How to be a Graphic Designer, Without Losing Your SoulLaurence King Publishing, 2005 - 160 pagina's "Designers are quick to tell us about their sources of inspiration, but they are much less willing to reveal such critical matters as how to find work, how much they charge, and what to do when a client rejects three weeks of work and refuses to pay the bill. How to be a graphic designer without losing your soul addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, and who want to avoid becoming hired drones working on soulless projects. Written by a designer for designers, it combines practical advice with philosophical guidance to help young professionals embark on their careers. How should designers manage the creative process? What's the first step in the successful interpretation of a brief? How do you generate ideas when everything just seems blank? How to be a graphic designer offers clear, concise guidance for these questions, along with focused, no-nonsense strategies for setting up, running, and promoting a studio, finding work, and collaborating with clients. The book also includes inspiring interviews with ten leading designers, including Rudy VanderLans (Emigre), John Warwicker (Tomato), Neville Brody (Research Studios), and Andy Cruz (House Industries). All told, How to be a graphic designer covers just about every aspect of the profession, and stands as an indispensable guide for any young designer." - publisher description. |
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Pagina 5
... sometimes my work isn't as good as I'd like it to be ' The creative process - How to approach a new project - How to interpret the brief - Research - Process - Benefits of collaboration - Having a personal creative philosophy - Criteria ...
... sometimes my work isn't as good as I'd like it to be ' The creative process - How to approach a new project - How to interpret the brief - Research - Process - Benefits of collaboration - Having a personal creative philosophy - Criteria ...
Pagina 11
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Pagina 24
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Pagina 26
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Pagina 29
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Inhoudsopgave
p 916 | 9 |
Chapter 1p 1727 | 17 |
Chapter 2p 3043 | 32 |
awardwinning stuff A list of employment options Work in a studio or work inhouse for | 41 |
Chapter 3p 4753 | 47 |
Chapter 4p 5869 | 58 |
Chapter 5p 7383 | 73 |
Chapter 6p 8897 | 88 |
Contents | 104 |
Chapter 8p 119129 | 119 |
Chapter 9p 134147 | 134 |
Appendix Organizations Business matters Conferences Internet | 152 |
Overige edities - Alles bekijken
How to Be a Graphic Designer without Losing Your Soul Adrian Shaughnessy Gedeeltelijke weergave - 2012 |
How to be a Graphic Designer Without Losing Your Soul Adrian Shaughnessy Gedeeltelijke weergave - 2005 |
Veelvoorkomende woorden en zinsdelen
advice Airside Alexander Gelman approach art director asked become better brief Bruce Mau business plan career communication Corey Holms Courtesy create creative process design college design company design groups design press design studio design world designer's Designers Republic e-mail employ employers everything find a job find clients Fred Deakin freelance designers graphic designer ideas in-house individual interview Intro Kim Hiorthøy Laurence King Publishing logo London look Lorraine Wild losing your soul magazine Mat Cook matter means Monguzzi never Neville Brody new-business person non-design partners Peter Saville Peter Stemmler philosophy pitch portfolio poster practical produce professional promotional rarely response Rick Poynor Rudy VanderLans Running a studio skills someone sometimes sort staff started Stefan Sagmeister Steven Heller talent talk tell there's thing typefaces typography visual websites write young designers
Populaire passages
Pagina 5 - Proficiency in requisite technologies, not to mention a slew of optional techniques, easily takes a year or more to master in a rudimentary way. Acquiring fluency in the design language(s), most notably type, is an ongoing process. Then there is instruction and practice in a variety of old and new media -print and web, editorial and advertising, static and motion, not to mention drawing and photography these take time to leam, no less to hone.
Pagina 5 - Theory is also a useful foundation if taught correctly, but it is often perfunctorily shoehomed into studio classes. How can a design student function without verbal expertise, let alone the ability to read and research? This must also be taught in an efficient manner that takes time. And then there is basic business acumen; every designer must understand fundamental business procedures, which are virtually ignored in the ultimate pursuit of the marketable portfolio.