Get Inspired from Fellow Students

Inspiration for me can come from a variety of sources. Music, books, aimless internet surfing, a long hot shower, or maybe a night of drinking at my local watering hole. I think it's important for each individual to find that one thing that gets the ideas flowing. Currently, I've been looking at design that other students across the country are creating. There is a wonderful magazine on news stands called CMYK Magazine. It features, exclusively, the work of design students. Design school is the time for students to be experimental and this magazine showcases some excellent examples. If you find yourself in a Barnes and Noble pick up a copy. Here is a link to their website: www.cmykmag.com.

Inspiration?

Looking for inspiration in a creative dry spell is probably the hardest thing for me...and things have been at drought proportions around here lately. The (unrelated) day job has been a time and energy drain lately, and it seems to be harder and harder to split my little free time up among all the things that need to be done, including coming up with ideas, and wrestling them into something presentable.

I'm lucky because my husband is an illustrator, and somehow, doesn't mind me coming home and bouncing ridiculous ideas off him. Going completely ridiculous and reining in in seems to be the best way for me to come up with something if I'm not champing at the bit to work on something (Evil Cheerleaders scripts, I'm looking at you).

Also, I try to make time to do "nothing". Even when a concept hits like a bolt of lighting, there's always something that needs to be worked on, and sometimes, a long hot shower or taking a wiki-journey helps me to figure out what needs to be done. "What no wife of a writer can ever understand is that a writer is working even when he's staring out the window." seems to describe my working style very well - there's an awful lot of what looks like staring, puttering, and general time wasting, and then a flurry of activity. The harder I stare at a blank screen, the less I'll ever get done.

and...a few quotes I found thinking about this...because every thought needs some googling.
"You can't wait for inspiration. You have to go after it with a club." Jack London
“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.” Charles Mingus
“Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things.” Ray Bradbury

in(t)-spə-ˈrā-shən

Inspiration is hard to come by sometimes. Everyone is inspired differently and by many different ways. My inspiration comes from...well I don't know. I try research to inspire myself, digesting a lot of my surrounding throughout the week and I do try to take as many pictures as I can. Sometimes I need to take a drive somewhere to the country or try to get my navigation system lost, go fishing, or golf to gather my thoughts. But sometimes I draw blanks.

I have the same problem of a profession concrete wall holding me back. Through my coligante career I have an interactive design AA and a BS in Visual Communication Design. I started off in a newspaper sweat shop doing an ad in 45 minutes perfectly and creatively until they ran out of money. Then landed in the corporate financial world creating market materials which to say the least, not to inspiring. But learning world class customer service is well worth it. So through all of these sweet jobs that did not inspire me, I was left and still am in a cocoon of sorts. I have lacked inspiration for a long time until I enrolled into this program 3 years ago. That was my main reason to achieve my MA and step back into the design world I sorely missed. The corporate world is a dead end for me but pays the bills and inspires me to do something more with my life and design ideas.

I find inspiration in the smallest things and think what makes that logo or design timeless and try to install that inspiration in a design, like what would this look like 10 years from now.

I still feel lost when designing but I stand fast and be patient and most of the time the inspiration will appear and if it doesn't I stay up late as much of you do as I do find my creativity rises with caffeine, iTunes spewing out some Pink Floyd and the clock ticking away.

Here is a website I found that includes many links to inspiration.
http://freelanceswitch.com/working/34-places-to-get-design-inspiration-online-and-off/

when you're lacking inspiration...

lack of creative ideas got you in a rut ?  time for compulsory, narcissistic, self-initiated work !

p.s. steve filmed this as part of a group proj...

Inspiration is tricky

I find my inspirations to be tricky things because the things that i love, the designs and styles that i find to be the most attractive are the kind i never have the clientle for. So i find that after hours of pouring over things i like, ohh and ahhing, im left to my own noggin for ideas. And I too am just starting to be able to get out what's in my head, mainly due to technical skills, that will eat up my energy, which then sends my creativity down the crapper. I couldnt tell you how many times ive said to myself "there is no way it should take me this long to do XX" but i'm getting better. Back in the words and images days, that was my first real design class, and i really struggled. grid? huh? One reason was i didnt realize it was ok to look at other stuff to generate ideas. My first degree was in english..and that is not something we are encouraged to do. I still get a tinge of guilt when i look at something and it makes me think, "oh, something like that could look good"--i always feel like this little monkey is going to jump out of my closet and scream COPYCAT! But I am always amazed, and relieved, that even if something did inspire me, it's not even remotely the same.

I wish i could be cool and say im inspired by the flecks of gold in my daughter's hair and koi fish, but im not. maybe im not that good. maybe i don't pay enough attention. I work 8-5, im a single mom, i go to school. I'm inspired by the thought that i may get something good out and still have time to take a walk with the dog and Chloe. Or sleep. And i push to inspire myself with the fantasy that maybe if i really pull a few great things off, i can quit my job, work freelance, and bring my mac to the park on a crisp autumn day so i can be inspired, and Chloe can play.

creative block

I like this post because this has been something I have been thinking about lately. I assist a graphic designer at an ad agency and she gives me some of the less creative jobs and I have been having a hard time making them work creatively (small home improvement ads with lots of copy, etc.). I too feel like they are all starting to look the same and I have been trying to find new solutions for designs like these. 

I took my first class in graphic design just a couple of years ago and I can relate to Emily because my technical skills are just starting to catch up with my ideas and creativity. I also could relate to the correlation of time/energy and creativity. Sometimes I have to finish an ad in a minimal amount of time at work and it sucks all of my creativity out of me because putting a time restraint on creativity is a buzz kill, but that's reality.

Some techniques I use to help get inspired are brainstorming by making lists/associations in a journal, looking for inspirational designs and ads (Communication Arts is a great source), surfing images on google images, and checking out stocklayouts.com

I found a site (ag design) that has some information on creative block that I thought was helpful. There are more links at the bottom of the site too. When there's this much written about inspiration and creative block it's reassuring that all designers experiences this.

perfectly adequate - be gone!

I was reading an interview in Believer about my chosen movie director Steven Soderbergh. In it he said that success is like the whirlwind romance, that when it’s over you wonder if it ever really happened, and failure is like the house guest that will not leave… One could apply this thought to inspiration as well. The good idea falls from the sky after going through many bad ones or at least less good ones.
I think this is why as I’ve said before, it is so important to have your own personal creative work in addition to your job. I view what I do as a professional service that can be on occasion creative but most of the time you are jamming out the “perfectly adequate.”
I would very much like to get away from “perfectly adequate,” or at least raise the bar on it, but this is all a gradual lifelong process…
I feel inspired by a myriad of things I will never, ever use in the world of work.

Looking for inspiration

I am also in search of what I hoped would be a constant stream of inspiration. The more I look, though, the more I realize it ain't gonna be there. Coming at it from a musical perspective (songwriting), I know that sometimes noodling on the keyboard does it, sometimes, humming, and sometimes nothing that could be predetermined helps resolve the current creative issue. It must be that way in design (for me). I'm still new at all this, and have found that most of my inspirations have come from doodling (either in pencil or on screen), looking around, surfing (the web), or venturing aimlessly in desperation. I don't think there's a fountain of inspiration for me - but I'm still looking.

Inspiration and energy

Since entering this program, but especially over the last year or so (when my technical skills have finally caught up enough that I can execute things in my head, finally) I've been thinking a lot about inspiration. Mine comes from two places, mostly: looking at paintings and looking at visual propaganda. I'm definitely moved to create things when I look at how light, form and mood are conveyed in fine art, and how a message is conveyed in propaganda posters. I love to play with those techniques in my own work.

Unfortunately, the degree to which I'm inspired and feel creative is directly proportional to how much energy I have, and my big struggle over the past couple of years is finding the mental energy to be able to create things. So I've struggled with the same thing Phil has: ending up with lots of pieces that look like each other, totally cookie-cutter, but finding it hard to find the energy (and time!!) to give each piece the space to develop into something inspired. Having time to just play with a design is crucial -- usually there's an ah-ha moment after I've been messing with a bad design for awhile. But in the real world, there are short deadlines, low-res images, clients that are afraid to go out on a limb, etc. Now, the problem I'm trying to solve is in how to strike a balance between pressure and creative time.

A bonus in grad school is that we get to create utopia projects...Projects we have almost total creative control over. That's been a big boon for my inspiration. I'm scared to leave, in a way, because I know that at work, 95% on what I do is pretty boring. But hey, it beats waiting tables.

Where do you get your inspiration?

One of the reasons I entered the Publication Design program was because I thought I had lost my inspiration to design. I looked at a lot of my designs and saw that I had reached a point where all of my pieces were not inspiring and I didn’t know where to turn for that inspiration. I even thought about changing my profession.

When I first started in the profession I seemed to find inspiration in everything I did. Listening to music, looking at art, watching the season’s change, day-to-day conversations, everyday life inspired me. Then one day I look up and could not find inspiration if it laid in front of me. I guess you could say I was passionless. ☹

It wasn’t until I decided to come back to school that I started to feel inspired again. I think I allowed the rat race of the real world to take my inspiration away. After trying to get writers, editors, and vice presidents of companies to see things my way. I lost the feeling of producing something that I felt was effective and creative. I thought my designs had become very cookie cuter. I was living in a box. Flow in text, place pictures (BIG PICTURES) and the piece is done.

One thing that I have learned to enjoy is the whole design process. From the initial thought right through to the finished piece. Even when it is a painful process. Each and every aspect has become more fascinating in its own way. I have even started to take pictures of things that inspire me. I have taken pictures of signs/bill boards, trees, random people, and the list goes on. I have also realized that I work better late at night. When there are no interruptions or distractions.

As designers we have to find new ways to inspirer ourselves. I also thing we have to find new challenges or we can get complacent. What inspires you? How do you get out of a designer rut?

Embrace the concept, forget the word...thoughs on design research

I think the thing that is the "scariest" for designers about design "research" is the term "research." To us creative types research connotes a mathematic, scientific approach to something. It also brings to light the fact that to this point, not many of us have been doing "research" GASP...or have we? The truth, in my case anyway, is yes...and no. Yes, I have been doing SOME research, I just don't think of it as research, and no because I'm not doing enough of it. So far, in this program, it's been my experience that many, if not most of designers feel the same way about this topic. The "oh-shit" reaction to the word "research" is common place. I think this is due to two main factors... 1) the lack of understanding of what design research is and 2) the mass amounts of design training necessary before reaching this hurdle in our professional development. I want to teach design in college someday- hence the MFA program so occasionally I try to think back on design classes that I took as a freshman. Just think, for a minute about all that you have learned, between your undergrad and grad classes thus far. Can you imagine trying to get freshmen, heck, seniors to grapple with the idea of extensive design "research." I think that it's important that this topic is addressed so thoroughly in the MFA program. This single topic has been the largest factor in my growth as a designer while in the program. It's been really interesting to hear what everyone has to say about the topic. Although research may seem to be uncharted territory for many of us, it's actually something that should bring new depth and legitimacy to our work, which in turn, helps us cut the bullshit.

Hire Me Please

What scares me most about graduating from this program is my lack of real world experience. What Phil said really scared me but unfortunately it's true--people don't care how many degrees you have, it's what you can do with it that matters. I am hoping I have learned enough skills to get by in the design world for a few years while I'm building my portfolio, but what if it's not enough? What does a girl from Alaska do with a good education and no experience? Maybe this is a question that could be best answered by Sarah Palin.

A PhD in Design?

I just started to get use to the idea of having a Masters in design. I think research is a very important part of our field. As designers we have to think of different ways to present an idea. Sometimes an idea is presented to us that have been used the same way day in and day out. But designers have to use research to refresh an idea and make it appear new and different. These techniques are things that are taught to us at the Masters level. Research strategies is the foundation of our profession without it where would we be as designers. Research is the only way to show clients what we have done is the correct direction for a project.

I also believe business’ will look at education and experience over someone who has a PhD and no experience. If someone wants to teach a PhD is something that would be useful but if someone is working for an agency or in the corporate world experience will be more powerful.

I do believe designers should have to take classes every two years in order to get certified in the profession. Designers have to stay update with different research techniques. This is something that a lot of professions do. This type of certification would keep designers up to date with research strategies and software.

Designers should always be looking for a new challenge and this would be the great challenge. I believe if your career goal is to teach at the university level a PhD is the path for you.

Research: A New Priority

I may be drinking the kool-aid, but its hard to get my thoughts straight on "research" without mentioning this as a newly emergent priority at MICA. Recently, MICA hired a Vice-Provost for Research, a senior administrative position, and tauted as the first such position at a major art college in the US. This is a new office with branches in Design Thinking, Design Practice, and Race and Culture. 

The press release announcing this new position reads, "This move indicates a central role for art and artists in a global economy. With the rise of the creative economy and of creative industries, research and development activities focused on art and design are shaping a wide array of activities from public health, to interface to product design."

Its s certainly true that design is not consumer added, but a consumer essential. Participation for designers in "interdisciplinary teams" or "creative incubators" is a worthy goal not only for students to enhance their professional development skills, but to infuse design in real-world solutions that add value. 

The press release goes on to say: "the way artists think and approach experience, is solving problems and creating new knowledge in a variety of scientific fields." 

Is research a catch-all word for designers to have a place at the table of ideas?

!?

I really don’t know what to think. From the academic point of view, having PhD sounds reasonable. But, will PhD put me in the better position and can I be more competitive on the labor market? I would like to see what employers and business owners have to say.

and now a word...

Hi All,
Just a clarification -- you only need one copy of your design brief. You need to come into class prepared to discuss it and also prepared to show some work --hopefully. The parameters of your brief were determined by you. I set the methodology and you implemented it. I'm looking forward to hearing/seeing what you've come up with tomorrow night.

--Amy

vanguards & jet-cars

(note - around 18:55 they talk about what can be considered a design brief)

this is one of my personal faves. i have prob watched this close to 100 times by now. watch this video. aside from the slight male-chauvenism and entirely waspy cast (product of its time i guess?), this video represents quintessential mid-century modern. this was almost a full decade before the summer of love (which spawned a more hippy-dippy milieu). it was something totally new & exciting.

my question is... how self-aware is oneself when you're an active participant at the forefront of a major movement (design, art, even music)... and about to cross the event horizon ?

is there a cognizant voice that says..."what i'm doing will influence many others to come" ? or is your mind riddled with the usual anxiety / fear / pressure of the possibility and unavoidability of constant failure?

i'm sure that some are fully aware, and others blind due to being totally absorbed in the process of creating... but i often wonder if there's a gut feeling that keeps you going through hard times (many who verge on greatness do so as paupers) and helps you realize your potential.

thoughts?

Development of design research as a field

It's interesting to think about design research being developed as an academic field. I wonder how far it can really be taken; I'd think that a lot of "design"-type research questions have probably been explored in art theory and criticism (a well-developed field) as well as psychology and the sciences (for questions of visual perception and information processing). It would be helpful to have some examples of potential research questions. What would a dissertation in this field look like?

Will design research ever develop into a mainstream PhD field? In my mind I'm comparing it to fields like women's studies, Latin-American studies, African-American studies...These are relative newcomers to the academic scene, and universities are still sort of split on whether these fields are given as majors, certificate programs, PhD programs, etc. In reading books in these areas, I'm struck by how earlier research seems to be partly focused on proving the validity of the field, maybe so that academics in better-established areas (ie, U.S. history) will take these researchers seriously. There seems to be a developmental period where the research is broad and almost politicized in proving itself. Once the field is established, then more specific research questions begin to come up. At first it's like a new kid trying to fit in with the popular kids at school.

It'll be interesting to watch how this design PhD thing develops, or doesn't develop. I don't really see how anyone could claim legitimacy as a design researcher without also being established practice-wise, so separating research from practice seems odd to me.

Looking Farther –

I’m still grasping what exactly is meant by “research in graphic design,” and after reading the interesting AiGA article Steve posted, it is hearting to note that I am not alone in my lack of a solid definition. It has been a contention of mine that most people get masters degrees for money and Ph.Ds for love. I am heartened that people love design that much.

A stunning but dense and somewhat dated book--that I would recommend to anyone who wants to study culture--is Pierre Bourdieu’s Distinction, A Social Critique of the Judgment of Taste an ethnography of France that shows that “no judgment of taste is innocent.” It needs an updated American version and hopefully there is a PhD candidate somewhere doing just that.

I’m also interested in the sudden flourishing of interest in the green movement and while really welcome, I do wonder just who is behind it and where have they been for the last 30 years… Will it evaporate like a gasoline spill as quickly as it came if and when gas prices go back down? This is also worthy of some study.

On the other end of the spectrum check out this little shop of horrors:
http://www.50dollarlogo.com/
way to undercut our pay guys, thanks--they must have to do six logos in like a half hour-- I could think of almost nothing worse to have to do all day…

The Path to Nonexistent Knowledge

Fantastic interview and great explanation on what a PhD in design is all about. HARD WORK, DEEP THOUGHT. I have always wondered what a Doctorate in design entails and it sounds uber intense. I wish I had the time and locale to apply for the programs. It seems right now with work, wife, dog, football and life, it is difficult for me to complete this MA.

I think what makes this interview really good it the interviewer, Steven Heller. His questions were well "researched" and well thought out. The NC State Doctor of Philosophy in Design program sounds very deep and intimidating. My brain may explode in that program. But if I decide to move I may look into it.

Interesting quote "The PhD is not another step in aquiring increasingly "professional" qualifications." I know a few people working on their PhD (not in design) and they talk about how much dough and impressive jobs they'll get after they earn their doctorate. Davis's mind set to the PhD is ideal in an ideal world but in this market a PhD compared to a MA in a job interview doesn't hurt. But all in all she has me sold and I love her philosophical mind.

I think the line in the interview that poked my mind the most is the line after the one above "It is a very different path to the development of specific kinds of knowledge that don't currently exist". Good explanation as to what the PhD in design means.

The path to nonexistent knowledge starts here.

Design brief example

All-

A bit off-topic of Steve's post, but I was trolling around and found a somewhat interesting example of how a small design firm utilized a design brief with a client. They outline their idea of what a brief generally should contain (in the left column), and show their work and the design brief summary on the right. It's not a tremendous amount of information, but it is interesting to see how their campaign addressed the issues in the brief. Here ya go.

Groan

When I first saw this post I was thinking, "Oh no! I really don't want there to even be an option for me to go back to school ever again." (Maybe I have a small case of senioritis?) Anyway, I was happy to read that a PhD in the design field is not a replacement for the MFA being the terminal degree for design professionals or people who want to teach design. I was relieved when the distinction was made between the two degrees and to learn that the PhD would be centered around research in the field and not professional development. I cringed when I read about the GRE and this confirmed that I am not interested in going back to school for a PhD in design research, at least not anytime soon...

I think a huge motivating factor for many people who get PhDs is be a professor and be eligible for tenureship, but if an MFA already accomplishes that in the design field, I do not see a lot of people putting themselves through a PhD program.

The Doctor of Design?

Since the focus of this class will involve developing effective research strategies to solve design problems, I thought I'd share with you this article I came across on the aiga.com website. Its an interview with Meredith Davis and given by Steven Heller about the importance of the PhD in Design. Apparently, some schools including the Illinois Institute of Technology, Carnegie Mellon University, and North Carolina State University have implemented doctoral programs in design. Ms. Davis happens to be the doctoral program director at NC State. I know many of you don't even want to think about getting another degree after earning your MA or MFA (myself included), but give the article a good read. Its interesting how these programs are really taking strides to implement strong research within the field of design. The goal is to add to a growing body of knowledge within design and help advance the stature of the profession. Let me reiterate that these programs focus on primarily research. UB's masters programs and even our Doctor of Communications Design tend to focus on advanced design practice. Here's the link.

Bullshit, bullshit, bullshit, bullshit, did I mention bullshit?

This entry is not about bullshit but it amused me to scroll down the blog and see nothing but this word over and over; I thought it was pretty funny.

I'm on board with Emily and Tara when it comes to logo design. I think the issue is people looking for a literal translation from company/business to logo. Like the lady with all the pit bulls; just because her rescue shelter was specifically for pit bulls doesn't mean she has to cram all those damn dogs on her logo. I am not standing on a soap box--I think logo design is one of the hardest things to accomplish. It's like trying to find one word to use when you have 10 things you want to say. The way I'm approaching this project is by thinking outside of the box. The company I chose was the SoBo Cafe in Fed Hill—it’s super hip and funky with a bit of a west coast vibe with a splash of bohemia and blah blah blah. But I don't want to create the "obvious" logo (i.e. beachy, breezy type, warm colors and some stupid symbol). I am really going to try and figure out what is at the core of this place and then move forward. I am really not obsessed with Paul Rand (contradictory to my last 2 posts) but he said the reason design is so complicated is because it's so simple. I think we over-think...everything. For project 1 I am following the KISS theory my mother taught me years ago—keep it simple stupid. Smart lady, my mother.

This post is NOT about bullshit

One of my colleagues sent me this link, in case you'd like your lorem ipsum to have a more distinct and less old-world flavor. Choose from marketing speak, hillbilly, the matrix, etc.

Is Bullshit OK?

Bullshit is such a strong word. It is to designers to take bullshit and make it look and smell like a beautiful flower on an 70-degree spring day. Sometimes clients can hand us a mess to decode. In order to create an effective design we must take the piles of bullshit and make it into something that is inviting for the clients target audience.

Often I have been given projects that have terrible headlines and body copy but I have to work though it in order to complete my task, which is to give the readers something that they would want to read. There has been a number of occasions when I have had to send copy back to a writer with some suggestions on what would help make the article flow better. We as designers are the last line of defense for the bullshit.

I think we all have had to take bullshit and turn it into something flowerie. I know when I first started to design I used a lot of bullshit to sell my designs but most of the time the bullshit was sniffed out. I started to realize that I needed to believe in my designs. Have I worked on some projects that I didn’t like the final product? Yes, but I always did my best to turn it into some type of flower. All flower don’t always smell good. But they usually look better than BULLSHIT.

Oh, there is one more thing. We can also try to bullshit ourselves sometime. Designers should not wear rose-colored glasses. I order to create great design we have to be open and honest to ourselves. We can sometimes convince ourselves that apiece is what the client needs. When in reality we have convinced ourselves that what we have packaged is what the client needs.

Bullshit or Frustration?

After reading all the posts about bullshit vs. knowledge vs. what we tell clients, i went back to staring at my logo. My half-finished logo. I did one that i really don't like, so i have started another one, and, as often happens, i found the typeface, have a logo in my head, but it really doesnt work when it hits the paper (or mac screen, for that matter). And what did i catch myself saying under my breath? "This is bullshit." Not for any of the reasons others have stated, but because i couldn't get it out, and that is really when something is bullshit to me--when it seems out of my control. I really have no problem telling people why i've done what i've done design wise--maybe they'll understand, maybe they'll hate the idea, who knows. If they want me to do some stupid concept for the design ill tell them why they may want to rethink it, offer suggestions, and see what they say. I dont consider any of that bullshit, just communication. Bullshit occurs when i no longer care, when I'll say anything just to get out of the room. That's not good. Bullshit is just a waste of my time and the client's time. And i feel there is a very clear distinction between client/designer conversation and bullshit. No offense, I just feel like a lot of designers, or people of any craft, think their design shouldnt be questioned--why not? I feel like when you put yourself out there, be prepared to explain yourself in an intellegent manner. It's the way it is. That's all i have to say about that. And instead of going on and on to fill some self imposed word requirement, im stopping. I'm not bullshittin, Im just tryin to create a logo.

More bullshit, so don't step in it.

Intriguing article with lots of good info telling it like it is., no bullshit. Having a strong vocab of design terms, feelings and knowing the story of your design will help the client sometimes understand. It also shows the client that you know what your talking about and had a solid plan from the start. I think that too much BS may harm and ego of a well educated client or could be just a normal old Joe. Some people just do not feel comfortable being in a conversation and not knowing what the hell you are talking about and can't swallow their ego to ask a question.

I consider myself a bullshitter design and corporate. But in design I am more educated and have picked a lot over the years but I am really not into the presentation aspects. My financial corporate BS I have learned while on the job. I've learned that you can BS to these corporate suits but you need to do so where they will understand and use design terms that they would grasp.

During a design class during my Bachelors degree, I was involved in a critique where a girl called out a fellow after his presentation of his design and said "that is total horse shit". I had to agree. My classmate's design which wasn't a strong design but his presentation was so good it had some people sold and may have change some opinions of the reasons he came up with his solution. He must have used every tag word in his text book and explained them to a T.

Now I am going to track down that film and take looksee.

You are the most beautiful girl in the world

A friend of mine, back in Serbia, is the best design salesmen I ever meet. What he will do, he will first show design to the client and say”Isn’t it beautiful. Look how it is beautiful”. He will always start conversation with those two sentences that are nothing more than bullshit, but somehow have the power to “hypnotize” the client.

I’ve been thinking about this a lot. I am the one taking rational approach, trying to explain my choices and have hard time to sell, and his approach is ridicules, but he is selling with no problem. Our rational choices, doesn’t ring in clients head. What is rational any way? Using blue for airline because you wanted to symbolize the sky? Sky can be yellow, purple, red, maroon, orange, black, white … Even if client perfectly understand everything we are saying and agrees with our design, he or she will say I don’t like how it looks like, or I don’t like your color choice, something with LIKE, what ever, like, like, like…. Like, taste and beauty always go with our job and I understand that esthetics is a part of it. Frankly I think beauty is not important because it doesn’t mean anything.

“You are the most beautiful girl in the world, which doesn’t say much about you.” - said Groucho Marks.

However, since design is the business, we have two choices:
1) to deal with LIKE and do something that doesn’t goes together with our “rational” choices
2) lose the client.

And, don’t forget, clients chose us and we don’t choose the client.
I guess they like something about us - “I like your work. It’s so beautiful”-:)

One more thing. I agree with Steve that is very helpful having clients involved in design process. That is nothing more than truing to understand clients problems and their needs.

articulation.

a lot of designers have trouble with it. i sure as hell did. they don't really teach you this in design school. yes, it's easy to respond in a kind-of "this is why i used this certain type / color / grid / etc" when you're designing more pragmatic materials (bus cards, letterhead, brochures, etc)... but those kind of quantifiable decisions are less obvious when it comes to new media design work. if you do work that involves motion, interface design, or that involves support from other media (like music), a lot of these decisions become more esoteric, but make sense at a gut level if you're worth anything in this game.

the fact is, a lot of clients want really tangible decisions. be creative. you'll come up with something, and i bet it'll make sense. because it probably already does make sense; that's why they're paying you. learning the marketing lexicon will help a bit. they need to trust you. being confident will sell the idea more than you think. just my two cents, which now that i think about it, you should avoid at all costs. in fact, forget you read this.

You say Bullshit I say Brilliant

As we discussed last class, there are those business buzz words that annoy the crap out of most of us designers... and rightly so. They are over inflated and over used "sales" terms which speak generally of everything and specifically of nothing... However, while it's easy to get mired up in the absurdity of these work languages, it's important that we understand them, and yes... even use them. As Amy said in class, you need to speak the language of business to win clients.

There's an important distinction to be made between "bullshit" and "business-speak."
Bullshit is artificial meaning. Bullshit is disrespectful and dysfunctional. There's a difference between speaking a different language to someone (business language), and speaking down to someone (bullshitting.) Having great clients is just as much, if not more so about respect, communication, and relationship buliding as it is the work you produce for them. The minute you feel the urge to bullshit a client is the moment you should step back and analyze that relationship.

There have been times that in critiques or in meetings I've found myself saying something that caught me off guard and kind of impressed me--A rationale that I never had though of before, and while this thinking on your feet explanation may seem like bullshit, it's acually just an extension of those decisions you didn't realize you were making. As Carolyn said, there are intuitive decisions that deigners make based upon what we feel are obvious solutions. I experienced this "bullshit-like" pheonminon just the other day with a client. I was working on the beginnings of an animated e-card. The client and I were discussing the tone and visual style of the piece. When I explained the visual style to her I found myself saying something that I had never really though about before. We were using a charater "Sad Socket"-- a wall socket, and he's surrounded by other appliances, all which cause him to have different reactions because of their demand on his power. I explained that because the other objects didn't have faces, they needed to be highly stylized- like cartoons, so they had a personality, and could relate and interact with sad socket. After these words left my mouth I was slightly impressed. I sounded like I knew what I was talking about. This was not bullshit, It was my honest rationale for choosing the visual style for the piece, I had just never verbalized it before.

This doesn't just happen with clients, it happens in critiques and casual conversations. I find that talking about work often helps to inform my decisions. This is the value of critique and collaboration... and has nothing to do with bullshit.

More with the Bullshit

I agree that bullshit is probably a small percentage of the ways I justify my design...True, I stay away from stuff that feels intuitively wrong, but that intuition is generally backed up by something that is logical and explainable. I find it hard to define what is "pure art" and what is "pure design" because I think design has a huge basis in art. But one distinction that I do think can be made is that art is often personally motivated and design is often motivated by an outside need. The basis of design is not feelings, not art for art's sake, but generally purposeful and thus there are reasons for most of our design decisions. One of the first things I was taught as a designer was to always ask, "Why did I put that on a page?" "What's the reason for having that line there?" etc. Even if I plunked the line down because it felt intuitively good, upon consideration there's always a reason that is explainable to a client. If there's not, that element can be deleted from the composition. It's been my experience that being able to explain the thought process to a client dramatically increases the idea's chances of success. People want to understand that there's a process because it makes them feel comfortable, and I don't think they're asking for something impossible in that.

Devil's advocate on bullshitting?

I kind of disagree with the whole bullshitting theory. Yeah, sometimes you have to bullshit a few things that were intuitive decisions in your designs, but I think for the most part, as a designer, you make decisions for legitimate reasons and you can easily defend them. You used blue because it's an airline and you wanted to symbolize the sky, you used a script font because it's a wedding invitation and that's traditional and appropriate, you used a sepia toned photo to show antiquity for a 50 year reunion, etc.

I think, as designers, we solve problems, and we use creativity and logic to solve those problems. We're not Jackson Pollock saying, I wanted to drip paint there because it felt right, no explanation needed. Graphic design is not art. It is finding a creative solution for a problem for a client, and if a client is paying you money to find a solution, he/she probably wants to hear why you made those choices and hopefully you have a good explanation.

p.s. Although I have to say, the end of the article with the "Ahm-peere" font cracked me up. 

So I guess every once and awhile bullshit is necessary, especially with difficult clients.

Good therapy!

Well we are at least getting our complaints out and that is good for something. I too hate logo design -- I have described it as a cliché wrapped in an enigma -- and that’s on a good day. I have had my boss pop his head in my office right before lunch and say “HR needs a logo by the end of the day. Give them five looks. They want a hiker on it.” Not a clue what HR might be using this for and frankly don’t care with this sort of time frame. I had clients come in for a logo for a new program to help older people learn computers. I kid you not; it had to have a computer, and owl, a graduation cap and two tag lines plus the name. In these cases they get either the totem or the shield configuration and that’s that. All in a day’s work. I like what I do most days and I like the people I work with. Sometimes helping them is just giving them what they need so they can move on. Other times you need to go to the mat because you don’t want the workplace to look like fools. Sometimes it’s hard to know when to immediately cave in and just give them that jazzy business fabulous thing they think they want or to try to educate and make something better. It’s good to have creative outlets outside of work too. It helps me a lot.

Calling it bullshit makes it sound all bad

While I will agree that calling what we are talking about here "bullshit" is probably fairly accurate, I also think it diminishes its importance and could make you (me) neglect a significant stage of the process. Malcolm Gladwell in his book, "blink" (I cannot believe I am actually referencing a book that was not required reading for a course, I basically never read, but picked up this audiobook from the library on a weird whim) tells several stories of people who are at the pinnacle of their profession who not only have perfected their field, but also have managed to master the skill of rationalizing their decisions to clients --even though those things have nothing to do with how the decisions were made. One such story described a top performing investor who used descriptors and graphs for show-and-tell, but the truth of the matter is he got hunches on good breaks, and back-ache's on bad ones. Imagine hooking a client with that logic. Several other of these people (artists, designers, etc...) actually have *no* idea how to describe their process that they've used to get to the top of their field. They can't tell you the real reasons, so they've come up with terms and phrases to put others at ease. The fact is that no one wants to hear "I just think it looks better", even if it is clearly better.

Is logo design the hardest thing ever?

Last night I was working on my new logo for Fort McHenry (impossible to avoid: using a flag theme)...thinking that logo design has got to be the hardest design task ever. Do you all agree? It's super difficult to come up with something that invokes the spirit of the company or nonprofit or whatever in a way that is Good Design: ie, not TOO literal but not TOO ephemeral, clean, usable small or large, etc.

We're lucky in project 1 in that we don't reeeally have to please a client, only our own designer selves and our peers. But my limited experience in logo design for outsiders has been painful, to say the least. I volunteered on to work on a logo once for a dog rescue that concentrated on bull breeds -- not just pit bulls but also all the other kinds of bull breeds there are, and there are a lot, and the client wanted silhouettes of all of them to appear in the logo. Actually, she wanted photos in the logo, but I was able to successfully nix that idea in working with her. After a ton of versions, she changed her mind and decided to keep the original logo-type-thing:

Oh, well. It was a lesson to me in the difficulty of working with clients that want everything but the kitchen sink to appear on their business cards, and the challenge of conveying a solid message in an image-based logo. (Also a lesson in how not to work for free.) But even if this client had put herself totally in my hands, it would've been difficult. You want something recognizable and not totally ordinary. It's very challenging to distill an entire entity down to one image. So this is why I kind of dread logo design...

New Ideas for Project One.

Over this weekend, I had a chance to visit a local Maryland winery. I visited Boordy Vineyards, Maryland's oldest winery, in the Long Green Valley area of Hydes, Maryland. I took a tour of the facilities, tasted their wines, and spoke with the owners. This experience gave me some rebranding ideas for Project One. I really wasn't feeling too enthused about the Baltimore Window Factory idea from class, so I'm switching. The winery has a rich and important history not only to winemaking in Maryland, but to winemaking in the US. The wine shop also features a sitting area where my friends and I relaxed and drank wine while eating a picnic lunch. I came up with some ideas on informational graphics that could be showcased within the wine shop and sitting area. I've included their exsisting logo on the right. Its not a bad logo, but its a bit plain and sterile. The atmosphere at the winery is really fun and laid back, and with the harvest approaching they have some wonderfull events planned. I believe a rebranding can address this percieved atmosphere. The winery caters to a wide variety of people, and not strictly to the stereotypical elitist wine connoisseur type. I'm continuing my research and playing with some ideas on the logo change. Let me know what you all think. Thanks.

On (Design) Bullshit

The last few paragraphs of Bierut's article really sum it up. Massimo was not lying necessarily. He was merely packaging the presentation in a way that met the client's expectations of wanting it more French. Regardless of what profession one chooses, we all have to be salespeople to a degree. I find one of the best ways to sidestep objections is to convince the client that a design decision was their idea to begin with. Once you pin down some key needs and wants from the client, you can wrap those needs and wants around the rationale for making a specific design choice. For example, I once created a trade show display for an engineering firm. My solution was to do something primarily typographic, but before I pitched the idea, I nailed down some key needs. Their need was to showcase their four major fields of engineering practice: mechanical, structural, electrical, and fire protection. I then created some comps showcasing those 4 engineering fields strictly typographic. I proceeded to explain my rationale by making references to engineering and the need to prominently showcase these 4 engineering fields as the reason for the compositional and overall design choices. I then finished by asking them, "and this is what you wanted all along, correct?" By linking the design choice to their initial need, they got the impression that they were an important part of the design process and in a way, they were. The final is this geo-mechanical looking composition shown here.

The fine art of bullshit.

Following last night's discussion on the ability of designers to communicate with clients, I came across this article by Michael Beirut on Design Observer.

Our whole conversation about being able to communicate using our client's language really comes down to bullshitting - trying to explain your tastes and thoughts to someone who isn't you, someone who will never be able to be completely understood, or completely understand you.

Beirut quotes a book called On Bullshit by Harry G. Frankfurt. Frankfurt states that bullshit is "not designed primarily to give its audience a false belief about whatever state of affairs may be the topic, but that its primary intention is rather to give its audience a false impression concerning what is going on in the mind of the speaker."

That brought a lot of light to our discussion. When talking to a client, we're trying to rationalize a series of what are essentially irrational decisions, and make them see that our solutions are the right ones for them, even though there may be a multitude of decisions that would lead to an equally successful result.

Fighting the system?

I'm currently in the midst of expanding my design skill set to include comic book lettering, as well as designing the indicia pages and back covers. In teaching myself to do this, I've run into several stumbling blocks.

The biggest one is the perception of how typography should work with the illustration in graphic novels.  Type in graphic novels is more than just the medium in which the dialogue and sound effects come across, it really needs to be integrated with they style of the artist and the mood of the script.  Apparently, this usually means making things huge, brightly colored, and stroked every which way. I find that this is usually a huge distraction, and tends to make even the most intelligent, well written book look like a cheeseball 1950's pulp story.

However, when I attempted to use a subtler hand in the story I was working on, it was immediately shot down by the editors.  Now, I realize that its very difficult to undermine nearly  a century of convention, but I'm curious to see how other people would try to subvert what's going on, especially when the dominant idea seems to conflict with what's being created.  Not every "Splortch" needs to be in 26 point, drippy red typeface, especially when it's a carefully rendered oil painting of the scene. I need to be able to convey to my editors why making these changes is important, regardless of convention.

The Revenge of the White Space

I too agree with the fact that people want more, more, more, and am bored to tears by 90% of what I see. But what is interesting is some of the design I love many other don't "get." I of course, do not mean fellow lovers of design, but those the design is supposed to speak to, mostly in advertising. For example, there was a billboard downtown for Chipotle that my mother and I passed a few years ago. It was huge and simple--the line "honest ingredients" and a big close up of a cow with a little word bubble saying "She's not coming back." I loved it, it cracked me up, which is a very effective advertising method for me. However, I had to explain it for 15 minutes to my mother before she kind of smirked. Mind you, my mother is not stupid, but I have noticed the large amount of people who I wouldn't considered stupid that don't "get" anything other than "buy me, dammit." And really, as unfortunate as it seems, isn't that what it's all about? Selling to those who don't get white space or subtlety? Sometimes I think I'm just hardwired differently and couldn't that be a detriment? Sure, there are sucessful designers who do great stuff, but there are a lot more that put out caca. Because caca is what most people "get."

And Now A Word From Ed Gold

This blog is not from Ed Gold, but I have a link to a podcast you might find interesting. Its a conversation with Ed Gold about the topic of Graphic Design Certification. The Paul Rand quote at the end of Michelle's post made me think of this podcast. Apparently, the idea of certifying graphic designers is being advanced in Canada. This idea is similar to the Bar Exam for attorneys or the CPA Exam for accountants. I know, I know it sounds a little far fetched, but keep an open mind. See you all on Thursday.

2 project questions

Hi Guys--for project one, were there any specifics on what kind of company we could choose? Because i was thinking of picking a restaurant but was unsure if it was appropriate. Also, does the company have to be local?

2. For project 3, did we have to pick a director with a film series currently playing at the Silver Theatre? Or can we pick any director with a series of films? Or maybe one that will be playing in the coming months?

Thank you to whoever can answer these the fastest!

Overdesign and Missing the Point

I think two of the client's general misconceptions are (1) that audiences are generally stupid and (2) that audiences care about the subject of the design as much as the people who commissioned it. As far as #1 goes, there's a tendency to want to beat the audience over the head with a message to be absolutely, positively sure that there's no conceivable way that they might not get it...That's what I thought of when watching the stop sign clip, which designers at my job circulated with glee. The value of subtlety or of something evocative is totally underestimated, and along with that is lost the value of a simple message that is communicated one way at a time, rather than 6 ways at a time. I wonder if today's emphasis on political correctness might be partly to blame: trying to appeal to all people equally at all times and overthinking the project as a result. What we (the public) end up with is garbled messages. What we (designers) end up with is a whole committee of clients for one simple job...personally I always wonder why they bother to pay us to do something that they clearly think they can do better themselves.

As far as #2, working in a university, we often have to design, say...posters for esoteric academic conferences on stuff like string theory or the impact of the spur on the course of modern warfare. I'm always amazed how much information clients want to jam on there: The title of the event, the people presenting papers, the titles of the papers, the people's affiliations, the blurb describing the history of the conference and logos for all of the universities that have ever participated, the photo of this and the illustration of that, etc. To the client, these bits of information are interesting. To the average passer-by, they're a deterrent: When you have 8 logos and blocks of 6-point type, no one's going to stop and read.

I'm realizing now that this post has the potential to become twelve paragraphs of Designer Gripe, but the point is that overdesign is not just poor design, nor is it all the fault of Bad Marketing Man and his management-speak. It's a combination of the information-saturation internet age and of a general misunderstanding of how a message is effectively and pleasingly conveyed. At least Marketing Man has given that some thought, as annoying as his catch-phrases may be. My bigger concern is how to open the dialogue with clients on this subject.

Joe Schmo's Opinion Stinks

I have so many thoughts running through my brain I feel like I'm hemorrhaging. I guess I'll just start:

Now that I'm coming to the end of this degree I find myself getting nervous about my design skills in the “real world.” Before I started the Pub Design program I had absolutely no experience with graphic design. I feel like I'm running into the "real world" with blinders on and the boss man is going to tell me to "pack my crap and get out" before I have a chance to shine. I'm completely wrong. People (I'm targeting non-designers) in the "real world" don't know shit. I interned with a company this summer and they asked me to design some web banners—which made me nervous. What if they didn't like them? What if my banners were terrible? The company loved them. This “praise” did not come without critique. Change this. Change that. How about adding more of this…. All of their suggestions were reasons why I received consistent C's from Amy in my Phase 4's in Words and Images; in other words, the things they wanted changed were the fundamental don'ts of graphic design. Everyone wants to believe he or she is creative which is why clients, bosses, and Joe Schmos think they are qualified to give opinions.

I'm reading a book by Paul Rand called Design Form and Chaos—which is very good. Even though it goes against the rules of 9th grade English, I will end with an excerpt from his book:

"Unlike those of architecture and engineering, it (graphic design) requires no authorization...as do the legal and medical professions...What the designer and his client have in common is a license to practice without a license. Most of these people, in management or otherwise, have no design background. They are not professionals who have the credentials to approve or disapprove the work of the professional designer, yet of course they do."

A new design for 9.11

Can you use the word “brand” to describe the latest design for the 9/11 museum?

The proposed visitor center will contain two massive shaped steel columns, original to the towers that survived the attack. Their shape evokes the silhouette of the building and, according to architect, Craig Dykers, “ in their re-erection at the site, will convey strength, fortitude, resilience, survival and hope.”

Can strength, survival and hope be a brand? Certainly Obama would agree on the later. Many designers have gone to great length in the seven years since the attack, to create a place that would both speak to and leave silent what millions experienced on that day. “Because 9/11 was so much a lived experience,” said the museum director, “they will bring their own interpretations to the site. And that’s very powerful.”

In every feature and facility, there is a nod to its delicate task and design challenge – for instance on the second floor there is a private room in which relatives of 9/11 victims may gather, an overlook from which visitors can take in a sweeping view of the memorial, and, a small cafe. (”For sustenance,” Mr. Dykers said, “not a restaurant per se.”)

The Life of Designers

I have been working in the industry sense 1994 and I can’t tell you how many times I have heard the word brand. I think it is the most over used word in our field. Designers are faced with suits using the word brand over and over.

As designers we have to face clients, vice presidents of companies and even creative directors who want to over brand products. Good design can brand a product without an over usage of corporate logos, images and colors. Designers are often handcuffed by this philosophy. The art of using white space is something that is hard to come by. Clients think they need to fill as much white space as possible. Design can brand a product successfully with clean layout and effective design elements. I think it has gotten so bad that some companies target audience’s stop looking a material because it is over branded. There is not a lot of time to capture a reader’s eye. If a piece has too much going on to the eye it may not even get read.

TV stations have even gone over board with the branding game. I was watching True Life on MTV the others day and got totally disgusted with the large pop up ads that they were running in the corners of the screen. It was everything from the MTV logo to ads for the VMA’s. The banners were so large that it distracted me from the show.

Another funny over-designing video

Along the same lines of Carolyn's post, I thought of this clip when I saw the stop sign one. Most of you have probably seen it, it's one that supposes Microsoft had designed the packaging for the iPod. Apple-bash if you may, but one thing they understand is design (for the most part) and their packaging is sometimes beautiful in its simplicity. Video here.

About your books -- sorry to interrupt...

Hi All,
I spoke with the bookstore today and it seems the publisher mislead the bookstore about the delivery date. The new delivery date for your textbooks is now Thursday -- the bookstore is supposed to have them on the shelf sometime in the afternoon. I will be checking with them to see if it happens. If it doesn't, I will make copies of the reading I want you to do.

Please go back to your earlier scheduled broadcast. Thank you. --Amy

Funny Video

Anyone who is in the Design/Business link class has already seen this, but for people who haven't I thought I'd post it because I think it ties in with this blog and it's pretty funny and something we can all relate to. You can view the youtube video here.

I haven't been in the graphic design world for very long, but I currently work for an ad agency and it seems that a constant struggle is trying to fit everything that the client wants in an ad or trying to convince them that some things don't need to be included. I completely agree with Steve about how clients don't understand the value of whitespace. They think if they're paying for an ad it should include as much in it as possible for them to get their money's worth...seems like they are missing the point...

My old boss used to say, "everyone thinks they can do our job better than we can" which is so true. Everyone seems to think they can be a graphic designer and they don't realize that sometimes we just might know what we're talking about.

Cokes, Whitespace, and Skateboards

I agree with David that it seems the current design trend is to make it fancier. More details, more flourishes, more decoration. About a year ago, I came across an Internet article featuring a redesign of Coca-Cola's packaging. The new design is simple and clean. A throwback to a more straightforward design, before they went crazy with embossed type and illustrated water droplets. A month ago Business Week featured an article entitled Coke's New Design Direction. The article feature's the simple design concept showcased in various forms. Remember to view the slideshow. There is, however, a series of bottles that feature more stylized and elaborate illustrations, but they appear to be relegated to a limited collection. In case you all are wondering, I'm a Coca-Cola junkie.

Pam makes an excellent point too with regards to pleasing a client's need for more! more! more! by squeezing every conceivable piece of visual information in the allotted space. Most clients don't understand the importance of whitespace. They must think our job is like that of a carpet installer. We don't charge by the square foot (or perhaps in our case the square inch). Design is not a commodity!

Oh Pam, speaking of skateboards, if anybody is interested in the history and evolution of skateboard graphics, there's a cool website about a future documentary chronicling that. Go to sk8face.com. Be sure to view the trailer.

A Much More Mundane Concern…

We talked a lot about projects One and Three, but I don’t remember much discussion on Two. Maybe I missed it which is quite possible. I’d really like to do the DVD cover and inside booklet as my portfolio is lacking in packaging design. How do we pick the movie?

Amy asked me to enter my comment a post. I guess as authors we post and do not comment. Sorry. So here now is my comment-post:

Wow – Thanks for starting the class out on such a high note! I loved the skull on a skateboard from Post Typography - yeah it is the coolest thing ever. I have anyways worked in an in-house environment which poses its own challenges – I am admonished to “make it more jazzier please” and “Can we just squeeze one more sponsor/idea/message/event/product in there please” and don’t get me started on the snowy mountain peak image in a Powerpoint. Anyway – glad I got that all out. I really enjoyed your thoughts and links. We will all find our own path for keeping our souls and expressing our desire for a more just and sustainable culture.

Apropo of Nothing…

Graphic design is everywhere, from the most intricately detailed monographs by Sagmeister, to the junk mail credit card applications that await you in your mailbox. It’s become second nature—ubiquitous to our normal glance. A big problem with the constant dumbing-down of our everyday semiotic experience is that EVERYTHING is branded (even things that never should be). Have we reached the point where we’ve gone too far?

Whenever I hear the word branding from an account exec or marketing team, I feel like my ears are being icepicked. To me, the word has the connotative value of a bad hangover.

Is this the same reason many creative directors I work for seem totally burned-out in their mid 40’s ? Have we branded everything to death? I think the answer is maybe somewhere in-between; having an ebb and tide effect that sometimes has us digging our own grave with client-generated briefs, and other times makes us realize that we’re kinda doing what we love for a living.

Whenever I encounter something that’s so over-designed that it gives me a toothache, I’m consoled by the continuous steampunk face of graphic design that has spawned the likes of Art Chantry, David Carson, Ed Fella, and even our own Post Typography.

I know one thing…being a graphic designer and having to think about this whole mess we’ve gotten ourselves into, I find myself seeking out things that are vehemently NOT designed. I normally shy away from clothing with logos and brand names emblazoned on them. When at the supermarket I’m fascinated with products that are devoid of glitzy depictions of their contents, often buying them for that reason alone.

One thing that’s refreshing in design right now is the somewhat recent popularity of new web standards. Yeah… Imaging that. From the flash-obsessed fodder everyone was in love with 10 years ago (not to dis Joshua Davis by any means) to nicely-designed, clean, semantic markup.

Anyway… this topic is something that’s always running through my mind, especially when being art directed by a client to “make it pop” or “punch it up a little”. So, I guess I can live with being an ad-slave by day and avant-garde wannabe by night. For now.

Class Blog

This is the class blog of Advanced Design in the graduate school at the University of Baltimore. The class is composed of students in the Masters of Arts in Publications Design and students in the Master of Fine Arts in Integrated Design. Each week students will be engaged in a discourse on at least one design topic introduced by a classmate.