RAIN BRIEF// Inspiration

 Here is a collection of posters that I have been looking at that could help me with some design styles for the Erik Kessels rain brief.

http://behance.vo.llnwd.net/profiles10/889377/projects/3029953/31ea48dfd96833eed74837273c94134a.jpg

 The clean illustrative style of this poster appeals to me, although I don't think its a great piece of design.

http://a1.s6img.com/cdn/box_003/post_13/447355_9713488_b.jpg

 This heart could be a potential submission to this project with a few modifications, not that I would do that but the simplicity is interesting.

http://behance.vo.llnwd.net/profiles3/244068/projects/2341638/15a529ed50f2f94d6a0bed68a344cc70.jpg

 I have been studying this because I think that this brief would really suit this sort of poster. Manipulating decoration around the text to produce images of the way the human race utilities rain would be a very interesting poster, about science and discovery.

http://payload6.cargocollective.com/1/2/80040/2435238/teeth_poster_2.jpg

http://a1.s6img.com/cdn/box_002/post_12/374237_12314525_b.jpg

 These two posters I chose to look at due to their interesting use of hand drawn type and the interaction with image. Also the dull use of colour in the top one could be used I my posters, to reflect the dullness of rain, perhaps contradicting the text.

http://25.media.tumblr.com/tumblr_lzf68i00jk1r46py4o1_500.jpg

The avengers poster is interesting because I like the use of a cut out which a shadow image in the back. Also the blue colour range is very attractive.

My Manifesto

Learn
"If we value the pursuit of knowledge, we must be free to follow wherever that that search may lead us. The free mind is not a barking dog, to be tethered on a ten-foot chain." - Adlai E. Stevenson Jr.
 
Play
“We don’t stop playing because we grow old; we grow old because we stop playing.” - George Bernard Shaw

Work
"Far and away the best prize that life has to offer is the chance to work hard at work worth doing." -Theodore Roosevelt

Travel
"The World is a book, and those who do not travel read only a page." - Saint Augustine

Fail
"Success consists of going from failure to failure without loss of enthusiasm." - Churchill

Try Harder
"Throwing away ideas too soon is like opening a package of flower seeds and then throwing them away because they're not pretty." - Arthur VanGundy

Relax
"If a man insisted always on being serious, and never allowed himself a bit of fun and relaxation, he would go mad or become unstable without knowing it." -Herodotus

Others Manifesto

Manifesto no1.

Manifesto no.2.

Manifesto no.3.

Manifesto no.4.

Manifesto no.5.

Miura

Manifesto

This is a public declaration to our clients, colleagues, family and friends & and anyone who comes across our work.

TO BE HONEST

To ourselves, to our clients and to the graphic design projects we work on. Honesty is not always welcome, but the least we can do is to tell it how it is.

TO PUSH HARDEST
IN THE LAST 5% OF THE PROJECT

This is the time when that extra polish can make the difference between a good piece of design and a great one. We will go the extra mile, whether it is a website design, an online advertisement, or a brochure design, or a direct marketing piece.

TO CARRY ON THINKING
EVEN WHEN WE MAY HAVE THE BEST IDEA

We'll put it on the back boiler for a while and get a coffee or tea. That's because, it's usually when your mind is not forced into thinking about anything in particular that the best ideas surface.

TO LET OUR DESIGN HAVE A SENSE OF SELF

The best graphic design has a sense of self. We'll engender our projects with the necessary and right amount.

TO GIVE IT TIME

Time is precious. Many think they do not have time to work things out properly, make decisions or go for lunch. We'll make time. We like to allow clients the luxury of time to give a considered response to our work. We feel it's better to get a real constructive response than one born under pressure.

TO NOT TALK JARGON

We always say it like it is. And say it simply. Jargon is for people that don't know what they are talking about or feel they have to add gloss to their case.

To keep things simple.

A strong graphic design concept or strategic delivery is always best when done simply and elegantly.

TO ASK QUESTIONS

Whether it's to understand a brief, an idea or a new product, we'll ask questions. These are the key to the right solutions and the only way forward.

TO ACCEPT EVERYONE AS A LEADER

Ideas can come from anywhere. Whenever they do, allow them to emerge. Learn to follow when it makes sense. Let anyone lead. (This isn't our idea, thanks Bruce Mau).

TO BE CURIOUS

Curiosity is growth. Growth is creative.

TO DESIGN WORK WE ARE PROUD OF

To create design our clients can be proud of. We will produce work we would happily show the people we most respect and are closest to.

TO USE SOFTWARE AS A TOOL

Pencils generate ideas, software assists design.

TO ENJOY THE PROCESS

The process is just as important as the results. Feel good about the process, it will improve the design.

TO PRESENT THE RIGHT SOLUTION

And only the right solution.

TO NOT FOLLOW BUT TO LEAD

We will do what is right not what is fashionable.

TO MAKE TEA

When tea is a sensible thing to make.

Manifesto no.6.

Hippocratic Before Socratic
"First do no harm" is a good starting point for everyone, but it's an especially good starting point for designers. For a group of people who pride themselves on "problem solving" and improving people's lives, we sure have done our fair share of the converse. We have to remember that industrial design equals mass production, and that every move, every decision, every curve we specify is multiplied—sometimes by the thousands and often by the millions. And that every one of those everys has a price. We think that we're in the artifact business, but we're not; we're in the consequence business.

...designers are feeding and feeding this cycle, helping to turn everyone and everything into either a consumer or a consumable. And when you think about, this is kind of grotesque. "Consumer" isn't a dirty word exactly, but it probably oughta be.

Stop Making Crap
And that means that we have to stop making crap. It's really as simple as that. We are suffocating, drowning, and poisoning ourselves with the stuff we produce, abrading, out-gassing, and seeping into our air, our water, our land, our food—and basically those are the only things we have to look after before there's no we in that sentence. It gets into our bodies, of course, and it certainly gets into our minds. And designers are feeding and feeding this cycle, helping to turn everyone and everything into either a consumer or a consumable. And when you think about it, this is kind of grotesque. "Consumer" isn't a dirty word exactly, but it probably oughta be.
Systems Before Artifacts
Before we design anything new, we should examine how we can use what already exists to better ends. We need to think systems before artifacts, services before products, adopting Thackara's use/not own principles at every step. And when new products are needed, they'll be obvious and appropriate, and then can we conscientiously pump up fossil fuels and start polymerizing them. Product design should be part of a set of tools we have for solving problems and celebrating life. It is a means, not an end.
Teach Sustainability Early
Design education is at a crossroads, with many schools understanding the potentials, opportunities, and obligations of design, while others continue to teach students how to churn out pretty pieces of garbage. Institutions that stress sustainability, social responsibility, cultural adaptation, ethnography, and systems thinking are leading the way. But soon they will come to define what industrial design means. (A relief to those constantly trying to define the discipline today!) This doesn't mean no aesthetics. It just means a keener eye on costs and benefits.
Screws Better Than Glues
This is lifted directly from the Owner's Manifesto, which addresses how the people who own things and the people who make them are in a kind of partnership. But it's a partnership that's broken down, since almost all of the products we produce cannot be opened or repaired, are designed as subassemblies to be discarded upon failure or obsolescence, and conceal their workings in a kind of solid-state prison. This results in a population less and less confident in their abilities to use their hands for anything other than pushing buttons and mice, of course. But it also results in people fundamentally not understanding the workings of their built artifacts and environments, and, more importantly, not understanding the role and impact that those built artifacts and environments have on the world. In the same way that we can't expect people to understand the benefits of a water filter when they can't see the gunk inside it, we can't expect people to sympathize with greener products if they can't appreciate the consequences of any products at all.
Design for Impermanence
In his Masters Thesis, "The Paradox of Weakness: Embracing Vulnerability in Product Design," my student Robert Blinn argues that we are the only species who designs for permanence—for longevity—rather than for an ecosystem in which everything is recycled into everything else. Designers are complicit in this over-engineering of everything we produce (we are terrified of, and often legally risk-averse to, failure), but it is patently obvious that our ways and means are completely antithetical to how planet earth manufactures, tools, and recycles things. We choose inorganic materials precisely because biological organisms cannot consume them, while the natural world uses the same building blocks over and over again. It is indeed Cradle-to-Cradle or cradle-to-grave, I'm afraid.
Balance Before Talents
The proportion of a solution needs to balance with its problem: we don't need a battery-powered pooper scooper to pick up dog poop, and we don't need a car that gets 17 MPG to, well, we don't need that car, period. We have to start balancing our ability to be clever with our ability to be smart. They're two different things.
Metrics Before Magic
Metrics do not get in the way of being creative. Almost everything is quantifiable, and just the exercise of trying to frame up ecological and labor impacts can be surprisingly instructive. So on your next project, if you've determined that it may be impossible to quantify the consequences of a material or process or assembly in a design you're considering, maybe it's not such a good material or process or assembly to begin with. There are more and more people out there in the business of helping you to find these things out, by the way; you just have to call them.
Climates Before Primates
This is the a priori, self-evident truth. If we have any hope of staying here, we need to look after our home. And our anthropocentric worldview is literally killing us. "Design serves people"? Well, I think we've got bigger problems right now.
Context Before Absolutely Everything
Understanding that all design happens within a context is the first (and arguably the only) stop to make on your way to becoming a good designer. You can be a bad designer after that, of course, but you don't stand a chance of being a good one if you don't first consider context. It's everything: In graphics, communication, interaction, architecture, product, service, you name it—if it doesn't take context into account, it's crap. And you already promised not to make any more of that.



Manifesto no.7.

1. Allow events to change you.
   You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2. Forget about good.
   Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
3. Process is more important than outcome.
   When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5. Go deep.
   The deeper you go the more likely you will discover something of value.
6. Capture accidents.
   The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7. Study.
   A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8. Drift.
   Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9. Begin anywhere.
   John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.
10. Everyone is a leader.
    Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11. Harvest ideas.
    Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12. Keep moving.
    The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13. Slow down.
    Desynchronize from standard time frames and surprising opportunities may present themselves.
14. Don’t be cool.
    Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15. Ask stupid questions.
    Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16. Collaborate.
    The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.
17. ____________________.
    Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.
18. Stay up late.
    Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
19. Work the metaphor.
    Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20. Be careful to take risks.
    Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself.
    If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools.
    Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders.
    You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24. Avoid software.
    The problem with software is that everyone has it.
25. Don’t clean your desk.
    You might find something in the morning that you can’t see tonight.
26. Don’t enter awards competitions.
    Just don’t. It’s not good for you.
27. Read only left-hand pages.
    Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."
28. Make new words.
    Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29. Think with your mind.
    Forget technology. Creativity is not device-dependent.
30. Organization = Liberty.
    Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a ‘charming artifact of the past.’
31. Don’t borrow money.
    Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.
32. Listen carefully.
    Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33. Take field trips.
    The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.
34. Make mistakes faster.
    This isn’t my idea — I borrowed it. I think it belongs to Andy Grove.
35. Imitate.
    Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.
36. Scat.
    When you forget the words, do what Ella did: make up something else … but not words.
37. Break it, stretch it, bend it, crush it, crack it, fold it.
38. Explore the other edge.
    Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39. Coffee breaks, cab rides, green rooms.
    Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference — the parties, chats, lunches, airport arrivals — but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40. Avoid fields.
    Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41. Laugh.
    People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.
42. Remember.
    Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43. Power to the people.
    Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.

LECTURES// Creative Advertising

OUDG 405 Self Evaluation

1.  What skills have you developed through this module and how effectively do you think you have applied them?
I have an increased knowledge of Photoshop and illustrator, which I used for all of the design briefs in this module. I have also applied some of the techniques and theory’s we have been taught in other modules to this one, for example which layout is correct as well as some colour theory and the correct use of type. In most cases I have applied the skills I have learnt as best I can. In some mock up pieces I used tools in illustrator for example to get work done very quickly and when I went to finish I worked into the designs until they were much more desirable. This is evident in the posters for the 100 things brief, were the posters all started looking very messy and gradually progressed.
2. What approaches to/methods of design production have you developed and how have they informed your design development process?
In this module, especially on the 100 things brief I carried out huge amount of research that meant that when I went to design the work I full understood what I was saying. I found that I could write body copy on the subject fluently and did not need to double check facts online. I felt that I fully understood the topic, although it is not black and white and there is no conclusion. I also developed more on the system of designing in illustrator. For the products I made were mostly text based with vector graphics images. The How To brief really tested my ability to produce work quickly and work as a team which is a skill I definitely think I have improved on since the start of the year even.
3. What strengths can you identify in your work and how have/will you capitalise on these?
I think I have become less afraid to produce more experimental work and not follow a pre-existing style as closely as I used to. In the future I would love to break free from conventional design for a module, although saying that I love design that follows the rules too. I also think I have worked out some good colour theory, in most products I would like to think that the colours are all suitable for each other and none of them clash. This is a skill I could develop further however, I feel that although I know what colours wont go together, I don’t yet fully understand which colours do.
4. What weaknesses can you identify in your work and how will you address these in the future?
Weaknesses I have is that I feel slightly like I have become obsessed with illustrator and have become tied to its limitations. For the next module I would like to leave Illustrator for some experimental work in a different medium. I also think I made some design errors on one of two of my designs, for example the Dark side to Diamonds poster, which has a terrible drop-shadow effect on it. There is a message here that the effects in illustrator are to be avoided at all costs. I also started using high resolution images in illustrator, which was a huge mistake because it crashed the program on Macs, even my Pc struggled a bit. In the future I need to edit the images in photoshop and rasterise them until they are a low enough resolution that they will not crash illustrator.
5. Identify five things that you will do differently next time and what do you expect to gain from doing these? 1)    Create some design sheets and sketch more designs, I except that this will allow me to explore more ideas. In a way at the moment, I experiment in illustrator, but of course the limitations here are huge. 2)    I need to document the design process more clearly, at the moment I tend to design things in illustrator and neglect any form of documentation because I feel that if I stop designing I will fall off the horse. I expect this will allow me to get better grades. 3)    I should listen to good criticism early on and change my designs. I Did change my designs because of suggestions this time but after I printed  and ran out of other opportunities to print people still pointed things out to me they would like changed, in the future I should print things cheaply and ask for help during the designing instead of after the final prints. This would obviously allow me to change my designs while I still have a chance. 4)    I should manage my time better. In this project I found that although the designs were all spaced out I did somehow end up blogging at about midnight or in the early hours of the morning. This is because dinner, washing, socialising with the people I live with can fill a gap between getting home and working on projects. I desperately need to find a good balance and stop cooking meals that dig into work time I guess. This should give me more time to document the days work and generally be a better designer. 5)    I need to learn how to prepare designs for print better. I went several times to print out stuff for this module and although most of the settings were ok, because I had lots of double sided, things got a bit confusing and the alignment was rarely correct. There are lots of reasons for this, mainly my set up, then I found out that paper from the library is cut to the wrong dimensions. In the future I could go and talk to James about prints and then go and buy the paper and set up the files. This would allow the print process to go smoother and take up less time.
6.How would you grade yourself on the following areas: (please indicate using an ‘x’)  5= excellent, 4 = very good, 3 = good, 2 = average, 1 = poor
	1	2	3	4	5
Attendance					x
Punctuality					x
Motivation				x
Commitment			x
Quantity of work produced			x
Quality of work produced			x
Contribution to the group				x