This book illustrates the key components of mastering design thinking based on the author’s experience at the Institute of Design of Illinois Institute of Technology, one of the most famous Design schools in the world.
The author highlights the difference between the business world and the design world based on his own experience.
His big transition from the logical world of business, as former P&G marketer, to the design world.
His experience helps non-designers learn design thinking by providing comparisons to business protocol.
The author categorized the key components of design thinking into 4 parts:
1. Thinking: Hybrid Thinking
2. Mindset: Creator Spirit
3. Process: Human Centered Co-Creation
4. Environment: Switching to Creative mode through Tools and Space
In later chapters, the author proposes the framework of how to start a career in the business design world and finally how design thinking might influence your well-being. This book is a compass for you, and and any non-designer, to start mastering design thinking.
In this book you will:
Understand how non-designers can learn design thinking
Understand the four components of a design thinker
Impressions: Essays on the Art of Printing A New Series from The Legacy Press and a Call for Essays Impressions encompasses all the printing arts: relief, intaglio, lithographic, and serigraphic, as well as related arts, such as stamping, stenciling, and pochoir.
Please send queries and writing samples by early June to series editor Rebecca Chung (firstname.lastname@example.org). Length and illustrations should be appropriate to the topic.
Impressions, Vol. 1 For its inaugural volume, Impressions invites submissions on the topic of women printers and printmakers, as well as the role of gender in the printing arts.
All forms of printing and printmaking will be considered, as well as approaches to the topic from diverse areas of expertise: book arts, practical printing, bibliography, and historical (art history, book history, printing history, literary history).
While centering attention on the category of women, the volume also welcomes essays that include inclusive thinking about gender identity and sexual orientation in relation to the printing arts.
Recent work in literary and art history suggests that women were active in the growth of printing and publishing in Europe and the Americas, although their activity is only beginning to be documented through research.
Simultaneously, book and printing historians are exploring the revisions of print and printmaking history needed as worldwide contributions challenge the Gutenberg-centered narrative that have dominated Anglo-European origin stories until quite recently. Submissions should argue for the significance of the topic to change or enrich understanding the contributions of women to the growth of the printing arts, and also address the question of how gender impacts current understandings of print and printmaking.
Possible topics include, but are not limited to:
Shops, organizations, trade and industrial practice
Creating printed matter or illustration
Beatrice Warde and other women writers or innovators on the printing arts
Manufacture of prints, editions, tools, and supplies
Gender and printers or printmakers worldwide
Gender trouble, intersectionality, and the printing arts
Impressions is particularly interested in studies that make rich use of images either as part of studying a printmaking process and/or as examples from archives and collections.
And as is true of the other The Legacy Press’s essay series (http://www.thelegacypress.com/essay-series.html), Impressions welcomes both published scholars and new authors, and both established areas of inquiry and topics not previously addressed in other publications. If you have an essay in preparation or if you would like more information about Impressions, please email Rebecca: email@example.com
a Workshop Project design educators workshop
July 12–15, 2018
California College of the Arts
San Francisco, California
Workshop ProjectAGAIN invites sixteen educators from a broad range of institutions to explore the radical potential of the artifacts and platforms of design education (tools, projects, syllabi, resource lists and the like) as spaces for new forms of critical writing, making, and discourse.
This annual workshop and the outcomes we make are meant to articulate, respond to and disrupt an urgent issue in contemporary graphic design education. Participants will generate a collection of pedagogical artifacts, platforms and other unforeseen outcomes that will be published on Workshop Project Wiki as a set of FREE resources for educators, students and practitioners. The workshop will culminate in a FREE, informal, public presentation where participants present, debate and discuss their outcomes, beliefs, values, and interests.
This year FREE 2018 challenges you to dive into two intertwined currents and take an ideological position in the unresolvable dichotomy: HUMANISM vs POSTHUMANISM in graphic design education
As humans we are chameleons; we speak in many tongues and take on many guises. In HUMANISM lies authorship, personal voice, agenda and authenticity. Beneath its surface lies a complex, intricately constructed, and often unexpected interior. POSTHUMANISM reflects our images back at us in hyper-real, high definition: harder, better, faster, stronger. It makes us at once bottomless / hollow / void AND prolific / plural / simultaneous. Our collective desires manifest in its material, sonic, visual and temporal presence.
CHOOSE A SIDE and imagine, debate, and test drive the impractical, the extreme and the impossible in a space that is FREE from the constraints of institution, convention and expectation.
For more information, please visit www.workshopproject.org
To apply email Yasmin and Jessica at firstname.lastname@example.org
The application deadline is May 4, 2018.
July 12–15, 2018
Cost FREE for accepted participants
Contact us for information about discounted hotel rates
Organizers Yasmin Khan, Special Faculty, Program in Graphic Design, CalArts Jessica Wexler, Chair, Undergraduate Communications Design, Pratt Institute
Host Jon Sueda, Chair, Program in Design, California College of the Arts
About Workshop Project Workshop Project is a space to examine and rethink the relationship of the educator to the institution. We approach the artifacts of design education as forms of critical writing and making. Workshop Project is Yasmin Khan and Jessica Wexler. We are design educators and practitioners with over two decades of combined experience teaching, designing curricula and coordinating faculty within diverse public, private and for-profit institutions.
“The HOW Design Live 2018 white paper is a must read for any designer or marketer,” said Amy Conover, content manager for HOW events.
“We’ve complied some truly valuable insights from numerous speakers who will present at the upcoming HOW Design Live in Boston – all related to the theme of ‘The Intersection of Design and Marketing.’
In addition, the white paper is co-presented by Printing Industries of America, the largest graphic arts trade association, and the Association for Print Technologies, which is dedicated to supporting the entire commercial printing value chain, from print to digital. Of course, both organizations are also at the center of design and marketing, as well as featured in the white paper.”
To raise awareness and provide specific examples of ways to incorporate principles of accessibility into professional practice and design education, Design Incubation and AIGA/New York is inviting a group of scholars, practitioners and industry leaders to discuss accessible digital design and its relevance to the New York design community.
A morning panel discussion will provide a venue for experts to share their knowledge and an optional afternoon workshop will promote understanding of basic accessibility issues, concepts and best practices.
At a minimum, criteria for success of a designed product, service or experience should be its usability by everyone, regardless of their abilities or disabilities. Since digital access is a Civil Right covered by the Americans with Disabilities Act, the question of usability and access are now as important to digital and interactive designers as to those who produce products and physical artifacts.
“Inclusive design” theory and practice are becoming the norm with companies increasingly expecting employees to know the common standards and specifications for accessible interfaces which are used by people with disabilities (and meet legally mandated ADA compliance standards). Unfortunately, even as progress has been made in industry, teaching digital accessibility is rarely part of design curriculum or undergraduate course work.
All are welcome, but this workshop will be most useful for designers and educators who are less familiar with best practices around accessible design and want to learn more about how to practice and/or teach inclusive digital access and interactive design/graphic design/visual communications.
Saturday, 14 April 2018
General Assembly, New York City
9:45AM-10:00AM Attendee check-in
10:00AM-12:00PM Panel Discussion
Bo Campbell is an Interaction Designer and Accessibility Design Lead at IBM.
Elizabeth Guffey teaches art and design history at SUNY Purchase. She is author of several books, including Designing Disability: Symbols, Spaces and Society
Liz Jackson is the founder of the Inclusive Fashion & Design Collective, a disability design organization that is focused on increasing the impact of beautiful, functional products in our everyday lives and in the global economy.
Neil Ward is currently an Assistant Professor of Graphic Design at Drake University.
1:00PM-4:00PM Workshop (limited space)
Integrating Accessibility Workshop:
Inclusive Design Methodologies and Practice
Bo Campbell, Accessibility Design Lead for IBM, will conduct a workshop on accessible design while focusing on disability as a design challenge.
Canva, a Sydney-based graphic design start-up, has become Australia’s latest tech “unicorn”, after closing a funding round valuing its operations at $US1 billion ($1.3 billion).
The company on Tuesday announced it had raised $US40 million from investors including the Chinese arm of vaunted Silicon Valley investment firm Sequoia Capital and existing shareholders Blackbird Ventures and Felicis Ventures.
Sydney-based Melanie Perkins has turned her graphic design start-up into a billion dollar business.
Co-founder Melanie Perkins said the company was profitable and didn’t need the money but was offered terms too good to refuse.
The startup, whose apps help advertisers and companies create banners, logos and presentations, plans to double its workforce of 250 staff over the next year, she added.
“It’d be crazy not to take it,” she said.
“We can grow our team as rapidly as we can and know that we’ve got the financial backing to make those decisions very easily.”
Canva’s latest round of funding makes it a ‘unicorn’, a private company valued at $US1 billion or more. That’s a rare startup success for Australia’s technology scene: only eight of its listed technology companies are worth more than $US1 billion compared with 18 companies in metals and mining alone, according to data compiled by Bloomberg.
“The second day I went to San Francisco, I pitched him the idea for Canva, literally on paper pitch decks,” Perkins said.
We can grow our team as rapidly as we can and know that we’ve got the financial backing to make those decisions very easily
Canva co-founder Melanie Perkins
“Fortunately rather than thinking I was crazy, he helped us comb over resumes of all the people that were trying to get into our tech team, and he rejected every last one of them,”
According to Canva’s website, the service has more than 10 million users, who upload photos or select stock images and use preset filters and fonts to customise designs. It also links with printing providers who can create actual physical banners and displays.
Atlassian co-founder Mike Cannon-Brookes. Photo: Josh Robenstone
According to financial records lodged with the Australian Securities and Investment Commission, Canva more than tripled revenue to $23.5 million and narrowed after-tax losses to $3.3 million in the 12 months ended June 2017.
“What this round really enables us to do is to have the jet power just to do absolutely anything that we need to do to make Canva awesome,” she said.