Friday, August 25, 2023

The Strategic Use of Color in Environmental Graphic Design

Our daily lives involve constant communication with the city. As we move through different spaces, we ask ourselves questions like "Where am I now?", "Where am I headed?", "What am I looking for?", "What is this building for?", and "How do I experience this space?" While spatial encounters may feel intuitive, environmental graphic design (EGD) provides the answers by serving as an important interface between us and the built environment. It involves the design of graphic elements that merge with architectural, landscape, urban, and interior designs to make spaces more informative, easier to navigate, and memorable. EDG comprises three major elements: text, shape, and color. Text and shapes typically encapsulate the graphic information, but color projects it, amplifies it, and helps communicate it within the packed scenes of the city. In spatial experiences, we perceive colors first, since our senses mostly register visual sensations. Therefore, the strategic use of color is critical for environmental graphics to provide a layered experience of identity imagery, sense of place, and emotional connection.

One of the earliest forms of incising graphical text on architecture is the Egyptian hieroglyphics, which layered stories on buildings as a historical document for the civilization. Today, environmental graphic design has grown to encompass more than just storytelling. It is present in signages, billboards, traffic signs, post boxes, public installations, and other experiential spaces of the city visually translating the operations of complex societies. It is able to communicate all these through color as a facade that has a direct impact on perception. Color does not only layer information in a pleasant and beautiful way but also creates a sense of coherence, relaxes people psychologically, reduces anxiety in large-scale structures, and creates order in urban environments.

In graphic design, certain colors are known to evoke specific psychological responses. Red evokes strong emotions such as passion, excitement, and urgency. Blue is often associated with calmness, trust, and reliability. Yellow represents happiness, energy, and optimism. Green mostly symbolizes nature and can denote health, harmony, and balance, while purple represents luxury, creativity, and spirituality. Strategically combining these colors and layering them with the existing aesthetic of buildings and the city allows information to not only be perceived but also elicit an emotional response. For instance, in hospital designs, green and yellow are commonly used for graphical elements on white interior surfaces to reduce patient anxiety and improve overall well-being.

8th  Edition of International Design Research Awards

The 'future of design is 3D' says new Adobe skills report

The need to learn 3D software has been growing for a few years now, as once complex apps like Blender and Cinema 4D become streamlined and easier to use. A new survey from Adobe suggests more than ever, the 'future of design is 3D'.

It can be daunting to think you'll need to compliment your Illustrator or Photoshop skills with mastering Adobe Substance or ZBrush, but the new Adobe 3D Skills Report suggests mastering 3D skills will be essential in the coming years. If you need some training, read our roundup of the best Blender tutorials and take a look at our Cinema 4D review, one of the best 3D software platforms around.

So, let's dig into some of the results from the Adobe 3D Skills Report. The report has been written by It’s Nice That in partnership with Adobe, and over 90 designers across Europe took part to gauge if 3D art is emerging from being a niche and complex skillset into something everyone can grasp. (Hint: it is and has been for a while.)

The big takeaway is 97% of the creatives questioned expect to see demand for 3D skills increase in the future. More so, 57% stated that it will be necessary for all designers to have 3D skills to land the best jobs. Finally, 69% of those questioned in the survey believe generalist agencies and small studios will demand 3D skills, and they'll bring this in-house.So what's going on? While it's obvious that industries such as video games, VFX and animation will always need 3D artists it's also very likely that every other industry will also seek creatives with 3D skills. Whether it's the fashion industry or the graphic design world as well as web design and illustration, 3D art skills will be in demand.

8th  Edition of International Design Research Awards

Wednesday, August 23, 2023

San Diego Campus Accommodation Interior Design: Premium Study Lounge Announced

In addition to the 2, 3, and 4-bedroom apartments, the new development includes collaborative study areas and high-end social spaces that some have compared to a "boutique cosmopolitan hotel." The goal was to provide the safety and security that students need, while also creating an interior that enhanced the experience of university life.

In developing its latest concepts, San Diego Office Design drew on significant experience across many sectors, such as residential, commercial, hospitality, and retail. The firm states that its proprietary think-tank approach, which encourages design inputs from clients, was central to the project's successful outcome, while the ability to source unique furniture from local producers also elevated the interiors above what would normally be seen in such a development.

According to CBRE Research, American universities are only able to accommodate 21.5% of students in on-campus housing, creating a growing demand for suitable offsite facilities. In contrast to the traditional dormitory model, the requirements of modern students have also evolved, placing an emphasis on privacy, security, and location.

Situated near the gateway to SDSU, the new StateSide project aims to provide maximum convenience, while also offering a comfortable and modern environment in support of students' wellbeing. The signature feature of the development is its sky lounge, which offers a private retreat with panoramic views of SDSU.

"Our design think-tank approach(TM) is unique in the industry and delivers truly collaborative and innovative solutions," a company representative explained. "We are also proud to feature a wide range of local, sustainable, and unique furniture products that are both good for local clients and for our environment."

About San Diego Office Design

Lead designer and CEO Tamara Romeo was recently recognized by the San Diego Business Journal as one of the "Top 50 Women of Influence in Architecture and Design." Herself an alumnus of SDSU, Tamara welcomed the opportunity to contribute to the success and happiness of the next generation of students.

"San Diego Office Design, while working under the tightest of timelines and around a construction schedule that wasn't alterable, pulled magic out of the air to breathe new life into our corporate lobby and conference areas," one client recently stated. "We were so impressed with SDOD's integrity, creativity, and can-do attitude that we've partnered with them again for the redesign of our executive suite."
8th  Edition of International Design Research Awards

Monday, August 14, 2023

The Daily Heller: The Thawing of Iceland’s Graphic Design History

The history of graphic design (and particularly 19th-century design) in Iceland is not on most—or likely any—non-Icelandic course syllabi. In fact, design historians today who are digging into the little-known legacies of lesser-known design hubs seem to have forgotten that innovation and derivation underscored virtually every nation that required graphic communications as a staple of their economies, including Iceland.

How many readers have even thought about what forms and styles of design, typography and illustration defined and conditioned Iceland’s commercial growth over the past century? I don’t see any hands raised!

Well, soon the chronicle of this deeply frozen history will be uncovered with the first of a two-part textbook, ├Źslensk Myndmals-Saga, by Gudmundur Oddur Magnusson (below).

I was born in 1955 in Akureyri—a town in northern Iceland—population now around 20,000 people. I lived there until I was 21 years old. I then moved to Reykjavik to attend The Icelandic College of Art & Crafts in 1976. That school was established in the 1940s (since 1999 it has been known as The Iceland University of the Arts). It took some time to enter the design practice—I always intended to be a graphic designer because of vinyl album covers and posters. But after foundation courses I changed my mind because something exciting was happening. The spirit in the school was changing from being a hardcore modernist school into being post-modern, with heavyweight Fluxus artists on the international level. Swiss/German artist Dieter Roth moved to Iceland in 1957 (he was originally educated as a graphic designer). He did some major interior design inside my head. He was an alcoholic and changed the classroom into a pub. We also had a Fluxus artist from Vienna, Hermann Nitsch, and the French Fluxus artist Robert Filliou—this was between 1976 and ’79.

I went through my first detox and rehab in 1984. After that I got a job as an illustrator in a graphic design studio and found out that I knew nothing about typography. So I thought I better change my path from dreaming more and more and doing less and less smoking pot, in the world of fine art, and go for what I always wanted—graphic design—and applied for school on the West Coast of Canada in Vancouver in 1986 (then the Emily Carr College of Art & Design). I met many good educators there; the one who influenced me most was Friedrich Peter (Vivaldi and Magnificat—in the Letraset catalogue). This was the time of the change from analog to digital. We got the first Macs in 1987. I graduated in 1989. I could work after school for one year but then immigration told me to get married or hit the road. I started to teach in this then-new environment for graphic designers and was part of the generation to change the Icelandic College of Art & Crafts to university level in 1999. I taught graphic design or visual communication until 2019, when I became a pensioner and freelance designer. I still keep the position of being research professor at Iceland University of the Arts.

8th  Edition of International Design Research Awards

Tuesday, August 8, 2023

3 golden graphic design rules for e-commerce businesses

The graphic design landscape has evolved to accommodate more players than ever. Thanks to intuitive digital tools, it’s now possible for those with little knowledge of the industry to use graphic design for different purposes. This has helped to pave the way for more intuitive website development in the world of e-commerce design.

Where designers and artists would formerly lead the way in graphic design, business owners and marketing teams alike can now turn their visions into a reality with relative ease. In fact, it may only be a matter of taking an introductory course in the field to create fully functional websites or collaborate in a more meaningful way with designers.

But when seeking to incorporate graphic design into your eCommerce business, it’s essential to obey the key principles and design rules when developing your website. These graphic design rules have evolved and matured over years of web development, trial and error and the emergence of sophisticated technologies.
As we can see from old examples of websites from the late 1990s provided by Wayback Machine, the earlier incarnation of the internet was hindered by the sluggish pace of dial-up connections, which forced designers to abandon high-quality images in order to ensure that all browsers could load pages without taking too long.

8th  Edition of International Design Research Awards

Monday, August 7, 2023

Architecture Design Software Market to Witness Huge Growth by 2028: Trimble Inc, Chaos Software, GRAPHISOFT SE, BENTLEY SYSTEMS

Advance Market Analytics published a new research publication on "Architecture Design Software Market Insights, to 2028" with 232 pages and enriched with self-explained Tables and charts in presentable format. In the Study you will find new evolving Trends, Drivers, Restraints, Opportunities generated by targeting market associated stakeholders. The growth of the Architecture Design Software market was mainly driven by the increasing R&D spending across the world.

Keep yourself up-to-date with latest market trends and changing dynamics due to COVID Impact and Economic Slowdown globally. Maintain a competitive edge by sizing up with available business opportunity in Architecture Design Software Market various segments and emerging territory.

Some of the key players profiled in the study are:

Autodesk Inc. (United States), Siemens Industry Software Inc (United States), Dassault Systemes (France), Robert McNeel & Associates (United States), Chief Architect, Inc (United States), Trimble Inc (United States), Chaos Software (Bulgaria), GRAPHISOFT SE (Hungary), BENTLEY SYSTEMS, INCORPORATED (United States), Act-3D (The Netherlands), Asynth (France), Vectorworks, Inc (United States).

Scope of the Report of Architecture Design Software The global architecture design software market is expected to grow at a significant pace during the forecast period, according to the AMA study. The rising demand for effective construction modeling propelled by the growing number of construction projects in residential & commercial sectors is one of the major factors aiding into the growth of the market.

The titled segments and sub-section of the market are illuminated below:
by Application (Buildings and Facilities, Electric and Gas Utilities, Government, Mapping and Surveying, Mining, Rail and Transit, Roads and Highways), Enterprise Size (Small & Medium Enterprises, Large Enterprises), Platform (IOS, Windows, Android), Deployment (On-Premise, Cloud-Based), Operation (Design, Coordination, Visualization, Collaboration, Productivity Enhancement)

8th  Edition of International Design Research Awards


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