Snowboard Evolution

    

Burton Custom X snowboard

       In 1965 the first “snowboard” was designed by Sherman Poppen, called the “Snurfer.” Jake Burton Carpenter later redesigned the “Snurfer” into the modern day snowboard in the 1970s.  As time went on boards progressed boards began to be made out of fiberglass, with metal edges and high-backed boot and binding systems for extra control and comforts, which then evolved, into the high-tech materials used today. The best thing about snowboards is the variety of colors and wild graphic designs that come on the board. From crazy arrays of lines, organized pictures, swirls, cartoons and so much more.  Snowboard are bright, embrace color and new attitudes of design. They break away from the traditional and are a wave, creating the future. Whether you are a 10-year-old boy or 20-year-old girl I guarantee that when you go out and search for that snowboard of your dreams you will find something or many something’s that suit your interest. With popular brands such as Burton and ROME SDS come creative, innovative designs that “pack a punch.” With the growth of the sport over the last 20 years has also come a growth in popularity of becoming a snowboard graphic designer. There are even competitions around the world exclusively based on snowboard design. The designs of the boards are not only inspiration but also lend motivation and empower the riders riding them.

[Photos from: http://www.coolershaker.com/wp-content/uploads/2009/05/snowboard_evolution.jpg, http://www.ltcconline.net/wallace/LTCC%20Snow%20Riders%20Club/snurfer%20ad.jpg, http://images.google.com/imgres?imgurl=http://snowboardreviews.com/wp-content/uploads/2008/08/burt-custom-x-2009.jpg&imgrefurl=http://snowboardreviews.com/burton-custom-x-2009/&usg=__l7wFzYqjQdj_oObl92K9UXEkDQY=&h=300&w=254&sz=12&hl=en&start=15&um=1&tbnid=p1r-tgiAyXWZGM:&tbnh=116&tbnw=98&prev=/images%3Fq%3Dburton%2Bsnowboard%2B2009%26hl%3Den%26sa%3DG%26um%3D1]

Nathan Shedroff - Sustainable Innovation

     

     

      On Wednesday November 18^th, 2009 I heard Nathan Shedroff  speak on the UC Davis Campus in California. His major theme of his lecture was “sustainable innovation.” There are three main ideas that are key in creating sustainable innovation: Design – Sustainability- Business. Overlapping they lead to meaningful connections and experiences that are key. Nathan started off the lecture by asking some questions that are nearly if not impossible to answer. The first was “What’s amore sustainable future look like?” Although we cannot answer this question at this time we can look to other countries, which are moving toward or already are living a more sustainable life such as Brazil and Cuba. Currently Cuba is the most sustainable nation on the planet currently. Brazil is leading the way in making changes toward a more sustainable life. The second thought provoking question Shedroff asked was “What’s a more meaningful world look like.” This is a question that we may never be able to answer. Interaction and meaning define the world we live in. The next question was “What’s a post-consumer world look like?” One way Brazil has cut back on their “visual clutter/noise” was by outlawing any outside advertising. Although we don’t have the answers to these questions, that is what design is good for – helping to answer them.

      Nathan Shedroff’s lecture was communicated very effectively. I thought he spoke well and he articulated his speech. His PowerPoint demonstrated ideas without being over cluttered with words, but mainly focused on images. In addition he had ideas that seemed to be new and enlightening. I personally was excited that this wasn’t just another lecture on “how to be green.” It was actually quite the opposite, it was more about how we can all make life changes toward a better future. He asked though provoking questions, that made the audience wonder about what our future will hold. 

[Photos from: http://estimulo.files.wordpress.com/2008/09/nathan.jpg, http://2009.dconstruct.org/images/speaker-badge-nathan-shedroff.png]

OBJECTIFIED

     










The film Objectified; a documentary film by Gary Hustwit, portrayed a series of artists and the objects that they created. It showed a complex array of various designs with modern ideas. The objects featured ranged from MAC computers, to sofas, potato peelers, and even toothbrushes. The relationship between form and content was inspiring. Artists would take old ideas or objects and reinvent them, they would take old ideas and make them new; usually making them better and more eco-friendly. It was interesting seeing the evolution of these objects, because most of them were objects or pieces of objects that one wouldn’t normally think about or give a second thought to. Maybe that is what makes these objects so great, their ability to adapt or be adapted by anyone. In the film they said “almost everything has been designed in one way or another.” I think this quote is great because most people don’t normally think of their toothbrush being “designed.”  One artist also said that, “in every design there was a design and decision made about that object.” However small the object may be, meticulous thought has actually gone into making that object better and more pleasing to us, so maybe we won't judge them as harshly or even notice them as much - because “we make assumptions about objects in seconds- how much it should cost, weigh, etc.” One example of an object you wouldn't normally think of is a toothpick, which was designed for the tip to break off and be used as a thing to rest the toothpick on.
     The film overall communicates an argument about contemporary designs and designers by showing how these designers are taking the everyday and making them more superior so they can stand up in the harsh society that we live in today. They are also taking into account our current world situation and how we are in need of preserving natural resources, by making their objects use materials to their full capability –while helping the environment. Taking old objects where “form followed function” to new phases of formal design. They are focusing on what will happen not what has happened. They are changing their designs to match that of our changing views of how we look at the world, getting rid of everything that doesn’t maximize unity and harmony.  They are designing by simplifying.  

[Photos from: http://www.typeneu.com/v2/wp-content/uploads/2008/07/objectified.jpg, http://cache.gizmodo.com/assets/kindle2/Objectified-Poster-Large.jpg, http://givemefreestuff.info/wp-content/uploads/2009/02/mac_book_air3.jpg]

Joseph Cornell

Joseph Cornell was born in 1903 and died in 1972 at the age of 69 years old.  He was an American born artist and is very famous for his sculpture and collage. Some of his most recognizable pieces were his boxes created from objects he found or had, such as pipes, photographs, and old love letters.  The boxes are simple and usually have a glass front. They are interactive and portray an irrational juxtaposition of different objects. He combined constructivism of the boxes along with Surrealism (a European art movement that emphasized dreams and poeticism in the 1920s and 1930s). It seemed that objects that were once beautiful, loved, and precious fascinated him.  The boxes evoke feelings of nostalgia and one who is viewing them can find them recalling a past event, object or moment they once had. Or at least that is how I felt when I saw his exhibit at the San Francisco MOMA a few years back. In a book about Cornell called “Joseph Cornell, Navigating the Imagination,” we find that Cornell’s aim of his artwork was not only to explore art, culture, and science but also to inspire others to voyage into the imagination. Cornell was an artist driven by curiosity and creativity rather than by theories or formal art training. 

[Photos from: http://www.baseballreliquary.org/images/JosephCornell.jpg, http://openreflections.files.wordpress.com/2009/06/joseph-cornell1.jpg, http://www.johnbailly.com/edu/projects/Cornell.Medici.jpg, http://z.about.com/d/arthistory/1/0/j/Z/jcni_13.jpg]

Josef Albers

Painting by Claude Monet: Impression, Sunrise (1872)

 

Josef Albers was born in 1888 and died in 1976 at the age of 88 years old. He was a German-born American artist and wrote books such as “The Interaction of Color.” He was a very accomplished designer and excelled in multiple areas ranging from photographer to poet. But, he is best known for his work as a painter. He also worked as a theorist, coming up with new ideas about color theory. In his book “The Interaction of Color,” Josef observed many different ideas and interactions of color, one of which was optical mixing.  He described this as the “pulling” or “pushing” of colors into different appearances. Two colors which are juxtaposed and perceived simultaneously are seen by the human eye as one new color; the two original colors were annulled and replaced by a substitute called optical mixing. The findings that our perceptions change when our eye mixes the colors led to a new painting technique. This technique is one of the best representations of optical mixing and is called impressionism. Impressionist artists, such as Claude Monet used small dots, or sometimes "globs" of different colors and place them close together so when viewed from afar they mix and not only become a new color (optical mixing!) but also add movement and drama to a piece. 

[Photos from: http://media-2.web.britannica.com/eb-media/72/13572-004-595D9C39.jpg, http://23.media.tumblr.com/aHyNHMV3lechplzahjxsS0sko1_400.jpg, http://images.google.com/imgres?imgurl=http://www.brown.edu/Courses/CG11/2005/Group161/signacHarborofSaint-Tropez.jpg&imgrefurl=http://www.brown.edu/Courses/CG11/2005/Group161/History.htm&usg=__3b865F3mkVALSVGQwXivjT9geKc=&h=600&w=473&sz=135&hl=en&start=13&um=1&tbnid=nIWoi1HIe0QfgM:&tbnh=135&tbnw=106&prev=/images%3Fq%3Doptical%2Bmixing%2Bimpressionist%26hl%3Den%26sa%3DN%26um%3D1]

Color Theory

     Color Theory is the set of principles, which are used to guide and make harmonious color combinations. From color theory the color wheel was developed, aiding artists and designers and the public alike as a tool, defining basic relationships of color. Almost all of us at some point in our lives had to make a color wheel, so we’ve all had experience with how color interacts. The origins of color theory evolved from primitive colors, now known as the primary colors; red, yellow and blue. The theories on the qualities of how these colors were blended enhanced when “complementary” colors, or colors of opposing hues  were produced.  These color observations were summarized in the findings by Goethe in the “Theory of Colours” in the 1800s. The goal of color theory is to find and mix colors that work well together. However the ideas of how the colors work is up to interpretation. The Juxtaposition of colors lends to produce strong contrasts and tension some say, while they also produce harmonious color interactions as others say. Whatever the opinion, color theory is always used in society by designers and individuals alike to produce or evoke certain emotions. Whether creating the next ipod for Mac or a crayon drawing for your parents, playing with complementary and contrasting colors, or working with the differences in warm and cool colors; color theory will lead you to your final destination. There is no right and wrong in picking colors, it is simply your idea of what looks right and wrong when producing your work. 

[Photos from: http://www.the1948timemachine.com/portfolio%20graphics/PORTFOLIO%20NEWBIES/avian-color-theory.jpg, http://images.google.com/imgres?imgurl=http://goldtent.net/wp_gold/wp-content/uploads/2009/01/color_theory.jpe&imgrefurl=http://hasan11.seesaa.net/article/131390169.html&usg=__hK4UYOJ-pzT4JH96RKJd61h-i9s=&h=880&w=980&sz=1017&hl=en&start=3&um=1&tbnid=-sxK11lL-SkReM:&tbnh=134&tbnw=149&prev=/images%3Fq%3Dcolor%2Btheory%26hl%3Den%26sa%3DN%26um%3D, http://images.google.com/imgres?imgurl=http://wpcontent.answers.com/wikipedia/commons/thumb/7/7c/GoetheFarbkreis.jpg/180px-GoetheFarbkreis.jpg&imgrefurl=http://www.answers.com/topic/color-theory&usg=__lh3ZIcKJxl0DeXsFBrHOQJxZEn0=&h=188&w=180&sz=19&hl=en&start=35&um=1&tbnid=mG5lu8ZI8wrJlM:&tbnh=102&tbnw=98&prev=/images%3Fq%3Dgoethe%2527s%2Bcolor%2Bwheel%26ndsp%3D21%26hl%3Den%26sa%3DN%26start%3D21%26um%3D1]

Illusions of Space - Exaggerated Size

Madonna Rucellai, tempera on wood by Duccio, 1285; in the Uffizi Gallery, Florence.

© Photos.com/Jupiterimages

In two-dimensional forms of art such as painting, artists usually want to convey feelings of depth and/or space. One of the easiest ways to convey space is through size. We as humans realized that the farther away an object the smaller it became, thus we could convey this in art to add a realistic feeling to a piece. But, in some periods of time and through different styles of art, there has been an idea that by showing a difference in size we could as viewers would be able to understand the differences in importance of the figures.  The larger the people were the higher their status and the more important they were. This idea is called hieratic scaling; it is scaling by size (as an indicator of importance) rather than space. In the picture above we see Madonna (another name for the Virgin Mary) holding the infant Jesus on her lap. We see that she is much larger than any of the other angel figures around her. In addition she is placed right in the center of the piece also adding to her very high status. The infant Jesus on her lap is also quite larger in comparison to the other figures. He and the Virgin Mary are in proportion, only on a larger scale than that of the smaller figures. We can see that Jesus, that although has the body of an infant has the face of a fully-grown adult - also adding to his status. But also because of this illusion of space, we see that it is a scene from out of this world and set in the divine world. There are no trees, or natural space around the figures because we are seeing figures that are godly or above the status of humans and because of their size are above or in a different more divine place than that of the human world. We grasp this concept because of the idea of exaggerated size and the illusion of space it creates. Although this painting has figures in different scales, it still represents space. We understand that there is a Virgin Mary and baby Jesus sitting on a chair surrounded by angels. We understand the depth through the perspective of the chair and the importance of the figures through hieratic scaling. 

[Image from: http://media-2.web.britannica.com/eb-media/21/121121-004-0ECB4C4D.jpg]

Rhythm and Pattern Found in the Nelson Art Gallery

Pattern and rhythm are two concepts that come to mind when looking at the quilts in the Nelson Art Gallery in Davis, CA. When we think of rhythm we think of repetition and visual unity that guide and lead us through the image we are looking at. We also associate rhythm as used in music, so when looking at a piece we say it has rhythm when we can imagine without words, the sensation of hearing a beat. When a pattern is repeated in the piece a pace can be established for looking at it because the viewer’s eye moves across the recurring motif, providing repetition and giving us the sense of rhythm. In the first picture above, we can see the pattern (or the human need to visually recognize a reoccurring theme to add visual unity to the piece) has repeating horizontal and vertical line blocks of fabric. The different colors not only help the visual repetition but also make it much more lively; inducing our brains to imagine a rhythm that is much more upbeat.  The pattern also seems to swirl in a way, starting from the outside corners and working its way in, where the lines come closer together as if about to implode. This pattern leads me to imagine that the rhythm, is working its way from the outside edge, leading up to and just about to enter its climax at the center of the piece.
      In the next picture right below the first, we see another form of visual pattern, which leads us to a rhythm. In the quilt in the center of the picture (the black and white one that looks like it has many repeating bows on it), we can see some visual “slippage” in which the artist plays with our eyes by putting two bold colors side-by-side, using a few repeating shapes, but changing the color of them from one to the next (ex: from black to white to black). This makes our mind want to search for a pattern, to give unity back to the piece, using pattern to make sense for what unity is lacking. So now that we have established the pattern, we see start to understand the rhythm. It is bouncy and all over the place, but it is pretty simple. The simplicity of a commonly repeated pattern give emphasis all over, to the entire piece.  If we look at this piece close-up we see that is not as unified as it is from far away. The pieces of cloth material used in this piece change not only texture, but color as well (see last picture below). It is not a solid black and white piece, there is much more variety than we had first anticipated. The other thing about the rhythm of this piece is that it never seems to end. Because there are no clear changes of pattern, our eyes jump back across the piece over and over, making the rhythm a constant, never-ending loop.

[Images from: My own Camera, Images in order: (top left) Ora L. Thompson. Untitled. circa 20th century. cotton. collection of Sandra McPherson, (top right) Mrs. Longmire. Silk Medallions. circa 1880. silk, cotton. collection of Sandra McPherson, (bottom left) Donnie Chambliss. Slave's Popcorn Quilt. circa late 19th century. cotton. collection of Avis Collins Robinson, (bottom middle) Avis Collins Robinson. Piano Keys. 2009. cotton, (bottom right) Avis Collins Robinson. My Mama is Dead. 2007. cotton, (bottom center) Ora L. Thompson. Untitled. circa 20th century. cotton. collection of Sandra McPherson ]

Rhythm and Texture - Jackson Pollock

NYC – Moma: Jackson Pollock’s One : Number 31, 1950. 

Oil and enamel on unprimed canvas. (above)

     Rhythm is a term commonly associated with music, however visual rhythm is a quality that can also be used when talking about design. Rhythm is the movement is the movement of the viewer’s eye in conjunction with repetition. Much like some of masters of the musical world, Jackson numbered and lettered his paintings, allowing the viewer to look at the piece to receive what it has to offer instead of looking for a preconceived idea of what is there. In the Jackson Pollock painting above, One: Number 3, the viewer has an understanding of the rhythm through the repetition of the strokes of color, which are running across the canvas in a chaotic pattern. The varied shape and thickness of the lines and the randomness of the how the paint was put on the canvas allows us to visualize a beat or a constant feeling of movement as our eyes dance across the painting. The unpredictability and variation of the strokes adds to the dynamism and unsettling rhythms that could be compared to a musical genre. The contrast between the light and dark or loud and soft colors give depth to the piece and enhance the sense of pulsation. We also see the same elements reappear, creating alternating rhythms. Making our eyes bounce or travel back and forth between the vibrating colors and alternating direction of diagonal, vertical, horizontal, etc. lines. This element in the painting is similar to the musical term “spiccato” meaning “bouncing bow.”
     Texture refers to the feeling of touch that it can evoke in a viewer. In this painting there is a three dimensionality of the texture, creating a visual pattern as well as rhythm through the shadows and depth conveyed. The texture invites the viewer to explore the piece much more closely, and here in Pollock’s painting we can see and imagine the tactile texture – again adding to the piece by creating a rhythmic gesture. We can say that Jackson’s paintings are not just pictures, but a representation of movement in time through rhythm and texture.

[Images from: http://farm2.static.flickr.com/1220/564040776_2c3d967e38.jpg, http://www.monroegallery.com/showcase/images/MH_JacksonPollock2.jpg]

Emphasis and Focal Point

     Emphasis relates to how a designer will catch a viewer's eye, the emphasized element can attract a viewer and encourage them to look at it further. One way an artist can do this is through a point of emphasis also known as a focal point. In the painting below (left) by Johannes Vermeer The Art of Painting (oil on canvas) we see that emphasis is placed on the young girl that Vermeer is painting in the painting. We see that the light in the painting draws emphasis to her body, as well as the complementary colors between the blue of her dress and the yellow of the book she is holding. In addition she is also centered in the painting, and is lighter in comparison of the darker gray and muted colors surroundings. The curtain in the foreground is pulled back allowing us as the viewer to see the young woman, the wrinkles in the curtain also forms lines that point to her.  There are other lines that also lead straight to her, she is the intersection point of the horizontal and vertical lines of the map in the background. All of these elements bring the emphasis and our focus to the main character or focal point, showing the concepts of emphasis and focal point. 

     Focal points also occur naturally in the 3-dimensional world. When we look at the picture above we see that the emphasis is on the tall steeple (the tall spire erected as a tower of the church) of the church. This steeple serves as the focal point of our attention because of its unusual size as well as color. It is much bigger than any of the other surrounding objects. The cars and even the large semi-truck and tall pine tree are dwarfed by the size of the steeple. The white of the steeple also plays off the blue background of the sky, making it "pop out" at the viewer. In addition to this, the steeple is placed near the center of this photograph (in real life, the steeple may not be as centered, but in the function of this picture it contributes to the aspect of it being the focal point).  

[Images from:
 http://www.essentialvermeer.com/catalogue/art_of_painting.html, http://gis.deat.gov.za/isrdp/More_Info/Photo_K/Focal_point2.JPG]

Unity

    Unity is "...the presentation of an integrated image, [and] is perhaps as close to a rule as art can approach (Design Basics, p.28)." Unity is found in many things including both 2D and 3D designs. In the picture above (right) we immediately see that these figures are similar. The unity between them is not just because we recognize all the people as women, but also through the repetition of their arms sweeping outwards toward each other. Their arms intertwine and we see a connection or unification of their bodies. In addition the vertical lines of their long dresses draping downward and blend together. We also see hints of red and orange with accents of the contrasting blue color throughout the figures unifying the composition and adding to the overall unity found within the painting. 

     We also see unity in not only 2D designs but 3D designs as well. In the picture of a seven headed African elephant unity carving above on the left, we see unity through repetition. If we took this statue apart and only saw one of the figures we would not be able to understand the meaning of this piece. The repetition of the 7 heads facing inwards and interlocking bodies greatly emphasizes the unity we see in this object. The different angle variations as well as the slight variations of the hand-carved heads in help balances unity with variation. This approach of using a common theme (in this case a repeating image/ head of the elephant) and the variation of the angels are the backbone of unity.


[Images from: http://www.art.com/products/p12153447-sa-i1540138/monica-stewart-unity.htm,  http://www.acaciawoodcarvings.com/servlet/the-113/elephant-seven-head-unity/Detail]

Gestalt Theories

     Gestalt theory states that the mind and brain function together, to unify that which may not be there. We look at the whole and the overall perception of that whole is different from the sum of its parts. Together our senses work to recognize whole forms and figures instead of just simple lines or parts, we may even add information where there is no actual information just to “complete the picture.” One of the major gestalt principles is that of emergence. Demonstrated in the picture above 

(from http://christianhubert.com/writings/Gestalt1.jpeg) shows a Dalmatian dog sniffing at the ground.  Instead of recognizing different parts of the dog (such as the tail or ears or paws), we immediately recognize the dog as a whole. From the formation of the way marks are made on the paper, in conjunction with the negative (empty space) and positive (filled space) spaces we infer the boundaries (that don’t really exist) of the dog. In addition to that, the way the marks are placed or the space between them, it makes it easier to unify them; as viewers we tend to group objects that are close to each other into a larger unit. And in turn, the dog pops out of the background in which it is set. Thus we see the gestalt theory in action!

 

Try this Gestalt Image: Do you see a woman or a saxophone player?

[Image from: http://www.skagitwatershed.org/~donclark/hrd/history/gestalt.html]

Not all designs were created equal!

       As humans we have learned to be critical and judge. We judge and compare everything we see. We also give into what is popular or “cool.”  However, this idea of “cool” is deceptive. It builds upon human weakness – our need to fit in and be accepted. “Coolness” was created in the mind and is only in the mind. Sometimes we even believe we are being original – we’re probably not.  Originality stems from archetypes of primitive models, which were the first models of all things.

     Designs are indeed solutions to our problems, but sometimes we take design too far. We have solved our basic problem or need and now use design as a means of classifying people. Sometimes we even use design as a hierarchical status symbolizer. Jeans are an example of this. These jeans all serve a functional purpose and the only real difference between them is the design on the back pockets of the jeans. Perhaps some of these jeans have nicer quality fabric, but that is not always the case. But one thing is, if your jeans don’t have one of these iconic little symbols stitched onto the back pocket of your jeans – who are you? To some, you’re a ‘nobody.’ So why are these jeans better? Well because they’re ‘in.’ At one point in time these jeans were new and no one heard of them. Someone, the innovator, began to wear them and that was the beginning. When society tells you what jeans are in, you don’t tell society they’re wrong – to them you’re wrong. It accept the fact that these jeans are popular, weather you wear them or not – they are. But what about all the failed designs?  For every design that becomes popular or in style there are about 500 others that are forgotten. Maybe one day, they’ll be rediscovered, but for the most part the will go unnoticed for the entirety they are in existence.

        Jeans are not the only things as you can imagine that was not created equal. Cars, furniture, dresses, shoes, etc. There is a hierarchy or popularity rating for all these things. Going back to our original question – why do we accept some things over others? Because it is our human nature yes, but I believe it also has to do with money. Money or objects as a sign of wealth or social status is something the human culture will never give up. We all try to outdo each other in some way or another and in this day in age it is what you have that is important. We don’t really know ‘who’ controls what is popular, what stays popular, what is accepted and what isn’t. But in some small way we can help to decide what is in or not. As consumers in this day in age we drive the business, we tell the designers what we want we pull the designs we want out of them – they don’t push their designs on us (it used to be this way back in the 1800s).

      So when I say not all designs were created equal I meant in terms of popularity among the masses. In the case of the individual or the personal heart some things are priceless. As expensive as your designer jeans might be or some other popular symbolic status indicator, a lot of the time it is the sentimental value of things that make them special to us – and nothing can buy the design of affection.

Pictures in order from start to end from: (paige jeans) http://www.mystyle.com/mystyle/, (true religion jeans) http://dionsdailydeal.wordpress.co, (citizens of humanity) http://www.chrisabraham.com/COHKellyStretchJeans.jpg

A little peace of Mind -- or design?

 [http://www.cavemenvsaliens.com]


         I was going to start this post by giving a definition of what design is. It is both a noun as well as a verb (and even an adjective in some cases). And for me to try to define design would be more of a personal perspective, instead of an objective view of what it is. But before I dive in head-first I must say, design is not something I fully grasp the concept of yet … I am still trying to solve my problem of understanding design through design…

     Design is everywhere and everything. Design touches and affects everyone. Design is all around us, and sometimes we don’t even realize it. Next time you step into your car check out your glove compartment. Someone had to design that, to make sure it works (opens and closes), to make it aesthetically pleasing or blend into the car. Design goes into the process of everything.  After we being to think of something (even things such as our math homework), we begin to design it (one lays out the math homework on paper – or should I say designs their math homework on paper). Design is used to be the solutions to our problems. In order to create we must first design. Man has been doing this throughout the ages. In order to hunt, man needed to first design a weapon or tool to use.

    Instead of looking at the past, lets look at our present. When one thinks of design, they usually think “fashion” and “style” design. This is because this is the type of design that is widely publicized. However, design today is more than just fashion – it is the foundation of our society. In recent problems that have occurred such as finding a solution to alternative energy & finding an alternative to oil, we have begun the process of designing and re-designing. We work until we find the solution. 

     It is hard to put constraints on design, when you begin to do so you make tradeoffs. You take one thing away in favor of another. So for the purpose of this blog there are no constraints on design. How can you put constraints on something that is affects almost everything.  The beauty of design is that it creates choices. You can take one thing – a coat – it was once designed. But beyond that, that coat was taken and designed into more coats, different shapes, sizes, etc. And you have the power to choose which design of coat you want (the solution to your problem). Design shapes the world around us, from lampposts to buildings to socks. Stop and look.   

sock picture from: 
 [http://www.bicycleapparel.com/images/Socks/sock-features.jpg ]

world globe picture from: 

  [http://totalnautical.com/upload_files/photo/pwcf5v3.jpg ]

Finding inspiration in nature; Claude Monet

[http://www.writedesignonline.com/ ]

     Impressionist painting is an art movement that began in the 19th century. The short, thick strokes of paint and the vibrant use of colors characterize this movement. Optical mixing, or letting the 'eye' doing the mixing of colors for you (instead of blending the paint on the canvas) creates an image that seems to "be alive." Impressionist painters often look outside of themselves for a source of inspiration. Many times this inspiration comes from nature or human subjects.

       Claude Monet is one of the most famous impressionist painters. Monet was one of the first artists to paint outdoors (or ‘en plein air’ – a French expression, which means “in the open air.” Instead of drawing inspiration from old masters, Monet was one of the first to be in nature, while painting it. Some of his most famous paintings are the series of approximately 250 oil paintings of water lilies (or Nympheas). His source of inspiration was his flower garden at Giverny. These beautiful paintings show bright, vivid hues of purples and greens. Up close the images are difficult to depict, but far enough away your mind optically mixes the colors.  Although you can’t make out the tiny details, the larger picture becomes clearer. Because the image isn’t immediate, it causes our brain to subconsciously think about the subject matter. We sit there and ponder the strokes and how they formed. In some of his other paintings such as,  ‘Rue Montorgueil’ we see small vertical marks, lining the street. Our mind makes out these dots as humans, and we optically mix the reds and blues to form flags. Instead of showing us the picture, our minds must do the work. Monet and other impressionist painters don’t just give us something to look at, they give us something to work at. We connect with the image and in our minds we envision what all those little strokes of color mean. These artists give us the framework or tools to make their paintings into what we want. We can imagine what we want to and even put emotion on the paintings. As viewers we can put ourselves into the scene and in a way decide what is happening. The inspiration the artist uses to first create the painting rubs off on us and becomes our inspiration. Our visual literacy with which we read the painting or what we interpret the strokes of paint and color to be.

       Monet’s work can be viewed and enjoyed by people, in museums all around the world.  Monet shared his culture and experiences with us, and we have the fortunate gift of being able to read this visual literacy. Art has also benefited from Monet’s work. This impressionist style has carried on throughout the generations. Many artists still paint in the impressionist style today, some still paint directly from nature or 'en plein air' as Monet once did. All of them drawing their inspiration from sources outside themselves.

[ http://www.monet-on-canvas.com/ ]

ARMADA - The Future Of Ski Design

Is skiing a form of design? The answer is yes. But instead of looking at the abstract, lets go straight to the visual.  Skiing is more than slapping on two sticks of wood and flying down a mountain, unreasonably fast, with your life in critical danger. Skiing is an expression of individuality and currently skiing is taking on a new trend. It is following along with current fashion and in some cases even leading the future of fashion. Bright neon colors and crazy designs that make absolutely no sense are giving skiers the drive, passion and motivation to feel like they are able to achieve anything they want; including launching themselves off of 15 ft. high snow mounds into the air another 15ft, doing some extreme contorting of the body and landing back on their skis. It is truly crazy. However I am a follower. Skiing is becoming more than just a winter hobby; it is turning into a way of life. Some people dress with the attitude of new-fashioned skiers year-round. Some of my friends from the Ski Team, are intense freestyle/slopestyle skiers. They spend 50+ days a season in the Park (this is not an exaggeration). They live, eat, breath the latest gear that will make them look they way they perform, extreme. Check out Armada Skis … if you don’t know about them – you should. They are one of the latest companies to spring up selling ‘steezy’ (a word for the new trend of ‘style’ with ‘ease’ – commonly used in the ski  & snowboard world) ski gear.

 “Armada is a family of athletes, artists, designers, and engineers that didn’t just push the envelope—we blew it wide open. And the industry is scrambling to catch up. We are Armada. We are what skiing will become.”

Armada isn’t your average ski company; they were started by a group of extreme skiers. Professionals actually, including Tanner Hall, JP Auclair, JF Cusson, Julien Regnier and Boyd Easley. They are the first rider-owned, rider-operated manufacturer. They have high-profile sponsored pros, making their company ‘more legit’ (or cool). Armada is also associated with the Winter X-Games. Armada is working toward shift the perception of skiers from old, sweater-wearing, uptight people to a younger, more dynamic crowd of kids that loves skiing for the more extreme aspects of the sport. 

The graphics they incorporate onto their skis, jackets, and other gear are more than just some random graphics someone came up with. They incorporate actual artists’ work directly onto the skies themselves. The apparel follows the latest fashion trends, this year along with some of their wild designs they are also doing color blocked jackets (jackets that have different sections of solid colors). You can see this type of color-blocking fashion on many high-fashion dresses these days. However, instead of going with neutral colors I believe Armada has found that bright neon-colors makes the rider not only stand out from the white snow and natural scenery, but also gives a natural energy boost of confidence.  The designs of Armada are not just for the pros, they are available to the masses. Giving all skiers a little piece of design that may give them the confidence to land that Kangaroo Flip or DJ Flip (two very difficult tricks).

Check out new Armada '09 - ' 10 skis: http://www.armadaskis.com/product/skis/index.php

[Photos Thanks to Aaron Sanders Facebook, Ingmar Prokop Facebook, http://www.proctorjones.com/pjonline/assets/product_images/ar62010.jpg, Armada Skis Facebook Page, and ArmadaSkis.com]

Video Courtesy of YouTube