Chip Kidd Designs
•December 12, 2011 • Leave a CommentBlog Reaction: Jay Perdue
•December 10, 2011 • Leave a CommentJay Perdue’s lecture was very interesting in that it gave me a good idea of his own personal preferences, processes, and focus as a designer. I was particularly surprised to hear that he worked at home. I had the idea that if one owned a business, even a small business, it had to be located in a public space; he said, it works for him, but it does not work for everyone.
Several of his points were very helpful, particularly his argument that to be a sustainable designer you not only need to be environmentally responsible, but also sustainable from a business standpoint. Understanding that in order to do good in the world, one must be successful (so that in some cases the needs of the business come before the needs of the environment), is essential to sustaining a green business. Maintaining this balance would be very difficult, and it is admirable that anyone should even try. On his website, one of the message slides says, “Prove that doing good is good business,” and below that, “connect behavior with performance.” This message applies not only to the clients of Perdue Creative, but also to Perdue himself, and hearing more about the implementation of that message was very interesting.
His discussion about the work he does pro bono was very enlightening. As he mentioned, I had assumed that pro bono work was an act of charity, and thus free of charge; I had only heard the term in the context of operations for hospital patients in need. The idea of pro bono design is a wonderful one, and I was familiar with design services being given to social organizations. I volunteer at the Joy of Music School in Knoxville, and its logo and most prominent brochure were designed pro bono. What most interested me about the discussion was his point that it is beneficial—to both Perdue Creative and the organization—if the organization pays a small fee, no matter how small, for the work completed. He said that they rarely gave design away for free. By simultaneously providing an estimate of the full cost, and by also requiring that the organization pay a small amount of money, Perdue ensures that the organization will understand the value of the design they are getting. Otherwise, Perdue made clear, that organization will easily take the design for granted, and it is very important for your clients to understand the value of your work. By charging just a small fee, the connotation of the design changes from a free commodity to a generous gift.
Perdue’s involvement with the “bad guys,” as he put it, is very interesting. My father is an engineer at a paper company, Domtar, and has communicated to me several times the falsity of the myths about paper production. Paper is made, for example, from trees planted and grown specifically for that purpose, and new trees are planted for every tree cut down—not for environmental purposes, but so that they can later be used for paper as well. In his attempts to vindicate the “bad guys,” and expose what is and what is not actually environmentally friendly, I think it gives his ethics more credibility. He isn’t simply jumping on the bandwagon of environmental practices, but is seeking to morally and ethically understand how to better conduct business.
I also enjoyed his point that how one presents oneself will go a very long way in determining business success. He suggested that, as a designer, you distinguish yourself in one area that you can be “known for.” Whether it is punctuality, reliability, or simply excellent design, it is valuable to have a sort of selling point that will enable you to rise above your competitors. He also suggested to “be adaptable,” a piece of advice that seems very applicable to his life. Having come from a program that, he admits, is worthless, most of his design knowledge has been self-taught, and by changing with the times he has increased his worth as a designer. His background in journalism also enables him to better communicate with and for clients.
In regards to his design aesthetics, Perdue’s idea that design should not draw attention to itself is one I wish more designers understood. His portfolio, particularly his work for “Verso Simple” brand positioning, clearly reflects that design sensibility. I found that piece of advice especially helpful for my own work, as it is easy to get caught up in your aspect of the design, rather than the client’s.
Objects
•December 2, 2011 • Leave a CommentObject one: Rubber Spatula (for stirring, esp. for scraping batter from side of bowl)
The spatula area has a light green circular abstract pattern/image, which contrasts nicely with the natural wood handle. This combination makes the spatula calming to look at, with a whimsical feel, and also references the natural world.
The form of the handle is shapely and practical—it is narrower at the top, bulged in the middle, and narrowed at the bottom. It is thus much easier to hold and maneuver than a traditional, straight stick-like handle, because the bulges fit nicely into the palm. The proportion of the spatula is nice as well—most rubber spatulas have a smaller head, and a heavier handle.
This tool is both literally and visually balanced, with the rubber head being much heavier- it balances the long wooden handle. The rubber head is also stylized—the head is much longer, more slender than most, and one edge is straight and one is curved, to fit the contours of a bowl. This is purely functional. Most rubber spatulas I’ve seen have a rectangular head, and their shape is altogether ridiculous when you consider their purpose- scraping bowls. My spatula, on the other hand, has a shape that is designed to make the job it’s meant for much easier.
I use this spatula for everything possible, because it feels balanced and sturdy in my hand. It’s most specific use is scraping a bowl free of batter or dough; its tapered edge also makes it ideal for use in stir-frying and other pan adventures. I interact with this spatula very positively. It not only makes my cooking-life easier, but helps me cook more efficiently.
Perhaps because the handle is made of natural wood, it is more linked than other things to the natural environment. The silicone head is arguably quite unnatural, and it is not made to be compostable or recyclable.
The pattern is a bit personalized, and shows my preference for color, pattern, and the wood shows my preference for natural elements, and it that it is an extension of my identity.
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Object #2:
The second object is my Bodium french press. The container is made of clear glass, and has some plastic components (the lid, handle, base, and a handle for pushing the filter down).
The plastic components are all black, and I know in other french presses it is in these pieces that designs take the most liberty. The side handle is a simple design- like half of a rectangle, with a straight edge and no contour for gripping. The top of the press is crowned by a simple sphere, a black ball, to hold while pushing the filter down. I think the aesthetics are based on geometric elements, with the spherical, black ball and the geometric handle and base. The design is pretty simplistic, and seems to suggest that, really, it’s just for making great coffee. The actual filter is silver mesh, but that is just for functionality and purpose.
I purchased the product because I knew it would serve its purpose. The mesh filter has to fit perfectly inside the glass cylinder with a tight seal, and you can tell it is an airtight design. Also, because it slides up and down smoothly and the handle is sturdy, I was led to believe that it would be just as efficient at pressing coffee. The design elements looked professional and serious, which sealed the deal.
Research Update
•November 20, 2011 • 1 CommentI have continued my research of the background, work, and current status of Chip Kidd. I have been reading two resources, Chip Kidd by Veronique Vienne, and Eskilson’s Graphic Design: A New History, both of which I found in our Maryville College library. These resources have been an immense help in understanding Kidd’s place in the design world. Rather than simply focusing on him as a graphic designer, Vienne’s book places him in his modern context and examines the idea of pop culture superstars. That Kidd has attained such status is, for Vienne, undeniable, and an indicator of our culture’s relationship to art. As Vienne’s book offers a collection of Kidd’s work (he has produced thousands of book covers, and this collection is of perhaps 100), and through it I have become much more familiar with his design philosophy. Kidd has moved from an emphasis and fascination with typography to an approach that integrates photography, and I would argue it is his later designs that are more successful.
In terms of solidifying my project, I have read Dry by August Burroughs and Terrorist by John Updike, and am currently writing a summary of both novels, which will be integrated into my discussion of how successfully Kidd represents the design through typography (in the cover of Dry) and photograph (in the cover of Terrorist). As a side note, I also hope to examine his own novel, Cheese Monkeys, if only to supplement my knowledge of Kidd– I may not focus on it in detail in my presentation, but I think the novel is important to consider when understanding his work.
I am also working on the design of a sort of “title poster” for my project, which will emulate Kidd’s design style. It will say “Chip Kidd” and will include his photograph– this will look like a book cover. There are several photographs to choose from. I will choose one based on pixel quality and its faithfulness to his character.
Feminine Design
•November 9, 2011 • 1 Comment1) What visual characteristics constitute a ‘feminine’ design in these works?
2) Is the designer a female or male? How does gender play a role in visual design?
3) What do you notice that is similar to the style of Margaret Macdonald and what is different?
Background: “Commercial Article is a regional design-history project our studio has created for itself. Our goal is to document the life stories and work of little-known or under-documented designers from Indiana. Our third issue is a profile of Avriel Shull, a fiery, self-taught home designer-builder who worked in central Indiana from the 1950s to the 1970s.”
1) The visual characteristic itself, alone, cannot contribute to gender; the visual characteristic is just an area of color, a line, a photograph, a specific type of text. It depends instead on the viewer to make a gender distinction. And even the viewer’s idea of what makes for feminine design will depend on many things– most of all his or her cultural background, and what has been reinforced as typically “female” and typically ” male. In this particular design, what we would understand to be feminine characteristics are the organic, meandering line, the element of swirl/curl that echoes ornament, and the ambiguous nature of the shape as a whole. The transparent nature of the orange element is also a characteristic of feminine design- rather than being impervious, hard, flat, the colored space is transparent and unintrusive. The fact that the photograph is of a woman helps to unify the idea of femininity, but I don’t think that the use of the photo constitutes a feminine design. (A photo of a dog does not constitute a canine design.)
2) The gender of the viewer, and really, of the designer, is not very important– a female can create a masculine design, and vice versa. It’s only a matter of understanding the stereotypes of a culture, and then a designer can manipulate their design accordingly. It is possible that a female designer will prefer a feminine design; it is equally possible for a male designer to prefer a feminine design. Gender may influence design, however, in any situation in which the designer has been reinforced by society to design in the style more comfortably associated with his/her gender. This design, for example, was by two men.
3) Like many of MacDonald’s works, this design features a woman. Similar also is the use of an organic line that dominates the piece and unifies it with its movement. This design differs in its visual simplicity. MacDonald’s work typically involves many intersecting, echoing, and overlapping lines; this design focuses on only one line, allowing its meandering path to form a point of emphasis.
Background: “Korean-based health and wellness investment company Econet needed a tool to help investors and employees understand their mission and dedication to natural, healthful products and services.”
1) There are usually very clear gender associations with specific types of handwriting. Feminine handwriting, which I would say is shown here, is usually associated with a cursive/script treatment, with the letter forms being more inclined to include embellishment (such as the extra loop in the top of the “O”), and ligature. This design also uses organic line, with many loops and overlap, and blurred, ambiguous shapes to create a feminine design.
2) The gender of the designer, Jin Kwon, is not specified; but Jin is usually a male name, it seems, in Korean (I researched a little). Perhaps Kwon chose to follow a more feminine design in order to create a piece that was more warm, inviting, and better fit the values of the company– wellness, natural products, wholesome, environmentally friendly practices. By choosing a script that is more feminine and simultaneously more casual, Kwon creates a nurturing atmosphere, perhaps usually associated with motherhood.
3) This pamphlet is not so obviously connected to MacDonald’s designs; the connection lies more in the use of organic line, soft colors, and an overlapping of elements. The movement of this composition is clearly defined by the “thread” that runs throughout, resulting in a smooth movement- the eye can move comfortably from one piece to the next rather than jumping from piece to piece. This is a characteristic of MacDonald’s work. They differ in presentation of subject matter. This design is much more ambiguous in visual representation of images: the image on the left is a simple, stripped-down illustration of an idea, and the image on the right is a close-up, unfocused image, which we may not be entirely able to decipher at first. MacDonald’s visual representations were generally more straightforward, or at least more prominent in her designs.
3) This design seems a far cry from the intricate works of MacDonald, but the asymmetrical treatment and elongated form of the leg can be connected to her style, and to elements associated with feminine style. It is different in its use of text– though MacDonald’s designs generally do not include text, if they did, they probably would not make use of capital letters, blocky letterforms, and a grid-style layout of text.
