The Curve

1. Design now is much more than just a visual game of composition, typography and image. Now it speaks with the way it was done. A designer must have FAITH in the way his work has been produced, in the way it is distributed, that it's good values are going further beyond it's look. That it speaks to people's mind on all the levels. It considers things like: Ethics, Sustainability, Environmental Issues...

2. PASSION. Design without passion, is just a print, or web development. But that is nothing, try living with no passion and you will experience hell on earth!

3. TRUST. Trust little moments of uncertainty.

4. PROCESS. Sometimes concentrating on a process of making things, making mistakes, getting frustrated, teaches us more than a pile of success on our desks! After all it is all about maturing and defying, so the process should be as much important as the outcome of a job. Try to say to yourself: it might have been a nightmare but... I learnt this and that!

5. EXPERIMENT the moment we get to a routine of working in a certain way, it's quality goes down. Yes we can master craft, but if our work starts and finishes at the same point each day... it is no good. Essentially experiment is about keeping us awake!

6. FUN  The moment you are stopping to feel  fun once working, STOP!

7. OBSERVE! Make it your duty to observe and note things! That creates projects!

And projects are creating you!

8. BE PERSITANT Just do it!

9. LOVE LIFE! If you are a frustrated human being, you can't experience life, without experiencing life, you surely cannot understand people, without that you cannot be a good designer!

10. SMILE.

sAD or glAD

Advertising... I am not so keen on it. I find that the process of creating an ad strips away all the creativity from it. There are roles very specified, designer does their job on newest Mac and the creatives do the thinking bit, artworkers prepare things for print, talking to the client happens mainly via accountants. All that speeds the process up, and in a way there is less mistakes happening, as everybody does simply what they were trained for. It seems perfect like a well designed machine. It is well paid and trendy.

I don't like it, as I like the mistakes bit in work. Going back and forth choosing options and discovering. I feel that when I am working on an email creation for a well known bank I am just sitting and yawning. It doesn't do it for me.

And what's more it is judged by research. If people buy, the ad works if they don't it sucks. It doesn't say anything about the quality of the typography, graphic composition, idea (if any), illustration, and so on. Though it happen to be most often strongly remembered part of our day. Ad in the tube, commercial on TV.

What is a key to produce a good ad? It is a good client. A client who likes risk and design is not a secondary option for him, he doesn't behave as if he knew better. Famous for that is CocaCola, Sony, Honda, the Economist...
In the hands of a good client is a fate of the ad. Will it be glAD or will it be sAD?

Packaging

A fresh cucumber comes home wrapped in cling film. I cannot recycle it, so transparent veil goes to the bin as soon as the cucumber riches the fridge. I am starting to feel that I had some sort of Massive Good Luck Time in my entire life before this poor cucumber packaging, because I WAS EATING CUCUMBER WHICH HAS NEVER SEEN PLASTIC VEIL. And I am still alive.
Every time I think about packaging issues I am thinking about my obvious luck in life and have the whole cucumber in my head. Packaging, cucumbers and packaging... Why my apples come in a bag? So do carrots and all sort of fresh food doesn't look fresh anymore is washed five times and looks plastic. I don't understand the purpose of protecting me from some mysterious disease, which somehow didn't attack in communist Poland once I was little. But with capitalism there we are and suffocated cucumbers are in my homeland as well.
Enough about cucumbers, the point is there is no point.
Now I look at my CD ART Innovation in CD Packaging Design by Charlotte Rivers book, and I suddenly understand everything about packaging. That it needs to be there, to protect CD, that it is necessary to show the details about the musicians, sell the product, and so on. I understand, because after coming from a shop - my CD packaging of that kind will stay on the shelf exposed and won't be thrown away. What is the difference between a plastic veil for a veggie and an innovative CD packaging. Well first is ugly, the other can be stunning, first comes from a corporate easiness of fast selling, second from crafting. First could do without packaging at all, second needs it for protection and information. First is thrown away, second stays.

Cucumber from Sainsbury

Samples of CD covers from Airside Agency
So what is the role of packaging?
1. Protection
2. Recycling/Re-usability. If it is not easy recyclable it should be easy to keep. Which is true for packaging like Cd's which need protection all the time.
3. Engagement. I truly believe that packaging should be fun. Fun to pack and unpack. Creating an enjoyable moment of something small and engaging within my day. Yes, if it is nice, strong and practical - I will keep it and pass it on to my grand children. If it is unnecessary, ugly, avoidable I will throw it away. And what I expect as a designer-a consumer on one end - getting my vegetables from a grocery is to meet a packaging designer via my shopping and either keep all of the their work forever or have none to throw away.

Some Steaks are Growing on Farms

Well I am thinking what does ethic mean for me? It is a strong word with lots of connotations. As I am very into my own world being socially and ethically responsible becomes not just an issue about doing something good to the outside world but also not letting the outside world to invade you as a designer. I think ethical issues should go as much out there as they go in...
There is something absolutely fascinating about a personality facing the real creative world which can be very ruthless. The ethic stretches then, to conveying the world without being conveyed yourself. It is all about honesty between you and the work you are producing. I guess that this is a part of ethical problem which I find most interesting. Being socially responsible means also keeping yourself healthy. That in turn means working for projects which you believe in and also for people who you like. A question after the work is produced: did you really enjoyed it? Would you love to do this again? Was it in agreement with what you think is important in life. Social responsibility doesn't necessarily means to save trees and as now very trendy saving the planet. All those important issues for me should be a continuation of a designers personality in his work not an artificially imposed trend, lost by first wind of change! Well, I think that a designer as any other person should be first of all a responsible human being and have system of values important to cultivate in creative and every day life activities. Well known designers are a samples of that kind of ethic built because of who they are as humans
.

The Small Stakes Poster, 2009

Future Farmers Homeland Security Blanket, 2002.

The Small Stakes for example focused on the music scene and worked producing posters from 2003, gaining both experience and prestige for their work, now known world wide. The Future Farmers on the other hand have written in their studio ethics non profit projects, caring about environmental issues, and so on. I guess I am for both.

A conscientious designer doesn't have to save the world but love it in one or another way. AMEN.

CutNat

LayOut/Take2

Design the Ethic

WIKIPEDIA SAYS:
Ideally, CSR policy would function as a built-in, self-regulating mechanism whereby business would monitor and ensure their adherence to law, ethical standards, and international norms. Business would embrace responsibility for the impact of their activities on the environment, consumers, employees, communities, stakeholders and all other members of the public sphere. Furthermore, business would proactively promote the public interest by encouraging community growth and development, and voluntarily eliminating practices that harm the public sphere, regardless of legality. Essentially, CSR is the deliberate inclusion of public interest into corporate decision-making, and the honoring of a triple bottom line: People, Planet, Profit.

It is a fairly new idea and after WIKIPEDIA again, it was created as there is 'a demand for more ethical business'.

HUMAN RIGHTS/Take 1.
1. PRIMARK CASE shows how easy is to break human rights outside the Western World. Article is from 22nd of June 2008, which shows a view from only couple of months ago. It also shows how profitable that is. Being one of the biggest retailers of British streets it brings in all the problems and concerns in the CSR issues.

GUARDIAN SAYS:
· One in six children in the world today is involved in child labour, doing work that is damaging to his or her mental, physical and emotional development.
· Globally, between 210 and 240 million children are child labourers.
· 126 million of these children are engaged in hazardous work.
· Every year 22,000 children die in work-related accidents.
· 73 million working children are under 10.
· Sub-Saharan Africa has the largest proportion of working children - nearly one-third of children aged 14 and under.
· 5.7 million children are forced into debt bondage or other forms of slavery.
· 70 per cent work in agriculture, fishing or forestry, 8 per cent in factories, wholesale and retail trade, restaurants and hotels.

HUMAN RIGHTS/Take 2.
You may argue that there is a conflict between the business itself and being ethical. Really? Body Shop was founded by human rights activist - Dame Anita Roddick in 1978. It's success is proven all over the world and also shows that there are ways of making ethic work for you. Body Shop website covers it in more detail, having the whole ethos of the company written in their selling culture.

HUMAN RIGHTS/Take 3.
I am not a fan of making ethic being a selling point. I belive that this should be a norm not an USP. From a consumer's point of view though, I can tell that I don't necessarily want to trace every single product which I buy to make sure that the producent/importer and so on are dealing with the human rights on a civilized level. This article about making human rights mandatory is very interesting. I strongly feel that Ethical Business should get as much support from governments and international business institutions as possible.

Logo Me Three

IconPlay

LayOut

Move me

Well, I hope that one day I will be a Future of Shorts... but may need to wait a bit for that. Being absolutely serious I hope that animation is not going to be reduced to movies made only on computers. There is something missing for me in strictly digital images. What am I looking for in shorts? I am looking for fun and joy of watching. MUTO is something what a friend of mine has shown me in Cracow last July.
IS IT THE FUTURE? I don't know but it is SO MUCH FUN!

DinDong Ribong

NoWayOut System

This is a peculiar navigation system which I found on the website of a band called Arcade Fire. It is a Canadian band of great songs. The website is very interesting. At first it looks very complicated. It is definitely not too practical either. But it is a system of finding way in the band's site to get to know the members of the group. It is alive in it's design and engages people in looking through different buttons. Once I really spent a good hour looking and waiting what will come next. This sort of system which is involving people and sharpening their observation skills is something what I find amazing. In a way though all practical systems of finding way are creating a pattern of rules which people are used to. I believe that the exercise of getting lost is beneficial for a designers work. Arcade Fire website allows you to do that quite easily and and finding your way is an interesting experience, enjoying a process.
What helps is: a stylized drawing, which hides secret buttons all the way through, unexpected events like a marshmallow falling from the sky or a turning board. All that brakes conventions of a web design thinking. It is not a point even if it is a very practical thing for the band. They are only showing a feel/flavor of what they really are which feels refreshing to me. Also from a designer's point of view it is nice to see how rules of navigation can be broken and still fill the purpose of the website. I believe that in some cases of moving around and finding your way the process of looking is actually more important, than the the finishing point. That may not necessarily apply to a journey in a funky building which you don't know, don't like and once you are in rush, but if that's not the case it is good to explore and enjoy.




Details:
Made couple of years ago by Vicent and Morriset

ComPost

Critical Type (2)

SEEBAD
It is obvious that Seebad is a modern font. Created only couple of years ago it has all what a modern typeface should have. It is brave and sleek, but also cheeky in the form of letters. A strong, powerful and friendly. Tall san-serif in a mood for fun. The curves are geometric, it is less organic then Bodoni as it has less contrast, still it looks very human to me, mainly because of it's cheekiness.

WEB:
Seebad font was created back in the year 2003 by Silvan Kaeser. The font is used mainly in computer related texts because of its robust and digital form. Seebad is a trademark of Linotype GmbH and may be registered under certain jurisdiction. Designed 2002 by Silvan Kaeser.

Critical Type (1)

BODONI
It is a font with a great character.
I love the contrast between the thin and thick part of the letters and very organic curves. The thing with Bodoni is that it is very elegant, for some work/projects it is not the right type, but still it is always visible in a set of other fonts. It is playful and ambivalent.
It is a classic font though. Was designed in 1798 by Italian designer and it took it's name from him. It grew from the designer's admiration towards Baskerville (mainly it's upper case). I find that there is certain lightness about Bodoni comparing it to Baskerville though. It is more agile and looks more flexible towards modern designs. It is not the font I always use, but I always check it against the idea I have in my head.

WIKIPEDIA:
The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni's typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction.


"Miss Bodoni
Beautiful Bodoni, brimming with style and sophistication. This Italian stunner has voluptuous curves and always looks better well leaded. She moved in aristocratic circles in her formative years (the Duke of Palma was especially impressed with her cupped top serifs) and then enjoyed a glittering career, particularly in the world of fashion. She’s often seen in Paris and Milan and her face regularly appears in leading style magazines."
By Talor Lane...

Recent Freelance Update

ROSS =
A photographer, who is looking at sleek and neutral ways of showing his work. He came to me with an idea of a website which was grayish and had quite a pale look. I think that there is a massive difference between something looking clean, and pale. Sometimes it means that you need to do more work as there is less things speaking about you, so picking typography and composition is important. I designed for Ross website which is here, and now we are going to be looking at a logo which I made as really draft one so it needs more work to be done on it.
MY BENEFITS =
1. I looked at my own website with more criticism, and the whole changing attitude came from that job.
2. I sorted some of Flash problems which were bugging me before.
3. I managed to talk him into doing more serious work on his logo and general branding. Which shows that my communication skills are getting better.
4. It showed me that I work best once in charge of the design and project, not once I make other designs, animations work.
5. It gave me an idea that I prefer to work without the middle man.
6. It put me on a track of working on my animations again.

Except all that I will have January rent paid which I am happy about. :)

Process of ungluing

DESIGN AGENTS>
I am not so sure, now once I gave it a thought that I have a great agents on my side. Expect that I do not owe a magic key to the door of any illustrator agents, I owe a couple of rotten keys to the rotten recruitment agencies, who make my creative life slightly bizarre. Being treated as a generic Mac operator is inhuman and takes most precious designer's features away. I also have a style to my work which is unique, and find that this makes getting me work more difficult. I realized that agents which I dealt with so far are working like a factory and that makes 'having a style' an absolute nightmare. So being me is an obstacle for a design company?
DO YOU DESIGN PLACES, AD AGENCIES, CHARITIES OF ALL SORTS LIKE TO BE TREATED AS MULES? EVERYBODY HAS A STYLE AND CREATIVE WORK SHOULD BE ABOUT USING IT NOT DISMISSING.
Unglue from your schematic thinking that you can request a skill without connection to a human being as that is not even a dream, but a freelance nightmare, with people who don't care!
ERGO: I am ungluing from relying on my agents. Last couple of months have shown me that they are not much use to me and that my way in design, and probably in life takes it's own turns. I decided to move on and accept that I will probably never be a designer who can act as the generic one and fill space in the office. NOW I NEED TO CREATE A NETWORK OF PEOPLE WHO WOULD LIKE TO WORK WITH WHO I AM.

WEBSITE>
OK thinking about my website took me a bit of time. What is extremely helpful is that I met new people this year and was able to confront their reactions to what I wanted to present myself like. As I listed my concerns in another post, I concentrate on sharing my solutions.
HomePage> will carry a statement, emphasizing the strengths coming from being able to combine different medias, which I am quite good at.
HomePage/Illustration>
HomePage/Animation>
HomePage/Branding> will all be sections of my portfolio which will be directly accessible from homepage. All of them will have two additionals. 1. What does it/illustration/animation/branding means for me. 2. What does it/illustration/animation/branding might do for you.
In a section of animation I will also add achievements as I guess that will be a good way of stressing my history in that field.
HomePage/Current Projects> will link to my blogs, but also will hold an information on what is my current project about.
HomePage/Contact> will give my contact information.
HomePage/Clients> will list clients I had already worked for.
General feel from HomePage is going to be more neutral, more focus, and once you open a section of your area of interests that will then be more specific.
I want to put all my design work in branding, including branding animation in that section and chuck away at least half of my current folio. I DON'T WANT TO BE A PRISONER OF MY PAST CLIENTS.

After reading something I decided to:

redesign my website.
It has gone off track and I didn't have enough time to focus on it before.
I like singe bits of it but overall I think:
1. It is too much of everything. 2. It gets repetitive and distracting. 3. Overall my work can be shown in a better way.
what do I want to keep?
1. Handmade quirky feel. 2. Humor.3. Surprise.
what I want this site to do for me.
1. Show strong design skills. 2. Stress my multidisciplinary feature. 3. Strongly define the differences between my illustrations/design/animation. 4. Have links to my blogs, and a short information about me. 5. And above all bring me an interesting work.
i am looking at:
www.arcadefire.com for creativity and fun, bad for being slow.
www.sanna-annukka.com for simplicity and practical approach.

MY COLLECTION=MY PICTURE

What are we looking for, describes who we are. Things which we intuitively know are important for us. Why do we collect things, and why are we driven to certain objects? I don't know. But collections become very important part of our lives and are a bit, like an extract of who we are. My collection is a unique set of things which are important for me, I come back to them once in trouble, making choices, or simply when I need inspiration. The collection is a crossover of my inner self and the outside world.

I collect quotes, and strongly believe that two people wouldn't underline the same worlds in the same book. I never collect a quote given by somebody else. That is because my collection is my voice and my journey, throughout my unique life. I treat it very personally.

There is a lot of books which you can buy out there, full of sentences drawn out of books, interviews and so on. They are empty to me. Unless a quote is an extract of something bigger, it is only a sentence without a history and unique meaning. That doesn't mean that those sentences are less rich, but I guess that a very important part of them has been taken away. That is a process of collecting them, which is never finished...

Funny thing is that back home my Mom took over and continues writing my book of quotes in the same pad I used. So it has another life and a chapter to it. In London, I have a smaller version of it, which constantly grows and feeds my imagination.

Above all the quotes are also a collection of people, the authors which I appreciate and respect. Gathering their point of view, is stimulating and gives me the background I want to grow on. So I write mine history in quotes and that becomes my creative root.