DHA 2351: Spring 2008

On the eve of our first project presentation and critique, it is important to reflect on the value of this critical diaglogue. Critiquing is a critical part of being a designer: besides the personal growth that is fostered by having our own work analyzed, it helps each of us to refine our communication skills and sense of design principles by critiquing the work of others.

The critique helps students to deal openly with criticism while it trains them in the important verbal skills of explaining the reasons behind their solutions. They must go beyond "I like it" or "That stinks." Critiques help students to internalize standards of excellence, to develop a shared vocabulary for discussion, to learn to incorporate useful suggestions from others, and to evaluate their own and others' performances.

Source: http://www.aiga.org/content.cfm/guide-whatgoeson

Critiques will be incredibly important this semester, accounting for nearly a fourth of each assignment grade. To help you organize your thoughts as you evaluate the work of your classmates and peers, remember the following structure . . .

1. What do you see? Identify design elements (i.e., text, color, focal point) and principles (i.e., balance, symmetry, proportion)

2. What does this mean? How are these elements working together to relate information? What emotional response is it evoking?

3. Is it working? What is the result? Does the meaning correspond to the intent of the designer? What could be changed/modified/enhanced?

Eventually, this process (much like the design process itself) becomes internalized and flows naturally during critiques of all sorts, from informal discussions at a coffee shop to professional design pitches to clients. Feel free to adapt, adjust, and develop your critique style in ways that are appropriate for each particular situation.

Posted by Ange Tank at 12:44 AM | Permalink | Comments (0) | TrackBacks (0)

We were always taught not to do it, but it really makes no sense at all. Maybe instead of 'judging,' we should be critiquing. After all, a book cover gets about 2 seconds to make an initial 'sell' to its audience . . . what is it communicating in that short amount of time? And is it relevant to the contents of the book?

Check out the NY Times, "The Book Design Review" blog, which makes a job out of critiquing book covers from a design point-of-view.

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Part of your book review invariably requires you to do some actual reading of your chosen book. Think you already know how to read? Smart reading can help you read a book much more quickly than you think . . . and that doesn't just mean skimming. Mortimer J. Adler and Charles Van Doren outline a great strategy for what they call "systematic skimming" or "pre-reading," outlined in their book "How to read a book."

"Systematic skimming" process:

1. Look at the title page and, if the book has one, at its preface.

2. Study the table of contents

3. Check the index of the book.

4. Read the publisher's blurb (either on the book jacket or back cover)

5. Look at the chapters that seem to be pivotal to its argument

6. Turn the pages, reading a paragraph or two, sometimes several pages, never more than that.



(Adler & Van Doren, 1972, p. 32-35).

While many of your chosen books are highly visual, most of them will still have many of the elements this list is asking you to explore. Consider these tips for your review as well as for reviews in the future; such a system can also help you more effectively choose books for purchasing or library checkout.

Source:
Adler, M.J. & Van Doren, C. (1972). How to read a book. New York: Simon and Schuster.

Posted by Ange Tank at 08:46 PM | Permalink | Comments (0) | TrackBacks (0)

I can't put up with it anymore. Your poorly planned [noun] and [adjective] design are making my life miserable. I refuse to put up with your constant [verb] and incessant [verb]. Unless you change your [adjective] [noun], I'm afraid I'll have to [verb].

Sincerely,
Ange

From coffee thermoses that drip to round shoelaces that constantly untie, ineffective designs are the source of many of life's daily irritations. For every good invention (i.e., ink jet printers, plastic, email), there are several issues that arise (i.e., the cost of ink, clamshell packaging, and spam). This month's WIRED issue addresses these and many more common annoyances in its aptly titled article, "Why things suck."

Read the article, "Why things suck"

Posted by Ange Tank at 11:56 PM | Permalink | Comments (0) | TrackBacks (0)

When most designers and other creative individuals hear the words "PowerPoint," their knee-jerk reaction is often a cringe, a scoff, or some other negative response. Among its most outspoken critics is the one and only, Edward Tufte, an expert in and critic of information graphics and the presentation of visual information. In Tufte's words, "PowerPoint is evil" and should not be depended on (or maybe even used at all) for the display of visual data.

Power Point is Evil, Wired issue 11.09, Sept. 2003

Also interesting:
The Cognitive Style of PowerPoint: Pitching out corrupts within, essay available for purchase, $7
PowerPoint does rocket science – and better techniques for technical reports, essay excerpt

On the other hand, David Byrne (the former lead singer for the Talking Heads) touts his PowerPoint designs as pieces of art worthy for display and presentation. Having experienced frustration with this medium himself, he decided to embrace the medium rather than reject it, and describes his results in WIRED's aptly titled article, "Learning to Love PowerPoint."

Learning to Love PowerPoint, Wired issue 11.09, Sept. 2003