5 point manifesto

1. Keep making crap, eventually it’ll be good
2. Every problem is an opportunity waiting to be identified
3. Clean up as you go
4. Adapt to every new circumstance
5. Concept is the basis of every good piece

Manifesto

1. Research
   It is important that you understand what/who you are designing for. Design is rooted in reason.
2. Concept
   The concept behind the project should address the basic Who, What, When, Where, and Why with the design.
3. Typography
   This is the backbone of design and every aspect of it should be intentional
4. Keep it Simple
   Not every design can be as simple as the Japanese's Flag but a design should never be more complicated than it has to be.
5. Effective Experience
   Above all design is about user experience
   this is the real measure of a successful design.

5 Manifesto Points

1. Go outside your comfort zone
2. Change up your style
3. Typography is key in any design
4. Take consideration of critique points to add to your work
5. Don’t be afraid to express yourself

Process book and manifesto

 

Cover and book link

Design Manifesto:

-Don't be afraid of style, so long as it doesn't impede you

-Do your research, everything looks better if you know about it

-Half inch margins, not quarter inch

-Avenir is better than Helvetica

-Use rich black

materials for a manifesto (temporary post)

manifesto vs aphorisms

demonstrate don’t manipulate

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know / come clean about / who you are in and behind and around your work.
how did it/you come to this.
I am not good about this.

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scale.
for books, small books should not feel like a large book shrunk down.
nor the reverse.
and yet this, too, depends.

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don’t fuss too much about composition (in the layout sense), if (1) there is a robust grid and (2) other pages provide visual context.

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3 is better than 2.
if four, group : 2+1+1
if five, group : 3+1+1, or 2+2+1

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“Instead of shooting arrows at someone else’s target, which I’ve never been very good at, I make my own target around wherever my arrow happens to have landed. You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.”
—Brian Eno
see https://austinkleon.com/2018/10/15/arrows-and-targets/

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design is a relationship with others and with the materials of design (words, pictures, pixels, code, messages, channels, partners, vendors, everything one has ever seen or touched or heard).
let it all in, as necessary.

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Let every activity have at its centre some moments of interruption.
— The Notebooks of Simone Weil, Vol. I, translated by Arthur Wills (1956) : 96

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“To draw back before the object we are pursuing. Only what is indirect is effective…”
— Simone Weil, The Notebooks of, translated from the French by Arthur Wills (1956, 2004) : 169

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Beauty. One cannot say that it is a “perspective” order. It tears us away from the point of view.
— Simone Weil. The Notebooks of. Translated by Arthur Wills (1956): 232

Beauty is the ultimate defense against complexity. Beauty is our most reliable guide...
David Gelernter, Machine Beauty : Elegance and the heart of technology (1998) : 22 –

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To be confronted by with things is a liberation of the mind.
Simone Weil (1909-1943), First and last notebooks. translated by Richard Rees. 1970 : 40

The unity of a work of art must be ceaselessly in peril and still be preserved at each instant.
— Simone Weil (1909-43), Lectures on Philosophy (translation 1978): 187

composition of a poem: thought without language, for the choice of words takes place without the help of words.
The Notebooks of Simone Weil, Vol. I, translated by Arthur Wills (1956) : 37

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The concrete presence of seeking, clarity, balance, spacial energy, entry of light, layering, material and precision, measurement, vertical/horizontal and proportion, harmony within itself and the drawing of thoughts are in my mind essential terms of architectonic thinking. The constructed space is open in all directions. Architecture begins before architecture.
Heinz Tesar, Notate

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Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.
Peter Zumthor

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There’s nothing like putting stuff in boxes. (or something to that effect)
Muriel Cooper (somewhere)

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Has the scope for exploration been defined in a way that the space of possibilities includes high-quality solutions?
Karl T. Ulrich, Design : Creation of Artifacts in Society (2005-11)
aside — useful, important book, this.

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...an immaculate surface that leaves no room for dialogue...
— Robin Kinross, on the “modern”, in Fellow Readers (1994)

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You can't learn physics or other sciences without doing experiments. The same holds for graphic design.
— Malcolm Grear, Inside | Outside : From the basics to the practice of graphic design, Second Edition (2006) : 26

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I don't often remember portfolios, but I remember people.
— Adrian Shaughnessy, Portfolios

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I try to be as stupid as possible regarding my profession, which means I try to look at as few design magazines as possible. I don't use the word "success," neither do I use the word "failure." Good design needs bad design and vice versa. For me, design is simply that human activity that sometimes — rarely — is able to communicate.
Ettore Sottsass (founder, Sottsass Associati)
“A conversation about the good, the bad, and the ugly.”
Wired 9.01 (January 2001)

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to practice in all things a certain sprezzatura [nonchalance], so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it. And I believe much grace comes of this...
ex Baldesar Castiglione, The Book of the Courtier (1528)

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Man, Robert Frost said thinkin’ was just putting one thing beside another and lookin’ at ’em. What you call ramblin’ is what I call thinkin’...
K.C. Constantine, Bottom Liner Blues (Mysterious Press, 1993).

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There’s another way to make a movie, which is the way that Eisenstein suggested a movie should be made. This method has nothing to do with following the protagonist around but rather is a succession of images juxtaposed so that the contrast between these images moves the story forward in the mind of the audience. This is a fairly succinct rendition of Eisenstein's theory of montage; it is also the first thing I know about film direction; it is also the first thing I know about film directing, virtually the only thing I know about film directing.

You always want to tell the story in cuts. Which is to say, through a juxtaposition of images that are basically uninflected. A shot of a teacup. A shot of a spoon. A short of a fork. A shot of a door. Let the cut tell the story. Because otherwise you have not got dramatic action, you have narration...

The work of the director is the work of constructing the shot list from the script. The work on the set is nothing… It is the plan that makes the movie.

The purpose of technique is to free the unconscious. If you follow the rules ploddingly, they will allow your unconscious to be free. That’s true creativity. If not, you will be fettered by your conscious mind. Because the conscious mind always wants to be liked and wants to be interesting. The conscious mind is going to suggest the obvious, the cliché, because these things offer the security of having succeeded in the past.

ex David Mamet, On Directing Film (1991)

process doc 2

a document of research on the animals i drew (whales, turtles, penguins)

https://docs.google.com/document/d/1UIqV4wjfoTuHNpl7xQdHsTYxZK8lny9-wbv5uwfRQ_k/edit

manifesto

1. don't be afraid of change
2. use fonts that communicate meaning
3. the process, not the product
4. design for the audience you want to see it
5. don't use too many colors at once