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IDN MAGAZINE PDF

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IdN is an international company for creative people and its mission is to amplify and unify the design community. It is pledged to bringing designers from all parts . In Grid We Trust — Regular publications such as newspapers or magazines quickly establish their own grid systems, which become part of their IdN v21n4: Pattern Special. Packaging-CustomTemplate-Free-Book-Design-Packaging-TheCustomBoxes. IdN (International designers' Network) is an international publication for creative people on a mission to amplify and unify the design community. It is devoted to.


Idn Magazine Pdf

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What is now known as "tactile design" is coming increasingly into vogue as designers grow disenchanted with what they perceive as the soul-lessness of digital. IdN v25n3: Packaging Design — A lot more to it than meets the eye IdN v24n6: Typography & Type Design — To Make a Mark or Strike a Delicate Balance?. MagSpreads - Editorial Design and Magazine Layout Inspiration: IdN IdN™ Magazine® — IdN Music Graphics Issue - (use the idea of the cassette tape and .

I often experience the area between commerce and culture as a bit of a battle ground. Clients are somewhere in the middle, often torn between the promises of an almighty marketing strategy by larger commercially driven organisations and the creativity of small independent studios. It seems many graphic designers have retreated into a safe zone of working almost exclusively in the art and culture sector.

There is nothing wrong with that at all but I think in future it could be an interesting challenge to win back some ground in the commercial sector and to make ordinary consumer goods look better and more individual. The economic crisis might actually help since big marketing budgets have been cut and more creativity is a good alternative. First Things First manifesto — an outdated concept Modernism — are we done yet? A few years ago I went to a college degree show and everything I saw looked absolutely brilliant.

Next I noticed that almost every bit of type was set in Helvetica with large headings using heavy bars or other 'functional' typographic furniture. It was at the height of 'fake' modernism.

You could argue it has all been done before and probably better , but then again most design quotes elements from another period. In its reduction fake modernism often pretends that the design has gone through a very considerate process.

There is something very exclusive about this 'club of hardship'. Years of moving tiny bits of metal in letterpress, heated discussion about the correct use of an n dash or m dash, kerning beyond what is visible to the human eye.

The world of geeks. Clients certainly love it. They sleep better when they know their graphic designer is up all night kerning and tweaking their business presentation for the next day. Modernism can be a good tool of commercialism. Claiming functionality its own it can be a good tool for almost everything. In my ignorance I always thought the Bauhaus was the beginning of proper graphic design and everything before was just like floral wall paper or as annoying as heavily patterned carpets in a furnished flat that you can't get rid of.

Even my coffee mug has the word 'Modernist' printed on it in Helvetica of course. Ornament is crime, form follows function, less is more and all that.

We have a graffiti on the studio wall that reads 'Ordnung and Sauberkeit' Order and Cleanliness. Obviously a contradiction in itself as the medium graffiti usually represents the opposite, it very much expresses the ambivalent and maybe schizophrenic relationship I have with modernist design. Day-to-day modernism often just feels like cleaning up someone else's mess.

I told clients on many occasions: if we set this in clean structured type it will show all the logical problems and the inconsistencies that you are currently hiding in your messy word document. Modernism plays right into the hands of marketing: lets clean up your company, lets communicate your values clearly, lets get rid of the clutter and once things look clean and functional success will come automatically.

Recently I looked back a bit further, behind the sacred Bauhaus border and re-discovered Art Deco. A kind of romantic punk movement of the 20s, wild glitzy and short lived.

Deco wasn't preaching a new world order it just wanted to have fun. Lets leave the cleaning brigade and join the party! Unknown territory where we don't know anymore what things will look like before we start designing them. And if we can't think of anything we can always fill our designs with ornaments. Obviously that would be very unsophisticated but what's wrong with just 'pretty'?

Especially in the bleak times of recession it feels like an act of liberation. Try telling your client we make it look 'pretty' rather than we are 'adding value and functionality'. Prettiness - it feels so wrong and yet so right again.

The name was more of a coincidence. In college I was very interested in visual poetry and word games. I just liked the fact the word 'in' is inside the word 'mind' so it could literally read 'in mind'.

My first job after college was to design a window installation for a chain of fashion shops. I worked with words on large blocks and the word 'mind' was on one of them. Just when I was standing on a ladder my accountant rang asking what I wanted to name my company. At the time I didn't expect to last very long as self-employed so I didn't give it much thought.

The word 'mind' was just in front of me and I told him to call it Mind Design. We actually never liked the name very much as it sounds a bit too clever. Nowadays we use all kinds of phrases that include the word 'mind' on our stationary so that it becomes a bit more random. From your professional point of view, what makes a good identity work?

A good identity should be honest. It's like the face of a company, organisation or product and you do not want to be looking into a mask.

Obviously it is nice when a visual identity has a certain design quality but this is very much dependent on personal taste and the fashion of the time when it was designed.

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I find it more important that an identity is applied in a consistent way. A logo on its own doesn't really make an identity and I would prefer to see a bad logo applied in a consistent way to a good one in a messy overall environment. The natural of identity has evolved greatly within these few years, it changes from being one single logo to an entire system.

How would you respond to such evolution and do you foresee how far it would grow into? They often work well for clients but not always.

We design many flexible identity systems but only do so if we are fully in control of their application, which is mostly the case with smaller companies. The last thing you want as a designer is the marketing department calling you every day asking 'which logo do we use today'?

Even a single logo needs variations: a black and white version, often a version for small sizes, it must be saved in different file formats and colour modes. What is the major difference you found designing an identity than any other design project? Unless an identity is for a specific event or exhibition that has an end, they develop a life of their own.

They almost become like children — when they move out of their family home, their parents are still concerned how they are doing. It is important to plan identities carefully and consider their possible applications in the future. Other design projects come back from the printer and they are finished. When they look good it gives you great satisfaction, but after a while we put them in our work archive and start to forget about them.

Would you care to elaborate the differences between identity and branding? We never use the word branding in our studio. In my opinion it is something very different to what we do and seems more relevant to sales and marketing.

Brand positioning always compares with what is already out there but we don't care too much about that. It also seems to be a very analytical 'one way' approach: if you want to achieve this you must look like that because your competitors already look like this We have a more emotional and probably more random approach. I don't think there is one best 'solution' for an identity design.

Something that I just happen to see on the street can give me an idea for a logo, if I would have walked down a different street I might have had a different idea.

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Focus groups don't work that way. We also put much more emphasis on craftsmanship. Often an accidental letter combination in the name can lead to a great logo or a certain form can be an idea in itself. Branding seems to develop forms out of ideas, we often develop ideas out of forms. With branding there also seems to be a tendency to overrate identity design. We work a lot for start up companies and if their product, management or service isn't good the best identity can't save them.

Identity works across different media print, web, packaging, architecture, etc. I always find it fascinating when the different parts of a puzzle come together and suddenly make sense as a whole.

Especially when a design shows variation and an individual approach to each application. What is the common challenge you often face when you are designing identity? The early stages of an identity development are the most challenging but also the most interesting. We often find it difficult to decide how far we should include the client in the process or when to stop. Its a funny thing, in a way the amount of work doesn't make the logo better, I think its really possible to design a good logo in your lunch break on a napkin but on the other hand when we are working on something really hard we often feel we want to show the whole process to the client.

I studied Linguistics and Graphic Design in Germany first and then decided in my second year to move to London.

During my studies I was very interested in Language and Typography so after College I moved to Japan to experience a complete different language, writing system and culture.

I worked for one year in Tokyo as the art director for one of Asia's largest publishers of foreign books. When I returned to London I was still completing the design of several books for them. Mind Design was not a planned company, it just started naturally as I was always too busy to look for a job.

What got you into design? However, I wasn't accepted, my paintings where just too precise. Whenever I tried to do something spontaneous it just looked fake. Graphic Design was the natural conclusion, it allowed me to be creative but precise, structured and organised at the same time. Please tell me about Mind Design.

When did you establish it? What do you create? The studio is still small but has grown gradually with the amount of work since I started on my own about 10 years ago. Today we are five designers and occupy quite a large and comfortable studio in London's East End. Our projects have shifted from mostly book and print design design to corporate identity. We are very interested in integrated design solutions that combine corporate identity, print, web, interior design and architecture.

Personally I see typography as the basis of all our work although we actually work a lot with images and in many different media. We would never call ourselves 'branding consultants' although it could be argued that that is essentially what we are doing.

The difference may be that our approach comes more from an interest in craftsmanship and the production process rather than branding strategy.

We always consider the execution and implementation of a design already in the early sketch stages. Who are your clients? Our client list is very diverse. Most of our projects come through personal recommendation. In recent years many of our clients seem to come from the interior, architecture and fashion sector. Among our most regular clients are the British interior designer Tom Dixon and the jewellery company Belmacz.

We have also worked for the Finnish furniture company Artek which was founded by pioneer modernist Alvar Aalto. At the time I was given access to the Artek archives and it was fascinating to study early modernist fonts that were used but never digitalised.

Recently we designed the overall identity one of Londons most fashionable clubs, Paramount. At the moment we are just finishing the re-branding of the model agency TESS which represents many international top models.

The contact came through the casting director of Prada whose identity we designed previously. We often work for start-up companies and entrepreneurs as it is important for us to be involved in projects right from the start and in every aspect of it. What do you think is most important in design? There are different aspects, which when they come together make a good piece of design. Design is not art, it is commissioned work that has a function and a purpose.

It should do more than just demonstrating how clever the designer is. For me it is important that design has a certain friendliness or a touch of humour. Often the idea is somehow already there in the product or subject itself and just needs to be brought out. I like simplicity but I also enjoy experimenting and playing with form. You just need to know when to stop. When it goes wrong design becomes just decoration. I am not afraid of design ideas that are totally obvious if they are well executed.

It is better to have something with a basic idea but well designed than something overly clever and badly produced. A composition or certain shape can be an idea as well.

By Hongkiat Lim in Graphics. Updated on February 21, Art and design magazines are designers close companion. SWF for offline viewing. Not only they have high quality content, each issue released is also free. Eye Magazine A very artistic and well-curated magazine, Eye has everything that a professional designer or a design student looks forward in a graphic design journal.

The magazine is available in both printed as well as online form and contains everything from website, books, and product reviews to design critique, interviews, and mind-blowing design inspirations. You can even buy the older issues and make them a part of your design literature collection. Additionally, Eye Magazine informs you about the ongoing and upcoming events like design summits, workshops, exhibitions and talk sessions related to the graphic design and visual culture taking place all over the world.

You can read the latest news, book reviews, opinion articles and information on the latest design-related events in Japan.

One of the design elements Idea Magazine greatly focuses on is the typography design. Frequency: Quarterly Slanted Slanted is a very comprehensive magazine of everything that comes under the umbrella of visual arts.

It has several international publications that focus on the new, views and inspiration of a particular country.

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Apart from the country-based publications, you can read and buy books on typography, design and photography reviews, and printable designs. Moreover, Slanted offers you to sell your graphic design products through their platform to an international viewership. Frequency: Biannually Creative Review An online publication full of design insights and inspiration, Creative Review gives you a complete and in-depth overview of the about the international visual arts community.

The magazine has been designed to cater to novice as well as professional designers through analysis of contemporary design projects, practical advice by industry experts, a look into the creative process and a whole bunch of inspirational material. Apart from graphics and visual arts, Creative Review magazine also touches other subjects like advertising, gaming, social media music and illustration etc.

Context helps tell the visual story. And placement is accentual. But it is also good to be random sometimes. Generally, how do you get the inspiration? How do you collect your sources and materials? Please share with us your most interesting, precious collection. The actual act of creating is where much of my drive and inspiration come from, but other sources of inspiration are when I see a real beautiful graffiti throw-up, outline, or tag on the streets that gets me pumped up.

The inspiration comes from the work it self, the more I work on it the more I am inspired with it. If I think about a piece too much I will not finish it.

The whole process is moment to moment, staying in the present. I have a big box of scraps, anytime I come across an image, text, photo, whatever stops me for more than one second I put it in the big box. My friends have said to me before, you view things so quickly as if you are not even taking in the image or context I am open but I also know what turns me on.

The old photos to me are like little pieces of art the photos are usually cut with scalloped edges, the size and shape varies some are rectangular and the size of the palm of a hand others are tiny and square. To me the old photos are like a reality television shows. But your imagination is in charge of putting all the pieces together. Your style is versatile. Some looks childlike, some are darken and cloudy; some are clean and pure, and others are crowded, heavy and bizarre.

Would you like to talk about your state of creation philosophy? Does it reflect your own personality or something? Yes, I guess it does. I am always exploring, experimenting, and seeking out my interests like most artist do. I try to follow my instincts. I try in my art to portray different states of being. Consequently different styles emerge. In all your collage works, which one is your favorite? Would you like to reveal your idea behind it for us?

Most often the art piece I just completed is the one that is my favorite. It is my favorite because it is new; it is my newest creation. I am not really into giving meaning to my works because it is up to the viewer; once I complete a work I too become a viewer. I believe the process an individual goes through to define the meaning of a work of art can be as creative and powerful as when a work of art is being created.

You know, being an editor, your role would be changed into an observer. Bloodwars free on-line magazine is a response to the lack of coverage of graffiti bombing. My definition of bombing is illegal quick two colored throw ups bubble letters , outlines, quick and dirty tagging.

If a bomber covers a city or multiple cities the mystic is created, but the mystic is ephemeral. For the past four years or so there has been an influx of graffiti related books out on the market.

Of course I would check out each one and would be disappointed most times to find that the type of bombing I was interested in was looked over. Most books show piecing wild style, elaborate murals which is only one style of graffiti. I believe unfortunately bombing which is another style of graffiti gets over looked. There exists a hierarchy in terms of styles in the graffiti culture and bombing is viewed as inferior to piecing. Through Bloodwars it is my mission to expose and give credit to the graffiti bombers work that appeals to my taste.

I have been documenting and active in the graffiti culture now for 10 years; I have flicks from all over the world. I thought why not develop and release a free online PDF and show my view of graffiti, what I find tantalizing about the art.

I art direct, design, find the contributors, do the artwork and use most of my photos I am involved at every step. Bloodwars was released once a month for a year in Starting in Bloodwars now is released every three months due to time restrictions. I just released for sale Bloodwars Volume One a page book that includes some of my favorite pages from Bloodwars PDF and new pages I designed specifically for the book. What would you want to make further progress in the near future?

I want to have international art shows anywhere in Asia, Australia, Russia, Europe, Africa, Mexico City, the Middle East let me put it this way anywhere in the world where they want to show my work. I want to apply the philosophy of graffiti bombing to my artwork having a little piece of my work everywhere. And to broaden my clientele. I just independently released my first book Bloodwars Volume One.

I am currently looking for a book publisher who will back my work so I can design a color print hard cover book. I am also making lots of art for sell on eBay, fonts; I just finished a c. Read the full interview here. Coppola as a senior graphic designer through his company, Francis Ford Coppola Presents for five years now. To me Mr. Coppola reminds me of a colorful painting of a Hindu deity with 6 hands, and each hand is holding something delightfully different.

I say this because as a designer I am fortunate to design for so many of Mr. Coppola that informed me I would receive the credit list and the rough footage for the opening credits.

He wanted to see what I could do with them. Suddenly I had to switch gears from wine label design to movie titles…things rapidly progressed from here. I quickly started to utilize Photoshop CS3 video capabilities I was really impressed with it.Do you have any preferred theme or subject when you collage? If they like it I may come back tomorrow and pay half of it. But I will try. Consequently different styles emerge. When they look good it gives you great satisfaction, but after a while we put them in our work archive and start to forget about them.

AMIE from Washington
Look over my other posts. I take pleasure in autograss. I do relish studying docunments inwardly .