An experimental feed:
Designers must once again take a leap of faith and prepare themselves for the new demands of the next generation of the web.
Playing the role of producer and designer can be a hard act to juggle.
This is a short essay on the fine line between an artist and a designer.
Recently, AIGA officially began positioning itself as “AIGA, the professional association for design.” What does this mean for AIGA membership and the design community? AIGA’s storyteller, Alissa Walker, spells out the thinking behind the shift in positioning, and why it’s still AIGA.
This article draws from the book Worldwide Identity published in October 2005 by Rockport in partnership with Icograda.
Understanding why clients ask for it is the first step to understanding the powerful alternatives to spec creative
Networks, magnified in importance by technology, have become an important factor in the life of the graphic designer.
Creative industries are under threat from lowballers and companies that exploit them. Some suggestions to fight this trend.
This article was written to remind designers why it's good to be a graphic designer in this day and age.
As a designer, teacher and information architect I have been working for the Uruguyan Rafael Vinoly.
Designer's in corporate America face an issue of being misunderstood. Can this problem be overcome?
Think that studying advanced mathematics isn't relevant to a design career? Think again!
The design world is changing once again. It is now in the midst of the network economy evolution and Neumeier offers his Darwinian view of design, business, and brand.
No matter the size of the organization, it is most likely to enjoy long-term success when there is detailed, up-to-date information available on its consumption of resources translated into financial terms.
In this age of ever-changing design, what applies to one kind of company may not fit another.
In those days, whenever you started work for a client you simply reached for an RIBA or AIA standard form of agreement, scribbled in a few numbers, and away you went.
To satisfy the need for a friendlier and condensed alternative to the AIGA?s existing Standard Form of Agreement for Graphic Design Services, the AIGA is pleased to launch a new, shorter document entitled The AIGA Standard Terms and Conditions for Designer/Client Relationships.
Do you have a formal feedback program in place? It?s critical to know what your clients think about you and, even more important, what they say about you, since this will inevitably spread to prospects and other clients.
How is it that certain leaders motivate you and others do not? This is particularly an interesting question within the marketing communications industry, which tends to attract independent-minded leaders...and followers.
Although the professional flexibility can be rewarding, devising a consistent payment strategy can be another matter altogether.
Every graphic design business has an optimal structure that will provide it with the maximum possible benefits. These may include tax benefits, protection from liability, continuity of existence, and the like.
This chapter on copyright and licensing is an appropriate introduction to the section on rights. This section tries to cover the most important intellectual property issues that the graphic designer may confront.
Take the spec work challenge and put your two cents in as to whether grub and ethics can really live in harmony.
Trademark law was once thought to be important and relevant only to a select group of persons or corporations whose legal interests were handled by specialists
Professional design firms present unusual organizational and management challenges. How do we support something as intangible as creativity? How do we stabilize something in constant motion?
Most design firms whether graphic, product, or architectural, have grown from the creative and entrepreneurial energy of an individual or two or three partners. Historically, only one or two out of thousands of firms have ever continued into a second generation.
Fonts are creative, intellectual property, similar to designers' creative work or a proprietary business product. Since type seems so ubiquitous and fonts are so easy to share among computer users, the legal and moral issues of the simple process of using a font are often overlooked.
AIGA is interested in encouraging the use of original illustration in design solutions. Illustration can provide a unique sensibility to certain projects.This brochure offers insight into professional practices and ethical considerations within the illustration community.
Processes used in graphic and commercial art include computer graphics design, illustration, and photo processes, and paste up of mechanicals.
Using a database of 280+ firms in 84 different metropolitan areas across North America, what are the three things that these principals struggle with the most? You might recognize yourself.
Wouldn?t it be interesting to know what personality traits are common to the principals of those firms that are successful?
The reason firms fail is not creativity, location, or the marketplace. It?s management ability. Here are the most common 12 mistakes we see creative service firms make.