Tuesday, 29 September 2009
Sunday, 27 September 2009
Saturday, 26 September 2009
Friday, 25 September 2009
Wednesday, 23 September 2009
Instant vs Digital Photography: http://www.flickr.com/groups/polaroid_/discuss/72157622270562229/
Join in the discussion at: http://www.flickr.com/groups/10millionphotos/discuss/72157622439205996/
Or at: http://www.talkphotography.co.uk/forums/showthread.php?p=1911761#post1911761
Monday, 21 September 2009
"Cardboard furniture offering flexibility as well as sustainability to the manufacturers and users has emerged as a popular material of late. Designed by Liddy Scheffknecht and Armin B. Wagner, the “Pop Up” is a unique furniture unit that folds flat for easy storage and transportation. Measuring 94 x 275 x 200 cm, the furniture when unfolded pops out of the flat cardboard sheet. Though I’m not too sure about its workability, still the Pop Up gives a new dimension to portability and sustainability of the home furniture."
Thursday, 17 September 2009
Tuesday, 15 September 2009
The steel strips, "one kind bristling with springy steel brushes and the other sporting jagged spikes," are only 0.2 millimeters thick, but a square meter of the stuff can hold "a perpendicular load of 7 tonnes." Developer Josef Mair foresees the stuff being used for building facades or automobile assembly. And it will withstand temperatures of up to 800 degrees Fahrenheit, so you could even use it in Arizona in July."
Saturday, 12 September 2009
p34 Toothpicks And Logos: John Heskett
After attending 'The End Of Design', a lecture held on thursday night at uni, by Tom Inns and Mike Press, I felt that this quote sums up what some of the lecture was about.
We are not coming to the end of design, we are coming to the end of a design era and a new one is about to begin. From the book by Heskett, he refers to the history of design ass being layers and when we come to a new age of design it is just added to the previous layers of design. (for a better understanding you might be better reading the book.)
And the last question in this quote emphasises what Mike Press said about how the new design direction is 'social design,' which is where the major priority will be designing for the publics needs and not for company profits.
Monday, 7 September 2009
Sunday, 6 September 2009
She needn't have stopped there. She might have mentioned such things as Norwich Union's potty decision to change its tried-and-tested name and logo to the meaningless and forgettable – sorry, I'm going to have to look it up – Aviva. Or she might have turned her unforgiving gaze on contemporary "street furniture", from bus stops to benches, which are as ugly as they are banal.
Her American audience will no doubt lap up this act of British self-loathing. Yet Rawsthorn is right, at least in terms of public design. When she talks about such brilliant erstwhile design patrons as Frank Pick, chief executive of the pre-second world war London Passenger Transport Board – the man who gave Londoners, and visitors to the city, the very best in Tube trains, double-decker buses, maps, posters, station architecture and so much else – she is taking us into a past that has truly disappeared.
Why? Because in Pick's day, public design was what mattered. Consumerism was in its infancy; marketing a toddler. Most British people neither owned cars, nor had much to spend their money on on beyond the basics of everyday life. Over the past quarter of a century, the public sector in Britain has declined while the private sector has boomed. And, as investment in public sector design has dropped, so retail design has enjoyed a field day.
Today, there are inspired British designers working in all sorts of areas. Many people will enjoy the quality of their work in contemporary furniture, book jackets, graphics and much more. Think of the success Jonathan Ive has had as the designer of Apple's sleek iMac, iPod and iPhone. Look at the evergreen inventions of Tom Dixon, a prolific designer who began as a punky metal worker in the mid-80s and produces a wide range of his own lively furniture and lighting today. Or enjoy the intriguing fabrics and wallpapers designed by the Scottish duo Alistair McAuley and Paul Simmons, trading as Timorous Beasties, in which startling scenes of contemporary life are woven or printed into traditional patterns and materials.
There's no doubt that at the hi-tech end of design engineering, Britain can still take on the world. The Rolls-Royce engine design team, led by Geoff Kirk at Derby, is one of the world's very best. I can well imagine a designer like Jasper Morrison, with his cool, pared-down approach, working for a public sector client like Frank Pick; but, at the moment, there is little such work available.
Equally, much of what we buy as consumers in Britain is made overseas (mostly in China), so there is less and less of what we traditionally regard as British design, even in the private sector. I had a look at the Design Museum's website a moment ago: in their illustrated list of recommended new chairs designed in the 2000s, Morrison is the only British representative, while the companies he designs for are not British.
So, it's not a lack of homegrown design talent that's the problem, but the way that the economy and our ways of life have changed since London Transport, the Post Office and other public corporations led the way in public design. British design is often very good; for better or worse, we have to shop around for it."
1.Poor grammar, lack of capitalization, typos, poor spelling, and no indication of which job they are applying to. Even if English is your second language, use spell check and grammar check! Ask friends to look things over. Craftsmanship is key.
2.Individual jpgs sent as samples. There is no way we are opening 10 attachments, period. Sorry. You've been rejected. Next!
3.Calling when the ad says no calls - this is a variation of the less common but more annoying version of the, "I'm just stopping by, can you see me now?"
4.No sketches or background material in your portfolio.
5.Not following pretty basic instructions in job wanted ad on how to apply
Here are the ingredients to a great application: Cover letter, Resume, and Samples Cover Letter - research the company and write a personalized letter. This can be the email that you attach your resume and samples to. Please tell me in this letter which job you are applying to - DUH! I don't care why you want to move to my city (I don't care that your girlfriend live here) but I do care about why you think you are right for my company.
Resume: Please keep this to one page unless you have tons of experience. Sponsored studios don't count as experience, sorry. Include a graduation date. My last post was for a true junior designer. I had juniors trying to appear as if they had 3 or more years of experience. I disqualified those people. Too bad. Be honest.
Samples could be a teaser or a complete portfolio:
Teaser: 1 project with support work or 3-4 projects in final form
Complete portfolio: Should consist of 3-4 projects (minimum 3) from start to finish. You should document your thinking and decision making process from start to finish. We are looking for how much exploration and research you did, mechanical ability, aesthetics, and sensitivity to the user. We want to see the bad ideas you rejected as well as the really crazy ideas your instructor thought were too blue sky. We also want to see your mock ups. We are looking for your visual communication skills - this means sketching. If you can't sketch, it's still better to include your thinking than to not include it."