If you look at traditional Aboriginal objects – like a boomerang or wumura – they are objects of sophisticated function; great beauty; are inherently sustainable; and also contain a spiritual layer, which is usually carved or painted onto it. This is what informs our practice today. To match the intent and talent of our ancestral designers is what we strive for. This is design from an Aboriginal perspective.
if you build infrastructure people will use it, irrespective of how wide the sprawl, or how dangerous things used to be. "If you make the bicycle the fastest way from A to B, citizen cyclists will ride,"
don’t be fooled into thinking you will have great power when you have become a graphic designer; your greatest power will always be through your ability (as a voter at the very least) to contribute to political change.
I asked if there were any drawbacks to living as a creative in Berlin. “In L.A., people actually get stuff done because you’ll go homeless if you don’t hustle. Here you can be superpoor for years and still live comfortably.”
teaching you how to think is actually shorthand for a much deeper, more serious idea: learning how to think really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience.
The digital realm is immediate, interactive and contextual, the printed realm being physical and experiential. Both, increasingly social, serve different functions and are not only valid, but essential.
To see graphic design as a form of social production rather than as individual acts of creativity means recognising that it is subject to the same economic and ideological forces that shape other forms of human social activity. It means that in order to understand the nature of our activity and to think about its possibilities, we must be able to locate it within a historical context that relates it to economic and political forces. This is (strangely) problematic, as Anne Burdick rightly states (Eye no. 9 vol. 3), because ‘it is considered outside our role to analyse the content of our work[…]
The most powerful tool in design is language, I’d argue it’s more powerful than drawing. Being able to find the exact vocabulary to define a concept or approach is vital, not only for discussion with your peers but ultimately as part of customer communication. With great power comes great responsibility, and language can also be used to cloak a concept, mislead, misguide or bedazzle through doublespeak, jargon or acronyms. In my studio, we’ve been trying to cut through this recently and are focussing on plain speak wherever possible.
Previously, in the twentieth century knowledge was transferred from a higher authority down to the level of the individual. In the twenty-first century, society is beginning to experience the first waves of a cultural and political revolution, facilitated through the ‘digital enlightenment’ of the information age.
Some argue that skeuomorphism helps novice users understand how something works, but it’s a flawed argument. Skeuomorphism helps people misunderstand the capabilities and limitations of digital products based on their understanding of a physical analog.