Why do I want to be a designer?

I don't want to be bound within a box where I HAVE to do something, hence I did not study art in the later years of school. I'm more free with my creativity, and hate to be held down. Design, is a way I can make a living out of what the human mind can conceive.

Where my desire to enter into the world of design came from, was my passion for creating things, be it with lego, pencil, or on a computer. I also, like the marketing aspect of businesses, and contemplated doing a business degree. More recently however, it's all because of my desire to use external influences and express them through my designs. I want to merge the world of street art, both spray-painting and illustrating, with a classic knowledge of design theory.

I want to be a designer, because there are limitless possibilities as to where you can go. The human mind is capable of infinite ideas, and ideas are the core resource of a designer. I want to think outside of the box.

DuBuffet and Basquiat

DUBUFFET

These images obviously show that DuBuffet is exploring his creative mind, letting go of all rules, and creating works which show how creativity really works.

BASQUIAT

Basquiat is obviously in the same boat as DuBuffet, and exploring his creativity. It is all about not being restricted, and trying everything, all mediums, and all applications. Using non dominant hands, and closing one's eyes whilst painting.

Elizabeth Gilbert and Sir Ken Robinson

Elizabeth Gilbert is an American writer, who has a very comedic, and somewhat lighthearted outlook on life. Her concepts on the creative mind are quite accurate, stating that the assumption that creativity and suffering are somehow inherently linked is a dangerous one. She promotes separating the creative genius from the human artist, as to remove the pressure and responsibility from their work. Which both prevents narcissism and failure. She has a view in which individuals are afraid to be wrong, afraid of failure.

While, Sir Ken Robinson, a British author, although similarly comedic, has a more humanistic approach stating that humans are not using their talents to the best of their ability, but are in fact, becoming educated out of being creative. Not separating creativity from the human, but trying to unite it in a more functional and beneficial way. He does not value what education does to one's creative nature, and calls for an education revolution, not evolution. He wants people to prepared to be wrong, not be afraid of being wrong, because mistakes is where true creativity comes from. He suggests several inhibitors of creativity:

-> Fear of making mistakes

-> Admiring logic too much

-> Avoiding ambiguity

-> Wanting to be practical

-> Thinking play is frivolous

-> Thinking thats not my area

-> Not wanting to be foolish

-> Deciding you are just not creative

How Art Made The World

MORE HUMAN THAN HUMAN
This film explored how we as a human race have come to perceive the body the way we do. Through the analysis of the workings of the human mind, starting with the Venus of Willendorf, an ancient statuette, depicting the female form in a very exaggerated manner. Evidently due to the fact that fertility and reproduction was important at this time.

Then, moving onto Egyptian art forms, the two dimensional representations of the human forms. This was founded to be based on a grid, and strict measurements, as to where each part of the body would be. Also, all aspects of the human body were portrayed at their best angle, which resulted in non-realistic representations of the human form.

Continuing through time, we come to the Greeks, who somewhat lawfully distorted the human body to achieve an inhuman perfection. It was also mathematically based, dividing the body up into sections which were to be separately manipulated using mathematics. Greeks used this to the extreme to create sculptures which displayed impossibly athletic men.

THE DAY PICTURES WERE BORN

Cave paintings were the first ever form of pictures, but what possessed an ancient artist to paint these images on the walls of caves. We need to go way back in time to find out. Many ancient artists usually painted the same images, colours and patterns, why was this? At first it was believed it was due to the animals they hunted, that theory went down the drain, as the question was raised, if you cannot understand what a picture is, how do you come up with the idea of painting one?

It was thus proven that prolonged time in dark spaces, and trance like states induced the same effect on the human mind. It causes us to see colours and patterns, hich are hardwired into the human brain. This explains the similarities between paintings found on opposite sides of the world.

Milton Glaser, and Frank Gehry exercise

MILTON GLASER

Is an American designer, who was involved in the production of several iconic logos, and designs. His "I Love New York" design probably his most well known one. His style revolves around referencing movements from the past, and making them somewhat appealing within a modern context. He is also known as one of the artists who have renewed the 1964 manifesto which called for designers to be more than commercially driven. The "First Things First Manifesto 2000", was the reviewed version of this "pact" to make a difference in the world through design. He is helping to change the idea that the world has about graphic designers, and move away from being simply driven by monetary gain. He continues to work, promoting these ideals, staying true to himself and what he believes. He always thinks conceptually, and has a new take on each situation.

FRANK GEHRY EXERCISE

Gehry's Disney Hall (top), definitely has its similarities with the Sydney Opera House (bottom). For instance, the obvious pointed, curved structures jutting out from the core structure of the building, most likely for the acoustic purposes of the two buildings where performances occur. Also, the colour scheme of the materials is monotonic, and their structure as a whole building is quite abstract, and extravagant. While at the same time, there's a certain deliberateness about them. Gehry's building does differ slightly, with more geometric angular structures amongst the curves of the structure.

The Memphis Group, MORE Post Modernism

MEMPHIS GROUP

Mainly primary colours were used, yet they were used boldly, creating a great clash of colours. Some designs seemed very simple, but then they are contrasted to vastly different designs originating in this period. Simplified, irregular, organic shapes are used in almost all works from the Memphis Group. Something just doesn’t work within this particular style of design, it appears as if there is a great lack of unity. This is a given, as it was a reaction to the strict rules of modernism, form has nothing to do with the function of the object. However, some form of logic exist but confusion is created through the lack of unity.

THE CRISIS OF MODERNISM

This crisis was due to people taking advantage of the uniformity of post modern design. For instance, in regards to apartment buildings, architects became cheap when constructing the buildings to give them that post modern, simplistic, and repetitive feel. This crisis occurred in many aspects of design during the post modern era.

ALESSI

This is an Italian design company founded in 1921, which specialises in kitchen utensils and accessories. They are known for their post modern, and exclusive designs. They have revolutionised the way that people use and perceive kitchenware, and have made it an exclusive facet of people's everyday life.

PHILIPPE STARCK

Is a French product designer, and is very much a contemporary designer. He is k

nown for his stylish designs, and is very much an all round designer. Capable of designing interiors, and everyday products. He worked with Alessi to revolutionise the juicer into almost a post modern artwork.

Contemporary Designers

ODED EZER

BJORN JOHANSSON

DANIEL GORDON

These contemporary designers, all revolve around typographic based work, and use illustrative type as an image, and are all highly experimental in their work. They all reject the clear cut nature of modern typography, and embrace their own individual styles to deliver their message. Their post modern works are unique, but effective. Their work is emotional and powerful, using inventive lettering to create a fusion of science and design.