WHAT iS dESiGN?

dESiGN é a vida cruzada pelo tempo e o espaço.
dESiGN is life crossed by time and space.

31 outubro, 2005

“‘In comedy, you learn quickly that, while one-off jokes can be great, the real golden egg is coming up with the engine that makes jokes, the idea that spins material into the collective imagination of your audience.’”

APPLE PRO/DESIGN Online. Clay Weiner and Alan Vladusic: Workstyles of the Clio FutureGold Winners. 2005 [Consult. 19 Outubro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/weiner-vladusic/

28 outubro, 2005

“If you’ve ever worked at an ad agency, you know that thinking well under pressure is what really earns your pay.”

APPLE PRO/DESIGN Online. Clay Weiner and Alan Vladusic: Workstyles of the Clio FutureGold Winners. 2005 [Consult. 19 Outubro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/weiner-vladusic/

26 outubro, 2005

“Design Thinking: A Grand Unifier. Designers are problem solvers. That’s a well-worn cliché, but [Michael] Cronan wanted to put what he called “Design Thinking” in that context. “Designers bring light to business problems,” he said.
‘Why is that important?’ Cronan asked. His answer flashed on the screen: A Renaissance-era painting of the Tower of Babel. ‘Corporations are difficult to run,’ he said. ‘It’s difficult to maintain a competitive edge when everyone speaks a different language and holds a different view.’ Designers, who bring a fresh perspective and new ways of looking, can solve complex problems for insiders who are so close to their own problems, they can no longer see the issues clearly.”


APPLE PRO/DESIGN Online. Michael Cronan: Art Expands. Design Connects. 2005 [Consult. 19 Outubro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/cronan/

24 outubro, 2005

“brand moment, […] moment of acceptance when the mind opens, the message comes in, the mind accepts it and places it in context.
[Michael] Cronan believes 'that art is a powerful, worthy way' for corporations to create this moment. 'Art, as a tool for understanding, transcends the mercantile, to go to the essence of the brand.' ”


APPLE PRO/DESIGN Online. Michael Cronan: Art Expands. Design Connects . 2005 [Consult. 19 Outubro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/cronan/

21 outubro, 2005

“Art as Inspiration. For Cronan, ‘Art is a prime mover. Art is essential and archetypal. Art says ‘Yes!’ Art makes and breaks the rules. Art expresses and expands the language of expression. Art elevates our discourse. Take that back to your business as inspiration.’
“Design is a wonderful, fertile field, if you keep an open heart.”


APPLE PRO/DESIGN Online. Michael Cronan: Elevating the Discourse. 2005 [Consult. 19 Outubro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/cronan/index2.html

19 outubro, 2005

“Whit most brochures, you can read it ou look at the pictures. One-hundred percent of all people will look at the pictures first. They look at it to decide whether to really read it.” (pp. 170).

BINELL, Rick, BIELENBERG, John. “How to Build a Grenade”. Communication Arts — Illustration Annual 44. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 321 (July 2003). p. 170 - 172.

17 outubro, 2005

“The real job of a designer is to ask how design can be used as a tool to make the client’s business work better.
(…) ‘How can this help you sell more, produce more leads or qualify more leads?’” (pp. 170).


BINELL, Rick, BIELENBERG, John. “How to Build a Grenade”. Communication Arts — Illustration Annual 44. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 321 (July 2003). p. 170 - 172.

14 outubro, 2005

“(…) design schools, for the most part, do not educate designers in the strategic use of words.” (pp. 170).

BINELL, Rick, BIELENBERG, John. “How to Build a Grenade”. Communication Arts — Illustration Annual 44. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 321 (July 2003). p. 170 - 172.

12 outubro, 2005

“Toda a comunicação — e consequentemente, todo o design de comunicação — se baseia numa escrita incrustada que, à superfície, nos pretende seduzir a acreditarmos nas mensagens comunicadas. Num nível mais profundo, pretende informar-nos e, em última instância, aliciar-nos a participar na mensagem e nos contextos e causas que serve.
A nossa premissa básica é a de que os designers actuam como catalisadores nesta cultura que ‘escreve’ em imagens. Ao conceber as ‘palavras’ e aquilo a que se poderá chamar uma ‘literatura da linguagem visual’, os designers de comunicação desempenham um papel central nas culturas mediatizadas de hoje: eles levam os espectadores a tornarem-se leitores de mensagens visuais.” (pp. 8)

“ All communication — and thus all communication design — is based on embedded scripts that on the surface want to seduce you into believing the messages communicated. On a deeper level, they want to inform you, and ultimately to engage you into taking part in the message and in the contexts and causes it serves. Our basic premise is that designers act as catalysts in this culture which ‘writes’ in images. By designing both the ‘words’ and what one could call by now a ‘literature of visual language’, communication designers play a pivotal role in today’s mediated cultures: they trigger viewers to become readers of visual messages. (pp. 8)


BRUINSMA, Max — “Os Designers são Catalisadores Culturais”. Catalysts. Lisboa : Experimenta, 2005. ISBN 972-98330-6-0

10 outubro, 2005

“Our theme [2D] doesn't exist and yet we all now what we are talking about.” (pp. 16)

BLACKWELL, Lewis; BRODY, Neville - “G1: Subj: contemp. design, graphic”. London : Laurence King Publishing, 1996. ISBN 1-85669-092-X

07 outubro, 2005

“It is debilitating to do work that does not take advantage of one´s training and expertise” (pp. 174).

RICHMOND, Wendy. “Reevaluating: Looking Outward”. Communication Arts — Illustration Annual 44. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 321 (July 2003). p. 174 - 177.

04 outubro, 2005

“One day ink on paper may be marginalized as a source of information, but for the foreseeable future it is a vital means of expression.”

BLACKWEEL, Lewis — “The End of Print: The graphic design of David Carson”. San Francisco : Chronicle Books, 1995. ISBN 0-8118-1199-9

03 outubro, 2005

“Companies may develop the trademark through advertising and by their reputation. In either case, the product is worth more with the trademark than without it. Identification, description and creation of value are just some of the possible functions of a trademark.” (pp. 11)

“Trademarks, or devices with the function of a trademark, have existed for at least 5,000 years. Some, such as ceramics marks, continue to be used today; others, such as heraldic marks, are often quoted or paraphrased in modern designs. Even the idea of visual pun on a name was used in ancient canting arms. Historically, trademarks have been primarily ‘senders’ marks, which are more concerned with the person sending them than the receiver.” (pp. 15)
(...) Perhaps, the first ‘graphic’ identification mark was an owner’s mark. It may have been a simple sign that a weapon belonged to a particular man.” (pp. 16)


MOLLERUP, Per — “Marks of Excellence: The history and taxonomy of trademarks”. London : Phaidon Press Limited, 1997. ISBN 0-7148-3838-1