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Pages 1-25: Critique (2/2)

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Pages 1-5 Roughs

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Week 14 - “The Future of Design”

When observing industrial design, I expect drastic change for the future. Industrial design faces rapid change with new demands and innovations. When I was a kid, I played games on an old, clunky beige computer. I thought that was amazing. Now, I am typing on a Macbook that fits in my lap. Industrial design is bound to change, which will affect how designs are created. I think design thinking strategies will remain, because they are broad and standard. Even new innovations reveal elements of design thinking, such as prototyping. However, universal design has two possible futures. Either universal design will become the standard, and mass customization will become obsolete. This occurrence may be due to economics, fewer disabilities and diseases, or lack of individuality. Universal design will then create a uniform society with little to no effort needed. On the other hand, universal design may diminish in hopes to support individuality. Mass customization will take over. This will allow for everyone to live in harmony with products that fit their needs. I can see both being a possibility for the future. However, if society chooses mass customization, it will take longer to reach pure individuality in industrial design. In addition, other aspects from contemporary design may live on. For instance, the seven principles of design may continue, because they provide a basic structure that can mold with change. I can also see certain styles from contemporary design being mimicked in the future. Future designers may reference more minimalist, simplistic eras in hopes to appear more modern. This will also allow future designers to reference the past in an interesting way, keeping design history alive.

In my daily life, I use various forms of industrial design. The one I am most interested to see change in 100 years is inhalers (if asthma still exists). I have had asthma my entire life. Sometimes, children with asthma struggle breathing in the medicine, because it does not feel natural. When I was a kid, I had an inhaler with an attachment to make it easier to inhale all the medicine. As I got older, I received the regular inhaler used by most asthmatics. However, I remember a company that tried to change the design of inhalers. The company wanted to make it easier to use and more effective. I had this inhaler for a couple months. The design was a tube-like structure with a part I had to twist in order for the medicine to be released. Then, I just had to put it in my mouth and inhale. Ideally, this would ensure all of the medicine being breathed in. However, the quality was poor, and my asthma did not improve. I had to switch back to the classic inhaler. A lot of people use the same inhaler I do. I have seen the design change only slightly throughout my life. The design is a basic “push a button and medicine comes out” approach. Sadly, inhalers are misused often due to poor timing or incorrect inhalations. In 100 years, I hope to see the inhaler change. I think they will look similar or more simplistic than current ones. They will become more customizable. Currently, they are all either a blue or red color. In the future, other colors may be available or an option to design one’s own inhaler. The function will be the main innovation. I think it will have a “push button” feature, but allows the medicine to be trapped in the device. This will allow the user to breathe in at their own pace. In addition, it will have an indicator for when all the medicine is breathed in. This will ensure complete use rather than some medicine escaping into the air. The new design will also allow kids and adults to use the same inhaler without having to buy an attachment. It will become more universal and affordable. In 100 years, inhalers will become more user friendly and stylized.

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Week 13 - “Post Modernism”

Post Modernism was a movement ranging from 1970 to the 1990s. These designs rejected modernist ideals and embraced plurality. Post Modernism also has a tendency to reference past works. Postmodern designs tend to be satirical references of historical styles, fine art, and popular culture. Many styles derived from this period, such as Psychedelic and Rock Graphics, Political Resistance, and New Wave. The later introduction of new technologies also spurred experimental designs. Graphic designers would combine many mediums including film, photography, and typography. On the other hand, Post Modern furniture/industrial designers experimented with functionality and combining high art with cheap materials. Mainly, Post Modernism rejects old ideas, but references them in a satirical manner.

One designer that caught my eye was April Greiman. She was a graphic designer and student of Weingart. After researching about her, I found her incredibly interesting. I enjoy her experimentation through the combination of the digital with hand drawn. Her style also fits into a movement known as the New Wave, which resembled a commercialized Punk aesthetic. She was one of the first people to design on a computer. She saw the computer as a way to expand her idea of design. She interests me, because she was not afraid to experiment. Instead of being scared of something new, she tried to embrace it in order to create exciting designs. She did not stick to the same methods and styles, but experimented to become more successful.

Various characteristics in Postmodernism can be found in Greiman’s work. She rejected Modernist ideals through her experimentation. She embraced plurality by working with different styles. Her design The Modern Poster contains a three-dimensional illusion through the use of digital layering, creating kinetic energy. This fits into the style of the New Wave. The introduction of computers further pushed her designs into Post Modernism. She used the computer to incorporate photography, film, and typography. She also experimented with the pixelated nature of computer design and Macpaint. By using Macpaint, she created her own drawings, which was a common theme in Postmodern designs.

Overall, the Postmodern movement rejects Modernist ideas in hopes to bring design into the future. April Greiman is an excellent example of a Postmodern designer. She experimented and pushed the ideas of design. She embraced plurality and explored her possibilities. She also interests me immensely, and I hope to learn more about her work in the future.

April Greiman, The Modern Poster, Exhibition at the Museum of Modern Art (MoMA), New York, 1988. Poster. Color offset lithograph.

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Week 11 - “Helvetica and Mid-Century Typography”

Helvetica is a typeface commonly used across America in logos and advertisements. It was created in Switzerland by Eduard Hoffmann and Max Miedinger. They created the design in 1957, because they wanted a new typeface to embody the future. Helvetica is based on an old version of a sans serif font. The font needed to be neutral and break away from the struggles of the postwar world. Mainly, it needed to be timeless, modern, and versatile for America.

Helvetica is a sans serif typeface. The lowercase letters are a little more than half the size of the capital letters. The line weight is very consistent with slight variations in the crossbars. The font is very geometric with curves in some characters. The use of horizontal tunnels further pushes the idea of clean, precise form. The font also focuses highly on negative space. There is an interrelation between the characters that make the typeface uniform. The font’s use of geometric and curvilinear forms creates a modern yet friendly appeal.

Modernist designers used Helvetica, because it was “the perfect font”. It is neutral, which was needed in a divided world after the war. It does not have a meaning within itself. It allows the words to communicate the message rather than a stylized typeface. It was also rational and modern. After the war, designers tried to push the idea of future innovation, and Helvetica conveys this concept. Modernist designers also enjoyed the use of negative space, because most fonts focused on the positive space they possessed. Now, designers still use Helvetica to convey a clean modern look. Current designers use the typeface to clean up the appearance of outdated advertisements. It guarantees a clean, new look for any business. They also use the font, because of its neutrality, transparency, and friendliness. Designers now mostly use it as a default. Current designers use it similarly to modernist designers, as a default to create clean, modern designs.

I think Helvetica still holds some of its “cutting-edge values”. Many companies use the design in order to be popular. It holds its innovative qualities, because few fonts come close to accomplishing the same. However, Helvetica has gathered outdated associations. It is used in almost every design by popular companies. It is very basic and simple. It does not carry much character or ideas with it. It is kind of known as the overused, simple typeface. Though Helvetica is very innovative and continues to improve designs, the font is becoming overused and too simple.

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Week 10 - Brooks Stevens and Post WWll Design

The Great Depression took away consumer demand in the 1920s (OpenLearn from the Open University). Manufacturers needed to find a way to appeal to their customers again (OpenLearn from the Open University). The introduction of new materials helped lower prices. However, design shaped the future success of products. By introducing sleek futuristic designs, consumers found hope in a better economy. Soon, the looks of products became as important as its functionality (OpenLearn from the Open University). People were not only buying the product, but the lifestyle associated with it (OpenLearn from the Open University). Everybody could own a product that complimented their style. It encouraged individuality and expression. Advertisements finally had something to talk about and make consumers yearn for (OpenLearn from the Open University). People started buying these products, and their faith in capitalism restored. Industrial design created a new American lifestyle where people could buy what they desired and express themselves through refined products.

Brooks Stevens was an influential industrial designer during the mid-twentieth century (Milwaukee Art Museum). He also became the only Midwestern founder of the Society of Influential Designers (Milwaukee Art Museum). He created the well-known phrase “planned obsolescence”, the concept of instilling want for a slightly newer product in consumers (Milwaukee Art Museum). He shaped 3,000 products for around 600 clients before handing down his design company to his son (Milwaukee Art Museum). He left his mark across America from large to small designs. His idea of planned obsolescence can be seen in products we own, such as iPhones. He also had many employees that went on to become successful designers on their own (Milwaukee Art Museum). Though his death in 1995 was the end of an era, his legacy lives on, and museums continue to preserve his memory (Milwaukee Art Museum).

After researching many of Brooks Stevens’ designs, my favorite is the Edmilton Petipoint Clothes Iron. He gave it stylized cooling vents in order to create a futuristic appearance. He also added a tiny tip that helped with ironing small areas. It is also made with a shiny metal that further pushes the ideas of innovation and progress. The organic forms on the side create the sense of movement similar to a automobile. The black handle contrasts with the metal to provide a simple explanation on how to use it. The handle is also larger for easy gripping. It is a great example of a design where the appearance improves the function. Overall, his designs combined functionality and style to increase consumer demand and innovation.

Sources:

OpenLearn from the Open University. "American Industrial Design: Design in a Nutshell (5/6)." YouTube. May 08, 2013. Accessed November 11, 2018. https://www.youtube.com/watch?time_continue=4&v=ceKmkvOLD3Q.

Milwaukee Art Museum. "Brooks Stevens Biography." Milwaukee Art Museum. Accessed November 11, 2018. https://Milwaukee Art Museum.org/collection/archives/brooks/bio.php.

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Week 9 - “The Plato Effect in Architecture: Designing for Human Diversity”

Universal Design is the conceptualization of creating “one-size-fits-all” architecture (Henry). Now, it refers to the idea of a design that provides access to everyone, while removing any obstacles (Henry). Over the course of history, designers have struggled with variation. Plato tried to solve the problem by creating designs that appeal to everyone. He believed the essence of humans is the key to universal appeal (Henry). Later, Vitruvius created a proportional system around “the perfect man” (Henry). He believed that building based on human geometry would achieve universal appeal (Henry). After many years, architects still design based on this concept. Le Corbusier later combined the ideas of Plato and Vitruvius in order to improve architecture. Today, universal design focuses on creating equal access for people with disabilities (Henry). However, people vary immensely in ability. It is impossible to accommodate for all. By trying to create a design that fits all, architects only accommodate to the ideal human.

Essentialism is a philosophy developed by Plato that everything has a pure essence form (Henry). For example, humans can recognize a triangle, even though all triangles are different. A triangular smudge can still be recognizable as a triangle (Henry). Therefore, finding and creating the essence of human form will ideally create a design that appeals to all.

The author struggles with the idea of universal design, because it is impossible to appeal to everyone. The author believes human equality is not a “level playing field” but a “undulating landscape” (Henry). Architects try to provide for every difference, which creates a “level playing field” (Henry). The author’s main problem with universal design is that “one-size-fits-all” does not celebrate variation, but suppresses it (Henry).

The author also states that there is a disconnect between architects’ idea of universal design and reality. There are too many contrasts, types, and variations among abilities and people. One design could not simply apply to all of them (Henry). Architects choose to ignore the reality of variation and design for the ideal person.

I agree with how the author ended the article. I understand the idea of finding the essence of everyone and building off of that in order to create a universal design. However, only the essence of everyone would be accommodated. The complexities in addition to that essence will be ignored. No matter how hard architects try to find one design that applies to everyone, they will fail. As the author stated best, it is not about the same environment, but equal opportunity (Henry).

Lastly, I often find things in the world that may benefit from mass customization. One example that comes to mind is tutoring. Growing up, I needed help with reading. I had two different teachers who tutored me. They both had different methods, one worked better than the other. Since I was a kid, I was provided options for learning. Teachers want children to understand the material as soon as possible. However, as I get older, I find customization in tutoring is scarce. There are two options: group sessions or one-on-one. Teaching styles only slightly vary, but involve the same PowerPoints and lecturing. Tutoring for high school and college students needs to become more customizable. Upper class students are expected to learn from repetition of lectures, while children get learning options. A student’s specific needs and learning style should be embraced regardless of age. I believe many would benefit from mass customization of tutoring.

Sources:

Christopher N. Henry, ‘The Plato Effect in Architecture: Designing for Human Diversity’, Arch Daily, 12 Oct. 2011.

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Week 7 - The Modernist Architecture of Le Corbusier

Le Corbusier was a Swiss-French designer and architect. He started the movement Purism in the 1920s in an attempt to remake the world after the war. He was highly influential to the world of design.

His five points of architecture were supports, roof gardens, free designing of the ground plan, horizontal windows, and free design of the facade. Supports were usually reinforced concrete columns. The roof gardens would control humidity and temperature of concrete. It also allowed city dwellers a respite from city life. The supports allowed for free placement of interior walls. Horizontal windows would allow light and air to enter the building in large quantities. Lastly, the facades were made to not be load bearing in order to allow freedom of design.

In his building titled “Unité d'Habitation”, Le Corbusier demonstrates some of his five points of architecture. The supports are made of concrete columns that lift up the building. Though there is no evidence of a roof garden, he still utilized the space by adding a pool along with ventilation towers. Due to the supports, he was able to freely place the interior walls where needed. This freedom allowed him to create more open spaces. He used horizontal windows to allow a lot of light into the building. He also pushed the windows and spaces back, away from the exterior structure. Since the facade is not load bearing, he was able to be more creative with his design.

Though Le Corbusier is no longer alive, his legacy continues to strive today. An example of his legacy I see on campus is the Kenwood Interdisciplinary Research complex. The building contains many factors of Le Corbusier’s architectural principles. The building has concrete columns as supports that lift up the complex. It has many horizontal windows, allowing light into the space. The facade is also not overbearing with its sense of levitation and spaces being pushed back from the foreground. Overall, Le Corbusier’s legacy lives on and continues to inspire many.

Le Corbusier, Unité d'Habitation

Le Corbusier, Unité d'Habitation Roof

Kenwood Interdisciplinary Research complex at University of Wisconsin - Milwaukee

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Week 6 - “Marginalized Designers”

One designer that stood out to me when reading the articles was Muriel Cooper. She was a pioneer for education and design ("'Muriel' - Story"). She worked for MIT Press as a design director for forty years ("'Muriel' - Story"). She founded the Visible Language Workshop and MIT Media Lab. She is most known for her design of the classic book Bauhaus. She had to enlarge, redesign, and revise the German book into American ("Muriel Cooper | Biography, Designs and Facts"). She also experimented with Helvetica typeface and a grid system layout in order to create a modernist appearance. She also introduced a new generation of designers to computers at MIT Press Design through her course “Computers and Design” ("Muriel Cooper | Biography, Designs and Facts"). She loved experimenting with computers and how they can change the design world ("A Typographic Exercise to Readdress Design History's Gender Imbalance").

I love Muriel Cooper, because of her fascination of computers. I enjoy the fact that a woman designer tried to find ways to incorporate new technology. I always loved experimenting with art and computers since I was young. I relate to her not only in her experimentation, but by being a woman designer. She is an amazing example of a strong woman designer changing the world around her. The design she created to represent her “Computers and Design” class is my favorite. I love the use of dots in order to create the letter C. Her use of shape with grids helps form structure similar to a computer. Her use of text complements and emphasizes the idea of the course. Her offset placement forces the viewer’s eye to move across the page, absorbing all the information. The solid black background also makes the shapes and text come out towards the viewer. Overall, I enjoy Muriel Cooper’s ambitions and designs.

Another designer I found interesting was Reginald Gammon. He was an artist, activist, educator, and community leader ("Celebrating the African-American Practitioners Absent From Way Too Many Classroom Lectures”). His life came with many hardships. He originally got a scholarship to an art school, but lost it due to how much he worked at a shipyard ("Reginald Gammon"). He continued to work in the daytime and go to class at night. However, he had to put his education on halt when he was drafted into the Navy ("Reginald Gammon"). After the war, he was offered a five year scholarship to the Tyler School of Fine Arts. He declined in order to help his family financially ("Reginald Gammon"). He had many jobs during this hard time, but still had a passion for art. In 1963, he joined Spiral, a group of African American artists who stimulate the evolution of ideas ("Reginald Gammon”). He taught in public schools, started a Black artists’ collective, and organized a program for children in Harlem to learn art on the weekends ("Celebrating the African-American Practitioners Absent From Way Too Many Classroom Lectures”). He also joined the New Mexico Afro-American Artist Guild and Albuquerque United Artists when he moved in 1992 ("Reginald Gammon”).

I adore his strength to move forward, when his life gave him hardships. I love how much he engaged with his community. I admire his dedication to his true passion, art. My favorite design by him is a poster rallying for freedom. I enjoy his use of geometric shapes. He creates amazing, complex forms through repetition of shapes. He also evokes emotion and struggle through the expressions he creates. In addition, he uses text to add detail. He does not even show the entirety of the words. He forces the viewer to engage with the piece in order to discover the meaning. Overall, I enjoy his strive to follow his passions and spread what he loved to do.

Sources:

Morley, Madeleine. "A Typographic Exercise to Readdress Design History's Gender Imbalance." Eye on Design. October 04, 2018. Accessed October 13, 2018. https://eyeondesign.aiga.org/a-typographic-exercise-to-readdress-design-historys-gender-imbalance/?mc_cid=d12417f6bc&mc_eid=5bd2fc7b89.

Morley, Madeleine. "Celebrating the African-American Practitioners Absent From Way Too Many Classroom Lectures." Eye on Design. October 02, 2018. Accessed October 13, 2018. https://eyeondesign.aiga.org/celebrating-the-african-american-practitioners-absent-from-way-too-many-classroom-lectures/.

"Muriel Cooper | Biography, Designs and Facts." Famous Graphic Designers. Accessed October 13, 2018. http://www.famousgraphicdesigners.org/muriel-cooper.

"'Muriel' - Story." Pentagram. Accessed October 13, 2018. https://www.pentagram.com/work/muriel/story.

"Reginald Gammon." Reginald Gammon - Biography. Accessed October 13, 2018. http://www.reggiegammon.com/biography.html.

Muriel Cooper, Computers and Design.

Reginald Gammon, “The Unfinished Agenda of the Selma-Montgomery Voting Rights March” book cover.

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Week 5 - “Design History and Your World”

Two different works of design with similar styles are Simplicissimus and the Pop Socket on my phone. Simplicissimus was a satirical magazine created in 1896 (Stephen 99). The most famous image from the magazine was a poster designed by Heine. The magazine reused it multiple times, and it became a part of their identity (Stephen 99). The design consists of a red bulldog with his chain broken. He is composed of simple shapes and black lines defining his face and limbs. The curvilinear text on the top balances out the heavy bulldog. The black background blends into the details of the dog, which embeds him into the composition. On the other hand, the PopSocket on my phone contains similar yet different elements. My PopSocket consists of a mythical creature called a randler. This is a character to represent the fan base of the show Good Mythical Morning. The randler is only shown from the neck up. It becomes one shape with the black background emphasizing details in the wings and antlers. A circle frames the focal point. Similar to the bulldog, the randler was created with few shapes and details. In addition, they both utilize a black background to emphasize the focal point. They also both have an element that balances the composition. The bulldog uses text to accomplish this, while the randler uses a circle. Though they contain similar elements, the ideas differ as well as representation. The bulldog has details defining the face, while the randler’s face remains a mystery. The bulldog also utilizes text to strengthen the piece, while the randler lacks any textual support. They share simplicity, but differ in detail and text.

Another example of similar yet different designs include I Want YOU for U.S. Army and the UWM poster outside my dorm. I Want You for U.S. Army was created by James Flagg for Leslie magazine in 1917 (Stephen 122). The design consists of Uncle Sam with a stern glare pointing his finger towards the viewer. He states his want for the viewer to join the U.S. Army during World War I. Since Uncle Sam is fictional, the creator based him off of his own face and tradition (Stephen 122). On the other hand, the UWM poster encourages viewers to download the UWM Mobile App. It consists of Pounce, the UWM mascot, holding up a cell phone that presents the UWM logo. Then, there is text on the bottom that simply states, “Download the UWM Mobile App”. Similar to Uncle Sam, Pounce stares at the viewer asking for attention. Though Pounce does not point, he is holding up a cell phone in a similar position. They both consist of bold text at the bottom that commands the viewer. Both designs also utilize colors that have a prideful connotation. Uncle Sam’s colors are patriotic, while Pounce’s colors are representative of the university. They also have a border that frames the composition. Though they have a lot in common, they contain some differences. Pounce is accompanied with a solid colored background, while Uncle Sam does not have a colored background. Also, the text on Pounce’s poster is not centered, but emerges from the border, unlike Uncle Sam’s text. However, the UWM poster still utilizes a lot of design elements from the iconic American poster.

Overall, old and contemporary designs still share similar compositional considerations that appeal to the viewer. All of them use a character or symbol to emphasize their message. They also all use color to heighten the design. Text is also a common theme, except in the Pop Socket. In addition, older designs are propaganda for change. The newer designs encourage involvement in school and fan bases. Though design has come a long way, similar elements remain.

Thomas Heine, Simplicissimus, 1897. Poster. Color lithograph, 30 x 20.5 in (76.2 x 52 cm). Museum fur Gestaltung, Zurich.

Good Mythical Morning, Mythical Pop Socket, 2017. Pop Socket. Print, 1.9 x 1.6 x 0.4 in. 

James Flagg, I Want YOU for U.S. Army, 1917. Poster. Color lithograph. Library of Congress, Washington, DC.

Download the UWM Mobile App, 2018. Poster. Colored Print, 8.5 x 11 in.

Sources:

Eskilson, Stephen J. Graphic Design: A New History Second Edition. New Haven, CT: Yale University Press, 2012.

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Week 4 - “Art Nouveau

Bradford aims to show the poster as fine art. He shows the struggles of making posters a fine art in nineteenth century France. He also discusses the importance of Jules Chéret’s accomplishments (Bradford 27).

Jules Chéret is a poster designer. He started out as a lithographic illustrator (Bradford 19). He enjoyed being able to express his creativity in his illustrations. He later moved to London, which he felt better supported his ambitions (Bradford 19). In London, he gained a close relationship with Eugene Rimmel. Eugene Rimmel hired Chéret to design perfume bottle labels and taught him the principles of design used in the Royal Society of Arts (Bradford 20). Chéret’s new knowledge and experience helped him become one of France’s lead poster designers (Bradford 20). He was often praised for his posters as well. One Salon review said, “There is a thousand times more talent in the smallest of these posters than in the majority of paintings that I have had the sad opportunity to review” (Bradford 22). He continued to elevate posters to fine art, even though people questioned whether he was an artist or not. He set the stage for future poster designers’ success (Bradford 27).

One of the main reasons the poster became a respected art form was because of Chéret. His ingenious designs relfecting the main aspects of Paris drew people in. He created designs more interesting than the paintings at the time. People respected his ambitious style. Another reason was the promotional value of posters. This was already extablished in the early nineteenth century (Bradford 18). Graphic designers built off of this notation to gain success in their field. Another reason it was sought-out for was because of the fight for the equality of arts. Without the fight to make all art equal to painting and sculpting, the poster would not be as admired. The new equality of art lead to the enjoyment and appreciation of posters.

My favorite work by Jules Chéret is the poster for Papier A Cigarettes. I enjoy the use of a primary color scheme, for it creates appeal. The way he drew the woman in motion creates a dynamic composition that I love. The cigarette smoke helps increase the idea of movement. The shadows and highlights create excellent form. However, the inclusion of shapes in the dress creates a nice contrast between shape and form. I enjoy the transparency of the red text on top of the image. It creates uniformity with the red hair. I also enjoy the bold lettering of the product on the top and how it is the same color as the background. It still shows the company, even though the focal point is the woman. The poster has a frame within a frame composition as well, which I find to be a strong design choice. Overall, the work appeals to me with its strong attention to design elements and principles.

Chéret, Jules. JOB Papier A Cigarettes. Stone-Lithograph.

Sources:

Collins, Bradford R. "The Poster as Art; Jules Chéret and the Struggle for the Equality of the Arts in Late Nineteenth-Century France." Design Issues 2, no. 1 (1985): 41.

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Week 3 -  “Design Thinking”

I would define design as a way of problem solving. Design is usually seen as a way to make a product appealing. Though design accomplishes this, it also goes beyond it. Design is a part of the beginning process of innovation. First, it solves a problem in society. Next, it solves problems in product design. Then, it solves problems in appeal and marketing. Design solves many problems besides aesthetics.

I often see design thinking in products that I use. One example is my exfoliating mesh soap saver. The creators noticed that some people still enjoy using bars of soap to clean their body in the shower. However, it is often cumbersome and hard to do, since bar soap is slippery. In addition, loofahs can exfoliate skin, unlike a bar of soap. The creators of exfoliating mesh soap savers solved this problem. The product is similar to a loofah, but rectangular. This design allows a consumer to put a bar of soap inside of it. The string has a clamp to close it in order to make sure the soap stays inside. Now, a consumer can use a bar of soap and exfoliate their skin. It is also less slippery, which will cause little to no droppage. This is the best example of how design thinking was used to solve a consumer issue, create a product, and advertise it to the public. Other examples of design thinking in products I use include PopSockets and fidget cubes. PopSockets solve the problem of holding large phones. It also provides a stand for the phone. It comes in cool designs as well, which lets consumers express themselves. In addition, fidget cubes help people similar to me, who need to always be doing something. I sometimes find it hard to concentrate without doodling in my notebook or shaking my leg. Now, I can play with a fidget cube in my pocket during class. It doesn’t distract anyone, and I can concentrate. The design also provides various buttons and obstacles to satisfy a large audience. I also found it helps my friends with ADHD. Once again, the creators solved a problem, created a product, and appealed to a wide range of people. The design thinking in these products have helped me and other consumers in their daily life.

The most significant concept in the reading was the idea that designers need to be a part of the whole process of innovation. As Tim Brown stated, “Rather than asking designers to make an already developed idea more attractive to consumers, companies are asking them to create ideas that better meet consumers’ needs and desires” (86). This concept is the most important, because it shows the need of design throughout an innovative process. Designers can take a product they know nothing about and make it pretty. However, true success comes when a designer is a part of the problem solving. This way, designers can help with inspiration, ideation, and implementation (Brown 88-89). In addition, the innovation will become more well-rounded and useful.

IDEO’s process of innovation is one that invites creativity, unlike most corporate businesses. First, the team takes a product or item and discusses the issues with it. They research relative problems and struggles with the current method of doing something. Then, they talk to experts. They go out, find people that deal with the item everyday, and observe. They also go to the creators of the item and ask for more information. Next, everyone shares their ideas, even crazy ones. All ideas, bizarre or brilliant, must be shared in order to build off of them and work from there. After sharing ideas, they vote on which ones work the best. Everyone has a voice. Once the ideas are narrowed down, the team is split up into groups to create prototypes. Finally, they critique the prototypes and come up with a final design. This design is then produced and shown to the client or consumer.

The company has many mottos and rules to support creativity. For instance, there is no hierarchy. The boss has no more authority than an intern. By taking away the hierarchy, all employees can share ideas, which lead to better designs. The company also encourages weird ideas. They do this by not judging anyone. Sometimes the weird ideas lead to the best ideas. The company also encourages playfulness. They have toys and a fun work environment. They also let the employees design their work space. If an employee wants to hang a bike on the ceiling with a pulley system, they do as they wish. No permission needed. The company rather have its employees ask for forgiveness than permission to try it. IDEO’s main motto is “fail often in order to succeed sooner”. They follow this motto in everything they do. They want failure to help lead to success.

I enjoy IDEO’s final shopping cart design. Something I would add is a credit card swiper on the scanner. That way the customer can just scan their items, pay, and leave. There would still have to be a bagging area, but customers will not have to deal with check out. I would also limit the number of items that can be scanned. That way it functions as a quick self-check out and does not take away people’s jobs as cashiers. I also think the child seating area is too small and needs to be bigger. Otherwise, I like their idea, and I am surprised that I do not see it in stores today.

Sources

Brown, Tim. "Design Thinking." Design: Critical and Primary Sources, June 2008, 85-92. Accessed September 22, 2018.

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Week 2 - William Morris

I feel that Minstrel with Clarinet and Sussex Chair by William Morris respond to the conditions of modernity. Minstrel with Clarinet is made of stained glass and was for his friend Edward Burne-Jones (Eskilson 51). In this design, he revives a medieval style through abstraction, clear colors, and proportion (Eskilson 51). Through this design, he responds to the Avant-Garde aspect of modernity. He solves contemporary design problems by using a style of the past. He moves away from current styles in order to create a simplistic design. Sussex Chair is a simple, elegant design without an excess of ornament (Eskilson 51). At the time, contemporary fashion used an excess of ornament (Eskilson 51). He responds to the Avant-Garde aspect of modernity by presenting a design that actually solves a problem. He also appeals to the rise of the middle class, a characteristic of modernity. Though expensive versions of the chair were sold, Morris made some available in a less expensive design (Eskilson 51).

The Arts and Crafts Movement was the idea that the decorative arts should be made for all, along with the expression of creative individuals (Eskilson 50). It was a movement where the rising middle class were able to purchase hand crafted decorative arts. The style of the movement was unadorned, geometric decorative art objects and architecture (Eskilson 51). One of the main goals of Morris’s designs was to have them be made by skilled craftsmen, because he believes “the real curses of craftsmen have been the curse of stupidity, and the curse of injustice from within and without” (Morris 36). These curses are a result of mass production and being stript from creativity. Another goal was to have decorative arts sold at a fair price and made with fair craftsmanship (Morris 37). He wants the masses to afford decorative arts that are not mass-produced. He believes everyone deserves art. Through his designs, he wants to spread art throughout the world. It should not be for a few. The art of craftsmanship should not exist among a few. He wants to make decorative arts more universal in an ideal harmonious society.

Morris’s opinions are hard to agree or disagree with. I agree with the idea that art is for everyone. It should be. I would love if more people could have quality designs and art in their homes. I also agree that skilled craftsmanship should not only be for the elite. It should become more available to, at least, the middle class. However, I disagree with some of his opinions. I disagree with the idea that all mass-produced designs are part of the problem. I believe mass-production of prints, for example, helps designers get more recognition. University of Wisconsin-Milwaukee recently had a poster sale. These are mass-produced designs available to college students. Since they are not each individually printed by a skilled printer, they are cheaper. I may have bought the same posters as another student. There is no variation in the way they were made. We both have the same product, but we enjoy it. We get the satisfaction to adorn our walls with our favorite band or television show. In addition, Morris’s opinions contradict with his actions. His opinions did not help him execute this dream of decorative arts for all. It is very difficult to create quality work for a low price. Maybe his ideas will never take form due to this issue. I don’t necessarily disagree with his opinions. Mostly, I dislike the fact that he gave into the fear of not making money. If he wanted change, he should not have become part of the problem.

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Week 1 - About Me

My name is Seraphina Zweifel. I am from a small town, but love cities (especially Milwaukee). My main passion is art. I also enjoy theatre, singing, dancing, crafts, speaking French, video games, and tennis. I am a sophomore majoring in Design and Visual Communications. 

I took this class, not only because it is required of my major, because design elements fascinate me. I never got to learn the history of design, and I am excited to know the origins and development. 

I have been making art since I was a little kid. When I was very young, I decided I wanted to be an Illustrator. This later morphed into Graphic Designer. My mom is a Graphic Designer, which means I grew up with the software and watching her. I enjoy advertisements and logos. I also have many posters. All because I love the designs. I think making something visually appealing for a large audience is a fun struggle. I immensely enjoy my field of study.

I started understanding and learning the software when I was fourteen. My main experience is creating graphics for my high school. I created a CD cover for choir, passbook cover, graduation pamphlets, and yearbook graphics.

I find older styles of design inspire me. My favorite movement is Pop Art. The art was heavily logos and icons people would recognize. The twist on designs done by Pop Artists inspires a lot of my work. I also pull inspiration from collecting records. The creativity and thought put into the cover designs is captivating. I take from these styles to find my own.

As I mentioned, I purchase records based on design over singer. I also just purchased a book called “Geekerella” based on the cover. I realize that I should not judge a book by its cover, but I often do. I sometimes refrain from buying a book I might like solely because I believe the cover design is poor. Otherwise, I try not to buy products based on design.