AIG Open 2010 > Process is the project > Casa da Música [Porto]

Pierre Bernard > AGI Open 2010
> New solutions takes the form of new questions.
> Can culture penetrate pre-conceived ideas?

Marian Bantjes > AGI Open 2010
> My design process is very boring.
1. Resting [give the mind time to relax]
2. Thinking
3. Sketching [I can't think on the computer]
4. Final art
5. Give up and start over
> Strategic and concept are two things missing on my process.

Peter Knapp > AGI Open 2010
> A magazine should be 80% of images and a bit of copy.

Abbott Miller > AGI Open 2010
> I don't have a process, but we have fast computers, a good library and great talks.

reading > talking
writing > emailing
thinking > meeting
researching > presentation
drawing > travelling

> A poster is a short story hit by a car.
> A logo is a very small piece of architecture.
> Signage is type having sex with architecture.
> A book is a movie you hold in your hand.
> An exhibition is a room with a plot.

Daniela Haufe e Detlef Fiedler [Cyan] > AGI Open 2010
> 3 projects, 3 different processes.

Stefan Sagmeister > AGI Open 2010
> Obsessions make my life worse, but my work better.

Bruno Monguzzi > AGI Open 2010
> The how defines the what.
> Before we start working, we need to now how shitty we want our shit.
> Changes in design should be define by the content.
> Some times we have to disobey the rules.

Michael Bierut > AGI Open 2010
> My job is to make audiences happy.
> Give power by giving away power.

Peter Saville, Lisbon Conferences > exd'09
> most of the work I've done I try to see it trough my eyes. [...] basicly I'm more interested in my opinion that in others.
> it's just a bit of Bodoni, it's just what it is. [about New Order's CD Substance 1987].
> confidence of working without the help of "ready made".
> really interesting designers use space arond the point that they are making.
> I felt in the middle of the 80's that the future was going to be organic, the tecnology of nature.
> it's so right that you can use irony.
> the massage of comunication is the message given by others, not the designer.
> the ideia of type being the ideia was new [about the 80's].

Michael Horsham [tomato] > Lisbon Conferences > exd'09
> be carefull what you pitch for.


Michael Young > Lisbon Conferences > exd'09
> my work is very intuitive i don't belive in consumer research, I think it's bullshit.
> in asia I have to ofher more then just design.
> if you put five americans in a room for more then a year, they explode.
> i don't speak about sustenability because it's someting that is part of my life.

Dario Buzzini, Leif Huff [ideo] > Lisbon Conferences > exd'09
> ear, create, deliver.
> listen, learn, ask, facilitate, meet.
> how can you include other people in you design process?
> we use people as inspiration.

Konstantin Grcic > Lisbon Conferences > exd'09
> classics pay for new design, they also pay for making mistakes and for taking risks. [about Vitra]

digital kitchen @ OFFF2009
> act now, think later.
> we have to learn to trust our instincts.
> you have to be present to listen.

nerdferences @ OFFF2009
> document your one failure so that other people don't make them [eric wilhelm].
> its important that we stop trowing away all this toxic gadgets [peter kirn].

stefan sagmeister @ OFFF2009
> Theme: Design and Happiness.
> i truly hate definitions.
> list making is part of my life.
> designers take there audiences seriously.
> my self conscience comes and go, and when is here i find my self better not only for me.

si Scott @ OFFF2009
> the best creativity comes up in recession times.
> people became lazy [about computers].
> if you think you have one thing 100% right change it.

mushon zer-aviv @ OFFF2009
> we try to create a failure system.

joshua davis @ OFFF2009
> the computer is the place were i work, not the place were i look for inspiration.
> content is in the most unlikely places.
> the keyword is arbitrary.
> i generally never now what I'm doing, and that's fine.
> i want to discover something but i don't now were I'm going.
> the older we get the less we participate because we are concern whit being watch.

paula scher @ OFFF2009
> sometimes is good to hate someting [talking about Helvetica].
> i still love making posters, i still do it sometimes, most of them for free.
> what I really like is to make fun of culture and comment on politics.

robert l. peters @ OFFF2009
> to be a good comunicater you have to consern about meaning.
> corporations have no soul, so they need someone to dream for them.
> what we do is what we are.
> design create culture.
> happy is viral.
> if you don't care where you are, you are never lost.
> learning from animals is someting i have a lot of pleasure.
> analise, create, implement.
> shooping replaced citizanship in the practice of democracy [quoting Neville Brody].

bleed @OFFF2009
> it's a bit introspective being a graphic designer, so have fun.
> follow you inner moonlight, don't hide the madness.

james peterson and amit pitaru_insert silence @ OFFF2009
> we try to avoid automation although we work with tecnology.
> stop developing and start pratecing.
> it's amazing the amount of code and algorithm that exist in the world of dance.

UnitedVisualArtists @ OFFF2009
> theme: designing tools that make art.
> one of the problems of interactive design is how many control can we give to people.
> if you try the safe solution it will only get boring.

jason brugues studio @ OFFF2009
> we make things , tangible things.
> failure is part of the design process.

eva vermandel @ OFFF 2009
> nature is art.
> images are always there.
> what I do is create my small little world [...] create a line, my own fairytale
.
multitouch barcelona @ OFFF 2009
> facebook hugs don't fell like human hugs.

neville brody @ OFFF2009
> Theme: Make trouble [dangerous ideas].
> in a way there's nothing new in what we are doing now.
> most media consist in telling you what to think.
> "free me from freedom".
> design should be a living space.
> we need a civil war in graphic design.
> 100 years ago the future was promising.
> the job ahead of us is to liberate our selves.
> we just live in fear and we need to move forward.
> the work of a designer is to make clients take risks.
> we are designers because we need restrictions, limitations, other wise we would be artists.
> language is a contract between to people.
> we use the keyboard as an instrument.

"Por que é que a publicidade deve ser criativa? Já pensaram nisso?
Não, não é para dar emprego a criativos. É para resolver problemas de comunicação.
Mais concretamente, é para, mau grado a indiferença dos consumidores perante produtos pouco interessantes, conseguir fazer passar uma mensagem de forma memorável. Por outras palavras, é para a mensagem publicitária lograr passar as barreiras da atenção selectiva, da percepção selectiva e da memorização selectiva.
Criatividade que não serve para isso, em vez de ajudar, atrapalha."

CASTRO, João Pinto e — “Incompetência ao mais alto nível”. 24 Junho 2008. Disponível em www : URL : http://sanguesuoreideias.blogspot.com/

“The Advantage of rules is that they can prevent mistakes: the disadvantage is that they can prevent discovery.” [pg. 13] [The Ten Commandments of Typography]
“[…] an experienced workman told me ‘Always look carefully at a mistake before you discard it — it might be better than what you intended’.” [pg. 13] [The Ten Commandments of Typography]
"When a typeface is put through its paces in exactly the way its designer intended, that can be very rewarding, but it’s not particularly informative. Seeing it used in an unexpected way —god or bad — can be a much more revealing lesson.” [pg. 13] [The Ten Commandments of Typography]
Matthew Carter

“Breaking the rules has always been just another one of the rules.” [pg. 17] [Type Heresy: Breaking the Ten Commandments of Typography]
“Simple methodologies generate simple results. Complex methodologies generate complex results.” [pg. 17] [Type Heresy: Breaking the Ten Commandments of Typography]
Jeffery Keedy

“It’s hard work to break the rules and succeed, but it's better to fail in originality than to succeed in imitation.” [pg. 33] [Type Heresy: Breaking the Ten Commandments of Typography]

FELTON, Paul — “The Ten Commandments of Typography / Type Heresy: Breaking the Ten Commandments of Typography”. Londres : Merrell Publishers Limited, 2006. ISBN 1 85894 355 8

14.25’ /// “The risky thing you can do now is be safe. Safe is risky.”

GODIN, Seth — Sliced bread and other marketing delights, TED [Technology, Entertainment, Design], Fevereiro 2003. Disponível em www : URL : http://www.ted.com/index.php/talks/view/id/28

05.32’ /// "What we are interested in is finding form that is more then just function [...], finding beauty that is more then just aesthetic, it’s really a truth"

BANGLE, Chris — Great cars are Art, TED [Technology, Entertainment, Design], Fevereiro 2002. Disponível em www : URL : www.ted.com/index.php/talks/view/id/5

"Design is art that people use”. (pp. 1)
[…]
“Design is an instrument for packaging ideas and making them public. People who have access to design tools can make tangible their own knowledge and concepts. This active mode of literacy folds back into the ability to read and understand what’s out there in the world. […] The ability to publish is one of the key privileges of the free society”. (pp. 15)
[…]
If you learn to think like a designer, you will be able to clarify your ideas and pull together the materials, service, and software you need to make your concepts real. (pp. 17)

LUPTON, Ellen, et al — “D.I.Y. – Design it Yourself”. Nova Iorque : Princeton Architectural Press, 2006. ISBN 1-56898-552-5

“A criatividade, às vezes, é só uma maneira gira (e cara) de mascarar a irrelevância.”

KOPKE, Jayme — Freud explica?. 25 Junho 2006.
Disponível em www : URL : http://sanguesuoreideias.blogspot.com/2006/05/freud-explica.html

8.43’ /// “I believe that graphic design is a public language, something that everybody on this planet should have accessed to. Some people approach what we do as a profession that is secret and that we should protect from everyday people. My opinion is quit different. I fell that everyone as the right, the ability, and potentiality the interest to practice design in the everyday living of their lives”.
9.36’ /// “Design is art that people use [in D.I.Y.]”
11.55’ /// “In a way design is everything. I really believe that all trough out our day we make design decisions. I think the minute you get up out of bed and decide whether or not to make the bed that’s a design decision. And it reflects how you use your time and what your values are, and what you want to communicate to your self every time you walk pass by that open door.
I think design is a universal function whit in life. I think that we constantly making decisions about our environment and how we communicate and how we dress that are design decisions. What we often don’t do is approach it consciencly, and I think that that’s when design really becomes exciting and when it really becomes a tool, when you begin doing it in a very conscience and critical way. Design is thinking, design is looking at the world and wondering why things don’t work and often the answer lies within design”.
19.11’ /// “We make design because we want to say something to other people. Design is a profoundly social activity it connects us whit the world”.
19.50’ /// “Design is the tool for going public, design is the means to make messages and put them out there to the people that we want to reach”.
20.13’ /// “I think that all art, ultimately, finds some of its propose in being received, in being seen or listened to, or sheared whit a group, but I think whit design that’s its reason to be, people don’t sit around and design just for the sake of it, design is motivated, design happens because of social situations, large and small, important and frivolous, commercial and non-commercial, but it happens because of the situation”.

LUPTON, Ellen — "Design Matters" with Debbie Millman [programa de rádio]. VoiceAmerica Business, Nova Iorque. 20 Janeiro 2006. Disponível em www : URL : http://www.business.voiceamerica.com/ez/index.php/plain/business/
shows/advertising_marketing_public_relations/
design_matters_with_debbie_millman/ellen_lupton_1_20_06

"'Our thesis is that any one visual problem has an infinite number of solutions; that many are valid; that solutions ought to derive from subject matter; that the designer should have no preconceived graphic style.'"
[...]
"'Every job has to have an idea.'"
[...]
"'I do quite large, complex corporate identity jobs. I enjoy that, but I also enjoy sitting round doing my own little things, which are invariably the ones that don't pay.'"
[...]
"'I treat clients as raw material to do what I want to do, though I would never tell them that."

BEIRUT, Michael — DESIGN OBSERVER. Alan Fletcher: Living by Design. 2006 [Consult. 29 Setembro 2006] . Disponível em www : URL : http://www.designobserver.com/archives/018011.html#more

“Estamos emersos numa permanente orgia visual, ao ponto de já não nos apercebermos sequer da natureza da material que nos rodeia e envolve. A esse respeito sejamos claros: são imagens. Imagens que são concebidas, produzidas e postas em circulação e que, na dinâmica da sua circulação, dão forma aos nossos modos de imaginar, conceber, produzir, circular e ser. Ao ponto de o ‘ser’ se poder hoje definir como a capacidade de conceber, produzir e pôr a circular uma imagem de si próprio, ou várias imagens de si próprio, de acordo com as variações das circunstâncias e temperaturas.” (pp. 60).

MELO, Alexandre — Globalização Cultural. Lisboa : Quimera Editores, 2002. ISBN 972-589-077-9

[a estética de raiz económica]

A sociedade moderna, através do sistema de troca, criou uma estética que a serve e que estandardizou o imagético. O design gráfico é veículo dessa estandardização. De certa forma criou um paradigma com uma extraordinária capacidade de adaptação, onde a verdade de hoje pode não ser a de amanhã mas pode estar novamente em voga no dia seguinte. Senso comum dir-se-á. Quem escolheu entrar em jogo facilmente se fará ouvir.

Uma das maiores questões que sempre adiei foi a de se me sentia confortável com a minha profissão, designer gráfico, e o modo de vida que, com ela, levo. Com certo receio fiz vários “copy/paste” de um série de escrito que acumulara, e tentei ultrapassar a questão pessoal de forma a olhar para um espectro maior.

Penso que há dois tipos de problemas que me tocam com maior intensidade.
Primeiro, não sendo necessariamente o mais importante, o facto de fazer parte do universo de negócio da comunicação — na sua vertente mais larga publicidade, propaganda, “branding”, editorial, etc — e saber que trabalho para um máximo denominador comum que conheço mal.

O outro é o de representar, por via da minha profissão, uma certa racionalização dos aspectos criativos do quotidiano, uma espécie de uniformização dos costumes visuais e das ideias. A parte mais importante de tudo isto é o poder coercivo que as formas e os “standards” da comunicação exercem sobre os próprios produtores de conteúdos e de imaginários nos diferentes meios, e sua respectiva reprodução.
Aqui chegado incluo-me, no lote dos estandardizadores estandardizados.
De facto no dia-a-dia experimenta-se muito pouco dentro do modo operativo da disciplina, e com isso evolui-se menos esteticamente. Existem, naturalmente, designer e ateliers que não se inscrevem nesta lógica e que conseguem gerir o experimental e o comercial de forma consistente com resultados interessantes, justiça seja feita.
Conjugar negócio e estética tem também sido forma de consolidar o design como subproduto ao serviço da nossa condição de vida construindo estruturas, interdependências e interacções entre os diferentes actores e grupos do mercado comunicação e o consumo da mesma.
Logicamente que o que está aqui em causa é a relação de poder mediada pela troca, naturalmente ela existe e é motivadora por um lado e constrangedora por outro, uma questão meramente “diplomática”. Mais, sem a troca o design, bem como todo o resto da sociedade moderna ocidental, não existiria tal qual a conhecemos e habitamos.

Com uma maior autonomia do design — ferramenta da estrutura criativa — ganha a comunicação, e em última instância ganha a massa generalista maior e respectivas franjas. Dum pseudo-altroísmo conservador que julgamos dominar é necessário passar a uma verdadeira independência da disciplina, do ponto de vista criativo, a uma nova estética autónoma. O processo produtivo e autoral terá de se demarcar dos mecanismos de mercado, que servem a condição de vida, mas excluem a autonomia criativa da disciplina. Servimo-nos do mesmo mundo de maneiras diferentes com códigos relativamente gastos.

Acho portanto que o design, na realidade, reside fora dos ateliers ou das agências, lá repetem-se procedimentos — não só visuais —, evitando o novo e reproduzindo os comportamentos vencedores na lógica do mercado.
Há que pensar o design fora das fronteiras das empresas, com tudo o que de utópico e racional isso questiona. O designer, enquanto autor, tem pouco espaço de manobra num universo criativo marcado pelo peso da troca, e tem de contornar os sistemas agregadores de forma a encontrar maneira de os desconstruir e reconstruir de raiz, evitando os consensos.

É fácil pensarmos que conhecemos o mundo, acontece quase todos os dias — este texto disso é exemplo —, difícil é distanciarmo-nos de determinado preconceitos, nossos hóspedes, que nos levam a errar grosseiramente. À volta da comunicação estão os egos de milhões de pessoas como nós, criteriosamente diferentes uns dos outros e no entanto apaixonadamente aglutinados. A troca democratizou o consumo, todos tem direito a tudo, e ao mesmo tempo todos tem direito a só isso. Uma espécie de mentira muitas vezes repetida que acaba por se tornar verdadeira.

originalmente publicado a 24/08/2005 em [glaucon[LAB].
rui[lúcio]carvalho

“Observar utilizando métodos etnográficos, os actores sociais nos contextos do seu quotidiano permite o indespensável confronto entre o que eles dizem (e que é, na maior parte das vezes, a matéria-prima das estatisticas) e o que efectivamente fazem.” (pp. 127).

LOPES, João Miguel Teixeira — As Estatísticas na Área da Cultura: breve reflexão. Sociologia: problemas e práticas. Oeiras : Celta Editora. ISSN 0873-6529. 26 (Julho 1998). p. 121-129.

“To talk about art and business in the same breath is, for some, like mixing oil and water.”

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/

“John Dewey diz no seu livro Experience and Education: ‘Talvez a maior de todas as falácias pedagógicas seja a ideia de que uma pessoa só aprende aquilo que está a estudar em determinado momento. A aprendizagem colateral como via para a formação de atitudes duradouras, de gostos e aversões, pode ser e é muitas vezes mais importante do que uma lição de ortografia, de geografia ou de história. Essas atitudes são fundamentalmente aquilo que vai contar no futuro.’"

JOHNSON, Steven — Tudo o que é mau faz bem. Lisboa : Lua de papel. 2006.

“Art speaks to our private hopes, our fears and our dreams at the same time it addresses our cultural concerns and aspirations. For designer and artist Michael Cronan, there is also a place for art in the arsenal of business.”

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/

“The boundaries of design history, which were until recently clearly defined by the outcomes of industrialization and mass-production, are in flux, creating the opportunity to diversify the field.”

NAROTZKY, Viviana — Stories of Things: History of Design and Material Culture. 2002 [Consult. 30 Novembro 2005] . Disponível em www : URL : http://www.glaadh.ac.uk/documents/narotzky_bibliog.htm

“The designer is often resolving issues of contradictory information, contradictory things, trying to bring them to a point, to model those ideas or proposals in such a way that other people can say yes to”

ROSE, Chris — Design Histories: Informing Design Writing and Practice [conferência]. Royal Society of Arts, Londres. 23 Setembro 2005.

“We have move beyond the paradigm of the genius designer interacting whit the material, or the designer as the bridge between material production and consumer desire.”

BARRETT, Dawn — Design Histories: Informing Design Writing and Practice [conferência]. Royal Society of Arts, Londres. 23 Setembro 2005.

“Design tends to be essentially the aesthetic outgrowth of capitalism”
[…]
“Design as been a harm of business, rather then a tool for critiquing the progress of business”

ADAMSON, Glenn — Design Histories: Informing Design Writing and Practice [conferência]. Royal Society of Arts, Londres. 23 Setembro 2005.

“We experience design as a set of fragmentary competing interests and forms of expression that map on to an increasingly fragmentary an confusing cultural landscape.”

ADAMSON, Glenn — Design Histories: Informing Design Writing and Practice [conferência]. Royal Society of Arts, Londres. 23 Setembro 2005.

“Pancevo foi bombardeada todos os dias durante dois meses e meio, sem qualquer espécie de critério nos alvos, e isso criou uma instabilidade brutal... Não saber onde pode cair a próxima bomba é uma sensação que acaba por nos manter num estado difícil de descrever, uma espécie de estado mental alterado. E fazer alguma coisa criativa foi como uma espécie de cura, de objectivo de vida, mas também de intervenção no mundo.”
[…]
“Os sonhos são pedras basilares da nossa existência e do nosso sistema biológico. Um dos problemas da nossa civilização ocidental é o facto de se ter afastado disso, apelando para a razão acima de todas as coisas e usando-a como ponto de partida único para o desenvolvimento (tecnológico, principalmente). Isso faz com que certas áreas da natureza humana sejam frustradas e com que vários medos se espalhem. Se conhecermos os nossos sonhos, podemos conhecer melhor aquilo de que somos feitos e aprender a lidar com as coisas que desconhecemos e que tememos.”

MOLDES, Silvia; COSTA, Sara Figueiredo. “FIBDA 05 – Entrevista com Aleksandar Zograf”. 2005 [Consult. 26 Outubro 2005] .
Disponível em www : URL : http://becodasimagens.blogspot.com/2005_10_01_becodasimagens_archive.html

“A origem e o carácter manipulativo de uma mensagem deviam ser reconhecíveis no seu design. Jan van Toorn”
“A message´s origin and manipulative character should be recognizable in its design. Jan van Toorn”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 47.

“Se um activista amador munido de uma caneta de feltro, um frasco de cola e as mais rodimentares aptidões gráficas nos faz parar, o que poderia uma forma mais profissional de activismo gráfico conseguir? Rick Poynor”
“If an amateur activist whit a felt-tip pen, a pot of paste and the most rudimentary graphic skills can make you pause, what might a more professionally conceived formo of graphic activism accomplish? Rick Poynor”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 46.

“Considero completamente obsoleta a venerável noção de designer como aquele que dá forma. Observa-se uma transição da preocupação pela forma para a preocupação pela estrutura. Gui Bonsiepe”
“I consider the venerable notion of designers as form givers outright obsolete. We can observe a shift from concern for form to the concern for structure. Gui Bonsiepe”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 34.

“O design gráfico é um metalinguagem que pode ser utilizada para aumentar, obscurecer, dramatizar ou redireccionar palavras e imagens. Inerentemente não é nada, senão puro potencial. J. Abbout Miller”
“Graphic design is meta-language that can be used to magnify, obscure, dramatize, or re-direct words and images. It can be powreful, elegant, banal, or irrelevant. It’s not inherently anything at all, but pure potencial. J. Abbout Miller”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 20.

“O caracter tipográfico, a tipografia de um texto, não é um elemento meramente estético do texto, mas uma característica intrínseca do mesmo. Michael Nedo”
“The typeface, the typography of a text, is not merely an aesthetic, but rather an intrinsic feature of the text. Michael Nedo”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 48.

“A ideologia de uma cultura dominante consome todo o discurso nela contido, incluindo o discurso da resistência. Michael Rock”
“The ideology of dominant culture consumes all discourses contained within it, including the discourse of resistance. Michael Rock”

BRUINSMA, Max — Citação. Catalysts! . Lisboa : Experimenta. ISBN 972-98330-6-0. Setembro 2005. p. 48.

“O problema até já não será apenas o de saber quem são os públicos, de que são e como são, mas sim que outros virtuais, e como podem vir a sê-lo", sobre a malha de públicos que acede à cultura. (pp. 91).

CONDE, Idalina — Contextos, Culturas, Identidades. In VIEGAS, José Manuel Leite; COSTA, António Firmino da (orgs.) — Portugal que Modernidade?. Oeiras : Celta Editora, 1998. ISBN 972-8027-90-7 p. 79-118.

“[…] os consumidores não querem apenas fazer uma transacção. Querem uma relação. E querem isso em tudo o que fazem. E querem-no rápido. Vão ao supermercado, ficam em frente a uma série de produtos durante três segundos e decidem. E essa decisão não é feita na cabeça. 85% das nossas decisões são tomadas emocionalmente.”
“ Quando eu era mais novo, eram as marcas que tinham o poder: Gilette, Pepsi, Coca-Cola, Skip. Depois, há cerca de seis ou sete anos, esse poder mudou para as grandes superfícies como Carrefour ou WalMart. Agora o poder mudou completamente de mãos e o consumidor é quem manda. Por que nós agora podemos ir à Amazon.com, aceder às notícias no nosso telemóvel, na internet, no jornal, na radio. Podemos escolher como queremos. Por isso as marcas tem de reconhecer que o poder pertence ao consumidor, e o primeiro passo é conceder o controlo da marca ao consumidor.”

QUEDEAS, Pedro — “Marcas Pinga-amores. Kevin Roberts, CEO Worldwide da Saatchi & Saatchi”. Briefing. Media Capital Edições, Lda. Barcarena . 513 (25 de Outubro 2005). p. 10-11.

“‘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/

“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/

“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/

“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/

“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

“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.

“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.

“(…) 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.

“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

“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

“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.

“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

“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

“The highest purpose of a brochure’s cover is to get the brochure opened.
Unfortunately, the front cover of most brochures has a company logo, and some vacuous statement.
(…) Which essentially says, ‘I’m boring inside, you don’t have to pay attention. You certainly don’t have to read me.’
(…) The first job of the message of the brochure is to answer the question ‘I’m the reader. Why should I care?” (pp. 172).

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.

“Greatness is in the details, whatever work we do.”

"Designers are moving beyond design as decoration, beyond choosing fonts and picking colors to demand a place at the table where business decisions are made. If design means business, it’s one place where design can make a difference."

APPLE PRO/DESIGN Online. Stone Yamashita Partners: Beyond Design as Decoration. 2005 [Consult. 8 Setembro 2005] . Disponível em www : URL : http://www.apple.com/pro/design/stoneyamashita/index2.html>

“For him [Edgar Kaufmann Jr.] ‘good design’ was a euphoric concept that equated aesthetic with ‘eye appeal’ and newness with innovation.” (pp. 24).
For Kaufmann, “‘Good Design” stood for the elimination of story telling” says Milton Glaser. (pp. 26).

VIENNE, Véronique. “What’s Bad about Good Design”. Communication Arts. Palo Alto, California : Coyne & Blanchard, Inc. ISBN 0010-3519. 270 (January/February 1997). p. 23 - 26.

"I think I may need a bathroom break? Is this possible."

U.S. President George W. Bush writes a note to Secretary of State Condoleeza Rice during a Security Council meeting at the 2005 World Summit and 60th General Assembly of the United Nations in New York Sept. 14, 2005 [12:08 p.m]

EDITOR & PUBLISHER Online. Reuters Says Bush Photo Not 'Malicious,' Reports Wide Interest at Home and Abroad. 2005 [Consult. 22 Setembro 2005] . Disponível em www : URL : http://www.editorandpublisher.com/

“A rapidez de tudo o que nos rodeia e o facto de o mundo ser já a preconizada aldeia-global, têm como consequência, em termos de consumo de objectos que nos permite viver no espaço que frequentamos, pelo menos duas atitudes distintas. Uma será a aquisição de ‘objectos-rápidos’, com um vector de obsolescência relativamente elevado e um design sediado na triologia económico-estético-funcional, que nos vão permitir mudar e recriar o ambiente em que nos movemos com facilidade; outra é a aquisição de ‘objectos-âncora’ que, por motivos absolutamente pessoais, nos referênciam de alguma forma, por não serem anónimos nem de grande consumo. Nestes dois sentidos, o design será talvez a disciplina que mais próxima está dos tempos que correm e que mais os reflecte.” (pp. 71)

“The speed of everything around us, and the fact that the world became already the so proclaimed global village, result in at least two different attitudes, in terms of consumption of objects that allow us to live in a specific space. One can be the acquisition of ‘fast objects’, with a relatively high obsolescence essence and a design based on a economic-aesthetic-functional trilogy, able to easily change and recreate the environment in which we live. Another is the purchase of ‘anchor-objects’ which, due to personal reasons, do function as a true reference for its owners, as they aren’t anonymous or mass consumption produts. In both meanings, design is probably the subject which is closer to and best represents the present times.” (pp. 71)

GUEDES, Guta Moura. In VALENTIM, Levina — “Experimenta Reflex #1”. Lisboa : Experimenta – Associação para a Divulgação do Design, 1999. ISBN 972-98330-1-X

“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)

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

“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