Design is Dangerous: Excessively high heels

Season after season some of the most critically acclaimed footwear would be sky-high-heels. It seems that designers are competing for new and creative ways to make heels higher and more complicated to walk in. Doctors have frequently treated women with sprained ankles and broken bones due to the super high heel trend. They have said that women should try wearing a heel no more than 1.5 inches with an ankle strap. An excessively high heel puts pressure on knees, ankles, and hips leading to possibilities of developing Morton’s neuroma, bunions, hammertoes, or even Metatarsalgia.  The higher the heel means the higher the possibility of developing an injury or creating permanent damage.

A Spring 2011 design by Christian Louboutin is a new spin on the classic stiletto platform that has been in demand for the past several seasons. The medium fabricating the hot pink pump is a python –skin, which gives both a haptic and optic texture. The 6-inch+ stiletto heels provide no support and leads to a higher risk of losing balance resulting in a sprained ankle. But it has a rather large platform and the trademark Louboutin red sole. The platform allows the heel to be taller, while maintaining a somewhat manageable means of still being able to physically walk in them. The higher the heel is traditionally congruent to the level of sex appeal. Aesthetically the silhouette of the heel is a classic design that is pleasing to the eye. However the time in which a consumer could walk in the heel is limited.  It corresponds with the old saying that “pain is beauty.” Women commonly ignore pain in order to appear more beautiful or desirable.

As long as excessively tall heels are in demand, designers will keep creating them. To keep the interest of the consumer heels will become higher and more dangerous. How far do the designers have to go to please the constantly evolving high-heeled shoe fetish? When is it enough?

Information on the dangers of heels:

http://news.bbc.co.uk/2/hi/health/5235630.stm

http://bodytreats.files.wordpress.com/2008/10/picture1.jpg

Image:

http://www.style.com/slideshows/accessories/spring_2011_rtw/christian-louboutin/shoes/14fullscreen.jpg

Design in Society: Utopian Design

Cube & Rect radio design:  WR03-CUBE/4B

 Utopian design aims to improve society and an example of a brand that is doing just this is Magno. Magno radios are designed with the environment and local economy in mind. Singgih S. Kartono was inspired by a popular Indonesian electronics company’s basic design principles. Katrono applied classic design elements to the Magno radios so that they would stand the test of time aesthetically as well as maintain efficiency. Salient characteristics of the various Magno radio designs are the uses of different types of wood, such as mahogany and pine. 

The WR03-CUBE/4B radio is a cube-shaped with radio receiving capabilities and an auxiliary jack to allow a wider range of uses. The use of pine, mahogany, and fabric in the Cube & Rect radio create a monochromatic color scheme of tan and brown hues. The dark brown fabric contrasts against the light pine wood. The pine is the main frame of the radio. The mahogany is mainly used for decorative accents such as the round knobs for dial changing. The external antenna has a small wooden sphere at the tip made of mahogany as well. 

 Singgih S. Kartono with his design 

The sustainable design of these radios is promoting a consciousness to be employed in the manufacturing of future electronics. More so, Kartono had the streamlined wooden design in mind to allow the radios to be easily produced in his home village, supporting his local economy. By supporting local villages and using sustainable resources, Magno is setting a terrific example of how social consciousness can be a successful business strategy.

Magno “Cube & Rect” radios: 
http://www.magno-design.com/?id=wr03c4b

Images: 

http://www.magno-design.com/images/wr03c4b.png 

http://www.areaware.com/designers%5Csk.jpg

Color Transforms

A clever use of color can help transform a design and effectively communicate the message of a designer without the use of words. An example of this would be an advertisement for “A Bird In Hand Project.” It utilizes color to express the urgency of cleaning the wildlife affected by the oil spill. The designer's color selection creates both a visual and symbolic contrast. Contrasting hues is what creates a focal point. Color dominance is found in the background image due to the bright image and presence of life. This vibrant image is of a sea turtle in its natural (clean) habitat. What helps the colorful background image show through is a frame created by what appears to be a hand that has smeared oil away. In the foreground there is an image illustrating the texture and dark, unpleasant appearance of oil. The murky appearance of the oil contrasts against the rich blue and green hues of the image of the sea turtle swimming in a clean ocean. Although the attention is on the bright image, you are reminded of the grim oil spill because the oil is not completely washed away and is blocking the viewer from seeing the beautiful image in all it’s entirety. The bright image creates an emotional response by creating hopeful reassurance that the wildlife will have a clean environment once again after people come together and help. It shows what it is and what it could be. The message that the color is helping to convey is that the vivid beauty of nature is being concealed by the dark, revolting oil. The beauty of nature will be restored after people come together to get their hands dirty and help wash away the human mistake.

A Bird In Hand Project: 

http://abirdinhandproject.com/

Image:

http://adsoftheworld.com/taxonomy/brand/a_bird_in_hand_project

Sustainable Design

Click to enlarge image

Click to enlarge image

 The Blooming In The Wind tower in Dubaï is a self-sustaining structure using sails to generate power, collect dew, and create shade during the day. Tower occupants include conference spaces and a children’s library. It is made up of a metal frame with state of the art sails. During the day the sails assume a closed position to create shading. Also wind creates a vibrating effect of the sails that helps produce the tower’s energy. During the evening the sails assume an open position to collect dew from the cool night air. The sails are made of a material that has a cooling effect to ensure maximum dew collection. The dew collected the previous evening is used to provide the daily water for the visitors.

Click to enlarge image

The overall design of the tower is innovative and aesthetically pleasing. This tower has a continuously evolving visual appearance with the opening and closing of sails while promoting sustainable practices. Salient characteristics that make this structure unique would be its organic form similar to that of a flower budding at dusk and closing at dawn. There is a pattern created by the repetition of white geometric triangles that make up the intelligent sails. This creates a monochromatic yet graphic, visual texture. The bilateral symmetry creates a balanced composition.

The symmetry and rather large scale of the tower is reminiscent of iconic structures such as Egypt’s obelisks and Paris’ Eiffel Tower. An intelligent use of aesthetic design and sustainability awareness makes the Blooming In The Wind tower the zeitgeist for modern architecture. 

Information & Images:

http://www.behance.net/gallery/Blooming-In-The-Wind/799205 

http://www.pushpullbar.com/forums/showthread.php?11726-Blooming-in-the-Wind-Dubai-Zabeel-Park

The Ergonomics of a Director's Chair

Ergonomic design can best be described as "optimizing human well-being and overall system performance." Some products are created to serve a general purpose but there are designers out there striving to improve the overall comfort and ease of use by applying principles of safety, comfort, ease of use, performance (productivity), as well as aesthetics.

To start off, the design of this director’s chair is simple and visually uncomplicated. The designs and patterns that can be used to fabricate the chair are vast. It is a fairly traditional type of chair. There is a wooden frame that makes up the arms, legs, and back frame. The back and bottom frames are used to secure sturdy pieces of fabric that are the general support of the back and bottom. The salient characteristics of a director’s chair is the main frame of the chair that is made of pieces of wood that cross to create the X-shape. These are in the front and the back to support the legs and assist in the folding of the chair. There are four pieces of metal that connect to the arms and X-shape to help secure the chair in a sustained upright position. This particular chair has graphic, contrasting striped fabric that makes up the back support and the seat of the chair. 

The safety of this director’s chair is made secure by having metal locking bars ensuring that the chair does not spontaneously collapse while somebody is sitting in it. The four legs create a most steady, uniform support system of elevation. Also, the X-shape creates a rather stable frame with the aid of the sturdy fabric that is used to lock the X-shape into place.

The comfort of the chair is questionable. There is little or virtually no back support. After a user tries to sit for an extended period of time one can begin to notice the lack of general much needed support. Having no clear back support system promotes slouching and prolonged sitting can result in exhaustion and strain. The lack of comfort in the chair and simplified design suggests a limited sitting time. The arms are thin, wooden pieces and do not provide much comfort for arms or shoulders either.

This chair is very easy to use. All one has to do is unfold the chair and lock the metal bars in place. It can be used when it is convenient or it can be set in place as a conventional, everyday seat. This leads to the next points of performance and productivity. The fact that this chair can compact and fold to be virtually flat makes it is easy to store and transport to wherever seating is needed. It successfully comprises elements that constitute a general seating system. Although, just maybe it is not comparable to other ergonomic designed seating.

The simplistic design and colorful appearance promotes aesthetic over comfort. Using a director’s chair is convenient because of its compact portability and storage. However, the lack of important ergonomic design limits the amount of appropriate situations in which this chair can be used for an extended period of time. It is most commonly a chair used out of quick convenience rather than much needed comfort and support.

Image:

http://www.housetohome.co.uk/imageBank/c/chair23.jpg

Information on Ergonomics:

http://ergonomics.about.com/od/ergonomicbasics/a/ergo101.htm

Pro-NASA Campaign ii

 

Space exploration is commonly overlooked as an avenue in need of support for more educational and exploration endeavors. Catherine Roach’s design for Pro-NASA Campaign ii is a captivating use of word and image. The extraordinary image is of a crab nebula. It is accompanied with a white circular, planetary-shape with a geometric lattice around it. In the center are the words “such beauty exists and we can prove it,” that have a cut out appearance to allow the ground image peek through. The astonishing picture of natural beauty instantly engages the onlooker and captivates the movement of their eye with contrasting hues. The center graphic seems to blend in to the background. It is present and man-made but it seems to naturally coexist in the picture. The planet-like shape helps create harmony. It is integrated into the overall design without losing focus on the main picture of the crab nebula. The color white is a nice choice to be non-evasive and to maintain simplicity. White is commonly associated with purity. it is almost as if Roach is alluding to the pure beauty of space and the purity and authenticity of the statement. The statement engages the audience by placing responsibility in their hands, asking for support and the reader’s eagerness for more information. It also glorifies the people behind NASA by stating that they bring this beauty to the world, almost hinting at man being responsible for such beauty. Towards the bottom, there is a mission statement about NASA and questions that they ask themselves and questions the reader can start to ask. And to the right of the statement is the NASA logo. The logo helps identify who this message belongs to, who is responsible for such great astronomical work. The image and graphic together promotes the message of eagerness to bring more beauty to the world through space exploration. Overall, the image engages the audience by putting such beauty into the hands of man and making it attainable.  The message provokes a need for more education and a demand for more research.

Image:

http://www.flickr.com/photos/catherineroach/4617297754/in/set-72157623929645193/

Additional Information:

http://www.flickr.com/photos/catherineroach/4857043982/

Word & Image: Blind Willow, Sleeping Woman

Designing the cover art for books is an ever-changing area of visual communications that demands a clever use of word and image in order to draw in a reader. An effective cover design can be seen in Chip Kidd’s work on Haruki Murakami’s book of short stories titled Blind Willow, Sleeping Woman. 

From the minute you enter a bookstore there are hundreds of books on front displays vying for your attention. There is an increasing demand for new and creative ways to capture the attention of the customer. The art of book cover design typically incorporates both word and image to lure the consumer into wanting to read more. Something that a designer must get right in designing cover art would be the spine of the book.

 

On a shelf with many other books of bland, uniform color palettes and monotonous play on typography, a spine with dusty lavender and the corner of a woman’s eye instantly draws attention. On the basis of Lauer’s book of Basic Design, human form and isolation creates an instant focal point.

 

When a customer takes the book off of the shelf to view the rest of the cover, they see the woman’s other eye. She is looking directly at the customer. The eyes of the woman leave you wanting more, it evokes curiosity. The image of the woman’s eyes looks like a screen capture from an old film. 

 There are bold, contrasting stripes of black, lavender, cream, cranberry, and a hint robin's egg blue. The black and lavender stripe contours around the woman’s eyes, which creates a progressive rhythm to the other stripes of red, cream, and robin's egg blue. The overall color palette is warm and subdued and looks like a book that would be found in a used bookshop. 

The layout of the text mimicks the shapes of the dominant image of the woman's eyes. The text used to state the author's name, Haruki Murakami, is placed horizontally next to the horizontal image of the eyes. Even this font has a look of 1960s nostalgia with a whimsical feel. The trail of letters that create the title are placed diagonally in the shape of the contoured stripe around the woman’s eyes, or even in the shape of an eye. 

The main image set the tone for the rest of the layout, including the layout of the text. Overall, the use of image and text is in a direct relationship, mimicking each other’s general shapes. The success of this cover design lies in its playful use of color and shapes.

Images borrowed:

http://photo.goodreads.com/books/1166065765l/9833.jpg

Additional information on Chip Kidd's design for Blind Willow, Sleeping Woman:

http://query.nytimes.com/gst/fullpage.html?res=9907EFDF1F30F933A2575BC0A96E9C8B63

Word & Image: Mom's Cancer by Brian Fies

Throughout the course of Design 1 and in Brian Fies’ lecture there has been a common theme of words and images coming together to create an effective form of communication. To go into more detail about Brian Fies’ lecture on Wednesday, one of the first topics he addressed was, indeed, that of words and images. He compared the use of words and images creating comics and the idea of rock music’s use of words and music. He went on to say that the music is just repetitive, and the lyrics are just “bad poetry.” But, when the two come together it can create an emotional response or define an era. As for his method of creating comics, he believes that the words would be nothing without the image and vice versa.

Specifically, the image in Mom’s Cancer where his mother appears to be isolated and drowning in a backdrop of medical jargon is a clever and effective use of combining word and image. The words do not have an immediate connection to what he is drawing but there is a visual representation that is explaining the idea that his mother is completely overwhelmed with all this new information that she cannot completely absorb it all. The words are the thoughts of Fies or possibly the entire family, but with the image there is an illustration explaining the internal experience of his mother. Not only is he conveying the issues of the family but the issues of his mother as well. In this example, the use of word and image compliment each other. Connecting word and image does not need to be literal, it can further emphasize a point or sometimes contradict to create irony. In the words of Fies himself it can “help illustrate the internal.” Once you have formed an idea into a cohesive set of words, the image can create another dimension of consciousness. The reader can be in the mind of the character or experience the true emotions behind a statement created by the author and/or artist. When words and images come together effectively the reader can make a correlation that will potentially amplify the overall experience.

Image:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_CMQU2-AJJXJIykLiQBsjtDzSo44gy-jVQCRbnGrqa_JidkrMe5FgzfZzW4jJZzVptbaBVvWUWAGj1UlSurpXn4ndOnnF1lbtE7nFs6v28eQU99PzmaxEqEoraO0PfQysvdcZTFsrBTRC/s400/Drowning.jpg

Brian Fies talks to DES001

Today, Brian Fies, the writer and illustrator of Mom’s Cancer and Whatever Happened to the World of Tomorrow?, came to talk to DES001. It was not a typical lecture where jargon is thrown at the audience but rather it was informative and enjoyable. He kept reiterating that he was going to be ‘honest’. I really enjoyed how candid he was throughout the talk. He expressed that his second graphic novel Whatever Happened to the World of Tomorrow? was possibly not as successful at communicating his message as he had hoped. I liked that he was able to look at his work objectively and see possible faults. It is rare for someone to be able to look at their own work with a critical eye and see where there may have needed refinement.  However, in the end, he expressed that he would not have changed a thing. That is what being a designer is; always growing and constantly evolving but owning your work and taking full responsibility. I found that his lecture was both informative and entertaining. It was interesting to hear the amount of work that goes into creating a comic, from the individual pages to the cover art. It was humorous and interesting hearing about how obsessive he was about creating the authentic-feel of his vintage comic pages in Whatever Happened to the World of Tomorrow?. I enjoyed hearing about the purpose and thought process behind a few key pages in Mom's Cancer. I think that each individual track could benefit from what Fies’ had to say whether it is visual communications, fashion, or interior design. Particularly, the portion when he talked about editing and subtracting from his work. Lately, I have been running low on fuel but hearing Fies’ lecture got me excited about what I want to do in design. It just reaffirmed that I am struggling for a purpose and it helped me reset my sights on my goals. Afterward, I got my copy of Mom’s Cancer signed and he was completely humble and kind. It is great to see someone who has achieved so much in such a small amount of time with such a warm presence.  
 

Images:

http://sumthinblue.com/wp-content/uploads/2010/03/fies-moms-cancer.jpg

http://inkstuds.com/wp-content/uploads/2009/10/worldoftomorrow1.jpg

Brian Fies:

http://brianfies.blogspot.com/

Día de los Muertos & The Sugar Skull

Día de los Muertos is a long-held tradition of celebrating and honoring deceased relatives on November 1 and 2 in Mexico and in other various areas in the United States. There are all sorts of extensive work and thought that goes into this celebration. Traditionally, grave sites would be adorned with candles and marigolds. Family would sit next to the grave site and have meals together throughout the day. Also there would be the decoration of the sugar skull. They are graphic designed solid skulls made of sugar. A sugar skull would have a loved-one’s name written on the forehead and then elaborately decorated with icing, tin, sparkles, and sequins. They are often eaten but the main purpose is to decorate altars and grave sites. Sugar skulls come in all different shapes and sizes. The time-honored tradition is slowly diminishing, but the craft is something to be appreciated. There is truly no particular way of decorating a sugar skull, each is praised for their uniqueness. Salient characteristics would include flower petals painted around the eyes, swirling shapes, and vines. Floral and natural motifs are most common. The brightly colored sugar skulls create a wonderful contrast to the pure white base. The goal is to make each skull unique and captivating. It is to reflect the spirit of a loved one and their salient characteristics. A sugar skull’s decorative pattern is commonly, but not limited to, bilateral symmetry. It is a struggle year after year to keep these intricate, beautiful sugar skull decorating a part of the yearly festivities but we can appreciate them while they are still around.

Information:
http://www.azcentral.com/ent/dead/articles/dead-history.html

http://www.mexicansugarskull.com/support/dodhistory.html

Image:
http://blog.wahaca.co.uk/wp-content/uploads/2009/10/SugarSkulls-2-344x445.jpg

Industrial Design: Crane Humidifers

 

Industrial designs need to be both visually appealing and functional in order to capture the attention of the consumer. One terrific example of effectively understanding this demand would be Crane’s line of humidifiers. Their humidifiers bring an element of fun to allergy season. Before when a person was struck ill they would have to lug out an oatmeal-colored, box-shaped humidifier, find space for the massive thing, and have to endure the annoying hum of a well-broken-in humidifier. However, now there is a silent, space-saving, and playful option when it comes to allergy, cold, and flu season. The Crane humidifiers are geared towards children and nursery rooms, but adults can appreciate this silent, colorful, space-saver as well. Specifically, let’s look at the Penguin humidifier. This humidifier has a unique form compared to others on the market. The clear water tank helps users know the level of water without having to unnecessarily detach the top from the bottom basin. Typically, humidifiers are absent of color. However, the colors of the penguin create a great contrast, which instantly brings attention to it over its’ competitors. The bilateral symmetry does not distract the eye and simplifies the overall concept. The animal-form is not just for looks but it has clever functioning elements as well. One great example would be Crane’s new take on the steam or mist spout, which is the penguin’s beak. Humidifiers have often been overlooked in terms of a product in need of design. The endearing animal-form is both functional and aesthetically pleasing.

http://www.household-gadgets.com/crane-humidifier.html

Interaction of Content & Form

Objectified - A Documentary Film by Gary Hustwit from Selectism on Vimeo.

In the documentary film Objectified by Gary Hustwit there is an artful interaction of content and form that effectively engages the audience in moments of careful observation and personal reflection. The film begins with a still camera alternating between frames of factory machinery in the process of creating a product with no sign of human life. Ultimately, it continues on to the final steps and completion of a simple white chair and a machine adds it to the line up of identical chairs. This is creates a commentary on mass production and the careful consideration that goes into one object that is massively distributed and used on a daily basis. About one minute in, commentary from Jonathan Ive chimes in about immediate assumptions projected onto an object by individuals within moments of first contact.  It continues onto illustrate the start of a day and the objects one would likely come in contact with and not consider as they begin their daily routine. This is the first example of a human being any significance in this film. The human brings purpose to these objects. Design commentators, editors, and well-known designers are filmed in their elements in the rules-of-third placement that creates a level of interest that not only focuses on the speaker, but on the environment in which they inhabit. The transition of scenes of products in-action to an interview with a professional is seamlessly overlapped by introducing the professional’s vocal commentary while maintaining focus on the scene at hand then ultimately shifting the focus to the speaker in their environment, captioning their name and their contributions to the art or conversation of design. This helps create harmony among the tailor-made scenes and professional commentary by maintaining focus on the theme and not necessarily the professional opinion. Throughout the film, the main focus is on scenes of the creative process, objects in use, and designers in action. While the thematic focus is objects and being “objectified”, there is an implication of humanism behind these fixed objects by introducing the designers behind widely used items and the personal value we attach to them through perpetual use. Essentially, the title makes someone feel dependent and constrained by the use of things but by the end you find that there is a purpose and an inevitable future of more things. But, the real focus is design. It brings about a new consciousness of design.

Comparison and Contrast

The recreation of the Gap logo has created quite a stir among regular shoppers and outside press. The Helvetica-type redesign released earlier this month was attempting to fit in with other contemporary, successful businesses using the same typeface. Gap has had the same logo for over 20 years and thought it was time for an update. After much controversy, Gap revoked the release of the new logo. After scrapping the Helvetica logo, they started over and added some much needed adjustments to the old classic.

Old logo

The tall, lengthy, compact appearance of the old Gap logo captured the zeitgeist of the 1990s.  It fit in with the other logos of popular, successful companies at the time. The navy background expressed their reputation of classic sophistication. Overall, the old Gap logo was concise, simple and had become internationally recognized.

New logo

The newest logo released has included some minor adjustments. The serif on the G has been shorted and now the crossbars match up, where as before they did not. The new logo has a more saturated royal navy background, which creates a greater contrast to the bright white letters. A viewer's attention is instantly on the word, GAP, than on the logo as a whole. The typeface was minimized to fill less space. Where as in the ‘90s, bold and striking was popular. In 2010, the popular marketing strategists prefer simple and understated.

When compared, the old logo looks like a faded t-shirt. The new appearance has created a stronger and more visually appealing outcome. Retaining the old font stays true to the spirit of what the Gap is and who their customer is. The logo proves to be modern but classic. The adjustments to the old logo have successfully modernized the old favorite.

http://www.bnet.com/blog/advertising-business/the-gap-logo-redesign-you-didn-8217t-notice-a-typeface-gets-a-tummy-tuck/6196

Design as an Experience

A successful design should be defined as an experience. But, what will catch the attention of a viewer in this fast-paced society? In order to captivate and sustain attention, one must appeal to a viewer by engaging multiple senses. A popular method is through the accompaniment of music and animation. Generally, this is limited to commercials and music videos. However, first, we must define what a music video is. Most musicians would supplement their music with a video created by an outside source. The outside source is inspired by the music and interprets the vision evoked by the music. Typically, it is a collaboration of two separate perceptions. However, in the case of Takagi Masakatsu, music is known to be a repercussion of his visual designs. Primarily, Masakatsu is a visual artist, who just so happens to be an outstanding musician as well. Video accompanied with music is used to create an overall experience. One takes themselves out of their own minds and into the minds of another. Masakatsu is fully in charge of his vision. He creates a piece of music to set the tone of his visual art and, in a sense, is setting up a two-dimensional interactive display. When a viewer is informed that the creator is the artist and musician behind a short film, it challenges the viewer to make a connection between the music and visual aid. What inspired the video and song? How do they connect?

This conceptual method is an effective way of connecting to a viewer on a deeper level than a silent, still-design. Action and animation instantly draws the viewer in. As we have seen in McCloud’s “Understanding Comics: The Invisible Art” and Lauer’s “Design Basics” books, life draws our attention. In the case of those two books, they were speaking of a human face. But, in a life of still objects, the one thing that evokes instant interest is movement. With the presence of movement and sound, it directs the viewers’ mind and to focus on what they are seeing. They wonder what is going to happen next. Installations of music and design can be like experiencing life in another dimension. The more senses engaged in a design can help one to recall or even take away a personal, individualized experience. Design as an experience can have an effect on one’s mood or help introduce new ideas.

http://www.takagimasakatsu.com/

 http://www.answers.com/topic/takagi-masakatsu

Design as Conversation

The Simpsons - Banksy's intro (HD) | Flabber

A popular graffiti artist, Banksy, recreated the opening credits for Sunday’s episode of ‘The Simpsons.’ Banksy has been known for publicly stenciling images concerning social and political issues, guerilla-style. ‘The Simpsons’ have been known to poke fun at various American ways. Typically, a viewer watches the show to sit back and laugh at what others are doing. There have been mixed reactions coming from Simpsons’ fans. People don’t know whether they should be depressed or laugh. “Design is a conversation.” Banksy created conversation, an international conversation, and it spread like a virus. Being on YouTube for 3 days now, the video has already had 2,865,673 views.

Banksy is creating a conversation about the ethics of outsourced labor. In fact, the conversation can be read through the 4000+ comments on YouTube and with the 17,000 reactions of ‘likes’ and ‘dislikes.’ It may be half-kidding with some of the absurd ideas of a unicorn poking holes through ‘The Simpsons” DVDs, but it shows the harsh reality of outsourced labor. A show that is typically making fun of the idiocy of American ways chose to air this side effect of ‘The Simpsons’ craze. Outsourced labor is, typically, not in the forefront of our minds. But, we must acknowledge it. It was a more than effective way of communicating the message. It was aired as the opening of the show, not through the web or through YouTube. It was aimed and made a direct hit at the target audience. Not only are ‘The Simpsons’ fans “at fault” but, also, anyone who goes to a store and buys something. Mass produced goods and convenience comes with a cost. One cannot rely on a company to have ethics, the consumer must be conscious. The effect of this message is ringing and will continue to ring as it airs for the first time in other countries around the world. The repercussions of internationally airing this message remain to be seen, but it is definitely raising awareness.


http://www.banksy.co.uk/ 
http://www.techdirt.com/articles/20101011/16353511375/fox-gets-tons-of-attention-for-banksy-simpsons-video-then-pulls-it-off-youtube.shtml

Cupcakes have feelings too!

In the past two weeks of taking the course Design 1, a common theme that I have found to be precarious is the idea of creating thought provoking art, while remembering that at the same time it is just that: art. The first instance of this idea was the introduction of René Magritte’s painting The Treason of Images. 

The French inscription of “Ceci n'est pas une pipe” translates to “This is not a pipe.” The inscription is correct, it is not a pipe. It is a painting of a pipe. Why was it necessary to point out that what is painted is, in fact, just a painting?
 

The same idea was reiterated in Scott McCloud’s “Understanding Comics: The Invisible Art.” McCloud addresses the same idea by using Magritte’s painting as an example, but he translates it into the world of comics. Comic artists simplify the human face to get different effects. 
 

With Magritte’s The Treason of Images in mind, he uses the human face and brings it to its' simplest form.

What constitutes a face? Eyes and a mouth. 

Humans want to personify anything and everything. We see objects with two dots above a line and instantly see life. He goes on to say that we are incredibly narcissistic. But, that is what designers and artists are made to do. Creating something out of nothing is what we do. Breathing life into the lifeless is what we do best.

A very charming example of this is Kirsten Lepore's animated film, "Sweet Dreams."

 
Sweet Dreams from Kirsten Lepore on Vimeo.

The main characters of Lepore's story do not have qualities that create a face, like a mouth or eyes. But, she creates life with motion. The food items have legs and/or arms, which create a life-like reality. She even connotes emotion through timing and heedful choices in composition. Through watching the short, one will come away with an emotion. What emotion that is will vary from person to person. But, in actuality, all you really did was watch a 10-minute film of animated food. But, Lepore cleverly created a life-like storyline out of that food. It is the human condition to relate to others, whether or not it can talk back.   
 

Scott McCloud's "Understanding Comics: The Invisible Art":

http://www.amazon.com/Understanding-Comics-Invisible-Scott-Mccloud/dp/006097625X/ref=sr_1_1?ie=UTF8&qid=1286773411&sr=8-1

More of Kirsten Lepore's Animations:

http://www.vimeo.com/kirstenlepore

Image credits:

http://www.hawaii.edu/lruby/art101/IMAGES/TREASON.GIF

http://ignorethecode.net/upload/240/faces_1.png

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Creativity from Without

Some artists and designers draw inspiration from within themselves’. Some artists are simply inspired by the world around them, artists such as Bill Dan. Bill Dan is a San Francisco based artist, who is a self-taught rock balancer. He’s been working on his craft since 1994. His work is community-based art. He has been known to work at places like Fisherman’s Wharf, Crissy Field, or the waterfront of Sausalito. He creates about 10 sculptures daily to the delights of unexpecting passersby. He describes his work as simplistic. His philosophy is: "sometimes people make things too complicated. This is the opposite."

I have never seen his work in person, but I have been quite a fan for some time now. Just looking at the photos of his work makes you want to hold your breath and make no sudden movements. His work creates a good deal of tension with his gravity defying displays. Being able to connect to nature and manipulate it to do mind-bending things is a great feat in the world of art. His medium is not bought at the supply store, but rather his are found in nature. Something that seems so complicated appears effortless once put in the hands of Bill Dan. Creating such a delicate art in such a public setting begins to show the humble nature of his work. Having your gallery be put out into the general public helps bridge the gap between art and everyday people. Some people are intimidated by art and do not quite understand it. Bill Dan is helping people begin to question the limitations of art. He is making them ask the question: “What exactly do I consider art?” Artists like him are making art accessible to the masses and helps people begin to see that nature is, in fact, an art of itself.

Bill Dan’s Unofficial website: http://www.rock-on-rock-on.com/index.html

YouTube channel: http://www.youtube.com/user/bebalance

Stone Soup

So, during Tuesday’s class period, we set out to make stone soup with our many different recycled goods and decorating supplies. The items brought were stickers, ribbon, clay, purple paint, fabric, foil, newspaper, and a whole lot more. I brought 2 large and 2 small cardboard boxes, 5 toilet paper rolls, 2 one-gallon milk cartons, teal duct tape, clear packing tape, and various scraps of cardboard.

As a group, it was not long before we decided on a design for the base of our structure. We knew we wanted to build up and out. So, we cut large squares and rectangles of the cardboard. We insert a slit so that the cardboard pieces would slide together and connect with ease. Then, with this same idea in mind, we created various shapes from the cardboard. Some of the shapes were circles, triangles, lightning bolts, or any other random shapes we could think up. So, we kept connecting them to create an, almost, extraterrestrial shape. I was so absorbed in the creative process that I didn’t even notice the other random passing-by students taking photos of our odd creation. With our base in tact, we would hand off the shapes cut from the cardboard to the other group members to decorate them. Basically, I was cutting the shapes from the cardboard, while the other group members continued to create décor for the shapes and arrange the overall shape.

As it finally came together, I think it turned out to be something we were all proud of. We all had something to contribute, which was our items brought and our time invested in creating something unique that reflected a little bit of all of us. I was never fortunate enough to have experienced a designer collaboration similar to that of Stone Soup, before. It is definitely something I will always remember and want to do again in the future.

All photos taken by Raquel Rodriguez 

Designer Stone Soup

When I first heard the words “Stone Soup” in Tuesday’s class period, I was completely puzzled as to what that meant. What is “Stone Soup?” Then, Professor Housefield, went on to explain that it was originally the idea of bringing an item to be contributed into a soup or stew. However, instead of bringing food items, what we will be bringing are elements to be used in a communal based design project. Collaborations between artists and/or designers have created some incredible outcomes. A successful collaboration reflects each artist or designer’s personal aesthetic while complimenting another’s.

Being that we have been put into small groups of 8 with fellow students of similar design interests, it will be an interesting collaboration to see how each one of us works. At first, there will probably be hesitation and confusion as to where to start. But, once we get started I am sure no one is going to want to stop. I hope we will be able to see each person’s unique design aesthetic. I look forward to working with my group members and mentor.

My “Stone Soup” contribution will be a few cardboard boxes, toilet paper rolls, and milk cartons. When I thought about what to bring, I knew it had to be volumetric. I am very excited to see the outcome and to see how everyone works together.

I guess we will see how it turns out tomorrow. Stay tuned!

Image credit: http://www.ko-arts.com/soup.htm 

A Child's Love of a Blanket

Objects of comfort introduced to a young child can create an irreplaceable bond. A popular object of attachment for children is a baby blanket. Quilts, in particular, possess a unique handmade quality that can provide sentimental value. More so, fabric choices with a family history evoke a feeling of nostalgia.

Personally, an object that had a positive effect on my life as child was a quilt given to me at a very young age. The quilt had variations of cornflower blue and dusty pinks, which created a soothing color palette. It was easy to grow and mature with. The fabrics that made up the quilt were lightweight cottons. Cotton is widely known as a fabric that will “breathe,” which made it the ideal cover-up for warm summer nights. Additionally, it was light enough to layer with a thicker comforter in the cold winters. The nubs of knotted yarn, which held the front and back of the quilt together, provided something to tug on in fidgety moments. In each square there was a heart. Hearts connote love. It felt like being wrapped in love every night. 

The blanket was not just something to sleep with. It was a plaything. There were moments that my brother and I would take turns wrapping each other up like a burrito in it. It was the perfect size for creating a tent to hide from the outside world. It became a part of me. Due to my Linus syndrome, the blanket absorbed my smell. No matter how many times it was put through the wash, within a day or two, the blanket would go back to the same smell. Scents, largely, are attached to triggering memories. Whenever I come across that smell, I get an overwhelming feeling of comfort. After 22 years, the blanket is in shambles. My grandmother has repeatedly attempted to repair it. It still smells the same and I cannot bring myself to get rid of it. It was largely a part of my daily life as a child and it still provides memories of tents, burrito wrapping contests, and love.

My Childhood Saturday Mornings

My father's drawing

As a child, my Saturday mornings were rather lonely. My friends would be off at soccer practice or dance class. I would be left to my imagination. From as far back as I can remember I was always a curious child. My earliest childhood memories consist of rummaging through my parent's closet on search of finding hidden treasure. I frequented their closet on account of working on my strut in my mother's 3-inch, white, cork-heeled wedges and studying the peculiar art filling my father's sketchbooks. I was fascinated with the idea of art. The idea that I could make my imagination come to life through drawing was thrilling. All I needed was a sheet of paper and my 64-count crayon box. Knowing that my father had a degree in Art inspired me. I didn’t see creativity as something being geared towards a hobby, but a possible career. I was always looking for ways to express my imagination. My earliest drawings illustrated my love of fashion. I was in awe gazing at the glamorous women in the magazines. I would draw the models and design fashions. I was happiest when I was left to illustrate my vision. I looked forward to those lonely Saturday mornings of crayons, paper, and imagination.
 

A drawing I did in the 1st grade of a model on the runway wearing "my design."