clients. This is also called genius. The core of what I offer as a designer or an art director is problem-solving. if it teaches anything, it is to be clear and to the point, in the points you make. Clarity comes from understanding. I can fully concur with your thoughts on how students today struggle to create ideas in a succinct manner - opting for more elaborate or detailed solutions. We focus on your goals. Thank you Adrian for this link and inspiring discourse. The owner of this final design doctrine is usability … Adrian Shaughnessy is a graphic designer and writer based in London. And it is through the design process itself that the interrogation takes place — more commonly referred to as. What about asking how design - specifically typographic design - can also be used to interrogate the ways in which language (via text) can operate in active (anti-material/anti-form) contexts. Information organized in a meaningful way, a call to action clearly communicated, and company branding are all examples of what design can do. There is nothing wrong with serving myself, but I believe that it should not be done so at the expense of my clients. Because we’ve always done it. Though there is nothing wrong... 3. They usually seek or attract clients who appreciate their specific types of aesthetics. The designers are not solving any problems. Well, some of you might ask me this: Why is that any of your business? It’s about solving communication problems. — I was asked this question by a candidate during a recent job interview. My Philosophy on Graphic Design 1. It is my business because a job that is driven by true need to communicate something is always more interesting and challenging, and therefore rewarding when it is accomplished. Contact: dyske@dyske.com. It. • Business. Just listened to "John Cottingham on The Meaning of Life." In fact, it would be quite rare if they came anywhere near it. The problem with this is also obvious. As I fumbled through an answer I realized I didn’t really have an articulated design philosophy, or at least not one that easily came to mind. Martha Graham once commissioned John Cage, the avant-garde composer, to score music for her dance performance, and the latter came back with a stack of blank pages because he felt that silence was most appropriate for the piece. I find this problematic because aesthetics is only one of many tools in a bigger picture of communication. ©2004 DYSKE We can look at the concept of aesthetic standard from three different perspectives. In many cases, pursuit of a design philosophy drives a career forward as accomplished designers typically strongly embrace a set of ideals. Graphic design is just part of what we offer. 4) work. Will be checking out more. I was born and raised in Japan until I was 16, and moved to the States on my own. 2. As a young painter he shifted his designs towards futurism and in 1927 he published Depero futurista. Skillshare offers prospective students lots of short & in-depth courses centered around graphic design. I appreciate your own clarity in specifying the value of interrogation for designers. In his essay, "Design and Philosophy" Aicher relates the distinction between philosophy and design. It is relevant here to consider the relationship between philosophy and the turn from medium-specific aesthetic models towards social and linguistic theoretical models, which characterised post-1960s art. Because our competitors do it. Aicher was certainly a master of clarity in his work. A design philosophy is a theoretical basis or driving force behind the work of a designer. Some designers strive to score high on their own personal standards. Did philosophy help design that duck logo? When something is thoroughly understood, the outcome is often described as "illuminating". To help those who may be just beginning, we wanted to highlight a few free courses that would be a great benefit. Whist debate about typographic experimentation with post-structuralist ideas featured heavily in graphic design debates of the 1990s, my research proposes that the connection between the theoretical ideas of philosophical aesthetics and these earlier art-based practices of the 1960s and 70s provides a more useful and productive example through which to consider links between philosophy and typographic practice. They can apply to aesthetics, methods or the impact of a design on society, individuals or the planet. VR/ Joe Moran 05.10.11 02:16. May 8, 2014 - Basé à Londres, le designer graphique Genis Carreras a fait la série « Philographics » dans laquelle il illustre les différents mouvem For my clients and colleagues, this process can be frustrating; some of them can’t see the point of it. Good design should be experienced and not seen. It is not my business in a sense that I am not interested in dictating the content of the communication; only in the methods. Free Skillshare Design Courses. Because it would make me look good within the company. For instance via the activity of publishing and most recently through routes of digital dissemination. In graphic design, pursuing personal expressions or aesthetic standards is self-serving. Many of these are available for free, or with a paid subscription, you can access them all. Louise, thanks for the Aicher reference. The identity I created for myself in Japan did not translate well here, so I went through a painful process of reinventing myself specifically for the American culture. And, more importantly, it tangibly contributes to the success of my clients. I will seek it out. Some designers strive to score high on the standard of the whole world. Unless this is specified as a clause in their contracts, it is not professional to ignore the needs or preferences of their clients. What is your design philosophy? It’s not about scoring high on some standard of aesthetics either. Where philosophy lives as ideas in the mind, design by turn is philosophy manifested as our material world. One reference I'd add as a tangent to this discussion is Otl Aicher — design's possibly one and only philosopher. When you please everyone, you please no one. In one way or another, my personal expression will be compromised, and the mediocrity of my work would be guaranteed. The modernism movement was influenced by Fortunato Depero’s (1892-1960, was among the artists who applied futurist philosophy to graphic and advertising design, he produced a dynamic body of work in poster, typographic, and advertising design, ch.13 pg. i found that skill to be beneficial almost everywhere. In a similar way, I feel that the value of graphic design lies not in final products, but in how the problem was solved. For instance, my clients might offer these answers: Because there is a budget set aside for it. Graphic Design Faculty - Dawson College - Montreal . October 12, 2004 (It is analogous to how certain famous comedians here are virtually unknown in Japan.) The designer’s role is to bring ‘Flux’ to the world and make it simultaneously new, powerful and beautiful. Very unfortunately, designer's needs to find it out for themselves, although there is much to light up the way. 1. if there is anything mushy, someone will find it and there goes your point. I stumbled upon it about a year ago and find it remarkably satisfying as well. The answer is: It is and it isn’t. As a lecturer in Philosophy as well as an owner of a design studio, I can tell you that the lessons of the broader discipline of philosophical thinking and writing - with its rigorous practice of deductive reasoning, pattern analysis, and critical exposition - have enormous benefits for isolating, clarifying, and articulating a given project's fundamentals - whether it be identity development or graphic design. 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