FINAL : motion

All my final work is here at HERE!


Danny & the Miracles from Bradley Brooks on Vimeo.

SEMESTER REFLECTION : journal 14

After the most difficult semester of my life, it's time for me to reflect. My vision and even thought of design has completely changed, but for the better. I now understand why we were put through those horrible assignments day to day. Being a designer is not all about the finished product. As much as it was stressed even back in August, it was hard for me to really understand why. The last projects for Tad and Andrea's classes have showed me how much process matters. Nothing I made a month or so ago would have been to caliber conceptual wise as my projects are now.


I feel, and hope, that I gradually got better with my projects. I started to care a lot more, and would spend more time on them. I don't like to work on things that aren't interesting to me. It's true. But I think I'm starting to like those things I used to not like. My perception of design is changing as well. I think I'm moving forward from just the aesthetic part of design and to the conceptual part. I hope I can keep this going.


I am inspired by typography. I wish I could just design with type all the time. Sometimes I wander if I would ever want to be a typographer, but I might kill myself. I love making designs into things that people can see / appreciate / use. I was really into Tad's last project because it was directly related to my roommate. 


I am excited to see what I can offer from here on out. Hoping all goes well with Review, and I can continue to learn, explore, and challenge myself with the opportunities given here.

LARRY LESSIG : journal 13

Larry Lessig is one of our foremost authorities on copyright issues, with a vision for reconciling freedom with marketplace competition through creativity. In his talk he spoke of issues of copyright and trespassing being hampers to creativity in general. He provided examples through a brief history of copyrights and the application of existing material for new material, like remixes. What I found interesting about this talk is Lessig's theories on the unity of business and creativity. He spoke on the growth of technology and how it enables our generation to create through innumerable methods. Because of this, Lessig states that our generation is learning to speak primarily through these methods. He feels that businesses should let the artists and creators themselves decide what can and cannot be made available. Because it is business that is hampering the way that people communicate through the new and ever growing language of technology. Lessig's views on creativity were interesting to hear, and the thought never occurred to me as a designer that commerce could be such an obstacle. But thinking to all the printing and media limitations I've dealt with, I would have to agree with Lessig. I should not have to create based on limitation, I should be able to create without bounds.

CURTIS ARTIST SERIES : journal 12

DAVID CARSON

Carson spreads out composition and starts designing to what makes sense to him. He was making self indulgent work, as the design world grows it is important for you to put yourself into the work. His work is not very structured very sporadic and poppy, however it definitely has emotions and movement on the page, and his compositions are very flow and he try to incorporate words to his design. The starting point is trying to interpret what you just read and listened too to see where it goes. Where do you compositions come from? How do people react to your work? do you care about what the audience is perceiving about your work or are you just designing from yourself? Do you think that design has moved to a more personal aspect then trying to please the client?

PAULA SCHER

Signage - things about being new and pop out of the place it is in. Started did Jazz style and it should almost all be in order and one being off to catch your attention. Her style is loud and invisible and urban. all about words and type and how they work together and can show motion and style. operate with instincts and try again and then give up you have to get it first off. Never been a refiner, big bold strokes that come clearly. Illustrate with type not to just rub type down on a corner but use it as a design aspect. One moment you figure it out and you get it and it gets really exciting and you never get over that feeling of accomplishing something. What are you going to say to people who aware by a process book and say that your first ideas just scratch the service on where you could go? what got you interested in signage?

MILTON GLASER

“Art is work” where is he going with design - doesn’t know until his life is over and he has his work to look back on. feel close to the life of the artist then that adds the relationships of artists. Art is a gift and needs to be based on to create more art. This is what artist do in culture artist provide the gift to the culture so that people have something in common. The ability to transfer ideas from one to another doesn’t matter who you effect but you will effect, your community, family, city and possibly the world. Most interesting thing in ones later life - if you can sustain your interest for long periods of time, loose interest and get tired, and also loose your compacity for astonishment. benefit for being in the arts is the possibility for learning never disappears. What is the most important aspect to design? Do you recommended teaching to al designers?

DESIGN MATTERS : journal 11

Debbie Millman is a partner and president of the design division at Sterling Brands, one of the leading brand identity firms in the country. Millman is president of AIGA, and chair of the School of Visual Arts’ master’s program in Branding. She is a contributing editor to Print magazine and host of the podcast “Design Matters.” She is the author of How To Think Like A Great Graphic Designer (Allworth Press, 2007), The Essential Principles of Graphic Design (Rotovision, 2008) and Look Both Ways: Illustrated Essays on the Intersection of Life and Design (How Books, 2009).

It is a radio talk show, hosted by Debbie Millman, where she takes listeners inside the world of design and branding to talk to professionals about what they do, how they do it and (most importantly) WHY they do what they do.

I listened to the interview Debbie gave to Ann Whiloughby and it displayed a very tranquil and humble view. She talked about the inspiration she received when visiting a hospital that her mother was in. She talked about the raw emotion and tension and even love that is conveyed in an environment like that. People are not here by choice and are hopeful that everything will be okay, her mother was in the same boat.

GOOD. IS. : journal 10

The first video that I watched was 'The State of the Planet'. This video conveyed a somewhat large amount of information at a paced and understandable fashion. It followed the trend of quickly moving text to the center of the screen in a bouncy and synchronized fashion. This style could possibly be an essential building block to creating a comprehensible motion graphic video.

The Hidden Cost of War

-Uses text which stacks on one another at the beginning of the video, utilizing scale and color to add emphasis to certain words. The rest of the video communicated it's information mostly with vector graphics in the form of info graphics.




An info graphic which combines photography with vector graphics. It uses an asymmetrical structure, combining sans serif typography with clearn and understandable vector images. The result is a substantially effective delivery of information.

TYPE MEANS NEVER HAVING TO SAY YOU'RE SORRY : journal 8

Type Means Never Having to Say You're Sorry is an article that talks about young design students who do all of these great time consuming projects but fail to know the history behind it. Most students don't know the background of the typeface they choose hence affecting how it is read through their project. Futura is specifically critiqued in this article. After reading this other typefaces that may work better than Futura are: Univers, Berthold Akzidenz Grotesk, or Gotham Book. 


I also read Designing Under the Influence by Michael Bierut. Bierut interviews a newly graduated designer who has a cd packaging project done in Futura Bold Italic done in a style directly a mimic of Barbara Kruger. This young person, first had no idea who Kruger was and had been directed by a professor who decided to ignore the peculiar resemblance. There is an ignorance of typeface and designers that needs to be addressed.