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CO LAB: Collaborative Design Survey by Elizabeth Herrmann & Ryan Shelley: NEW
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Numero oggetto eBay:204101611687
Specifiche dell'oggetto
- Condizione
- Pages
- 240
- Publication Date
- 2015-05-04
- ISBN
- 9789063693732
Informazioni su questo prodotto
Product Identifiers
Publisher
Bis B.V., Uitgeverij (Bis Publishers)
ISBN-10
9063693737
ISBN-13
9789063693732
eBay Product ID (ePID)
204291728
Product Key Features
Book Title
Colab: Collaborative Design Survey
Number of Pages
240 Pages
Language
English
Topic
History & Criticism, Industrial, Industrial Design / General, Graphic Arts / General
Publication Year
2015
Illustrator
Yes
Genre
Design, Technology & Engineering
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
23.3 Oz
Item Length
9.4 in
Item Width
6.9 in
Additional Product Features
Intended Audience
Trade
Reviews
The Big Problems require something from designers, namely that we give up our isolationist tendencies toward moments of personally gratifying genius and instead focus on team-based monster slaying, much like how it takes hoards of scientists and engineers working for Boeing to conquer modern flight."—Artistic Responsibility," CO LAB: A Collaborative Design Survey James Newell Osterberg was raised in a trailer park somewhere in Indian Name, Michigan, making his decision to become a drummer somewhat preordained. But intervention came one vibrant Jim Morrison performance later + Mick Jagger + James Brown + Osterberg's invention of The Stage Dive = Iggy Pop. Music's great Indie Interdisciplinary Collaborator wove a mantle and then wore it permanently."—Indies," CO LAB: A Collaborative Design Survey Design discourse matters because the way designers talk affects the kinds of things designers are prone to think about and the level at which we're engaged to think about them."—Responsive Thinking," CO LAB: A Collaborative Design Survey We've described ourselves in the past as sexless life partners. We do well with fighting."—Aaron Gotwalt, Co-Tweet It's like, why are we going to church? Why don't we all go for a walk instead? Isn't there a better way to go about this?"—Mike Galbreth, The Art Guys People are appreciating storytelling more: they want a conversation piece in their home. Craftsmanship and material history makes storytelling worthwhile."—Lars Dressler, Brothers Dressler I would speculate that with everyone coming from a different discipline, all working on something that they have no expertise in, or bringing their own expertise into something in which they have no expertise, that equalizes everyone in a wonderful way."—Anthony Graves, Camel Collective There is a myth that the world is waiting for highly specialized people to do their jobs, and obviously there are a few highly specialized jobs, where people get trained for that specific thing, but training is different from education."—David Helfand, President + Vice Chancellor, Quest University Canada We were both just out of college, looking for something—anything—that would earn us a living and keep our creative collaboration going."—Louis Fox, Free Range Studio There is never a collaborative experience that doesn't suck, at some point along the way."—Mike Weikert, Center for Social Design Director, MICA I call this breakdowns to breakthroughs, because groups have to have a breakdown before a they can come to a breakthrough."—Ryan Clifford, Center for Social Design Faculty, MICA Learning to trust artists is the hardest hurdle for some institutions. Of course that is easy to say, but to really believe it enough to give support and validation to people working outside of generally understood realms, is difficult for people to understand. But artists are great producers, and often work at a level of efficiency and production that is higher than expected."—Roddy Schrock, Eyebeam, "A very unusual and wild illustrated book about diverse ways of creative collaborations. With a lot of cases and interviews" - Page magazine Germany, "The Big Problems require something from designers, namely that we give up our isolationist tendencies toward moments of personally gratifying genius and instead focus on team-based monster slaying, much like how it takes hoards of scientists and engineers working for Boeing to conquer modern flight."--"Artistic Responsibility," CO LAB: A Collaborative Design Survey "James Newell Osterberg was raised in a trailer park somewhere in Indian Name, Michigan, making his decision to become a drummer somewhat preordained. But intervention came one vibrant Jim Morrison performance later + Mick Jagger + James Brown + Osterberg's invention of The Stage Dive = Iggy Pop. Music's great Indie Interdisciplinary Collaborator wove a mantle and then wore it permanently."--"Indies," CO LAB: A Collaborative Design Survey "Design discourse matters because the way designers talk affects the kinds of things designers are prone to think about and the level at which we're engaged to think about them."--"Responsive Thinking," CO LAB: A Collaborative Design Survey "We've described ourselves in the past as sexless life partners. We do well with fighting."--Aaron Gotwalt, Co-Tweet "It's like, why are we going to church? Why don't we all go for a walk instead? Isn't there a better way to go about this?"--Mike Galbreth, The Art Guys "People are appreciating storytelling more: they want a conversation piece in their home. Craftsmanship and material history makes storytelling worthwhile."--Lars Dressler, Brothers Dressler "I would speculate that with everyone coming from a different discipline, all working on something that they have no expertise in, or bringing their own expertise into something in which they have no expertise, that equalizes everyone in a wonderful way."--Anthony Graves, Camel Collective "There is a myth that the world is waiting for highly specialized people to do their jobs, and obviously there are a few highly specialized jobs, where people get trained for that specific thing, but training is different from education."--David Helfand, President + Vice Chancellor, Quest University Canada "We were both just out of college, looking for something--anything--that would earn us a living and keep our creative collaboration going."--Louis Fox, Free Range Studio "There is never a collaborative experience that doesn't suck, at some point along the way."--Mike Weikert, Center for Social Design Director, MICA "I call this breakdowns to breakthroughs, because groups have to have a breakdown before a they can come to a breakthrough."--Ryan Clifford, Center for Social Design Faculty, MICA "Learning to trust artists is the hardest hurdle for some institutions. Of course that is easy to say, but to really believe it enough to give support and validation to people working outside of generally understood realms, is difficult for people to understand. But artists are great producers, and often work at a level of efficiency and production that is higher than expected."--Roddy Schrock, Eyebeam
Dewey Edition
23
Dewey Decimal
745.2
Table Of Content
Foreword With Ellen Lupton + Jennifer Cole Phillips Preface By ras + e 1. Collaboration + culture lonerism artistic responsibility huddle for warmth kill gatekeepers indies sandboxing responsive thinking rewired designer couples the new school 2 Case Studies P R O J E C T P R O J E C T S U N D E R C O N S I D E R A T I O N T H E A R T G U Y S T H E Q U E S T A P R O J E C T T Y P E T O G E T H E R T H E M c C O Y S Y A L E C E I D P L A Y L A B E Y E B E A M F L U X F A C T O R Y A Z I Z + C U C H E R M A N D E L + Z A K A R I A A R O N G O T W A L T F R E E R A N G E S T U D I O S D E S I G N R E P U B L I C D E T R O I T S O U P G R L & F A T H I S C H E + M A S C H M E Y E R W O L F + P E R R Y 0 T O 1 T O O R M I X A T E L I E R Q U E S T U N I V E R S I T Y C A N A D A B L E U A C I E R B A L T I M O R E P R I N T S T U D I O S P O S T T Y P O G R A P H Y T H E I N F A N T R E E O K G O A N I M U S A R T S C O L L E C T I V E B R O T H E R S D R E S S L E R D E S I G N - S T U D E N T G R O U P S N I N T H L E T T E R O D Y S S E Y W O R K S T E M P O R A R Y S E R V I C E S K I E L + B A R B E R T Y P E S U P P L Y T O M A T O M K 1 2 ! N D ! V ! D U A L S M I C A C S D S K O L O S - W E D E L L R I S D A D C O L A B Y E L L O W B I R D P R O J E C T T H E C O P Y C A T Appendix B I B L I O G R A P H Y
Synopsis
The object of CO LAB: is to promote the ideals and methods of contemporary design collaboration by informing on cultural context, surveying some unexpected practitioners, and highlighting techniques and practices that apply to studio work and forward-thinking education initiatives. There will be three main sections with 10-20 short-burst chapters in each, befitting the collection/handbook format., Design Collaboration has never been this spry. Designosaurs are out and impish Indie Darlings are shapeshifting the industry., Young, hungry, interdisciplinary designers and artists are teaming together in small packs to tackle personal and client projects, while bucking old world views of authorship and agency-based assembly line production. Armed with cheap gear and accessible programs, they can design anything for anyone, wearing their voice proudly on their sleeves. Authors/designers/faculty ras+e-themselves a small, interdisciplinary team-explore this collaborative landscape with an overt sense of humor,original illustrations, custom typography, dozens of Q+As with a diverse range of contemporary practitioners, and buckets of bright red ink (0, 100, 100, 0). Because design theory needs an imp, this collection of accessible essays and tightly curated Q+As refuses to bore., Young, hungry, interdisciplinary designers and artists are teaming together in small packs to tackle personal and client projects, while bucking old world views of authorship and agency-based assembly line production. Armed with cheap gear and accessible programs, they can design anything for anyone, wearing their voice proudly on their sleeves. Authors/designers/faculty ras+e--themselves a small, interdisciplinary team--explore this collaborative landscape with an overt sense of humor, original illustrations, custom typography, dozens of Q+As with a diverse range of contemporary practitioners, and buckets of bright red ink (0, 100, 100, 0). Because design theory needs an imp, this collection of accessible essays and tightly curated Q+As refuses to bore.
LC Classification Number
TS171
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