August 4, 2014 § Leave a comment
“Rules?” said Roark. “Here are my rules: what can be done with one substance must never be done with another. No two materials are alike. No two sites on earth are alike. No two buildings have the same purpose. The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it’s made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn’t borrow pieces of his body. A building doesn’t borrow hunks of its soul. Its maker gives it the soul and every wall, window and stairway to express it.”
“But all the proper forms of expression have been discovered long ago.”
“Expression–of what? The Parthenon did not serve the same purpose as its wooden ancestor. An airline terminal does not serve the same purpose as the Parthenon. Every form has its own meaning. Every man creates his meaning and form and goal. Why is it so important–what others have done? Why does it become sacred by the mere fact of not being your own? Why is anyone and everyone right–so long as it’s not yourself? Why does the number of those others take the place of truth? Why is truth made a mere matter of arithmetic–and only of addition at that? Why is everything twisted out of all sense to fit everything else? There must be some reason. I don’t know. I’ve never known it. I’d like to understand.”
– Howard Roark, the visionary architecture student tell’s the Dean in the book Fountainhead by Ayan Rand
July 28, 2014 § Leave a comment
In a workplace, a group of individuals come together to co-create something that is going to make a difference. Co-creation allows us to learn, contribute and grow collectively as a company. An ideal work environment is like a well oiled machine. Everyone has their own part in the team. Its fun to trust! Trust my co-workers and them being able to trust me. We push each other to be better. We try to bring our best self to the table and enable the group to bring theirs. When the group dynamic works well, everyone is more than productive. Productive, because we have fun while working. Productive, because we are creating value in what we do. Our product is worthwhile, meaningful and will be a benefit to others. We are co-operative components, coming together to co-create something larger than ourself, that will help others.
My work brings me joy.
And I am excited to go to work everyday.
July 11, 2014 § Leave a comment
Dumb Ways to Die is a public service announcement campaign in 2012, by Metro Trains in Melbourne, Australia, to promote rail safety.
June 29, 2014 § Leave a comment
When Graphic Design embraces many design disciplines like architecture, interiors and landscape, they shape the idea of a place. These graphical elements are not merely for beautification, but define and discipline the space. All forms of graphic elements that exist in the environment, also called as Environmental Graphic Design (EGD) concerns with the visual aspects of communicating identity and information. This includes a signpost, bulletin boards, graphic ornaments on a building, the name plate on wall and all forms of writing on two and three-dimensional objects for eg. store displays, interiors and architectural facades.
Creative window displays will stop anyone in their tracks. As a mix of art, fashion, design and marketing, these displays have to quickly grab th comsumer’s attention and compel them to enter the store. A composition of design elements used as a backdrop, sets the mood and creates an environment in that little rectangular space.
In interior design, while spaces talk to its viewers, celebrating a unique language, making the walls a participant in the process. In architecture it interacts with the materials of the structure, creating an environment outside the building, thus contributing to the character of the street. Hence it affects the urbanscape.
Graphic design displaying information, helps identify the purpose and navigate within the public space. EGD is not only to inform but also to engage, entertain and beautify the environment. If not for graphic design, Times Square is merely an intersection.
In some cases, graphics can create optical illusions. Anamorphic typography is letters intentionally distorted from one surface to another. The user can have an immersive experience, being able to touch, feel and interact with type. Space is three-dimensional. It can be empty or filled with objects. It has height, width, and depth. Graphic design has the power to define and alter it and in some cases, create an illusion.
This concept challenges what some people consider to be conventional graphic design. Because ‘It is always more than just print.’
May 29, 2014 § Leave a comment
10 years ago, The Art of Looking Sideways by Alan Fletcher was published, a seminal book contemplating the differences between pictures as words (and vice versa), the pleasing incongruities and “serious science” behind perception, process and the imagination that fills in the gaps.
The passage that follows is taken from the book relating to a few of Fletcher’s original materials, but they are just a minuscule cross-section of the prolific references – a personal compendium of visual language. The late, very great graphic designer could draw literally, rationally and metaphorically on the history of all humanized communication to excellent effect, one such quote from Goethe used by Fletcher states quite appropriately: “He who cannot draw on three thousand years is living from hand to mouth.’”
“As his most famous statement had it, Klee took a line for a walk. It snaked, looped, wandered off, and turned back on itself as it made its fitful journey through the worlds of his invention. A line can run dead straight, be wildly crooked, nervously wobbly, make sensuous curves or aggressive angles. It can meander, wander, track or trace. Be a scribble, doodle, scratch, hatched, dashed, dribbled or trickled. It can be precise or fuzzy, hard or soft, firm or gentle, thin or thick. It can be smudged, smeared, erased – or just fade away. You can push a line, drag it, manipulate and manoeuvre it, make it delineate, accentuate, attenuate, emphasize. A line may be imperious or modest, authoritative or servile, brutal or seductive, passive or active, weak or strong, thick or thin. A line is born, and dies, in a point.” (Frank N. Furter, The Rocky Horror Picture Show, 1975)