Survey
Since none of the designers I emailed where able to get back to me in time I decided to create a survey in order to help me develop my view on David Prosser's work based on other people's views.
Unfortunately I was only able to receive three opinions but they are all different so its still helpful.
The first at the bottom is my own answer.
Unfortunately I was only able to receive three opinions but they are all different so its still helpful.
The first at the bottom is my own answer.
Additional question
Question:
Let’s say you studied to be an illustrator but find a job in a company that requires you to create animations. This leads to you having to learn and adapt what you know into animation. What do you think about this transition? Does your view on this career path change in any way?
Nahoany- Year 10 GCSE student interested in illustration as a career path.
Her answer:
Translated:
Well, for me this doesn’t change my opinion about this career path. I think this way is even cooler, I would learn everything there was to learn, animation etc. It would be an experience of learning for the rest of my life. Even more because I would already know the basic starting point for animation (which is knowing how to illustrate).
Let’s say you studied to be an illustrator but find a job in a company that requires you to create animations. This leads to you having to learn and adapt what you know into animation. What do you think about this transition? Does your view on this career path change in any way?
Nahoany- Year 10 GCSE student interested in illustration as a career path.
Her answer:
Translated:
Well, for me this doesn’t change my opinion about this career path. I think this way is even cooler, I would learn everything there was to learn, animation etc. It would be an experience of learning for the rest of my life. Even more because I would already know the basic starting point for animation (which is knowing how to illustrate).
Afsana - 19 ,Art foundation student.
When emailing Sue she passed my questions over to Ren who unfortunately was also busy but tried to help me with a link to an interview which I had already seen but I'm still happy for the reply.
Dave seemed really open to answer my questions. Unfortunately he was too busy to reply in time for my video. However I still look forward to he's reply later when he does find time.
Since he couldn't answer the first question I have come up with my own interpretation in relation to he's work.
My thoughts on he’s work:
He’s illustration style might not have changed because of animation, but simply because it had to adapt to the context of each animation. So despite Mountain appearing very different from Statoil visually one being flat vectors and the other being 3D, the essence of he’s work remained the same through the rough pencil and brush texture he applied onto he’s animation, allowing them to posses some similarity with he's drawing work.
I think that in this way the new aesthetic style he developed from this transition is a animation that looks physical, something cut out of real paper, a balance between both illustration and animation.
Since he couldn't answer the first question I have come up with my own interpretation in relation to he's work.
My thoughts on he’s work:
He’s illustration style might not have changed because of animation, but simply because it had to adapt to the context of each animation. So despite Mountain appearing very different from Statoil visually one being flat vectors and the other being 3D, the essence of he’s work remained the same through the rough pencil and brush texture he applied onto he’s animation, allowing them to posses some similarity with he's drawing work.
I think that in this way the new aesthetic style he developed from this transition is a animation that looks physical, something cut out of real paper, a balance between both illustration and animation.
Timeline
31st: Create a separate twitter account related to design.
3rd-4th: Packing/Flying
7th April -9th April:
Continue researching into questions to finalise them and find all possible forms of contact for the designer.
10th April :
-Email Sue Goffe if I’m not able to get in contact with Grant Orchard since they both worked together in the A morning Stroll.
-Email Dave Prosser
12th-14th-16th: Email both Again
12th-14th-16th: Try to contact a different company in Brazil
18th -20th- 22nd- 24th: Tweet on Dave Prosser Social media
25th-26th: Plan content of video (Will be thinking about it before hand)
27th-7th May: Making
3rd-4th: Packing/Flying
7th April -9th April:
Continue researching into questions to finalise them and find all possible forms of contact for the designer.
10th April :
-Email Sue Goffe if I’m not able to get in contact with Grant Orchard since they both worked together in the A morning Stroll.
-Email Dave Prosser
12th-14th-16th: Email both Again
12th-14th-16th: Try to contact a different company in Brazil
18th -20th- 22nd- 24th: Tweet on Dave Prosser Social media
25th-26th: Plan content of video (Will be thinking about it before hand)
27th-7th May: Making
Questions:
Grant:
Theme of simplicity
How simple can you get before the meaning and message is lost?
Your work is simple yet fun and informative. How complicate is it to make something complex simple?
Have you ever thought about changing your simple design style to make it more detailed?
Dave
Theme of combining animation and illustration.
Grant:
Theme of simplicity
How simple can you get before the meaning and message is lost?
Your work is simple yet fun and informative. How complicate is it to make something complex simple?
Have you ever thought about changing your simple design style to make it more detailed?
Dave
Theme of combining animation and illustration.
- Transitions from 2d tradition illustration to 3D animation
- Learning from their processes
- Sue Goffe: Process of working with Grant
- why simplicity is interesting
- why we relate to that
Work I like:
Grant Orchards: LOVE SPORTS
This particular work reminds me of the example he gave for he’s first attempt at personal work which later turned developed into commercial work, in an interview. Despite the character simplify, we can still tell whether they are children or adults, humans or animals, through the shape size but most importantly the sound effects used. for example a brown box could be anything, it doesn’t look like a horse but the sound of a horse allows us to know what it is.
I really like how reliant it is on typography and how the simplicity of the animation is reflected on the choice of type. The chunky letter forms reflect the boxed shaped characters and environment. But most importantly is how the type’s transition and colours depend on the sport it is representing, for example for fencing, the word ‘fencing’ appears on screen like a swinging sword, and thats accompanied by the appropriate sound effect.
I also like how It creates humour out of unfortunate circumstances by creating ridiculous scenarios. Such as the weightlifter exploding which reminds me of dumb ways to die where the character lifting weights also exploded, except this series isn’t raising awareness for a sad thing.
http://www.studioaka.co.uk/OurWork/lovesportgameon
I really like how reliant it is on typography and how the simplicity of the animation is reflected on the choice of type. The chunky letter forms reflect the boxed shaped characters and environment. But most importantly is how the type’s transition and colours depend on the sport it is representing, for example for fencing, the word ‘fencing’ appears on screen like a swinging sword, and thats accompanied by the appropriate sound effect.
I also like how It creates humour out of unfortunate circumstances by creating ridiculous scenarios. Such as the weightlifter exploding which reminds me of dumb ways to die where the character lifting weights also exploded, except this series isn’t raising awareness for a sad thing.
http://www.studioaka.co.uk/OurWork/lovesportgameon
Grant Orchards: SCIENCE MUSEUM - Who Am I…
I really enjoy the simplicity of this piece of work, the information given is simply conveyed through the subtle change of colours, simple graphics and a shapeshifting character, who can turn into just a mouth and eyes that incorporates themselves into other objects such as a chalice , to a head or to a full body. The eyes are also used a glasses who consistently move around to follow the beat of the music as well as help convey the message- which goes for other shapes as well.
I also like how Grant continued to use his style of illustration where human’s are represented through shapes like in Love Sports series. Except this time the shapes don’t remain flat throughout the motion graphics, they are given depth in some parts for example when the character runs up the stairs. Overall the simple style is able to appeal to both adult and children.
http://www.studioaka.co.uk/OurWork/sciencemuseumwhoami…
I also like how Grant continued to use his style of illustration where human’s are represented through shapes like in Love Sports series. Except this time the shapes don’t remain flat throughout the motion graphics, they are given depth in some parts for example when the character runs up the stairs. Overall the simple style is able to appeal to both adult and children.
http://www.studioaka.co.uk/OurWork/sciencemuseumwhoami…
Grant Orchard
BAFTA Short Animation Winner: A Morning Stroll feat Sue Goffe
Project started of, to some extent-just to test the studio, it was made by people in their own time instead of working hours. It was a slow process but theres just so many talented people where we work, you can come up with nothing and it will make it happen.
https://www.youtube.com/watch?v=tX_n6wgBc4Q&list=LLJQvASBvizWUz-MS5Zr1duw
Project started of, to some extent-just to test the studio, it was made by people in their own time instead of working hours. It was a slow process but theres just so many talented people where we work, you can come up with nothing and it will make it happen.
https://www.youtube.com/watch?v=tX_n6wgBc4Q&list=LLJQvASBvizWUz-MS5Zr1duw
Film doctor Interview
Was it a labour of love, how did you set everything up to have a finished film?
-Can be considered a labour of love. No commission or funding. It was done out of curiosity about how the idea could turn out.
-Thought it would Initially take around 6 months. However that depended on people working in-between commercial jobs.
-Overly optimistic. It's a busy studio, having people work on it in there own time was infrequent. Ended up taking 2 years.
-Sue Goffe was determined to get it finished. She assigned a team to take care of the project for the last 6 weeks so that it could be submitted for The Annecy International Film Festival.
Did you set the project up for festivals?
After completing the structure Grant found that it would be a fun film for people to enjoy at festivals. The whole project was designed to be unexpected and surprising, which suits a festival crowd.
How did Sue's experience differ from Jojo in the stars and Lost and found?
- JoJo in the Stars was the studio’s first experience with making a short film.
-Making took 2 1/2 years to make. The project was in and out of the box in-between commercial project which Sue admits isn’t the best conditions for making a film.
-A problem they encountered was that The CG software kept getting upgrades.
-Lost and Found had a more structured process.
-They had a small amount of finance offered to them by their co-producers and a broadcast deadline so they had to set a team aside to work on the film.
-A Morning Stroll: They got to benefit from their previous experiences.
-The design process was well structure.
-Grant was really efficient in laying out the scenes out and also created a rule that all three acts maintain the same structure, making distribution of parts easier.
What was the development/writing process of A Morning Stroll?
-The majority of the development time and writing happened in his head. In one week the idea had formed and filtered.
-When getting it on paper he skipped the script (since theres not much story). Instead did an outline of structure and then went straight into making a rough and quick animatic.
-After getting the timing and action sorted they moved on to designing, which brought the idea to life and added new stuff to it.
How is the US academy awards different from the UK.
-It's more important to create a buzz before the awards in US.
-Luckily publicist, Fumi Kitahara, helped navigate them around the surreal excitement surrounding the Oscars.
-They learned that a spotlight had gone on over the studio and they had a limited amount of time to make use of it.
What are your thoughts on the UK animation industry today? We assume you’re for the tax relief?!
-Grant is in favour of the the tax relief. He finds it crazy how animation didn’t receive the same as the live action industry.
-UK animation production is desperate, this decision looks nonsensical in comparison. He hopes the decision can be reversed.
-Their films are made by a bunch of talented people in the UK. Yet the funding that comes from it’s success must go into making larger projects abroad feasible. They are determined to maintain the production of their longer format work in the UK.
What is the best place to start for aspiring animation writers/directors/artists?
Grant – “I’m not sure, I know what worked for me, but it might not work for everyone. My start was made up by a lot of good fortune and timing more than anything. Basically I started at the bottom, it just happened to be at a company that was really good and evolving at the same time as I was.
-Maybe it’s a case of trying out everything and saying yes a lot at the start of your career. Experience is just as important as talent”.
-He never had a plan b incase animation didn’t work out “No – I’m no good at anything else”
Was it a labour of love, how did you set everything up to have a finished film?
-Can be considered a labour of love. No commission or funding. It was done out of curiosity about how the idea could turn out.
-Thought it would Initially take around 6 months. However that depended on people working in-between commercial jobs.
-Overly optimistic. It's a busy studio, having people work on it in there own time was infrequent. Ended up taking 2 years.
-Sue Goffe was determined to get it finished. She assigned a team to take care of the project for the last 6 weeks so that it could be submitted for The Annecy International Film Festival.
Did you set the project up for festivals?
After completing the structure Grant found that it would be a fun film for people to enjoy at festivals. The whole project was designed to be unexpected and surprising, which suits a festival crowd.
How did Sue's experience differ from Jojo in the stars and Lost and found?
- JoJo in the Stars was the studio’s first experience with making a short film.
-Making took 2 1/2 years to make. The project was in and out of the box in-between commercial project which Sue admits isn’t the best conditions for making a film.
-A problem they encountered was that The CG software kept getting upgrades.
-Lost and Found had a more structured process.
-They had a small amount of finance offered to them by their co-producers and a broadcast deadline so they had to set a team aside to work on the film.
-A Morning Stroll: They got to benefit from their previous experiences.
-The design process was well structure.
-Grant was really efficient in laying out the scenes out and also created a rule that all three acts maintain the same structure, making distribution of parts easier.
What was the development/writing process of A Morning Stroll?
-The majority of the development time and writing happened in his head. In one week the idea had formed and filtered.
-When getting it on paper he skipped the script (since theres not much story). Instead did an outline of structure and then went straight into making a rough and quick animatic.
-After getting the timing and action sorted they moved on to designing, which brought the idea to life and added new stuff to it.
How is the US academy awards different from the UK.
-It's more important to create a buzz before the awards in US.
-Luckily publicist, Fumi Kitahara, helped navigate them around the surreal excitement surrounding the Oscars.
-They learned that a spotlight had gone on over the studio and they had a limited amount of time to make use of it.
What are your thoughts on the UK animation industry today? We assume you’re for the tax relief?!
-Grant is in favour of the the tax relief. He finds it crazy how animation didn’t receive the same as the live action industry.
-UK animation production is desperate, this decision looks nonsensical in comparison. He hopes the decision can be reversed.
-Their films are made by a bunch of talented people in the UK. Yet the funding that comes from it’s success must go into making larger projects abroad feasible. They are determined to maintain the production of their longer format work in the UK.
What is the best place to start for aspiring animation writers/directors/artists?
Grant – “I’m not sure, I know what worked for me, but it might not work for everyone. My start was made up by a lot of good fortune and timing more than anything. Basically I started at the bottom, it just happened to be at a company that was really good and evolving at the same time as I was.
-Maybe it’s a case of trying out everything and saying yes a lot at the start of your career. Experience is just as important as talent”.
-He never had a plan b incase animation didn’t work out “No – I’m no good at anything else”
Grant Orchard- Here 2012
"How can I make space and time for projects when working commercially"
-To start he did an apprenticeship, Spent 2 years working as a traditional animator, artworking, special effects, lead animation, assisting animators, which created a good ground for him.
-In Studio AKA he got to pitch for compaq, at the time he put together a few sketches that went to through the pitch which probably wouldn’t have today. But they were confident and gave a good budget so they ended up doing the commercial traditionally with pen and paper.
-Lucky to work with John Webster in that project who was successful in advertising felt he was someone he needed to listen to.
-Grant as a young and keen designer, he kept over designing things and including details.
-“Whats a tree, I don't want see a tree, whats a tree for I only want a crow and a worm anything else is extraneous”-Webster
-He kept saying keep it simple and that got lodged in Grant’s mind and he finds it really important when doing he’s work.
-Always a conflict/tense with work in terms of what you do at work and what you want to do.
-He is lucky to work in a place where those two overlap but its not always like that.
-At the start he had a hard time trying to pitch and convince the client that what he wanted was best. Because he saw commercial work as personal work
-Once he decided to see commercial work as a collaboration and separated personal work from the two, he’s commercial work got a lot better.
-First attempt at personal work, he decided to learn affecter effects but was lazy so just animated a cube, ‘the ego of an animator is that they can animate anything’, after messing around he kind of looked like a game of football.
-Motion design festival got in contact and asked if he had any work they might be interested in he showed this cubes, they told him if it turned into a movie they would dhow it which was a nice incentive.(pre vimeo/youtube days) Bonus personal work turned into commercial work.
-People came in referencing our work rather than other people’s work which is very uncomfortable. E.g he was asked by an agency who saw this film to team up with Antony Burrill, for Bupa commercials.
-The joy of commercial work is that it’s the unexpected you never know what you will be working on in two weeks, while answering someone’s brief, while still coming up with your own in your own free time.
-The problem is that since they where merging with each other he become more ambitions and busy, how to have time for your own work, he had to do a morning stroll in between commercial work with the support of studio aka because he wouldn’t get any funding to make he’s own film.
-Then a lot of energy need also comes into the equation. He was used to rely a lot on working at home, but after having kids, he can’t really do as much work.
-This led to him having an understanding of caveman. He’s theory is that In reality they could draw like any renaissance painter but after a day of hunting and being chased, the best they could do where simple sketches.
Why did cave man create art if they were so pooped? Grant—theory that life is full of cyclical tasks never ending, earning money spending money, clean house ,gets dirty, nothing final about these tasks yet they dominate life, which is why he likes jigsaws, its very satisfying to complete something.
-What he learned from that he to treat work as a hobby- Last few years he has been designing with that in mind, I will work on it an hour here an hour there, use the resources available to him, within his means and own time, would love to do ‘A whisper from the king’ with more ambitions means but instead does it in a cheap software.
-Don’t read that many blogs anymore; full of jaw dropping work, if he looks at it too long, it uninspired him end up feeling creatively bereft.
-Try to focus more on ultimate goal instead of being influenced too much by whats around him. It’s an awful temptation to see something potentially better and try to redirect own work accordingly, being on a directional is often a good thing. e.g 3 weeks before he was suppose to screen he’s Granlmotor “yeah just there’ animation, that seemed similar but were ultimately very different things, but still at first he thought that he couldn’t go own with it anymore it did distress him.
-Nike’s Just do it really helps him during those time procrastinating, it’s better to get something done than nothing at all. Just keep moving forward.
https://vimeo.com/54685385
-To start he did an apprenticeship, Spent 2 years working as a traditional animator, artworking, special effects, lead animation, assisting animators, which created a good ground for him.
-In Studio AKA he got to pitch for compaq, at the time he put together a few sketches that went to through the pitch which probably wouldn’t have today. But they were confident and gave a good budget so they ended up doing the commercial traditionally with pen and paper.
-Lucky to work with John Webster in that project who was successful in advertising felt he was someone he needed to listen to.
-Grant as a young and keen designer, he kept over designing things and including details.
-“Whats a tree, I don't want see a tree, whats a tree for I only want a crow and a worm anything else is extraneous”-Webster
-He kept saying keep it simple and that got lodged in Grant’s mind and he finds it really important when doing he’s work.
-Always a conflict/tense with work in terms of what you do at work and what you want to do.
-He is lucky to work in a place where those two overlap but its not always like that.
-At the start he had a hard time trying to pitch and convince the client that what he wanted was best. Because he saw commercial work as personal work
-Once he decided to see commercial work as a collaboration and separated personal work from the two, he’s commercial work got a lot better.
-First attempt at personal work, he decided to learn affecter effects but was lazy so just animated a cube, ‘the ego of an animator is that they can animate anything’, after messing around he kind of looked like a game of football.
-Motion design festival got in contact and asked if he had any work they might be interested in he showed this cubes, they told him if it turned into a movie they would dhow it which was a nice incentive.(pre vimeo/youtube days) Bonus personal work turned into commercial work.
-People came in referencing our work rather than other people’s work which is very uncomfortable. E.g he was asked by an agency who saw this film to team up with Antony Burrill, for Bupa commercials.
-The joy of commercial work is that it’s the unexpected you never know what you will be working on in two weeks, while answering someone’s brief, while still coming up with your own in your own free time.
-The problem is that since they where merging with each other he become more ambitions and busy, how to have time for your own work, he had to do a morning stroll in between commercial work with the support of studio aka because he wouldn’t get any funding to make he’s own film.
-Then a lot of energy need also comes into the equation. He was used to rely a lot on working at home, but after having kids, he can’t really do as much work.
-This led to him having an understanding of caveman. He’s theory is that In reality they could draw like any renaissance painter but after a day of hunting and being chased, the best they could do where simple sketches.
Why did cave man create art if they were so pooped? Grant—theory that life is full of cyclical tasks never ending, earning money spending money, clean house ,gets dirty, nothing final about these tasks yet they dominate life, which is why he likes jigsaws, its very satisfying to complete something.
-What he learned from that he to treat work as a hobby- Last few years he has been designing with that in mind, I will work on it an hour here an hour there, use the resources available to him, within his means and own time, would love to do ‘A whisper from the king’ with more ambitions means but instead does it in a cheap software.
-Don’t read that many blogs anymore; full of jaw dropping work, if he looks at it too long, it uninspired him end up feeling creatively bereft.
-Try to focus more on ultimate goal instead of being influenced too much by whats around him. It’s an awful temptation to see something potentially better and try to redirect own work accordingly, being on a directional is often a good thing. e.g 3 weeks before he was suppose to screen he’s Granlmotor “yeah just there’ animation, that seemed similar but were ultimately very different things, but still at first he thought that he couldn’t go own with it anymore it did distress him.
-Nike’s Just do it really helps him during those time procrastinating, it’s better to get something done than nothing at all. Just keep moving forward.
https://vimeo.com/54685385
Grant Interview - The Sundance Diaries
-The animation process is still rather slow despite the advances in technology. Unlike live action film, a person can pretty much create an animated film on their own. Lighting cameraman, set designers, actors can all be done by one person- in my case not perfectly- Grant
-Working solo on a project is handy since you are your only crew member who you must feed, pay and inspire.
-It's hard to get funding to form a crew. So as animators we are lucky to have the option of that solo side corridor to go down that enables us to get something made.
Issues of doing solo work:
-Time consuming. Work on the film night and day, and go without money OR have a regular job and work on solo project in your own time.
-He has made films this way and loved it but have kids decreases home work time exponentially.
for ‘A Morning Stroll’, he found a new model to make solo films which basically consisted of him begging.
-Luckily Studio AKA was very ‘ understanding and loving’ so when Grant proposed his idea went for it.
-They still had no budget, but putting in a collective effort would reduce the amount of time needed.
The company is really busy in addition Grant unfortunately also went through a testicular cancer (luckily discovered in its early stages)half way into the production, prolonging the process. it sucks how long it takes to create a such as short film. When he tells people it took 2 years he knows what they probably think 'Well that'd better be a fx~#ing masterpiece.’
After sometime has past making the film expectations grow which can lead to disappointment but in this case the film is selected for festivals and Sundance and people enjoy it.
http://www.huffingtonpost.com/grant-orchard/the-sundance-diaries_b_1220606.html
-Working solo on a project is handy since you are your only crew member who you must feed, pay and inspire.
-It's hard to get funding to form a crew. So as animators we are lucky to have the option of that solo side corridor to go down that enables us to get something made.
Issues of doing solo work:
-Time consuming. Work on the film night and day, and go without money OR have a regular job and work on solo project in your own time.
-He has made films this way and loved it but have kids decreases home work time exponentially.
for ‘A Morning Stroll’, he found a new model to make solo films which basically consisted of him begging.
-Luckily Studio AKA was very ‘ understanding and loving’ so when Grant proposed his idea went for it.
-They still had no budget, but putting in a collective effort would reduce the amount of time needed.
The company is really busy in addition Grant unfortunately also went through a testicular cancer (luckily discovered in its early stages)half way into the production, prolonging the process. it sucks how long it takes to create a such as short film. When he tells people it took 2 years he knows what they probably think 'Well that'd better be a fx~#ing masterpiece.’
After sometime has past making the film expectations grow which can lead to disappointment but in this case the film is selected for festivals and Sundance and people enjoy it.
http://www.huffingtonpost.com/grant-orchard/the-sundance-diaries_b_1220606.html
Cartoonbrew Interview
Amid: How did you convince Studio AKA, which is the studio that reps you commercially, to make this film?
-Grant initially pitched it as a 3 minute film which eventually became 7 minutes, so the partners at Studio AKA (Sue Goffe, Philip Hunt, Marc Craste & Pam Dennis)probably didn’t see it as much of a risk. But there were still risks as a result of no funding, and finding a way of it not affecting the commercial projects.
-The studio were also successful with their previous shorts which were a different style, so they could have rejected the idea. The style doesn’t offers a clue of its of success until its made.
-He doesn’t think they idea could be conveyed any better than when its made because of it’s structure.
-But as filmmakers they have experienced the commercial demands and see how people wont trust they knowledge, skill and experience, as a project progresses they usually need to see absolute & fully resolved ideas. In solo work partners like to show a bit of faith. Which I think is great.
-The aim was to create a fun and interesting film and be playful in the process rather than profound and thought provoking.
Amid: The original story on which your film is based, is less a story than a six-sentence memory capturing a moment in time. When you read that, did you instantly see a film in it, or did the idea evolve over time?
The film evolved over time. The ‘story’ helped him think of different scenarios. Initially he got an urban myth vibe from it and how it changes and gets exaggerated with each re-telling. This led to the idea of running 3 different versions of the story alongside each other. The composition and length would remain the same, but would have subtle differences. Until finally arriving at the 50 years gap which is when the chronological three-act structure took shape.
Amid: Reduction seems to be a big theme throughout your work. Do you feel the simplification and self-imposed limitations make your films stronger or is it something you simply get a kick out of doing?
Grant: “I just like doing it”
He finds that “imposing a set of rules on each project protects you from either repeating yourself, or drowning in a sea of endless possibilities. Which sounds very limiting, but is actually very liberating”.
For example the rule he applied for his “Love Sport” series was that all characters had no features and needed to be rectangle shaped. This helped the work design itself. The rule for Morning Stroll is that each chapter had to be structurally the same and had to be exactly fifty years apart from one another.
Amid: In your short, the people in 1959 seem to be much more aware of their surroundings and considerate of each other, compared to the people in 2009. Your projections into the future are even more bleak. Are you a pessimist about where humanity is headed?
Grant thinks this comes down to he’s rules. Since the time periods changed but the shot remained the same the obvious step then was to explore the differences between them, which turned out to be the man’s reaction to the chicken walking in the street.” In 1959 he watches it. In 2009 he records it. It’s not exactly a critique of how we live, just an observation”.
He points out that the clumsy use of technology is not connected to the state of the third act, the chicken is the main focus. Chicken and its daily routine was the only thing that remained the same in a changing city. It was funny to think of it as the only survivor which led to him placing it into the most ridiculous situation. The third act was Grants vision of the future for the characters in the film, in reality he has a more utopian view.
Amid: The music and sound design in the film is super inventive and adds a whole new layer of emotion and entertainment. I notice that you’ve worked with the same sound person, Nic Gill, on many of your projects. Describe the nature of the collaboration and how he came up with the music and sound for this film?
Grant and Nic Gill shared a room at the studio until recently, which allowed Grant to receive input from Nic from the start of projects.
Before being an editor Nic was a DJ so he works with some really lo-fi equipment to create his sounds. He mixed the entire film at the studio before sending it to be professionally mixed, however they sent it back saying it was already spot on.
Grants initial idea for the final scene was to use an aggressive track, Aphex Twin’s “Come to Daddy”. However Nic suggested a funnier approach, using Brazilian carnival music.
Amid: There’s a phone app featured in your film that looks like a lot of fun. Have you ever considered making that into a real game because I would be the first in line to buy it.
The game up featured in the film is currently in development discussion by a games company, “which is incredible, because when I came up with it I just thought what would be the most distracting and silliest app you could get”.
http://www.cartoonbrew.com/shorts/oscar-focus-grant-orchard-talks-about-“a-morning-stroll”-57420.html
-Grant initially pitched it as a 3 minute film which eventually became 7 minutes, so the partners at Studio AKA (Sue Goffe, Philip Hunt, Marc Craste & Pam Dennis)probably didn’t see it as much of a risk. But there were still risks as a result of no funding, and finding a way of it not affecting the commercial projects.
-The studio were also successful with their previous shorts which were a different style, so they could have rejected the idea. The style doesn’t offers a clue of its of success until its made.
-He doesn’t think they idea could be conveyed any better than when its made because of it’s structure.
-But as filmmakers they have experienced the commercial demands and see how people wont trust they knowledge, skill and experience, as a project progresses they usually need to see absolute & fully resolved ideas. In solo work partners like to show a bit of faith. Which I think is great.
-The aim was to create a fun and interesting film and be playful in the process rather than profound and thought provoking.
Amid: The original story on which your film is based, is less a story than a six-sentence memory capturing a moment in time. When you read that, did you instantly see a film in it, or did the idea evolve over time?
The film evolved over time. The ‘story’ helped him think of different scenarios. Initially he got an urban myth vibe from it and how it changes and gets exaggerated with each re-telling. This led to the idea of running 3 different versions of the story alongside each other. The composition and length would remain the same, but would have subtle differences. Until finally arriving at the 50 years gap which is when the chronological three-act structure took shape.
Amid: Reduction seems to be a big theme throughout your work. Do you feel the simplification and self-imposed limitations make your films stronger or is it something you simply get a kick out of doing?
Grant: “I just like doing it”
He finds that “imposing a set of rules on each project protects you from either repeating yourself, or drowning in a sea of endless possibilities. Which sounds very limiting, but is actually very liberating”.
For example the rule he applied for his “Love Sport” series was that all characters had no features and needed to be rectangle shaped. This helped the work design itself. The rule for Morning Stroll is that each chapter had to be structurally the same and had to be exactly fifty years apart from one another.
Amid: In your short, the people in 1959 seem to be much more aware of their surroundings and considerate of each other, compared to the people in 2009. Your projections into the future are even more bleak. Are you a pessimist about where humanity is headed?
Grant thinks this comes down to he’s rules. Since the time periods changed but the shot remained the same the obvious step then was to explore the differences between them, which turned out to be the man’s reaction to the chicken walking in the street.” In 1959 he watches it. In 2009 he records it. It’s not exactly a critique of how we live, just an observation”.
He points out that the clumsy use of technology is not connected to the state of the third act, the chicken is the main focus. Chicken and its daily routine was the only thing that remained the same in a changing city. It was funny to think of it as the only survivor which led to him placing it into the most ridiculous situation. The third act was Grants vision of the future for the characters in the film, in reality he has a more utopian view.
Amid: The music and sound design in the film is super inventive and adds a whole new layer of emotion and entertainment. I notice that you’ve worked with the same sound person, Nic Gill, on many of your projects. Describe the nature of the collaboration and how he came up with the music and sound for this film?
Grant and Nic Gill shared a room at the studio until recently, which allowed Grant to receive input from Nic from the start of projects.
Before being an editor Nic was a DJ so he works with some really lo-fi equipment to create his sounds. He mixed the entire film at the studio before sending it to be professionally mixed, however they sent it back saying it was already spot on.
Grants initial idea for the final scene was to use an aggressive track, Aphex Twin’s “Come to Daddy”. However Nic suggested a funnier approach, using Brazilian carnival music.
Amid: There’s a phone app featured in your film that looks like a lot of fun. Have you ever considered making that into a real game because I would be the first in line to buy it.
The game up featured in the film is currently in development discussion by a games company, “which is incredible, because when I came up with it I just thought what would be the most distracting and silliest app you could get”.
http://www.cartoonbrew.com/shorts/oscar-focus-grant-orchard-talks-about-“a-morning-stroll”-57420.html
Dave PRosser
Basic information about David Prosser:
Links:
http://pappapamplemousse.tumblr.com
https://twitter.com/daveprosser
https://www.studioaka.co.uk/People/daveprosser
https://twitter.com/mothcollective
http://www.mothcollective.co.uk
http://www.cartoonbrew.com/promote-article/dave-prosser-86605.html
Dave is a animation director at StudioAKA whose work is focused around a bold and playful design aesthetic which is strongly rooted in drawing.
Education:illustration at Norwich School of Art and Design, Design and Animation at Royal College of Art.
Awards:Thesis film ‘Matter Fisher’ won many international awards and was nominated for a BAFTA. in 2011.
Recent short film: Mountain.
He also took part in the creation of ‘I will miss you’ as part of the portmanteau project Ghost Stories along side the ‘Late night work club’. (A rotating group of animators who work hard to create personal work outside of the commercial world during the night).
Dave is also part of MOTH collective alongside two other Royal college of arts graduates Daniel Chester and Marie-Margaux Tsakiri. They collaborate together on projects that explore everything that is drawn. They appear to have an interest in raising awareness for the environment judging from some of their animations.
Links:
http://pappapamplemousse.tumblr.com
https://twitter.com/daveprosser
https://www.studioaka.co.uk/People/daveprosser
https://twitter.com/mothcollective
http://www.mothcollective.co.uk
http://www.cartoonbrew.com/promote-article/dave-prosser-86605.html
Dave is a animation director at StudioAKA whose work is focused around a bold and playful design aesthetic which is strongly rooted in drawing.
Education:illustration at Norwich School of Art and Design, Design and Animation at Royal College of Art.
Awards:Thesis film ‘Matter Fisher’ won many international awards and was nominated for a BAFTA. in 2011.
Recent short film: Mountain.
He also took part in the creation of ‘I will miss you’ as part of the portmanteau project Ghost Stories along side the ‘Late night work club’. (A rotating group of animators who work hard to create personal work outside of the commercial world during the night).
Dave is also part of MOTH collective alongside two other Royal college of arts graduates Daniel Chester and Marie-Margaux Tsakiri. They collaborate together on projects that explore everything that is drawn. They appear to have an interest in raising awareness for the environment judging from some of their animations.
Mountain info:
“Seoul was such a busy vibrant city that I knew before arriving it would be something quite different. It’s hard to capture the array of beautiful patterns but I tried to make it as bold and graphic as I could, clashing designs and textures. I also really wanted to show the array of colours from the smoggy morning haze to the stark neon night and capture the rhythm of the city, so all of this influenced the decision to make the film a linear ‘day in the life’. All the characters were animated in Flash and the backgrounds created in Photoshop. The characters are archetypes, the Salaryman, the Teenager and the Market lady.”
http://motionographer.com/2012/07/23/studio-aka-david-prossers-mountain/
“Seoul was such a busy vibrant city that I knew before arriving it would be something quite different. It’s hard to capture the array of beautiful patterns but I tried to make it as bold and graphic as I could, clashing designs and textures. I also really wanted to show the array of colours from the smoggy morning haze to the stark neon night and capture the rhythm of the city, so all of this influenced the decision to make the film a linear ‘day in the life’. All the characters were animated in Flash and the backgrounds created in Photoshop. The characters are archetypes, the Salaryman, the Teenager and the Market lady.”
http://motionographer.com/2012/07/23/studio-aka-david-prossers-mountain/
Dave Prosser - Skwigly Interview
The interview was held with David Prosser, almost one year after his BAFTA nod to see how he overcame the challenges involved in his first job directing a commercial for a Norwegian oil company at Studio AKA.
About project and what the concept is:
Story of commercial: Girl becomes curious about what her father ‘actually’ does at work. This goes into the girl’s vivid imagination inspired by her dad’s explanation of his work far out at sea and how his job is challenging and filled with obstacles. Once her imagination ends we are brought back to reality in the her bedroom, where she falls asleep.
Concept: book ended with live-action to ground the story in the real world. So they needed to integrate a seamless transition from this reality into the animated imagination sequence. To do this he found that the family car, a familiar safe environment which is associated with long journeys, would be the best place for this transition. It also helps keep track of both characters, amongst all the chaos.
Studio AKA have a vast array of talented artists and designers, were you chosen for the project or do you have to pitch?
The idea that Studio AKA has a vast amount of designer is a popular misconception, which he assumes must be caused by the visual array of styles presented by the studio, the AKA lineup is actually surprisingly small. Each director is very creatively versatile.
Stages:
1)In this circumstance the project brief required all the directors in-house to pitch. He’s pitch was chosen by the agency (McCann Oslo).
2)Given the chance to develop it further to present on to the client.
3)Come up with various design ideas/concepts.
4)Commissioned to develop a moving test. Helps the client visualise some of the relatively ‘expressive’ concept drawings and how they would translate to 3D.
Having extra weeks developing the aesthetics of the pitch was a luxury, it seems more and more often this is being asked for when pitching.
They were lucky to have this stage be funded as it is a rare occurrence these days. The moving test succeeded in selling the concept in to the client.
The RCA prepare their students to a high level , with this being your first professional project with the studio, were you prepared for the jump from student film to professional commission?
-There is no substitute for actual industry experience and this is something that university couldn’t possibly prepare me for. Did help secure an internship at STUDIO AKA.
-The difficulties of working all night on a student film, cold sweats, not eating properly is probably one best confined to every few years.
-At work you try to contain the work within the working day. I like it, it makes you more pragmatic (dealing with things sensibly and realistically in a way that is based on practical rather than theoretical considerations).
-The experience of working with such a large team at AKA was important, he was blown away by what the 3D team could do.It was a massive learning curve for me. Although throughout, Marc Craste, the senior director at Studio AKA was always on hand as a consultant to the project, and having senior producer Nikki Kefford at the helm made the whole experience less daunting.
How much creative space did the advertising agency give you? How much responsibility did you have for the style or content?
The client: McCann, they trusted the teams understanding of the world and the characters and were pretty much hands off throughout, style wise has barley been doctored. The client trusted in the company’s capabilities and had huge respect for the studio, which made the production process pleasurable all round. The original script that was pitched was far too long, it was condensed and they were free to interpret within reason. There was various characters that they were desperate to include, notably the troll, which I was able to steer out of the direction of the typical Norwegian design.
What was the inspiration behind the style and content of the advert?
-Include cross over in the transition from live-action to animation so there are objects from the girl’s room which are reflected in the animation and vice a versa (if you look closely you can see the troll and the octopus!).
-The world had to be playful enough to reflect the young girl’s imagination and not too dark, but still reflect the apparent dangers of the ocean and the obstacles that have to be overcome in this line of work.
-They’re is also layers of 2D animated objects and loose 2D linework throughout the animated world, an element that suggests childlike drawing, slight naive imperfections that give a depth to the spot and also an element of my signature.
Before joining the RCA you had never really animated before with your training and from a director’s point of view, do you think as an artist or animator?
In the commercial world more than any you have to wear many hats and often some at the same time. He doesn’t think you can survive just being one in the commercial domain.
How did the communication between a Norwegian and British companies effect the project? What were the challenges?
There weren’t many challenges with the agency/studio relationship in particular but communicating ideas and constraints to the live-action director was a little more problematic. As we would be tracking animation into the live-action some things were occasionally overlooked in the frenzy of the one day shoot.
In your last interview with us you said “I never really wanted to become an animator; I’d much prefer to be an illustrator”. Has your experience in the last year altered that perception?
I’d still like to sit and spend more time on static images, it’s not that I don’t want to be an animator its just that I never imagined I would be.
How would you advise an animator or company aspiring to find work in the world today? With this being an Anglo-Norwegian collaboration would you say the opportunity to find work anywhere in the world is still plentiful?
It seems there’s still plenty of work out there, and on many pitches we seem to be competing globally.
In my experience to date the American agencies tend to expect a more concise and developed pitch, with a greater variety of possibilities.
Key to finding work is to be visible in the commercial arena, which for me has been enabled by Studio aka.
To pitch you have to be true to yourself creatively, and create something that you feel confident you are able to execute to high standard within the parameters of the sometimes restrictive commercial boundaries.
Do you have time to work on any personal projects? Marc Craste worked on ‘Jo Jo and the Stars’ whilst doing commercial work, have you been lucky enough to find the time?
It’s been tricky as I’ve only been at Studio AKA just over a year and so have been busy learning the ropes.
Had the opportunity to work on some internal projects that will hopefully manifest themselves sometime in the future.
I’ve been working with Mike Please developing some early concept work for his epic sci-fi feature.
http://www.skwigly.co.uk/david-prosser-statoil/
About project and what the concept is:
Story of commercial: Girl becomes curious about what her father ‘actually’ does at work. This goes into the girl’s vivid imagination inspired by her dad’s explanation of his work far out at sea and how his job is challenging and filled with obstacles. Once her imagination ends we are brought back to reality in the her bedroom, where she falls asleep.
Concept: book ended with live-action to ground the story in the real world. So they needed to integrate a seamless transition from this reality into the animated imagination sequence. To do this he found that the family car, a familiar safe environment which is associated with long journeys, would be the best place for this transition. It also helps keep track of both characters, amongst all the chaos.
Studio AKA have a vast array of talented artists and designers, were you chosen for the project or do you have to pitch?
The idea that Studio AKA has a vast amount of designer is a popular misconception, which he assumes must be caused by the visual array of styles presented by the studio, the AKA lineup is actually surprisingly small. Each director is very creatively versatile.
Stages:
1)In this circumstance the project brief required all the directors in-house to pitch. He’s pitch was chosen by the agency (McCann Oslo).
2)Given the chance to develop it further to present on to the client.
3)Come up with various design ideas/concepts.
4)Commissioned to develop a moving test. Helps the client visualise some of the relatively ‘expressive’ concept drawings and how they would translate to 3D.
Having extra weeks developing the aesthetics of the pitch was a luxury, it seems more and more often this is being asked for when pitching.
They were lucky to have this stage be funded as it is a rare occurrence these days. The moving test succeeded in selling the concept in to the client.
The RCA prepare their students to a high level , with this being your first professional project with the studio, were you prepared for the jump from student film to professional commission?
-There is no substitute for actual industry experience and this is something that university couldn’t possibly prepare me for. Did help secure an internship at STUDIO AKA.
-The difficulties of working all night on a student film, cold sweats, not eating properly is probably one best confined to every few years.
-At work you try to contain the work within the working day. I like it, it makes you more pragmatic (dealing with things sensibly and realistically in a way that is based on practical rather than theoretical considerations).
-The experience of working with such a large team at AKA was important, he was blown away by what the 3D team could do.It was a massive learning curve for me. Although throughout, Marc Craste, the senior director at Studio AKA was always on hand as a consultant to the project, and having senior producer Nikki Kefford at the helm made the whole experience less daunting.
How much creative space did the advertising agency give you? How much responsibility did you have for the style or content?
The client: McCann, they trusted the teams understanding of the world and the characters and were pretty much hands off throughout, style wise has barley been doctored. The client trusted in the company’s capabilities and had huge respect for the studio, which made the production process pleasurable all round. The original script that was pitched was far too long, it was condensed and they were free to interpret within reason. There was various characters that they were desperate to include, notably the troll, which I was able to steer out of the direction of the typical Norwegian design.
What was the inspiration behind the style and content of the advert?
-Include cross over in the transition from live-action to animation so there are objects from the girl’s room which are reflected in the animation and vice a versa (if you look closely you can see the troll and the octopus!).
-The world had to be playful enough to reflect the young girl’s imagination and not too dark, but still reflect the apparent dangers of the ocean and the obstacles that have to be overcome in this line of work.
-They’re is also layers of 2D animated objects and loose 2D linework throughout the animated world, an element that suggests childlike drawing, slight naive imperfections that give a depth to the spot and also an element of my signature.
Before joining the RCA you had never really animated before with your training and from a director’s point of view, do you think as an artist or animator?
In the commercial world more than any you have to wear many hats and often some at the same time. He doesn’t think you can survive just being one in the commercial domain.
How did the communication between a Norwegian and British companies effect the project? What were the challenges?
There weren’t many challenges with the agency/studio relationship in particular but communicating ideas and constraints to the live-action director was a little more problematic. As we would be tracking animation into the live-action some things were occasionally overlooked in the frenzy of the one day shoot.
In your last interview with us you said “I never really wanted to become an animator; I’d much prefer to be an illustrator”. Has your experience in the last year altered that perception?
I’d still like to sit and spend more time on static images, it’s not that I don’t want to be an animator its just that I never imagined I would be.
How would you advise an animator or company aspiring to find work in the world today? With this being an Anglo-Norwegian collaboration would you say the opportunity to find work anywhere in the world is still plentiful?
It seems there’s still plenty of work out there, and on many pitches we seem to be competing globally.
In my experience to date the American agencies tend to expect a more concise and developed pitch, with a greater variety of possibilities.
Key to finding work is to be visible in the commercial arena, which for me has been enabled by Studio aka.
To pitch you have to be true to yourself creatively, and create something that you feel confident you are able to execute to high standard within the parameters of the sometimes restrictive commercial boundaries.
Do you have time to work on any personal projects? Marc Craste worked on ‘Jo Jo and the Stars’ whilst doing commercial work, have you been lucky enough to find the time?
It’s been tricky as I’ve only been at Studio AKA just over a year and so have been busy learning the ropes.
Had the opportunity to work on some internal projects that will hopefully manifest themselves sometime in the future.
I’ve been working with Mike Please developing some early concept work for his epic sci-fi feature.
http://www.skwigly.co.uk/david-prosser-statoil/
Marc Craste - Pictoplasma Talks
Saw animation when he was small and really liked the idea of taking a drawing and giving life to it, it became a life long dream.
Hanna Barbera style animation didn’t appeal to him, it wasn’t really satisfying, wasn’t high quality. So he moved on to commercials because they have the budget to allow you to make interesting stuff. The problem is that the only satisfaction then comes from the technical point of view of how to tell a story and how to explore different layers of design. So what he does is create a bunch of stuff that don’t necessarily appeal to him but try to meet requirements of given brief. Thinks very often animation works when it is simpler, the more complex it gets, the more your asking the audience to believe, more difficult to convey deep emotion. But doesn't always work that way. Whats most important for him is having some sort of endearing qualities to the character so that you can actually care regardless of what its doing. https://vimeo.com/6064515 |
Studio AKA
One of the UK’s most innovative and stylish animation houses.
About the company: The studio was built in order to allow these things to happen: -A group of creatively diverse artists, often work in close collaboration with each other as part their studio process. -Enjoy working with interesting people. -Aim to create work that is long lived. We consult, propose & design our work to suit the brief and the projects ambition. Above all we strive to ensure that our clients & collaborators can never assume they have seen all that we are capable of doing, and our reel speaks for itself in this regard … They have a reputation for finding uniquely appropriate solutions to creative propositions. This allows them to work closely with some of the best agencies & creatives around he world. Most of what they do is focused on the journey of creating rather than the final outcome, discarded ideas, concepts set aside or work lost on the way. For the most part these images are stuffed into a drawer or placed on a shelf, but some are put on the studio walls. http://www.studioaka.co.uk |
Concept art by Steve small.
|
Trunk Animation
Jaguar C-X17 - Rok Predin
Seed animation studio
IMO Shipshape- Alasdair + Jock
Gunze- Morgan Powell
Gunze from Seed Animation Studio on Vimeo.
Studio Ghibli
180 ° Vacancy Brief Notes:
The initial animation companies I was interested in were:
Tutorial Notes:
-Presentation shows video of documentation of research, and talk about it in presentation
-Ethos who they are as a collective design group
-Theres a question about a company and I approach the company trying to answer that particular question you have about the company, this way it will engage them. e.g are they just greenwashing.(asks questions regarding that)
-Social media, email, interview, events.
-Understand how people perceive that company through what they do.
-Put your on input, your understand of company.
-Talk about something that is deeper than a promo video.This is how they do, they are doing something different then they thought they are, or say they are, find out something about them.
-Example of theme for questions- Interdisciplinary
-Easier to approach medium size companies. Big ones are too spread out. Small ones are too busy. Junior designer.
-What you want, who you want to speak with, how you need?
-Have about 5 research companies, try to make some contact into that company.
-Into the huge fanbase of studio Ghilbli. Try to find someone that speaks Japanese.
-The contacts they present on the company also depends on the ethos of the company.
-Ask very specific questions, what do you think about?
-Question about specific campaign or product, a particular person, ethos of company, or something particular about company. BE SPECIFIC ABOUT WHAT U ARE RESEARCHING.
- Studio Ghibli- Problem is they are based in Japan and it is hard to get in contact especially since I don't speak or know anybody who speaks Japanese.
- DreamWorks - Big companies outside London/UK are harder to reach
- Pixar - Big companies outside London/UK are harder to reach
Tutorial Notes:
-Presentation shows video of documentation of research, and talk about it in presentation
-Ethos who they are as a collective design group
-Theres a question about a company and I approach the company trying to answer that particular question you have about the company, this way it will engage them. e.g are they just greenwashing.(asks questions regarding that)
-Social media, email, interview, events.
-Understand how people perceive that company through what they do.
-Put your on input, your understand of company.
-Talk about something that is deeper than a promo video.This is how they do, they are doing something different then they thought they are, or say they are, find out something about them.
-Example of theme for questions- Interdisciplinary
-Easier to approach medium size companies. Big ones are too spread out. Small ones are too busy. Junior designer.
-What you want, who you want to speak with, how you need?
-Have about 5 research companies, try to make some contact into that company.
-Into the huge fanbase of studio Ghilbli. Try to find someone that speaks Japanese.
-The contacts they present on the company also depends on the ethos of the company.
-Ask very specific questions, what do you think about?
-Question about specific campaign or product, a particular person, ethos of company, or something particular about company. BE SPECIFIC ABOUT WHAT U ARE RESEARCHING.
PART 1: Essay Brief
“Good Design Creates Change, But Is It Too Big A Responsibility For Designers Alone”
Design for people
I think this example goes well with what Prestero was talking about in his TED video.
If you design for designers you create amazing work that will get you a lot of money and win you awards, but it might not really fulfil the needs of the public, maybe their consumer wants but not their real needs. This means that the design might not create a positive change in the community since it is not helping people. If design work for designer , how will the public be able to relate to it and understand it, if it doesn't speak their language.
http://www.fastcodesign.com/1671247/bite-size-bits-of-design-wisdom-made-in-just-5-minutes#3
If you design for designers you create amazing work that will get you a lot of money and win you awards, but it might not really fulfil the needs of the public, maybe their consumer wants but not their real needs. This means that the design might not create a positive change in the community since it is not helping people. If design work for designer , how will the public be able to relate to it and understand it, if it doesn't speak their language.
http://www.fastcodesign.com/1671247/bite-size-bits-of-design-wisdom-made-in-just-5-minutes#3
Frank Chimero -“People ignore design that ignores people”
Users are a central element of your product, or your site, or your brand.
We cannot be selfish and design according to our likes and dislikes. I think this is important especially since everything we put on a page or service has a mean and reason, it could symbolise different things to people in different cultures, so by just adding and using something because we like it could ignore the meaning users place to them and not represent their community. e.g the number 4 in Chinese culture is seen as unlucky because of how it is pronounce almost the same way as the word 'Death' . Similar to how Its easy to make something that is beautiful. But making it not only beautiful, but able to communicate a message to the target audience, is a success in itself
The opinions and taste of the user may differ from the designers. This opinions and ideas might not always be the best howeverI think that they will probably contain and provide a useful insight into the user and their lives, more so then an observation or interview.
The iPad is an example of a good design because of how a 4 year old is able to intuitively know what to do with it despite it being their first time. This is the result of a carefully planned design and thoughtful design consideration. However I think this technology could do more and go beyond just being a consumer product, but a solution for this might be provided through the apps it has many of them are productive and educational. A design and business should highlight user needs, within the context of their business and technology needs
Design involves the creation or recreation of things. A good design considers the point of view of the user and their needs, this results in complex things being made simpler, improving user experience while allowing room for future technologies to be added onto it since the design is focusing on the people, rather than marketplace trends and profit.
http://www.writingfordesigners.com/?p=7209
http://creatroopers.com/people-ignore-design-that-ignores-people/
We cannot be selfish and design according to our likes and dislikes. I think this is important especially since everything we put on a page or service has a mean and reason, it could symbolise different things to people in different cultures, so by just adding and using something because we like it could ignore the meaning users place to them and not represent their community. e.g the number 4 in Chinese culture is seen as unlucky because of how it is pronounce almost the same way as the word 'Death' . Similar to how Its easy to make something that is beautiful. But making it not only beautiful, but able to communicate a message to the target audience, is a success in itself
The opinions and taste of the user may differ from the designers. This opinions and ideas might not always be the best howeverI think that they will probably contain and provide a useful insight into the user and their lives, more so then an observation or interview.
The iPad is an example of a good design because of how a 4 year old is able to intuitively know what to do with it despite it being their first time. This is the result of a carefully planned design and thoughtful design consideration. However I think this technology could do more and go beyond just being a consumer product, but a solution for this might be provided through the apps it has many of them are productive and educational. A design and business should highlight user needs, within the context of their business and technology needs
Design involves the creation or recreation of things. A good design considers the point of view of the user and their needs, this results in complex things being made simpler, improving user experience while allowing room for future technologies to be added onto it since the design is focusing on the people, rather than marketplace trends and profit.
http://www.writingfordesigners.com/?p=7209
http://creatroopers.com/people-ignore-design-that-ignores-people/
http://izquotes.com/quotes-pictures/quote-the-media-s-the-most-powerful-entity-on-earth-they-have-the-power-to-make-the-innocent-guilty-and-malcolm-x-202665.jpg
I think is quote is linked to my essay question because it talks about the impact that media has in controlling the public, design is also part of media. When talking about turning the innocent guilty or the guilty innocent, this can also be applied to the image of a product or brand. A product that might have or is considered to have bad connotations can be presented as beneficial to the community, by re-representing it in a good way.
I think is quote is linked to my essay question because it talks about the impact that media has in controlling the public, design is also part of media. When talking about turning the innocent guilty or the guilty innocent, this can also be applied to the image of a product or brand. A product that might have or is considered to have bad connotations can be presented as beneficial to the community, by re-representing it in a good way.
Co-Design and participatory design
The following is useful information I go from:
http://www.tandfonline.com/doi/full/10.1080/15710880701875068#abstract
http://www.tandfonline.com/doi/full/10.1080/15710880701875068#abstract
Nigel Cross -“There is certainly a need for new approaches to design if we are to arrest the escalating problems of the man-made world and citizen participation in decision making could possibly provide a necessary reorientation. Hence this conference theme of ‘user participation in design”.
The ideas generated are relevant. Relevance to users means simultaneously useful, usable and desirable.
People want to express themselves and to participate directly and proactively in the design development process.http://maketools.com/articles-papers/FromUsercenteredtoParticipatory_Sanders_%2002.pdf
People want to express themselves and to participate directly and proactively in the design development process.http://maketools.com/articles-papers/FromUsercenteredtoParticipatory_Sanders_%2002.pdf
Allowing users to take part in the design process is depends on their level of expertise, passion, and creativity. Everybody possess some level of creativity. There are 4 levels of creativity in everyday life :Doing, adapting, making and creating.
The effectiveness of this levels depend on the amount of expertise and interest needed for a project and the end results improves with each level.
In everyday life people put all 4 stages in to practise depending on the task they are doing. e.g they might create a new recipe and adapting to a new software.
The effectiveness of this levels depend on the amount of expertise and interest needed for a project and the end results improves with each level.
In everyday life people put all 4 stages in to practise depending on the task they are doing. e.g they might create a new recipe and adapting to a new software.
A creative industry example of Co-design: This photograph shows nurses co-designing the ideal future patient room using a three-dimensional toolkit for generative prototyping
In co-design the user is given the position of ‘expert of his/her experience’ and is involved in knowledge development, idea generation and concept development.
I think the above is a perfect example of seeing the user as the expert. No one knows better than a nurse (and a patient) what is the most convenient and comfortable environment for treating of a patient, than a nurse.
In co-design the user is given the position of ‘expert of his/her experience’ and is involved in knowledge development, idea generation and concept development.
I think the above is a perfect example of seeing the user as the expert. No one knows better than a nurse (and a patient) what is the most convenient and comfortable environment for treating of a patient, than a nurse.
In user-centred design process, the user is a passive object of study, and the researcher used theories and developed their knowledge through observation and interviews. which was then passed passed on as a report to apply their creative thinking to it, to generate ideas.
Issue with adopting co-design:
User centred design was a good approach for the creation of consumer products.
In many countries the needs that capitalism worked to fulfil have already been achieved causing new needs to be created. Which contrasts with other parts in the world where basic human needs are not being met such as clean water. Elizabeth B, N. Sandersa* & Pieter Jan Stappers’s research shows that people want a balance between the passive consumerism present in capitalism, and the ability to engage in more creative experiences to solve problems, with the sustainability trend is reinforcing.
User centred design was a good approach for the creation of consumer products.
In many countries the needs that capitalism worked to fulfil have already been achieved causing new needs to be created. Which contrasts with other parts in the world where basic human needs are not being met such as clean water. Elizabeth B, N. Sandersa* & Pieter Jan Stappers’s research shows that people want a balance between the passive consumerism present in capitalism, and the ability to engage in more creative experiences to solve problems, with the sustainability trend is reinforcing.
Eric von Hippel (2005) works with ‘lead users’ in co-creative activities. Lead users are people who have come up and worked with innovative ways to create things and are willing to share their approaches with others.
Patricia Seybold (2006) works with ‘lead customers’, the small percentage of customers who are ‘truly’ creative.
The von Hippel and Seybold approaches to co-creation limit participation in the design process to an elite and very carefully selected group of people. It is unclear whether these elite groups of people are able to accurately represent and speak for the majority of people who will eventually used the final product being developed.
Patricia Seybold (2006) works with ‘lead customers’, the small percentage of customers who are ‘truly’ creative.
The von Hippel and Seybold approaches to co-creation limit participation in the design process to an elite and very carefully selected group of people. It is unclear whether these elite groups of people are able to accurately represent and speak for the majority of people who will eventually used the final product being developed.
Design Ethics
http://mlab.uiah.fi/polut/Yhteiskunnalliset/lisatieto_ethics_primer.html
I don't think that there is a single right solutions that can meet the ethics and morals of the masses. Everything is up to the circumstances of the situation for example someone people are against killing another being, but still find the death penalty acceptable, while others are completely against harming another human even if they are criminal.
Trying to produce something that is accepted by the mass with no objects is also very hard because very choice has pros and cons, its impossible to satisfy everybody. But still I think designers need to work hard to satisfy the needs of as much people as possible if that benefits them and the community.
Things to consider:
• Does the need of the many outweight the need of a one (or vice versa)?
In some cases such as Pilloton focusing on the needs of a small community can be the starting pointing for something bigger, but I think its necessary to start somewhere, and assess the effectiveness of that design. Which means that the designer can apply and adapt what they learned from working with one community to many others.
• Are you solving the problem or merely contributing less to it?
I think that if you start something you need to go through with it, if it's something that you really believe in. However if contributing less is a start I think it is okay as long as you develop that further.
• Beware of 'greenwashing' (appearing to be ecological just for the added marketability)?
This can apply to other things as well. I don't think that a designer should include or use something that is a trend and popular into their design just to fit in and gain profit, unless it holds a deeper meaning a reason.
• Learn to identify what people really need instead of what they want, because of external influences
People might want the new iPhone model to come out sooner, but do they really need it if there perfectly good iPhone is still functioning correctly and is relatively new.
• Humans use things, but that does not make them users (i.e. they are much more complex in scope than the idea of “user” conveys)- I think that this is why co-design is so important, the user is seen as the expect in knowledge about themselves and their community, this allows the design to be more personal and qualitative.
• Beware of the user image that you conjure up in your mind – it is a limited image of a human being. - I agree.
Designers have responsibilities to:
Ourselves
Family and friends
Our business and brand
All the people our business supports
Our clients
The customers of our clients
Other designers
Society in general
This responsibilities impact our ethics and morals and consequently what we design.
“creatives” have more of a tendency to give up personal benefit for the greater good. That’s hardly limited to creative people of course, but “creatives” seem to consider the greater good a little more than the average person. http://www.vanseodesign.com/web-design/ethical-designer/
I don't think that there is a single right solutions that can meet the ethics and morals of the masses. Everything is up to the circumstances of the situation for example someone people are against killing another being, but still find the death penalty acceptable, while others are completely against harming another human even if they are criminal.
Trying to produce something that is accepted by the mass with no objects is also very hard because very choice has pros and cons, its impossible to satisfy everybody. But still I think designers need to work hard to satisfy the needs of as much people as possible if that benefits them and the community.
Things to consider:
• Does the need of the many outweight the need of a one (or vice versa)?
In some cases such as Pilloton focusing on the needs of a small community can be the starting pointing for something bigger, but I think its necessary to start somewhere, and assess the effectiveness of that design. Which means that the designer can apply and adapt what they learned from working with one community to many others.
• Are you solving the problem or merely contributing less to it?
I think that if you start something you need to go through with it, if it's something that you really believe in. However if contributing less is a start I think it is okay as long as you develop that further.
• Beware of 'greenwashing' (appearing to be ecological just for the added marketability)?
This can apply to other things as well. I don't think that a designer should include or use something that is a trend and popular into their design just to fit in and gain profit, unless it holds a deeper meaning a reason.
• Learn to identify what people really need instead of what they want, because of external influences
People might want the new iPhone model to come out sooner, but do they really need it if there perfectly good iPhone is still functioning correctly and is relatively new.
• Humans use things, but that does not make them users (i.e. they are much more complex in scope than the idea of “user” conveys)- I think that this is why co-design is so important, the user is seen as the expect in knowledge about themselves and their community, this allows the design to be more personal and qualitative.
• Beware of the user image that you conjure up in your mind – it is a limited image of a human being. - I agree.
Designers have responsibilities to:
Ourselves
Family and friends
Our business and brand
All the people our business supports
Our clients
The customers of our clients
Other designers
Society in general
This responsibilities impact our ethics and morals and consequently what we design.
“creatives” have more of a tendency to give up personal benefit for the greater good. That’s hardly limited to creative people of course, but “creatives” seem to consider the greater good a little more than the average person. http://www.vanseodesign.com/web-design/ethical-designer/
Examples
I think this design is a good example of trying to use the influence designers have on the public to change opinion towards an issue. Milton Glaser’s is trying to change how people see global warming. He believes that change the phrase “global warming” sounds comforting and non-threatening. So using the word dying, give more negative connotations to the situation of the planet, and a sense of urgency and seriousness to the problem.
|
Three students from Leeds University. Responded to the Victoria’s Secret ‘Perfect Body’ Campaign by replacing the skinny models with average women with all shapes and sizes. This is a designer expressing their on ethics and morals that opposes the beliefs of the company. These students believe they are helping the community by sending a positive message that what a perfect body is, is subjective to each person and you don't need to feel bad about yourself if you don't look like the models on the campaign poster.
|
3D Printing technology
Printed Gun
Below is useful information I got from the following two links.
http://www.dailymail.co.uk/sciencetech/article-2630473/The-terrifying-reality-3D-printed-guns-Devices-ANYONE-make-quickly-evolving-deadly-weapons.html
http://www.shareable.net/blog/printing-guns-open-source-at-its-limits
3D-printing organisation Defense Distributed obtained a federal license to manufacture and sell 3D-printed guns. When co-founder and director Cody Wilson’s design the Liberator was revealed, it sparked major controversy – some saw it as nothing more than a toy, others warned it was a serious security risk that was undetectable by metal detectors, generating concern from the government. But the
3D-printing gun enthusiasts gathered at a website called Fosscad (Free Open Source Software & Computer Aided Designs), point out that the guns need a metal firing pin and ammo, which would set a metal detector off.
users share their designs for 3D-printed guns, which can be downloaded by anyone, allowing people that have a 3D printer to print their own gun. MailOnline asked some of the users about how this technology has changed over the last year, and where told that a decent amount of knowledge about 3D printing and assembly is required, and although many attempts have taken place, ammo most have failed to print and work. However they did recognise the potential threat of injuring or killing a human with this ‘toy’ guns. The initial design could hold just one bullet, but now some have revolving barrels that can hold six or more, for example the ‘The Grizzly, a 3D-printed rifle capable of firing .22-calibre bullets.
In countries like in the UK for example where access to guns are much harder, this designs could pose a significant threat. Similarly In Japan, a man was arrested for possession of 3D printed fire arms.
Additionally a person by the username Duce shared a image of a machine gun model demonstrating the section (blue) that can so far be recreated using this technology, although the community is still not sure if the remaining parts can also be made.
When asked why he did what he did Cody responded with "I did it because I decided that process isn't the way to preserve liberty. I don't believe in Romney vs Obama. I believe in real politics. That's a real political act, that's radical equality. That's what I believe in.” Which is a sense is he’s belief that this technology and idea is benefiting the community by giving them a way to stand up against control and authorities. With this same trail of thought he also introduced the Defcad Search search engine, where 3D-printing models can be found unblock and open sourced and will not be taken down, which he believes will be a force against the government’s objection to future printed objects and technologies, the important “The things that institutions and industries have an interest in keeping from us” instead of decorations.
http://www.dailymail.co.uk/sciencetech/article-2630473/The-terrifying-reality-3D-printed-guns-Devices-ANYONE-make-quickly-evolving-deadly-weapons.html
http://www.shareable.net/blog/printing-guns-open-source-at-its-limits
3D-printing organisation Defense Distributed obtained a federal license to manufacture and sell 3D-printed guns. When co-founder and director Cody Wilson’s design the Liberator was revealed, it sparked major controversy – some saw it as nothing more than a toy, others warned it was a serious security risk that was undetectable by metal detectors, generating concern from the government. But the
3D-printing gun enthusiasts gathered at a website called Fosscad (Free Open Source Software & Computer Aided Designs), point out that the guns need a metal firing pin and ammo, which would set a metal detector off.
users share their designs for 3D-printed guns, which can be downloaded by anyone, allowing people that have a 3D printer to print their own gun. MailOnline asked some of the users about how this technology has changed over the last year, and where told that a decent amount of knowledge about 3D printing and assembly is required, and although many attempts have taken place, ammo most have failed to print and work. However they did recognise the potential threat of injuring or killing a human with this ‘toy’ guns. The initial design could hold just one bullet, but now some have revolving barrels that can hold six or more, for example the ‘The Grizzly, a 3D-printed rifle capable of firing .22-calibre bullets.
In countries like in the UK for example where access to guns are much harder, this designs could pose a significant threat. Similarly In Japan, a man was arrested for possession of 3D printed fire arms.
Additionally a person by the username Duce shared a image of a machine gun model demonstrating the section (blue) that can so far be recreated using this technology, although the community is still not sure if the remaining parts can also be made.
When asked why he did what he did Cody responded with "I did it because I decided that process isn't the way to preserve liberty. I don't believe in Romney vs Obama. I believe in real politics. That's a real political act, that's radical equality. That's what I believe in.” Which is a sense is he’s belief that this technology and idea is benefiting the community by giving them a way to stand up against control and authorities. With this same trail of thought he also introduced the Defcad Search search engine, where 3D-printing models can be found unblock and open sourced and will not be taken down, which he believes will be a force against the government’s objection to future printed objects and technologies, the important “The things that institutions and industries have an interest in keeping from us” instead of decorations.
http://uproxx.com/technology/2015/01/easton-lachappelle-luminary/
I think that unlike Cody Wilson's approach of making 3D printing open source to the public using printed guns, LaChappelle's design is much easier to be seen as a good design since it has less negative connotations(if any) with it. He's design is helping patients and healthcare technology to develop into something cheaper yet effective.
I think that unlike Cody Wilson's approach of making 3D printing open source to the public using printed guns, LaChappelle's design is much easier to be seen as a good design since it has less negative connotations(if any) with it. He's design is helping patients and healthcare technology to develop into something cheaper yet effective.
TED talks: Designign with community to create change examples
This video really caught my attention, I immediately remembered and related it to my essay question as soon as I came up with it.
I like example because it raises the question of what is a good design. Pressure's work was worth an award and gained recognition for being the perfect design for an incubator for less developed countries, but if it never reached the people it was made of can it really be considered a good design. He was unable to put these incubators into practise so they were not able to help and create a positive change, that unfortunately takes away from the greatness of his creation.
I like example because it raises the question of what is a good design. Pressure's work was worth an award and gained recognition for being the perfect design for an incubator for less developed countries, but if it never reached the people it was made of can it really be considered a good design. He was unable to put these incubators into practise so they were not able to help and create a positive change, that unfortunately takes away from the greatness of his creation.
Presentation notes:
To bring a design perceptive in the repair school district.
Project H Design
3 approaches-
1.Design For education (6.build) improved Spaces, materials, experiences:
-Renovate computer labs. Change it into a more convivial and social space more accessible.
-Co-creation with teachers of an educational playground system the learning landscape- elementary school kids to learn core subjects through activities and game play. = Impact of learning landscape= greater comfort level with material higher test scores. Teacher can also assess how students are understanding new material.
-Shared ownership with teacher so that they have the incentive and the desire to use them.
2. Redesigning education (3. design systems, not stuff) Services, strategies markets.
- Connect Bertie campaign by putting desktop computer and broadband internet in every home with a child in the a public school only 10% of houses have in home internet connection at the moment. Wifi is only at school or at a fried chicken restaurant.= asked school system to envision how it can become a catalyst to a more connected community, reach out of school walls.
-Connect the classroom and the home and learning beyond the school day.
3.Design as education (2.Design with not for) Community-focused design curricula and shop class renaissance.
-This means we can teach design within public schools. Learn design thinking + real construction and fabrication skills put towards a local community purpose= designers no longer consultant but also teachers for growing creative capital within the next generation.
-Shop class traditionally for kids that wont go college its vocational training path. Projects like making a gifts. Change it to revolve around things needed by the community. Infuse shop class with more critical and creative design thinking studio process.
one year curriculum for a high school junior class. 3 hours a day in studio doing ethnographic research, need finding,brainstorming, design visualisation, coming up with ideas then testing through prototypes in the shop and refining them.
Students are offered a paid job as part of the construction team to put projects into action.
Examples: Open air farmers shop, bus shelter for school, home improvements for elderly. = real visible projects which the students can point to and proudly say they helped build it.
Giving back to the community: Project H help students give back to the community and develop skills for future creative careers.
The they get more involved with their own community abandoned buildings become the classroom, researching and interacting/interviewing with the community/neighbours becomes the homework, the opening of the market is the final exam.
-Youth becomes biggest asset and resource in building a new future for the community.
I think this is a good example of co-design, she is not only included teacher- the works of that business, but also students, the to main people involved in the issue and effected by it.
- Bertie county: Economy mostly Agriculture cotton and tobacco biggest employer chicken processing plant
- Hollowing out of Bertie county small towns- become ghost towns. more buildings empty and disrepair than in use.
- Brain drain the most qualified leave and never return. = No pool of qualified teachers to pull from. Only 8% of people have a bachelors degree or higher
- No shared collective investment in the future of rural communities. only 6.8% of philanthropic funds in US benefits rural communities. Despite 20% of population living there.
- population about 60% african american. Most privileged white kids go to private Lawrence academy. in public school about 86% african american.
To bring a design perceptive in the repair school district.
Project H Design
- Design through action
- Design with, not for. (not about working for clients its about working with people and letting appropriate solutions emerge from within.)
- Design systems not stuff
- Document, share and measure
- Start locally and scale globally
- Build.
3 approaches-
1.Design For education (6.build) improved Spaces, materials, experiences:
-Renovate computer labs. Change it into a more convivial and social space more accessible.
-Co-creation with teachers of an educational playground system the learning landscape- elementary school kids to learn core subjects through activities and game play. = Impact of learning landscape= greater comfort level with material higher test scores. Teacher can also assess how students are understanding new material.
-Shared ownership with teacher so that they have the incentive and the desire to use them.
2. Redesigning education (3. design systems, not stuff) Services, strategies markets.
- Connect Bertie campaign by putting desktop computer and broadband internet in every home with a child in the a public school only 10% of houses have in home internet connection at the moment. Wifi is only at school or at a fried chicken restaurant.= asked school system to envision how it can become a catalyst to a more connected community, reach out of school walls.
-Connect the classroom and the home and learning beyond the school day.
3.Design as education (2.Design with not for) Community-focused design curricula and shop class renaissance.
-This means we can teach design within public schools. Learn design thinking + real construction and fabrication skills put towards a local community purpose= designers no longer consultant but also teachers for growing creative capital within the next generation.
-Shop class traditionally for kids that wont go college its vocational training path. Projects like making a gifts. Change it to revolve around things needed by the community. Infuse shop class with more critical and creative design thinking studio process.
one year curriculum for a high school junior class. 3 hours a day in studio doing ethnographic research, need finding,brainstorming, design visualisation, coming up with ideas then testing through prototypes in the shop and refining them.
Students are offered a paid job as part of the construction team to put projects into action.
Examples: Open air farmers shop, bus shelter for school, home improvements for elderly. = real visible projects which the students can point to and proudly say they helped build it.
Giving back to the community: Project H help students give back to the community and develop skills for future creative careers.
The they get more involved with their own community abandoned buildings become the classroom, researching and interacting/interviewing with the community/neighbours becomes the homework, the opening of the market is the final exam.
-Youth becomes biggest asset and resource in building a new future for the community.
I think this is a good example of co-design, she is not only included teacher- the works of that business, but also students, the to main people involved in the issue and effected by it.
Notes:
- Design is human centred it starts with humans: May integrate technology and economics but starts with what humans need or might need. What makes life easier, more enjoyable what makes technology useful and usable.
- That is more than just good ergonomics. Often about understanding culture, context before knowing where to start for ideas.
- Building to think: Start we human need = design thinking rapidly developing into learning by making. don’t think of what to build build to think.
- Prototypes speed up process of innovation: only by putting idea out into the world can we understand their strengths and weaknesses. Faster we do this the faster our ideas evolve.
This video was a helpful because it offered me a simple and easy explanation of co-design.
Notes on presentation:
Downtown las vegas. Host of the talk was a business leader invested in the redevelopment of downtown. He invited her to Las Vegas to help he’s team start up high-tech co-working spaces. She was worried about this project since it was very complex in terms of it being all about humans factors, since it was involved a neighbourhood community and their lives and aspirations of what they wanted to build for their children. She knew that this stuff of life would get involved in the project and makes it personal to the people and her, since we shape our buildings and they eventually shape us. She mentions that despite her time in Las Vegas being challenging it was also rewarding since had an opportunity to share her knowledge of systems engineering and design with with local community members and co-design together various small building projects. After experiencing this she realised that by sharing your knowledge freely with your community or network, over time you build resilience within the network meaning that people in the community or able to face change and challenges better and that will be sustainable over time, and that if you see your neighbours as co-designers it unlocks empathy and the community will group better, because you see then and they see you in a different light. Also if you continue to maximise distributed intelligence, you also maximise your potential a meaningful innovation. This as a result allow people from a small community to appear with a desire to tackle ideas and projects for the community.
I like this example because she shows the importance and effectiveness to share design thinking and skills with people out side the design industry. This allows people to know how to contribute in a creative way and feel confident in sharing their ideas.
Downtown las vegas. Host of the talk was a business leader invested in the redevelopment of downtown. He invited her to Las Vegas to help he’s team start up high-tech co-working spaces. She was worried about this project since it was very complex in terms of it being all about humans factors, since it was involved a neighbourhood community and their lives and aspirations of what they wanted to build for their children. She knew that this stuff of life would get involved in the project and makes it personal to the people and her, since we shape our buildings and they eventually shape us. She mentions that despite her time in Las Vegas being challenging it was also rewarding since had an opportunity to share her knowledge of systems engineering and design with with local community members and co-design together various small building projects. After experiencing this she realised that by sharing your knowledge freely with your community or network, over time you build resilience within the network meaning that people in the community or able to face change and challenges better and that will be sustainable over time, and that if you see your neighbours as co-designers it unlocks empathy and the community will group better, because you see then and they see you in a different light. Also if you continue to maximise distributed intelligence, you also maximise your potential a meaningful innovation. This as a result allow people from a small community to appear with a desire to tackle ideas and projects for the community.
I like this example because she shows the importance and effectiveness to share design thinking and skills with people out side the design industry. This allows people to know how to contribute in a creative way and feel confident in sharing their ideas.
My initial thoughts
Things to look into:
-What makes a good design: If it communicates the same thing to everyones its successful, very one sees the same thing, so theres no way to make up things.
-How do we define helping people? how do you measure if it helps or not? , what is the purpose of designs?, making life better?, making money?, helping people? What makes good design?
-What are the consequences of bad/good design.
-Social Design.
-Design Ethics.
-Co-design and participatory design, (both about working with the community.
-Sometimes you have a great idea and good intentions but end up having a negative impact on the public/world that you didn't think it would.
Possible essay questions topics:
-“Is Design for change too big a responsibility for designers alone”
-Can consumer products benefit the community?
-What does helping people mean?
-Can a Local change have a global impact. (Feedback: talking about global impact is too much for the essay it goes away from the main topic)
Brief notes:
-Draw out themes that you find interesting, something within the essay that want to research further.
-Case study of people doing things. Theory, examples, argument. At least 5 points in my argument.
theoretical approaches in order to support your argument
Example:
-3D open source printed gun.
-What makes a good design: If it communicates the same thing to everyones its successful, very one sees the same thing, so theres no way to make up things.
-How do we define helping people? how do you measure if it helps or not? , what is the purpose of designs?, making life better?, making money?, helping people? What makes good design?
-What are the consequences of bad/good design.
-Social Design.
-Design Ethics.
-Co-design and participatory design, (both about working with the community.
-Sometimes you have a great idea and good intentions but end up having a negative impact on the public/world that you didn't think it would.
Possible essay questions topics:
-“Is Design for change too big a responsibility for designers alone”
-Can consumer products benefit the community?
-What does helping people mean?
-Can a Local change have a global impact. (Feedback: talking about global impact is too much for the essay it goes away from the main topic)
Brief notes:
-Draw out themes that you find interesting, something within the essay that want to research further.
-Case study of people doing things. Theory, examples, argument. At least 5 points in my argument.
theoretical approaches in order to support your argument
Example:
-3D open source printed gun.
Looking into my chosen essay: 34 the idealistic corporation
- What kind of work do we do? For whom do we do it? - I personally think we create products and services for the people.
- Tempted to reduce options to:
- Sell-out -Do Commercial mainstream work that may have an impact on the mass market - I don't really like the idea of it 'maybe' having an impact. I think that regardless of what we design we will affect the public in some way. So I think we should try and make that a good one.
- OR Resign yourself to marginalisation: Projects of a more personal nature which Rick Poynor calls “independent” work. This may never extend beyond a small specialised audience of connoisseurs.- 'Personal nature' I think this would involve getting to know the user of your product and fully understanding them and gaining qualitative results. So staying inside a 'small group' isn't necessarily a bad thing if this people are the ones being directly effected by the end product, this gives the designer more chance to understand the human behind the user.
- “good design is good business,”-Thomas J. Watson Jr. Postwar design patrons had a seeming conviction that design could do more than simply move product, it could make the world a better place. - This shows that its not just about money, if users are happy and satisfied with your work, they will remain faithful to the brand, and the designer will fill fulfilment and since that their design has created a positive change in the world and improved people's lives.
- Walter Paepcke 1946 -It should be made easy, remunerative(financially rewarding) and agreeable for the artist to “function in society not as a decorator but as a vital participant.” The artist and the businessman should cultivate every opportunity to teach and supplement one another, to cooperate with one another, just as the nations of the world must do. To contribute to society. - I think this is an effective way to create design. Through combining the creativity of designers, with the funding and expertise of businessmen, the design can become more complex and go further.
- Started the International Design Conference at Aspen, conceiving it as a summit at which business leaders and designers could meet, share ideas, and, presumably, plan together how to save the world- The more the merrier by allowing businessmen to share their insight into their specialised field the designer saves time researching too much and gets a first hand experience of the idea.
- Paepcke writes, Herbert Bayer’s World Geo-Graphic Atlas was commissioned by CCA “We,in Container Corporation, believe that a company may occasionally step outside of its recognised field of operations in an effort to contribute modestly to education and good taste,” and “important we know more about the geography and the conditions of life of our neighbour[s] in the world so that we may have a better understanding of other people and nations.” - I think this is a good idea since business usually make so much profit, they could use that money to fund projects outside their field even though it might not bring them much financial profit, but if it means helping places in need such as third world countries, they will gain good reputation. - Tibor Kalman:“There are few lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. . . . when you find them, treat them well and use their money to change the world.”
- Steve Jobs, limits his passion for design to stuff that sells product; Apple’s contribution to society is the Apple Store, where you can go have a social experience that has solely to do with buying Apple products. - Rather than focusing on fuelling consumer wants, companies can use their knowledge and technology that helps meet people's basic needs.
-