Monday, September 24, 2012

Chelsea Henshaw: Reading Three

Just like the previous, chapter three contained a plethora of brainstorming ideas. One in particular that grabbed my attention immediately was the concept of brand languages. Lupton illustrates the idea when she states, “An effective brand language gains cultural fluency over time...” and cites the Tiffany’s blue box and McDonald’s golden arches as perfect examples of companies that have created a strong brand language (132). Strong brand languages are created through dynamic design choices by creative teams. In a society strongly rooted in consumerism, image is everything. Therefore, the success of a product depends on the effectiveness of the design to reflect the values of the company, target the intended audience, and create demand for the product. This is a tall order for any designer, but through the implication of the brainstorming strategies that are mentioned in the text, creating successful brand languages will become second nature. Furthermore, the concept of creating a strong brand language is something that I am very interested in further researching taking Lupton’s recommendation to read Marty Neumeir’s book, The Brand Gap: How to Bridge the Distance Between Business Strategy and Design.

Another resounding message in chapter three was the emphasis on stepping away from the computer. I feel quite strongly about this point because I find myself stuck, staring at a blank artboard on Illustrator on many occasions. I think that since all aspects of graphic design are presently controlled by computer programs, easily modified in a few clicks, no one can fathom leaving their computer to generate a fresh idea. In the section on physical thinking, I was especially interested in step three. Lupton explains how designers should “explore their creation through the lens of a camera... and observe what changes” (141). I never considered how many more ideas could develop from an object if seen through the lens of a camera. With this technique, one sees the object as abstracted and this could inspire an entirely new and fresh design. I will put this technique in my arsenal and be sure to use it when I am stumped on a design.

2 comments:

  1. I agree to disagree about your statement towards how design is controlled entirely by computers. In your defense absolutely, the most effective and innovative designs to date are done, and will continue to be done on computers, especially when referencing amazingly complex animations. But as a quality I do not have as a designer is drawing. this process alone sets designers apart. Before the computer is even involved... Though as I said I am not the best drawer at all, which is why I agree, and love how effective computers are in the design world.

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  2. You mention two very valid points. The idea of brand language is also very enticing to me. I think nowadays it depends on having unique designs and consistent designs. People are coming up with new logos and designs everyday. In order for people to understand and be able to read the brand language, I think it has to be memorable and different than anything they have seen before. For example, if someone decided to do a concept with 3 yellow arches, we would automatically think of Mcdonalds. For argumentative sake, someone could do two arches that are different colors and I still think we would think of Mcdonalds. Some brand languages are really branded into us.

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