Posted: August 1st, 2014 | Author: behanceteam | Filed under: Collaboration | Comments Off
About this presentation
More than ever, your network is the most valuable asset you have. So then why has “networking” become a dirty word? Why do we envision sleazy conference goers or slick salesmen when we think of networking?
In this 99U talk, hacker and author Joshua Klein shares how technology and growing “black markets” are optimizing our world for relationships. But building authentic relationships takes work. As a result, we need to be generous with our talents and time and invest in those around us (and then they’ll invest in us). Think of your customers as actual people and think of your product in the term of the relationship it creates. Because it will be your customers that become your next investor, your next employee, and your next opportunity. Humanize your work and the “networking” will follow.
“Don’t be afraid of sharing,” says Klein, “my projects would not have existed if I didn’t shoot my mouth off at anyone who would listen.”
About Josh Klein
Joshua Klein is an internationally known technology expert who studies systems, from computer networks and institutions to consumer hardware. His recent projects have included an acclaimed new television series on the history of innovation on the National Geographic Channel, called The Link, one of the most watched TED videos of all time (about a vending machine that train crows to exchange found coins for peanuts), and the development of a cell phone application to create a virtuous cycle of education and employment in South Africa. His work has appeared in The New York Times, Wired, O Magazine, and The Harvard Business Review. He has made appearances on MSNBC, NPR, and has spoken at conferences from TED to Davos, and presented in front of organizations ranging from the State Department to the Young Presidents Organization Global Leadership Congress, to Microsoft to Amazon. He lives in New York City.
Posted: August 1st, 2014 | Author: Michael Johnson | Filed under: Advertising, Art, Graphic Design, Illustration, Type / Typography | Comments Off
Designer Michael Johnson of johnson banks, looks back at his recent visit to India, where he found a design scene that is beginning to reflect the country's unique and rich visual language...
On my first ever trip to India, I managed to embarrass myself before I'd even landed. As the plane banked and approached the runway, I noticed multiple blue rectangles on the ground and thought 'wow, that's a lot of swimming pools'.
Those 'pools', I soon discovered, were the blue tarpaulin roofs of the slums by the airport, protection against the imminent monsoon. Before stepping off the plane I already felt like a colonial plonker, and shame has stopped me retelling the story until now.
(Pictured above: Shruthi Venkataraman's 'dipped in colour' design for Kulture shop)
My tarp/pool story is typical of the experience of the firang (foreign) designer, flying in with his/her stock speech, clear views on everything from typeface choice, logo design and precious little knowledge of Indian culture and design, other than replayed sketches from 'Goodness Gracious Me'.
On that first trip, I was bombarded with questions from students on how they could learn to design 'more like me'. What they really meant was 'how could they make their designs look more western?' - I put that down to a kind of emerging market insecurity and assumed it wouldn't be long before Indian design found its voice.
But it's taken longer than I expected. Seven years after my tarp shame, I've just finished judging an Indian design scheme, and whilst there were many pieces that could and should hold their own in award schemes worldwide, much of the work could have been done, well, anywhere. None of the shortlisted work was in any of the local Indian languages, and only a small proportion seemed to pick up on vernacular design.
It seems, to a semi-outsider such as myself, that by looking West, Indian design has slightly lost its own identity, settling on something more mid-Atlantic instead.
Exacerbating the problem, the country now has its fair share of international consultancies working across the country or the region. Yet put much of the product of this work - from Airtel, to Apollo, to Tata DoCoMo and Pakistani telecoms brand Mobilink - on a powerpoint slide and there's little or no sense of place. All we really see is a nod to international design trends, proof that design blogs are being studied slightly too closely and precious few attempts to lead, only to follow.
The paradox is that every firang designer, on those fleeting dashes from airport to podium and back again, is struck by India's uniquely rich visual language. Not the outdoor advertising, which is almost universally awful, but the hand-painted walls, lorries and the indigenous craft tradition.
I'm not, of course, lobbying for every next Indian multinational to adopt logos based on truck type (although, wouldn't that be something?) but it's great to see that some of this is at least being recorded on site such as HandPaintedType.com - a tradition being curated, recorded and celebrated.
(Also from www.handpaintedtype.com)
Of course there's an inherent tension in pointing out the everyday vernacular in Indian cities. I understand why designers might want to run away from what's around them, take a break from 'Horn OK Please'...
(Horn Not Ok PLease design by Jas Charanjiva)
...look further afield and adopt a little more 'Horn Not OK Please'. If every international company that rang us in London said "we really love that cute Underground map of yours and my cousin has a really great 'Mind the gap' t-shirt we want you to emulate" then yes, we might start to get a little tetchy too. Yet, I would argue, there's no harm in accepting what's there and turning it to your advantage, rather than endlessly attempting to be the next Vignelli or Olins, may they both rest in peace.
Thankfully, my most recent trip has given me the time and space to look a little harder and there's clear evidence of a genuine design voice emerging.
(EK Painter Suhail)
Take Ek Type's determination to navigate a well-kerned route through India's multiple languages and supply consistent typographic solutions that can speak in a multitude of ways.
(Posters by Hanif Kureishi)
Or Hanif Kureishi's personal work (other than Hand Painted Type), such as his street art posters, using basic printing on newsprint, making no attempt to look slick, corporate or remotely western.
Indian Type Foundry's 'Kohinoor' typeface makes me wish I had an Indian client asking for Gujarati, just so I could use it.
Related to Kureishi is Kulture shop, providing an ever-changing window into the emerging graphic art of India, and is perhaps the closest glimpse yet into what's to come.
With curated collections, artist collaborations and a genuine sense of India 'now' this feels like an early and successful attempt to pick up on India 21st graphic art - perhaps emulating British shows like Pick Me Up - but delivering in a markedly Mumbai manner, not Hoxton hipster. (And immaculately branded and packaged too).
Fast forward a decade and I can see Kulture shops in every major Indian city (and London, New York and Tokyo too).
With luck, soon WhiteCrow won't have to supply local inflexions of international brands for very much longer, and simply do their own work. With more luck, the relaunched Royal Enfield brand will be just the first of series of 'Made In India' designs that triumph at home, then abroad.
In an ironic twist, when visiting Kulture shop I picked up a charming illustrated book by Sameer Kulavoor, dedicated to those ubiquitous blue tarpaulins and their ever-shifting role, from packaging and refugee camps to water-proofing the homes of the richest, and the poorest.
A piece simply celebrating this omnipresent material, and the multiple uses of it. A design happy to be honestly, uniquely Indian, not with one eye abroad.
And that, in my view, is exactly as it should be.
Michael Johnson, johnson banks, was in Pune and Mumbai doing a series of FYIdays for Kyoorius and chairing the second Kyoorius Design Awards.
This post was featured on the johnson banks 'Throught for the Week' blog at johnsonbanks.co.uk/thoughtfortheweek.
Follow johnson banks on twitter @johnsonbanks and on Facebook.
Posted: August 1st, 2014 | Author: Eliza Williams | Filed under: Advertising, Digital | Comments Off
Swedish cab firm Taxi Stockholm has launched Taxi Trails, a new website for tourists that uses data from millions of taxi journeys to highlight the top destinations in the city.
Designed by Swedish ad agency King, the site aims to offer tourists a guide based not on the opinion of critics but on the places where local residents really go. The site features a map of the city with the areas visited highlighted by 'heat' – the more orange an area is, the more of a 'hotspot' it is.
Searches can be refined to look at the most popular destinations over the last week and also the journeys taken from certain areas of the city, so audiences can see where the 'posh' (those from Östermalm) or 'hip' (from Södermalm) people go and follow them. There is info on restaurants and tourists sites in the various areas, and the option, of course, of booking a cab to get you there.
Taxi Trails a fun project and a different take on the city guide concept. Various brands have been trying to own the online tourist guide over the last few years, but usually these sites fall flat, due in the main to a lack of real content that would be of use to a genuine tourist. I don't know Stockholm well enough to know whether Taxi Stockholm has got that content right here, but its basis in data is an interesting twist on a familiar idea, and feels like it offers some credibility. Whether tourists will actually use the site instead of Time Out and its equivalents remains to be seen, however.
Visit Taxi Trails at taxitrails.se.
Creative team: Christopher Dymling, Johan Tesch, Josefine Wallin
Posted: August 1st, 2014 | Author: Tanner Christensen | Filed under: Uncategorized | Comments Off
Over on It’s Nice That, Liv Siddall sat down with famed designer Shaz Madani to gather her insights on what every young designer should know about building a quality portfolio. One notable takeaway from Madani? Knowing what to hide:
It’s so important to be selective and have the ability to edit your portfolio. Often seeing one bad project can outdo all the good work.
It’s tempting to put in everything you’ve ever done, especially as a young graduate, when you just want to show as much experience as possible. But it’s not about quantity. If there is something you are not proud of, don’t put it in.
As creative workers, we tend to believe that the more work we show in our resume or portfolio, the more we demonstrate our broad capabilities. Unfortunately this isn’t always the case. As Madani explains, all it takes is one bad apple to ruin the whole bundle.
Madani goes on to share additional insights from her years of experience as a designer, including the importance of exploring your possibilities before settling on a job or role.
Previously: 6 Steps To Creating A Knockout Online Portfolio