Month: March 2017

1. Based upon the readings the word design comes with many definitions. Across all the readings what are some examples of these differences?

Throughout the chapters, there is a sense of controversy between what a designer truly is. On one hand, some people perceive designers merely for their “service of business” and for other commercial desires. On the other hand, other people, myself included, see designers as artists due to their skill and creativity towards digital art. Although modern designers are used primary for business, their occupation does not necessarily have to be entirely labeled as such, rather, their work should speak for itself by giving them credit as artists.

2. How does misunderstanding or rather multiple definitions of a singular word effect how we perceive design? Be sure to reference the four articles.

Misunderstanding the definition of a designer can simply discredit their artistic sides because of the common misconception that designers are only used for commerce, business, or advertising. Similarly to how Paul Rand describes it in “Politics of Design” by stating that it is an “art that enhances the quality of life and deepens appreciation of the familiar world”. Seemingly, In “Design and Crime”, Hal Foster also makes aqusations about design being more about an occupation and less about self-desire. In fact, he states how “[today’s] design seems to advance a new kind of narcissism, one that is all image and no interiority”. In “Recentness of Sculpture,” however, says Good Design can be found where “Pop, Op, Assemble, and the rest of Novelty art live”. As one can see, he is more passionate about the artistic side of good design. Speaking of art, another author who perceives designers as artists is Vilem Flusser in “About the Word Design”. Throughout the chapter, Flusser clearly states the roots to the word design and even declares that “design more or less indicates the site where art and technology…come together as equals, making a new form of culture possible.

 

Personal Reflection:

 

1. How do you suppose you could better prepare yourself as a maker of aesthetic objects/ideas?

The best way for me to learn how to better prepare myself to make aesthetic objects would be just to learn from my peers and learn form my/their mistakes to build upon a more precise piece of art.

2. What are things you currently do to practice your creative muscle?

What I do to practice my creative muscle is draw. I love drawing cartoons specifically because that is something I have loved to do since I was young. When it comes to projects, I learned that making mistakes or thinking outside that box can actually lead to a better and more creative outcome than originally anticipated.

 

1. Based upon the reading how are priorities set for specific projects? Or in other words, what is it that determines the guidelines for given projects?

Though the perspective as a designer, guidelines are everything. In fact, guidelines can help the designers because without guidelines, the limits are endless, which can ironically lead to issues in terms of continuity and chaos. With guidelines, the designer can then narrow down their vision while also becoming limitless within the directed formation.

2. How does the artist/designer approach decision making differently or do they?

For both artists and designers, decision making comes from guidelines and from their given materials. With proper instruction, direction, and material, designers are capable of creating visual masterpieces. Although artists typically have more “freedom”, I see their decision making similarly to those of designers.

Personal Reflection

1. How do you make decisions? Are they based upon anything substantial? Why or why not?

I am a very timely and systematic person. I literally plan out my entire day, my entire week, and if I have enough events planned already, then I also tend to even plan for next week. That being said, I make decisions based on how it correlates with my plans and time. And since I consider myself a designer, I base my work off of guidelines and whether I think it works or not.

2. How do you know when something is “good” or working?

I know when something is good or working if I find it visually and conceptually.  If it not only catches my eye but if the overall meaning behind something is symbolic and easy for everyone to capture, then I feel like the given work is “good” or successful.

3. How do you rework projects to make them work?

Failure is essential in terms of prgression. Sometimes to take 3 steps forward you must first take a step back and learn from past mistakes. That being said, if I get some inspiration from other peers’ work or if I simply get critiqued on my personal work, I am able to have a clearer understanding as to what I need to rework or what parts need significant improvements.