Imagine this: two graphic designers doing a performance art piece—moving a risograph out of a Subaru and into an institutional building.
Uncorporate Identity: Daniel van der Velden, Vinca Kruk: 9783037781692: Amazon.com: Books
The typography is okay, the printing and binding is good (in line with Lars Muller’s usual high quality and beautiful productions) but the design is shockingly awful: there are weird effects that you shouldn’t use if you want to communicate trustworthiness and confidence such as amateur effects like drop shadows, hyperactive gradients and also seems to be on trend with this ‘exposed content style’ — I would go so far to say it looks like very bad 90s Flash websites with all these superfluous elements that generate a feeling of schizophrenia and anxiety almost. I read the texts but they don’t really offer any practical advice or useful analysis about branding and corporate identity useful to a branding designer — for example how to deal with the internet and social media, what good form and harmony in application is and so on.
To be honest, I didn’t really understand a lot of it and I am experienced in branding and corporate identity — it really didn’t meet my expectations. I wouldn’t recommend this product to anyone serious about branding or corporate design. Maybe some intellectual-wannabe academic types that have nothing to do with the real world I guess (sorry!).
For real books about branding I highly recommend: Logo Design Love: A Guide to Creating Iconic Brand Identities, Wally Olins on Brand,The Brand Gap: How to Bridge the Distance Between Business Strategy and Design and Designing Brand Identity: An Essential Guide for the Whole Branding Team which I urge anyone interested and serious about branding to read; it is very practical, for example is in 3 sections as follows:
Basics: The difference between brand and brand identity, and what it takes to be the best.
Process: This section answers the question “Why does it take so long?” and addresses collaboration and decision making.
Best practices: These highly successful projects created by branding firms and design consultancies inspire and exemplify original, flexible, lasting solutions.
I think I will keep this book though as it is well produced, it is just a shame about the poor content…
All Possible Futures
Speculative practices have existed throughout the history of design, most notably in architecture, but only a few graphic designers have positioned themselves in contexts where they are able to pursue explorations built on speculation and uncertain ground. This could be the result of numerous unsympathetic conditions deeply rooted in graphic design practice, including the commission structure within which most work happens. Traditionally, a client comes to a designer with a brief, to which the latter responds by offering possible options for solving the already-established problem. When a client has some kind of financial investment in the situation and wants a viable outcome, “What if?” is not often a comfortable starting point. Thus, speculative projects tend be self-initiated efforts, proposals within academic contexts, or simply unrealized inquiries.
All Possible Futures explores speculative work created by contemporary graphic designers. It encompasses everything from self-generated provocations to experimental work created “in parallel” with client-based projects to unique practices where commissions have been tackled with a high level of autonomy and critical investigation. The work highlights different levels of visibility and public-ness within the graphic design process. Some projects were made for clients and exist in a “real world” context, while others might otherwise have gone unnoticed: failed proposals, experiments, sketches, incomplete thoughts.
All Possible Futures also looks at how graphic designers have expanded the parameters of the field by consciously taking a transdisciplinary approach, and by considering physical interaction within an art-gallery context. The featured designers are both American and international, and all of them in one way or another consciously question the established boundaries of design concepts, processes, technologies, and form. They position themselves as authors of autonomous critical projects, and they maintain conceptually rigorous, research-based, historically informed practices.
The installation and exhibition design for All Possible Futures takes on the challenges inherent in presenting any show on graphic design: how to create a new space for graphic design to be understood out of its original context; how to enable visitors to directly engage with the materials on display; how to gather and present a breadth of contemporary speculative pieces, which take the form of both original physical objects and restaged installations; and how to speak simultaneously to peers within the design community and a wider audience.
Jaan Evart, Julian Hagen and Daniël Maarleveld
General Working Group
Hansje van Halem
Willem Henri Lucas
MacFadden and Thorpe
Jeremy Mende and Bill Hsu
Mevis & van Deursen
Karl Nawrot & Walter Warton
Sulki and Min
Martin Venezky’s Appetite Engineers