Applied Arts - Brian Tong

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2011 3rd Year Communication Design Student, Brian Tong's Applied Arts submission

Transcript of Applied Arts - Brian Tong

  • 0 356698 85420

    04

    V25 #04

    is the father of thought. I would like to think that designing and dreaming have

    travelled in lockstep since our species began to walk upright... Graphic design ignites passion, identifies, informs, clarifies, inspires and enables communication.... Design shapes culture and it influences societal values. robert l. peters

    $8.95 | VOL 25, NO 4 | OCTOBER | 2010 [ Canadas Visual Communications Magazine ]

  • ESSAY Designing the Future by robert l. peters, FGDC

    Designers can play a key role in creating a

    blueprint for a better tomorrow.

    GALLERY GDC Scholarship Awards

    RGD Student Awards

    ABC...

    A former magazine photo editor shoots an

    emotionally resonant alphabet project.

    MAIN FEATURE Illusion of Movement by kevin brooker

    Animation enters a new Golden Agebut

    without the gold. Canadian studios become

    leaner, faster and more creative.

    YOUNG BLOOD Designer John Larigakis and photographer Ian Willms.

    GALLERY Career in Motion In stop-motion projects and ad

    shoots, Simon Duhamel reveals a unique style.

    PORTFOLIO Global Persuasion by Chris Daniels

    Independent Canadian agency Cundari strives

    to become a world creative force.

    PORTFOLIO Raring to Go by kevin brooker

    Having survived the recession, Rare Method

    Interactive is prepared to soar.

    PROJECT Shooting the Twilight Zone Philip Jarmain tells the story of

    an episode of a classic TV series in a single

    image.

    SPECIAL SECTION

    Applied Arts Student Awards

    Winners from our 2010 Student

    Awards, covering design,

    advertising, interactive, animation, photography

    and illustration (Index, p. 176).

    OUTER LIMITS Look in Wonder The role of wonder in

    design and imagery revealed in a new Marian

    Bantjes book.

    APPL IED ARTS MAGA Z INE SEP T/OCT 2010 VOL24 N O4

    2011 STUDENT AWARDS ISSUE

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    Cover DesiGn by brian tonGDesiGn anD layout by brian tonG

    Editorial

    Client Side by alain leDuC

    Small stamps are built on big design

    ideas.

    Hot Type by roD mCDonalD

    New online fonts shaped by their

    bitmaps.

    Design Deconstruction by hans kleeFelD

    Cutting through clutter is as easy as

    1-2-3.

    Design Rant by barry quinn

    New rebels prepare to change the world.

    Missing Words by DouG Dolan

    Why RFPs should RIP.

    Web Watch

    by ryan wolman & keith prestwiCh

    Advice for the graduating class of 2010.

    Design Unlimited by pamela younG

    Read a book. Save a tree.

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    Applied Arts: 2011 Student Awards Issue0 0 3

  • This years selection of Student Awards winners provides a glimpse into the future of our industry, reshaped by new talent and technology.

    by peter GiFFen

    ach year when we run the winners of our Student Awards, its natural to want to look ahead. Reviewing the huge vol-ume of advertising, graphic design, in-teractive, video, animation, photogra-phy and illustration entries sent from

    across Canada and the United States, and from as far away as Beirut, one begins to detect the shape of the industry in years to come. To help our distinguished judging panel get the best view of emerging talent this year, we decided to let them concentrate on specific ar-eas of expertise. In the past, all judges would judge all the entries, which could make for a daunting task, given the rising volume of sub-missions. So for the 2010 Applied Arts Student Awards, the advertising judges took care of ads and photography, the design professionals looked after their field and illustration, and the interactive judges reviewed the interactive work and loaned a helping hand to advertising. For his part, judge Colin James, associate partner creative at Grip Limited, in Toronto, felt that the work ranged from extremely pol-ished and intelligent to conceptually weak and poorly executed. Some of the video-based work really impressed mestudents pushing the animation quality to very high levels. Some great exploration of style and techniques in those categories. While finding much of the advertising work quite clever, James was less impressed by the Website submissions. Schools seem to have a generalist approach to teaching bits of all the disciplines (design, writing, programming, ani-mation) and the work shows it, he said. I think that with interactive work, in particular, the pro-duction is so complex and time-consuming that it would benefit from having small teams of stu-

    dents [from different disciplines] work on single Websites together. James concluded: There were some real standout projects from super-talented individ-uals. The very best students are already bet-ter than at least half the creatives working in the industry. In Victoria, B.C., judge Darren Warner, of dwarner6.com, thought, The photog-raphy series were very strong, so I judged them as if they were professional work ver-sus student work. As far as advertising, he explains, its not always good enough to hope your work sells itself. With a little panache an idea can be elevated in competi-tion. The video presentations of several cam-paign ideas really helped showcase the thought and creativity that went in. Of course a medio-cre idea is still mediocre no matter how much flash you dress it up with. Joanne Beauregard, CD of Sudler & Hennessey, in Montreal, was left with the impression that many of the ad assignments were for low-prob-ability, low-profitability/high-impact advertisers, such as the WWF. It would be a far better mea-sure of their maturity and creativity to give them assignments closer to what could be called real lifethe kind of projects agencies require to pay the bills. She added: On the whole, how well pre-pared the students are for the working life will depend more on their own qualities, like te-nacity, stamina and drive, rather than talent alone. And then again, how many of us were really prepared for the working life? The idea of fresh talent and enthusiasm creating a new future is also raised in a cou-ple of ways in the issues regular content. In his extended essay, Designing the Future

    (p. 24), Robert L. Peters, principle of Circle Design in Winnipeg, argues that the design-ers with long-term vision, who embrace glo-balism and deploy sustainable practices, will play a key role in creating a blueprint for a better tomorrow. Design shapes culture and it influences societal values, writes Peters. Designers act variously as surrogate dreamers, initiators, in-seminators, creators of desire, propagators and propagandists. Never has there been a greater need for our design professions to dig deep, to exercise whole-brain (lateral) thinking skills, to understand channels of influence and patterns of interconnectivity, to join peer networks, to collaborate with other experts and to leverage the multi-perspective advantages of teamwork. Writing a guest column, The Next Van-guard (p. 14), Barry Quinn, executive creative director, brand design at Juniper Park in Toron-to, feels that the new crop of graduating visual communications students will ride the flux of changing technology and culture to transform the industry. The importance of design will shift from creating artifacts to developing ideas that must be able to morph to accommodate dif-ferent media, operating systems, devices, envi-ronments, cultures, etc. Design thinking will become more important than design doing. As technology makes the act of creation easier and the base level of aesthetics higher, the effec-tiveness of items will be measured not by how they look but how they work. The design pro-cess and the designers mind will be the part that cant be replicated.

    To see some fine examples of new creative thinking in

    action, turn to our Student Awards starting on p.105.

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  • Design should be a thoughtful, engaging and two-way process. The designer and client must work hand in hand to come up with solutions that are built on strong ideas.

    by alain leDuC

    While designers are excited about having their favourite fonts online, they have to realize that bitmaps can ruin the look of the letters they love.

    by roD mCDonalD

    he year 2010 will undoubtedly be remembered as the year designers finally got to use their favourite type-faces on the Web. More importantly they will know that anyone who vis-its their site will also see the same

    typefaces. Good typography on screen has at times seemed an elusive goal and the use of real typefaces is a big step in the right direc-tion. Up to now designers really only had two choices when it came to type online. They could use one of the Web safe fonts, such as Georgia or Verdana, that come with most operating sys-tems, or they could convert the type to outline and treat it as a graphic image. Now at last de-signers can render HTML text in almost any typeface with Web fonts that dont need to be installed on the viewers computer. Of course the underlying assumption is that things are go-ing to be better now that we are no longer lim-ited to a few default web-safe fonts. Now Im as excited as anyone, and, as some-one who actually has fonts that may benefit from this emerging new market, Im hardly a disinterested party. But I cant help but wonder just what people think is going to happen when all these typefaces hit their screens. Weve been adapting old designs to new technologies from day one. Gutenberg adapted the German black letter of the