Tag Archives: graphic design

DIY Designer or a Design University Course?

From the Design Portal editor´s: Writing from Brazil, where the Industrial Design — Product Design profession is not acknowledge formally by the Goverment. Designers have decades figthing to make it a formal profession. In addition, this process take us to a second issue, some designers are supporting the Government, “You need a Design University Diploma to be a designer”. On the other hand, designers are also against saying that “What makes a good designer is no the University, we are closing the doors to all the designers that don´t have a formal course, and they are great too”.

This article speak to those:

  • who didn´t have the opportunity to go to a design school.
  • professionals from other fields, that suddenly are working with design and need to honey their skills and knowledge and don´t have the time to go back to school.
  • who want to be a design professional and don´t have the financial resources to pay a University
  • who can pay the University but are thinking if it´s worthwile to go to a 4 years Design Course or take short design courses instead
  • Also the article is very valuable for designers too!

The question is “Does a Design University course make you a designer?

My answer is yes and no. Let me explain with more detail.

Why I need a Design University course to be a Designer?

Design is getting more and more complex by the day. It´s no longer only industrial — product and graphic design, it´s now UX, UI, webdesign, apps-design, also going 3D and generative design and its intersection with engineering, nanotechnology, biotechnology. With its inherent complexity alone, the needs are growing exponentially also, it´s not only local anymore, it´s going global, such as a designer in the US that wants to solve health, housing issues in Africa.

Going back to the question above, the Design University is very important because of only one reason:

  1. The University will show you that Design is a complex, ciclical process, where the final design output took a lot of thinking, sketching, validation and prototyping. In other words, there is a whole universe behind your proposal. It wil show you that good design always have a great, consistent and sistematic basement behind, a lot of research and brain-hours to build the brief and to comply with all the requirements before a single line in the sheet. You need to know the “WHY” of every visible and invisible detail of your design. The key is the design process and all is behind it. Moreover, in 4 years at the Design Course you are learning the backstages of the Design, the process, Design Thinking, you are learning to understand and think like a designer. The topics, the design behind the design is more important. Design is context, research and a consistent basement as a result of a lot of effort and thinking and the University will provide you this global view of design in a sistematic way with a design program that has evolved over the time and was thought and developed focusing in molding a design professional.

Why I don´t need a Design Course?

Let´s say that you are a great designer with no Design Course or a professional from other field working now with design. Let me explain you why you don´t need a Design Course:

  1. In today´s world knowledge is open and accessible to all. You don´t need a 4 years design course to learn topics like Design Theory, Design History, Design Methodology, Ergonomics, Semiotics, what I called “Front-Design”. You can learn it online with great courses like the MIT OCW. You don´t need a University anymore for this kind of “design knowledge”.
  2. If you are a “doer” designer, I mean, with no interest in the academic environment, research or teaching, you definitely don´t need a Diploma. The Diploma is very important to those who want to pursuit a academic career with Master´s and PHD degrees ahead. If it´s not your case, don´t bother.

The Take-Away 

You don´t have the time or the resources to go back to school, or you are already a untraining designer with good experience and portfolio?

My advice: Focus in the “back-design” issues to be a better “design professional” — the creative process, innovation, design thinking because:

Its not the end, it´s the journey that matters.



Article from Medium: @tokatherineliu at https://medium.com/facebook-design/a-diy-design-education-218a4a2d340f#.ojen3eson

SMASH – File Transfer for Designers


Smash: the file transfer service (with no size limit) for designers & creative minds.
What are the differences between Smash and Wetransfer ?
– No ads (never) but creative inspirations
– No size limit
– Preview files before downloading
– Customization of the link
You can test Smash at the following address: fromsmash.com

The Non-Designer´s Guide to Design Thinking


 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

More information at: http://www.nondesignersguidetodesignthinking.com/

Impressions: Women in Printing

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 (chung.rm@gmail.com). 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
  • Women artists
  • 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: chung.rm@gmail.com
Cathleen A. Baker, Proprietor The Legacy Press April 2018 http://www.thelegacypress.com


Rebecca M. Chung

​A.M., ​

Ph.D., English, University of Chicago

M.S.I., School of Information,

University of Michigan

LinkedIn: Rebecca M. Chung

Free Design Educators Workshop – HUMANISM vs POSTHUMANISM


a Workshop Project design educators workshop
July 12–15, 2018
California College of the Arts
San Francisco, California

Workshop Project AGAIN 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 info@workshopproject.org

The application deadline is May 4, 2018.

July 12–15, 2018

FREE for accepted participants
Contact us for information about discounted hotel rates

Yasmin Khan, Special Faculty, Program in Graphic Design, CalArts
Jessica Wexler, Chair, Undergraduate Communications Design, Pratt Institute

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.