Romantic Destiny, 2003 by David Byrne (via jenbee)
Hazal Tuncer
I'm Hazal, 25 years old Web Designer from Turkey. I like art, museums, exhibitions, coffee, beige, mugs, curly hair, my dog "Pebbles", Josh Keyes, books, robots, power napping, buying stuff that i will never use, adam apples, colorful clothes and music. I hate getting up early, cars, desserts, dark, nescafe, coiffeur, spoiled ego. I like mails and I don't expect sanity from internet.See no boundaries
To create patterns is natural. In fact, not only as designers, but also as humans, we make sense of a wild environment by taking haphazard shapes and concepts and giving them form and meaning. We categorize them: poster, website, building, typography, interactive, stone, and so on. Creating categories, then, gives our experiences boundaries.
For designers in this era, however, seeing boundaries can be a disadvantage. At a time when websites are spilling off desktops onto sidewalks and computing in public spaces is dissolving into behavior, technology itself has shown boundary blindness. And humans are following suit. We carry our televisions in our pockets. We pay with our phones. And we read more than ever before on an unpredictable number of screens. It is possible to see beyond the small fences of the familiar, but first you must see no boundaries.
Yet even this is not enough. As you become comfortable in this open field — no matter the discipline — what is common is that you design for people. And an understanding of where design intersects with human behavior is critical to raising both the meaning and value of products and services. The studies of how people think (cognitive psychology), how people interact (interaction design), how people behave (behavioral economics), and the design of services for them (service design) can complement and enhance your understanding of your pursuit.
So, start by reimagining your design studio. It’s not just the place where you have a desk, a chair, and some tools — it is also the place beyond those walls. It is there, in your design studio at large, that you’ll find those who will inspire and instruct you that seeing no boundaries is one of the greatest lessons for a young designer. Going beyond yourself, then, can become a natural extension of your every day.
This essay originally appeared in the 2010 AIGA|Aquent Survey of Design Salaries.
(via bobulate)
watching
Sprawl of Walruses
Photograph by Joel Sartore
A sprawl of thousands of Atlantic walruses covers a haul-out site in Alaska’s Togiak National Wildlife Refuge. Walruses are highly social animals, frequently congregating in large groups and communicating with loud bellows and snorts.
Ears by Teresa Milbrodt
…
For months, Zip has been asking me if he can use my face to advertise the tattoo parlor. He’s a good guy and never pressured me about it, but he’s mentioned the possibility from time to time. I’ve never been desperate enough to sell my picture before, but now I’ve got to figure out how to cover twice the usual rent plus make car payments and add to Jake’s college fund. So with Lee and Izzy on the road to Burke’s, I agree to be the store’s mascot.
“You won’t be a mascot,” Zip says. He’s finished inking the tree and is sponging ink and blood off the guy’s back. The guy grits his teeth. Jake stares. “You’ll be more like an emblem or insignia,” says Zip.
Of course, this is just a nice way of saying mascot.
Zip says he’ll get an artist to do a black-and-white drawing of me and give me an extra hundred dollars every month in royalties, plus fifty percent of the profits from the sale of any merchandise with my face on it.
“I get to choose who draws the new logo and paints it on the front window,” I tell Zip, hoping that calling it a logo will make it seems less like it’s my face. “You can use it on t-shirts and business cards. That’s as far as I’ll go.” I have a certain pride in how I look, but don’t want to be on a bumper sticker or book of matches or inked on someone’s arm.
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Representation of the superposition of layers in paintings in the face of Mona Lisa, on one light zone near the nose and the darker shadow of the hair. After treating the data, the thickness and concentration of pigments in the different layers. (ArtDaily)
“ They are encouraged to be collaborative. But the more people touch their work, the worse it gets.
“Humanized” South Park
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