Design in Society

In these current times, it is important to understand that design needs to be carefully thought out and meaningful.  Literally millions of items are being produced everyday and easily more than half are physical items that may or may not be useful to society.  Today I want to highlight not only the need for usable objects, but the importance of the production required when forming the object.  In order to maintain steady production, CO2 is often admitted into the atmosphere.  Data posted by the Union of Concerned Scientists in reference to global warning showed that the United States alone was responsible for 5833 million metric tons of CO2 being released in the year 2008.  This puts the US as the 2nd highest country in terms of CO2 emissions.  Product manufacture, while it is not the sole input to these statistics, still contributes to this issue.
Attempted to rectify some of this problem, US furniture systems manufacturer Haworth announced that it's Zody task chair had earned "Planet Positive" certification.  For several years, the production of the Zody had been examined with the aim of reducing and managing its CO2 emissions as well as the company's other products.  In addition to this, after reducing CO2 emissions as much as practical, clients were to purchase vouchers for 110 percent of the remaining embedded CO2. These certificates were then passed on to product buyer so that the end user could invest in a carbon offset project of their own choosing. The Zody, as seen on the left, may seem like a typical chair, but the though and ingenuity put forth in its creation is highly worth while.  By releasing fewer CO2 emissions, global warming is being actively fought.  It is hopeful that such practices for future design be spread further amongst the world as it is highly beneficial to the present and future.

Design is Dangerous

Recently, I have had this misfortune of housing two mice within my apartment.  It was then that I became familiar with a small object that I think is poorly designed, and potentially highly dangerous for its users.  What I am in fact discussing today is the standard mouse trap.  While the function of the basic trap is easy to understand, the mere process of setting the trap can be detrimental to ones' fingers.  Mouse traps run on a basic spring action. A metal bar is pulled taut against one end of the trap and held down with another slim metal bar.  This bar is then loosely secured to a small lever in which the bait is placed.  When a mouse or other animal comes to partake in said bait, the lever mechanism will release the hold bar and the spring action will force the other bar swiftly upon the victim and crush its body.  While this may be effective in catching a mouse, the lever securing the bar from snapping is easily activated and often times can snap forward while a person is setting the trap, therefore injuring their own fingers.  I was lucky to avoid this misfortune, but only narrowly.  To further its dangerous qualities, this trap, once placed, has nothing to prevent other people of animals from setting them off.  They are highly inappropriate in places where small pets and children can be found as one of them could easily encounter these devices.

In addition, the basic mousetrap is horrible in terms of clean up and hygiene.  A caught mouse is literally crushed, spilling who knows what kind of germs and bacteria onto the surface in which it has died.  In some cases, if a person was unable to check the traps daily, a caught mouse will begin to fester and generally tend to stick to the ground in which it is laying.  The spread of bacteria is frightening.  Thankfully, there are several improvements on the mousetrap today in which a caught mouse is housed within a bit of plastic.  These newer traps are then exposed of entirely keeping the area in which the mouse died somewhat cleaner than that of the old mousetraps.  This is definitely an improvement, but with luck, one will never even need to use any types of traps for these unwanted critters.

Color Transforms

Color is an important aspect of design.  It can easily highlight an object as well as hide it.  As with a majority of all military related gear and equipment, color is used in an effort to hide these particular items or people with its current surroundings.  Generally, specific colors are placed in patterns so as to illusion the eye into blending the patterns with its surroundings.  Even for something as massive as a military tank, color and pattern are used to this purpose.  However, a simple change in color could entirely change how one views such a deadly machine.  Below is an image of a tank done in an array of bright colors.  While the materials used to color the tank may be a factor in making the tank seem less harmful, it is my belief that the rainbow of colors plays a far more important role.  If the balloons were entirely black and or dark forest green, the tank would still hold some sort of treacherous quality to it.  Rather, the bright colors do away with these feelings.  First and foremost is the understanding that such a color scheme would never be used in wartime situations as such a tank would be easily spotted and destroyed.  Secondly, the bright colors often have associations to them that a person can relate to.  Warm colors such as red, orange, and yellow are often correlated to that of the sun, summer and sunshine, while the light green and blues relate to spring and fresh air.  What color is able to do is evoke powerful relations between seasons, events and images that simple black and white may not be able to do.  In this particular case, I am reminded of rainbows and birthday parties, a far cry from the perils of war.

Simply unforgettable

All brand names are well known.  That is why they are brand names.  When one thinks of Louis Vuitton, Gucci, or BMW, one thinks of the merchandise in which they market.  Another person will envision the logo that represents these products.  Taking the Louis Vuitton logo, for example, it is comprised solely of the uppercase letter L juxtaposed with the upper case letter V.  As separate pieces, they would only be letters of the alphabet, but when combined in this particular manner with the V overlapping a portion of the L, it becomes an internationally recognized symbol.  But what is it that makes this logo, as well as many others, so unforgettable?

In this particular case, it is a combination of simplistic design, and its ability to convey information. 

This logo, or logotype, is comprised of two singular components;  two letters, aesthetically placed form the logo for Louis Vuitton.  The significance of the two letters, the L for Louis and V for Vuitton, are easily identifiable as the initials for this brand.  The correlation between the initials and its usage in the logo is understandable.  Were the brand to suddenly incorporate another letter, the correlation would not be as clear and the probability of the "new" logo being just as successful is low. From this particular example, it can then be surmised that a successful logo has to make sense in relation to what it is representing.  This may or may not be the case in terms of all logos, considering the Carl's Jr. logo is a five pointed star, but it is definitely something to keep in mind.  As for the LV logotype, the message is clear, it is simple, and elegantly design... much like its many products... wouldn't you agree?

Stuck on Design

As I was closing up at work for the night, I realized that an issue that had arisen today could possibly lead to similar issues tomorrow.  To avoid further problems, I hastily scribbled a note for my fellow coworkers to read the next morning so they would not be caught unawares.  Fearing the note would fall prey to unstoppable forces like a gust of wind or accidentally be regarded as trash, I was then forced to acquire some adhesive to secure the note and ensure that neither of these circumstances would occur.  It was then that I wished wholeheartedly for a pad of post-it notes.

The post-it note, most commonly a 3 x 3 inch square pad of canary yellow paper, can almost always be found on a persons desk, within a school bag, or randomly tacked to any surface whatsoever.  But what is it that makes the post-it note so popular?  

Is it safe to use? 

The post-it note is extremely safe to use.  They are lightweight pads of paper.  If one were to fall upon your foot, the only injury done to your person would be a bout of annoyance.  Outside of the occasional paper cut, these precut little squares don't hold much of a threat.  

Are they comfortable?

Generally, the standard post-it pad is 3x3 inches in size.  This is a particularly ergonomic design as it fits easily into the human hand.  When in hand, a post-it pad can be comfortably gripped along three of its four sides without causing any undue stress.  As stated earlier, it is lightweight and easily portable so lifting the item would not be considered strenuous activity.

Is it easy to use?  

This simple little pad of paper is surprisingly easy to use.  One simply has to write upon it, lift the edge of the top sheet, peel the note off the stack and post it wherever he or she desires.  The only complication I have ever come across when using this item is not knowing which side of the pad is the top (the top being the portion of the pad with adhesive on the underside).   There have been several times when I have written a note and discovered that said note, when pulled away to be posted, is upside down.  Still, this is a lapse in the person's use of the product, and not so much the product itself.  However, if the top of the post-it or the adhesive edge were to be a different color or printed with a small mark signifying its usable orientation, this problem could be solved.

How does the Post-it rank in terms of performance?

It is absolutely genius.  The post it note can be used anywhere and for multiple reasons.  These sticky little squares enable a person to make notes and post them on or beside almost any surface.  The typical 3x3 size forces a person to be straightforward and to the point with the note or message as limited writing space is available.  However, what makes the post it so amazing is the low tack adhesive on the backside of each note.  The low tack enables the note to stick upon most surfaces, but allows for it to be easily removed.  This temporary adhesive is a quick fix to paper and tape, and leaves no residue behind.  It is quick, clean, and convenient.   It's small size allows for easy storage, and light weight for easy travel.  The post-it can go anywhere with its user.  

Is it aesthetically pleasing?

As simple as it is, I find the post-it note to be very pleasing to look at. The post-it note typically comes in a soft canary yellow color.  This color, while being vibrant enough to catch the eye, is not so saturated or bright that it strains ones ocular nerves.  Even with its new expanse of colors, the post it note is small enough in size that even its fluorescent pads cannot be considered an eyesore.  In fact, some of the newer post-its and their vibrant colors have been found today as the base materials in beautiful works of art.  What can I say?  Some designs come and go, but as for the post-it note... well, they just stick.

the Vocalized word

This week, I was assigned to write about how word and image interacted with each other.  For some unknown reason, I concentrated solely on the written word in conjunction with the image.  After sitting down to browse through some of my favorite web-links, I came across an old one for a favorite commercial of mine.  As I reviewed this commercial, I was struck by how effective the words in conjunction to the images were and realized that words and images interact in all forms and are not restricted to two-dimensional designs.  In this particular commercial, the advertised subject matter is displayed with few screen adjustments.  For a full minute, the viewer is shown an almost unchanging image of two McDonald's filet-o-fish sandwiches.  A majority of the commercial depicts the two sandwiches placed side by side upon a table.  There are a few close ups of a singular sandwich, but for the most part, all the viewer sees is an image of the dual sandwiches.
Both sandwiches are then humanized and given the ability to speak.  Their conversation is not very enlightening.  Rather, it is highly repetitive.  Despite this repetitive speech, it is incredibly amusing to listen to. The visual image presented to the viewer is not very interesting, but the words being spoken engages the viewer and keeps them focused on the subjects of the image.  This is a prime example of how word and image become successful partners.  Without the words, the image would be boring and easily overlooked.  Without the image, the words would hold no true meaning and loose its engaging characteristics.  Together, they become highly effective.  The video below is the commercial that has inspired this post.  Be warned that after watching it, you may be persuaded that a trip to McDonalds is in your near future.

Word + Image: A moment with Brian Fies

Several days ago in my design class, I had the honor of meeting Brian Fies, the author and illustrator of Mom's Cancer.  During that class period, he spoke of the reasons for which he had written and illustrated his first book, as well as giving us tips about the design process. He showed us several slides of preliminary work, as well as the many different variations of the cover design.  Although he did not show us all of the designs for the book cover, I was struck by the number of designs he was showing us while simultaneously telling us that these were not even the sum of them. I came to understand the immense amount of work put forth in that one image that was necessary to attain the best option.  The first sketch is almost never the best sketch, but training oneself to search above and beyond for the best can be a tedious process.  Oftentimes, it is easy to come up with an idea, and be thoroughly entrenched in that one idea that a designer fails to see that what he has envisioned may not be as well suited as the designer wishes.

Seeing Fies' slide of his book cover designs helped to give clear definition to Karl Aspelunds' Design Process.  After getting inspired, identifying what it is the designer wishes to do, and coming up with a concept, his fourth step is Exploration and Refinement.  For a while, I could never fully understand what a designer would need to explore, but after seeing the many renditions of Fies' book cover, I was able to see that one thought, one single image could be changed in an infinite amount of ways and still be able to be edited.  It is through these edits and changes that a designer can come across his best works.  The design process is still new to me, but thanks to Brian, I am one step closer to learning the basic skills I will need to survive as a designer in society.

Word + Image

A picture is worth a thousand words.  Often, this statement is understood to be quite true.  A freestanding, text free image can be extremely powerful.  While the image can range anywhere from a simple doodle, a large billboard advertisement, to a massive building sized mural, it has the ability to capture a person's attention, as well as convey messages that can be quaintly elusive or startling in its clarity.  In the image above, a small child looks upon the form of a flying spacecraft painted on the surface of a public wall.  The whimsical spacecraft is further enhanced by the playful use of light and shadow.  There are no words to be found, but the image is thought provoking and interesting.  In this particular case, the image does not need the use of text and words.

In this second image, a picture of a McDonalds billboard, text is also not a necessity. Also designed with an innovative use of light and shadows, this billboard is able to convey to its viewers wonderful suggestions for breakfast every hour from 6am to 11am.  Again, the message that the designers intended with this billboard is clear and does not need text convey its meaning.  However, found in the lower, left hand corner is the McDonalds logo above their well known slogan "I'm lovin' it".  Although this text is not a necessity in regards to this advertisement, it does play a supporting role to the actual ad.  It's presence here in the ad serves to further suggest to the viewer that these breakfast items would be a good choice.  The image itself is powerful enough that the words only appear as supplementary elements.

This is not the case for all images.  There are many others found in society today that without the aid of written word would be highly confusing, and thus, unsuccessful in conveying whatever message it was anticipated to deliver.  In another advertisement, this time done by Formula brand toothpaste, words are a necessity.  If the image were to be freestanding of any text, the image, although highly entertaining, would be hard to understand outside of its aesthetic qualities.  Word and image both can stand alone, but sometimes they must work together to have the best results.  With that said, I will leave you with one last image in which I feel would not be successful at all if the text were to be eliminated.  Enjoy.

Superman's new kicks

Although I have never been a devout follower of comics, I have always appreciated the designs of many that have been produced.  Thousands of characters, places, and events have been created in the world of comics, but only some have achieved fame of epic proportions.  One such figure is the ever cherished Superman.  Not only is he nigh unbeatable, he has a strong sense and understanding of morals and is portrayed as tall, dark, and handsome.  His iconic dark locks and chiseled features are easily recognizable to any person with a basic knowledge of superheros, but in a new turn of events, Clark Kent is being revamped.  In a graphic novel based on the days of his youth, he is trading in his side-swept hair, glasses, and button down shirts for low-cut pants, messy locks, and hooded sweatshirts.


Graphic novelist J. Michael Straczynski and artist Shane Davis are retelling the superhero's origin story.  Understandably, this is not a new storyline by any means and in order for a successful retelling, their work has needed to find a different avenue to entice followers.  Superman's new kicks, and subsequent makeover give the novel an aura of innovation. By giving Mr. Kent a new and modern look, they are manufacturing a new character with an old history.  Fans of the Superman comics will be able to re-experience the beginnings of a favored hero while enjoying a different style of artwork.  It is hard to say whether or not these changes will be profitable, but in a comparison of current trends, this edgier version of Clark Kent may be exactly what the masses are looking for. Characters like Stephanie Meyer's shockingly handsome Edward Cullen have swept the world into a frenzy, and the results of Kent's makeover shares striking resemblances to the teen vampire.  This new look may be zeitgeist.  Perhaps the adoration of dark, brooding figures has influenced Straczynski and Davis in their work.  Maybe they are simply seeking to deviate from the style of the original series in order for their works to be appreciated in its entirety.  All I know is that Superman is younger, darker, and a lot more stylish.  He may not be the hero that i grew up with, but as this is a story of his origins, maybe he just hasn't yet become the iconic figure known today.  This new look is not a replacement for the original comic series, but how will avid followers of the Superman comics react?  

In the olden days, we just used our hands...

Imagine that you are out in the wild and the unrelenting sun is beating its searing hot rays down upon you.  Your thirst is nigh unquenchable but luckily, you come across a stream.  Immediately, you fall upon your knees, cup your hands in the water, and bring the cool, refreshing liquid to your parched mouth.  Now open your eyes.  The chances are slim that this will ever happen to you and if you are out in the wilderness, rather than hunt for that ever elusive stream, you will most likely slip your hand to your pack and pull out a water bottle.

Simple, lightweight containers that are capable of porting liquids around without the worry of spillage, water bottles are often purchased, used, and then thrown away or hopefully recycled.  People use them daily, but are they appreciated for more than what they are tasked to do?  Water bottles today take on various different shapes and have been designed and redesigned many times. They vary in size and form depending upon the amount of water you wish to port but the standard 0.5L bottle is one of the most common of sizes being toted around today.  While it does not carry the recommended amount of water for daily consumption, its compact size and ergonomic designs make for the greatest selling points.  The Arrowhead brand water bottle, for instance, stands just shy of 8 1/2 inches tall and 2 1/2 inches at its widest point.  At about a thirds way up from the bottom, the shape of the bottle curves slightly inward before it slopes back up to its dominant width.  By incorporating this curve, the thickness of the bottle attains a girth that is directly proportional to the curve of the human hand.  The decreased size of this part of the bottle is designed so that the fingers and thumb may comfortably wrap around the bottle.  In conjunction, the continuation of the curve back to its dominant width serves as a stopper for the hand from slipping up the length of the bottle, much like a cross-guard on a sword.  The bottle itself has several indented ridges that circulate horizontally in a repetitive manner giving the bottle some much desired texture.  Since the medium used for this bottle is plastic, the indented areas make for tactile texture that the smooth plastic would otherwise have lacked.  There are many features to be found in this water bottle, but there is great harmony in its composition.  Every contour serves a purpose and comes together to form an aesthetically pleasing and useful item.  It is simply amazing how far the ways in which we may drink water have developed.  We still have the natural cups of our hands but have simply added the water bottle to our arsenal.  

Interaction of content and form in Objectified

There are many items that people as a whole disregard daily and with ease.  The everyday products that we use, items that surround us, and things that we would never spare more than a thought or a passing glance at, meld into the background that is life.  Though seemingly unimportant in the grand scale of things, how they came to be and what form they take today is often overlooked and understated in their quality.  After watching the film, Objectified, a documentary film by Gary Hustwit, I came to understand how innocuous day to day items are actually products of extensive research and design.

A simple object such as a vegetable peeler, for instance, has come a long way from its initial creation.  The image to the left is an example of a peeler that I myself used to own.  This item was able to perform its function of skinning my vegetables, but the successful usage of the product was always shadowed by the unpleasant design of the handle.  Comprised of a thin metal bar molded into the silhouette of a handle, with the peeler attached to one end and secured via a small bolt or locking mechanism on the other end, nothing about this product spoke of comfort.  The handle did not conform particularly well with the natural curve and shape of a persons hand when gripping the item.  Although the item was able to perform its proposed function, the form in which it was designed was ill conceived.  Understanding the purpose of such simple items is important.  The goal of the designer was to create something that assisted in peeling vegetables.  The content or significance of the item was perceived, and ultimately achieved.  In this case and with many others, however, the form in which the designer gave it did not correspond well with the content.  The designer did not take into consideration who might be using this product and for how long a period of time.  Anyone ranging from a young child learning how to cook, an elderly person with arthritic hands, or a chef cooking for a large mess hall with hundreds of potatoes to skin could come across this product.  In this initial design, the interaction between the content and the form was unsuitable, but luckily, the vegetable peeler has come a long way from this grisly piece of metal.  Comfortable, easy to grip handles can now be found at your local grocers.


This is only an example of a singular item that can be and has been improved. Today, it has been recognized that the form of an object ties in directly with the successful design of any product.  Let us hope that the future of design continues with this ideal in mind and products like the one above may be improved, or never have been made to begin with.

The Legend of the Scarecrow

The Legend of the Scarecrow from Carlos Lascano on Vimeo.

In my recent travels through the world wide web, I came across The Legend of the Scarecrow.  It is a short animated film about the life of a lone scarecrow.  Although it is in a language that I cannot understand a single word of, it was because of this film that I was reminded that design need not be only in English.  In the overall scheme of things, design is a universal language.

Carlos Lascano, the creator of this short film, is a multi-faceted artist who has successfully combined several different forms of art and come out with his own techniques and styles that are amazing to view.  Through the combined use of animation, vivid facial expressions, music, and an expressive narrator, The Legend of the Scarecrow was born.  In my own personal experience, the narration remains a mystery to me, but the other elements of his film tell a great story.  The life of the scarecrow is shown in vivid detail.  It's despair at the obvious hostility and fear that the birds have for him serve as a great starting point for this story.  As the time passes, you begin to understand why the birds have such reservations for him.  Lascanos is able to portray this in the scene with the fallen bird.  Using images of a ferocious scarecrow, it is implicit that this is the view in which the birds have of him.  This feeling of negativity is furthered when the citizens of the town gather to destroy the demonic scarecrow.  Ultimately, the scarecrow is torn down, but his death is only a thorn in his side in comparison to the scarecrows own personal devastation.  His want to be wanted is agonizing and only in his death does it seem that he may be missed.

Lascano's ability to deliver such a heartfelt story in this finite amount of time is a great feat.  Through his images, I was able to comprehend the subtle changes in the scarecrow as time passed.  The narration was there, but it was not necessary.  It was a language in which I could see and understand.

To view more of Carlos Lascano's work, go to http://www.carloslascano.com/carloslascano/works.html

Compare and Contrast

In a world full of artists, the interpretation of a person's work varies from viewer to viewer.  To a certain degree, it generally depends on the preferences of the audience.  For example, the work of the graffiti artist is often disregarded as a true art form.  In most cases, it is looked upon as an act of vandalism; it is a destructive mode in which street artists mark a particular piece of public property.  In the images to the left, it is easy to understand why graffiti is associated with such negative connotations.  Although each individual signature of the artist appears stylized and unique, the method in which it was executed seems crude and uncultured.  There is seemingly no structure to the design.

Compared with this next image, the level of thought put into this piece can be discerned in a heartbeat.  While it is comprised of basic line structures, much like the signatures of the aforementioned graffiti art in images one and two, the actual establishment of a recognized structure serves to elevate this particular piece to a higher set of standards.  A single point perspective leading off into the right hand corner of the image gives the staircase a sense of depth. It is additionally tricky in that the actual surface of the piece changes from one wall to the floor at a 90 degree angle.  The artist would then have had to adjust his sight lines to accommodate this change in order to retain the optical illusion of a three dimensional staircase.  Sadly, this piece may still be considered a blemish upon the walls of the subway station, but it is understandably easier to overlook that fact and  enjoy the intriguing aesthetic qualities. It may simply be that the level of skill and thought processes displayed in the making of the piece correlates directly to its rise in opinion.  With the increase in technique, complimented with a well thought out design, graffiti art begins to take on an entirely different aspect of the genre.  Whilst the artwork still retains the qualities that exemplify graffiti art, it loses the negative connotations of the stereotypical baser works seen in abundance.  



In this last image, graffiti style art can be looked upon as great works of creative design.  As you can see, this particular piece envelops many basic concepts in art and design.  There is a thorough understanding of light and shadow; shape and form; and color theory.  With each curve of what appears to be a dragon, white highlights are visible gracing strategic areas in representation of a light source hitting the surface of the animal.  The form of the animal itself is highly stylized, but easily recognizable.  As for color, the usage of cool colors on the wide face of the building gives the image and appealing nature whilst joining the piece together.  While being a technical masterpiece, this work still retains the bold, edgy style found in all graffiti art.  That being said, graffiti can definitely be considered a higher form of art.  All that is needed to become a good graffiti artist is a combination of thought put into its creation, some technical skills, and personal style.  Style and skill greatly differs with each artist, but it is not entirely difficult to become a respectable practitioner of the art. 

With that said, I would like to leave you with this short film by Blu, an artist from Buenos Aires.  What is interesting is that he covers earlier works of graffiti with his own.  In this case, do you consider his works a similar desecration of the public wall, or an amazing sample of design genius?

Design as a conversation

Conversations can take place at any time, anywhere.  It can exist between two close friends or the most unlikely individuals possible.  It is a process in which information is shared or exchanged.   It is not limited to the verbal word. In this context, a simple design can serve as a conversation of epic proportions.  Something as simple as an advertisement, or as grand scale as a giant billboard has the ability to convey information in the space of seconds.  As you drive down the boulevard, the time allotted to viewing a billboard is often reduced to the span of mere seconds, resulting in short, to the point designs that are either highly effective, or not.

In 2009, I came across an advertising battle between the luxury brand car names Audi and BMW, that to this day has served as an inspiration to good design.  Located on the corner of Santa Monica Blvd and Beverly Glen Blvd, Audi directly challenged BMW with an advertisement for the new Audi A4.  This ad featured a black model of the A4, with the accompanying text, "Your move, BMW".  BMW immediately responded to this virtual chess match by featuring its own billboard, a classic white model of the BMW, with the singular phrase "Checkmate".  The campaign for this advertisement was positioned within the same sight line of those driving along the boulevard, making the communication between both pieces highly engaging, and extremely effective.  Few words were exchanged, but the message conveyed to the audience in this specific circumstance, that BMW was the leading luxury car is unmistakable.

The conversation of this particular design is one of the many examples of how effective design can be.  It can be seemingly simple, but communicate much more information than most will come to expect. Whether it is a simple grouping of text, or a singular image juxtaposed with another, design is a language that can be understood by many and it is everywhere.

Lampo Leong and the Calligraphy of Past

This past week, instead of the normal lecture and discussion section for my Arts of Asia class, I was lucky to find that renowned Chinese Calligrapher Lampo Leong was going to be a guest speaker.  I am not particularly knowledgeable in the art of Calligraphy but sitting through Mr. Leong's lecture was highly educating.  He explained that to understand the art of calligraphy, you first had to know a bit of its' history.  We were shown several slides of the earliest examples of Chinese calligraphy which can be seen in the image to the left.  These writings, or carvings on oracle bones date back to the Xia Dynasty ca 2000-1700 BCE.  As is typical of Chinese writing, it is written in a vertical pattern reading from top to bottom, left to right. 

From then on, Mr. Leong described the evolution of calligraphy from oracle bone carvings to that of the Seal Scripts.  He explained the technical aspects of this style of writing, and how it was classified as such.  Seal script eventually progressed into a new style known as Clerical script.  This style was a little looser with its brush strokes in terms of adhering to the strict grid like pattern of writing that was typical of the Seal script.  Clerical script gave way to Standard Script, the form of calligraphy used most often today.  There are two other forms of Chinese calligraphy based on extremely fluid brush strokes known as the Running Script and the Cursive Script.  The Standard, Running, and Cursive script forms are the most common forms of calligraphy still being practiced as an art form.

There are still many practitioners of Chinese Calligraphy, but the numbers have dwindled significantly.  In an attempt to save this beautiful art form, it is  now a standard in China for students to study calligraphy.  Seeing the images of past calligraphers and the distinct styles of writing that have come about through history was something I felt I needed to share with others.   To some people, Chinese calligraphy may just seem like another type of written word, but the energy and spirit flowing through each and every stroke of the brush tells me another story. Each stroke of the brush utilizes varying degrees of thickness and thin.  This has not always been the case, but recent calligraphy work has shown thus.  It is my opinion that theses varying degrees of thickness add to the overall aesthetic appeal of each and every character.  Chinese writings are a compilation of thin, thick, straight, and curving strokes.  There are many factors to writing in this language, and it isn't impossible to learn.  However, the true artist in terms of Chinese calligraphy takes all aspects of the character in mind, and somehow is able to give his text an elegant uniformity juxtaposed with an air of spontaneity. It is the work of a master calligrapher that can capture the spirit of the this art form.  As a master of the art, Mr. Leong has tried to explain the reasons why a good calligrapher has achieved epic status.  In a yet to be published book, titled "THE VISUAL FORCES OF “Ω CURVE”" these explanations will be accompanied by various illustrations and examples to back up his theories.  If you're interested, take the time to study his writings.  I will.

Creativity from Without

     Art is often described as a visual expression of one's innermost thoughts; a physical representation of one's soul delicately spread or haphazardly splattered upon a canvas of choice.  It is what the artist feels and has translated in a way that can be made public.  Essentially, art is the artist that produces it.  This may definitely be true in some cases.  During the artistic movement known as Expressionism, artists produced works depicting an utterly subjective perspective, often using violently distorted figures and images to transmit personal moods and ideas.  This is a prime example of creativity from within.  However, not everything an artist creates is inspired by himself.  In fact, many artists often come across any number of events and/or objects outside of themselves that motivates them into some form of artistic expression.

     This is creativity from without.  It is inspiration derived from the any given source outside of oneself.  In several works by contemporary artist, Kim Abeles, she pulls inspiration from normal, commonplace  situations and engineers pieces of great ingenuity.  Inspired by a green initiative within Harvard-Westlake School, Kim Abeles visited the location and created Paper Person, as shown in the image to your left.  This macabre figure is a persona comprised from one day of paper trash at Harvard-Westlake School.  It's size is symbolic of the amount of paper thrown away in one day.  Abeles saw the amount of waste occurring and used this as a basis for her design. 

     Although the design is simple, the significance behind Paper Person is profound.  Abeles had no need of pouring out her heart and soul.  She simply took stock of her surroundings, understood the detrimental situation of human waste and consumption, and put it all together forming a larger than life reminder of what we as a society can do to protect the earth.  I find this piece a powerful example of design.

Illuminated Fig Leaves - Kim Abeles

Stone Soup with a dash of Design

Several days ago, a few of my contemporaries and I came together in an attempt to appease our design hungry souls.  Inspired by Marcia Brown's classic children's novel, Stone Soup, in which three soldiers were able to make a fabulous stew out of random ingredients both readily available and offered, we followed this recipe of creation and were able to produce our very own Stone Soup.  Of course ours was flavored with a dash of design.To begin the day, we laid out the mishmash of materials that we had gathered and brought with us.  What we had was a variety of items ranging anywhere from empty bottles, acrylic paints, buttons, bottle caps, sheet music,  and silly string.   A couple of us began to brainstorm and pool our ideas into what could be done with said materials.  Simultaneously, a few other members of our team scoured the area for more supplies.  Rather than constructing something entirely new and alien to the area, we decided to incorporate what we had into nature itself. 

Despite our initial planning, the final outcome of our "soup" was beyond what any of us had imagined.  It was then that I realized that the key ingredients to our soup weren't the supplies that we had, It was the joint forces of our minds that provided the base for our grand recipe. With eight sources of brainpower contributing to the installation, creative ideas sprung from the ground and grew into a design of our making.  A framework of literal frames hung from the boughs of a large tree.  Music and fresh paintings decorated its trunk, and a bouquet of bottle caps, buttons and pipe cleaners dangled enticingly within a singular wooden frame.  In the end, much of our work was done spontaneously and without explanation.  There was no heartfelt discussion about the meaning behind the piece, nor was there intellectual conversation on the usage of space or color theory.  Much of what was done may have similarly been done by a child.  Working in such an unbound manner was thought provoking and inspiring.  This experience has brought back memories of artistic designs and dreams I had years past, many of which I have previously forgotten or abandoned over time.  If an unfettered process of design today could fabricate such an exceptional outcome, I will never again forsake the ideas of my past. 

"All children are artists.  The problem is how to remain an artist once he grows up." 

~ Pablo Picasso

Un jouet en papier

Titled "La" Paper Toy, you can already surmise that it is made of paper. There are no electronic parts, nor is it run off of solar energy. In this day and age, it is not surprising to say that most popular toys are made of plastic and run on some type of battery or electrical power. Although I am typically a fan of such popular toys and/or gadgets such as the PlayStation Portable, the DS, IPODs, or even the ever loved Lego set, I came across this image and I couldn't resist sharing it with you today.

The toy itself is simplistic in design. More or less, it is a spherical object with two protruding limbs of similar size attached to it. Although the two appendages are capable of movement, the variety in which it can do so is severely limited. What reason then, do I hold this toy in such high esteem? First would be the color. The fluorescent lime green of this fanciful toy catches the eye immediately. The fact that it has a set of its own eyes of a complimentary olive green simply adds to its appealing nature. By giving this toy eyes, the designer has enabled the object the ability to express emotion. This is further enhanced by the jauntily open mouth, displaying a tongue poised in a fit of elation. Having rendered such a delightful expression on the toy incites a similar reaction in its viewer, which at this exact moment, is myself. In returning to the aspect of color, the red tones of the tongue contrast extremely well with the lime green of the toy and help to enhance its seemingly amiable nature. This happy, spherical creature alone would earn my interest, but add to that its moving appendages and you now bear witness to a toy of amazing design.

"La" Paper Toy is colored wonderfully, has a unique but charming form, provides a limited but attention-grabbing motion, and stimulates an air of happiness. One viewing such an object can do nothing but enjoy the creation of this whimsical toy.

Inspiration... not immitation...

Disney debuts movie princess-inspired wedding gowns

After signing out of my yahoo mail, I came across an article about Disney Princess inspired wedding gowns. It is often that a designer will see one thing and be inspired to create something as homage to the original. My first thoughts were of fluffy white gowns, puffy sleeves and, shimmering fabrics. Many a time I have seen designers who have been inspired, but are unable to step away from the initial product and fashion something that is truly unique unto themselves, yet still embodies the essence of the original.

In this noteworthy attempt by Alfred Angelo, he places a particular concentration on the attributes of each individual princess and is able to produce stunningly beautiful gowns that are representational of the beloved characters. He understands that the essence of the product is what makes it successful. Whether she is dressed to the nines, or swathed in rags, Cinderella will always be Cinderella. It is her grace and charm, and the fantastical story of her life, her journey to the ball, and its' conclusion of the perfect fit that exemplifies all that she is. In observance of these qualities, the Cinderella-inspired gown is bedecked with sparkles symbolic of her celebrated glass slipper.

It is my opinion that Mr. Angelo was successful in his endeavors. How many other designers can claim to be so, I cannot say. It is not a crime to pay homage to something that arouses a passion within, but it is a heartrending time when a designer is unable to truly exercise his craft. Design by imitation is not design; it is merely an impression of something that was. Be inspired, but see past the initial piece and discover what about that work inspires you. It is through those discoveries that anything you create can truly praise the original design. Be inspired. Pay tribute. Most importantly, be yourself.

Colors of my life.

When I first entered the world of academia, I must admit that I was pretty nervous. I was being handed off to literal strangers, so it was no surprise that my four year old self succumbed to a bought of tears. To assuage said tears, I was led to a small table filled with a variety of school supplies and told to sit. After some soothing words, several calming breaths, and wiping down my face, I was given some paper and a small box of crayons. From then on, it was the start of a beautiful friendship.

I was enthralled. In my hand was a set of 8 waxy colors. At such a young age, I had no clue as to what primary colors were, or which colors complimented the other, but I was well on my way to discovering some of the answers myself. Red and green became the perfect pairing for Christmas scenes, and the orange or yellow suns shone bright over waves upon waves of blue oceans. I was subject to my own lessons in color theory. By mixing reds with whites, I learned that the color would lighten to shades of pink. More white, meant lighter, softer colors. Adding black to any color darkened the hues and with each subsequent addition, I would never be able to return to its original color.

Nowadays, I have studied my fair share of color wheels. I have read about color theory, and the usage of color to accentuate and highlight design. Primary, secondary, and tertiary colors paint murals in my mind. Color is all around us, blanketing every surface of our daily lives. It is ubiquitous but should not be forgotten. Color is that singular box of 8 waxy crayons.