The first Tuesday in November is election day in America, and tomorrow citizens are supposed to go to the polls to exercise their Constitutional right to vote. If turnout in past midterm elections is a guide, less than 40% of the voting age population will claim that privilege. Shame!
For the past few Presidential elections, the AIGA has hosted a Get Out The Vote poster campaign as a public call to action. Since the AIGA doesn’t create posters for midterm elections, we thought we’d revive some posters designed for the 2012 election. (The one above was done by Kit.)
Claim your future, vote.
The American Institute of Graphic Arts, better known as AIGA, is celebrating its 100th anniversary this year. That’s a remarkable milestone when you consider that graphic design didn’t really exist as a profession until the 20th century. Before that, printers and commercial artists handled such tasks. Interestingly, graphic design owes its rise in part to the First World War, which started in 1914 and set off a scramble for army recruitment and war bond posters. This accelerated the production of posters (and demand for graphic artists) as governments sought to rally citizens to support the war effort. The First World War also happened to coincide with the widespread adoption of offset lithographic printing, which enabled mass production of affordable pulp novels, magazines, packaging and other paper-based media.The graphic arts industry was suddenly born. Today there are more than two million graphic artists and designers in the U.S. alone.
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Pssst! Need a legitimate business reason to go to Las Vegas? Come to the AIGA Las Vegas “Return on Design: Business + Design Conference on November 17-18.
According to Patty Mar Simmons, event co-chair and president of AIGA Las Vegas, “We are uniting designers and business leaders to foster a better understanding of how good design can help drive tangible results for any size company.”
On the business/marketing side, speakers include Bill Hornbuckle, MGM Resorts International; Jamie Naughton, Zappos.com; Richard Worthington, Molasky Group of Companies; Vince Alberta, Las Vegas Convention and Visitors Authority; Christina Barr, Nevada Humanities; Brian Gordon, Applied Analysis, and Luke Heffron, Shutterlfy. Design side speakers include Debbie Millman, Sterling Brands and AIGA National board member; Andrew Naudin, ExhibitForce, and yours truly – Kit Hinrichs, Studio Hinrichs and design director, @Issue, and Delphine Hirasuna, editor, @Issue.
The cost to attend is $175 per person and includes a reception on Thursday evening, plus the conference sessions, breakfast and lunch on Friday. Come early, spend the weekend. Support the Las Vegas economy. For more information, visit returnondesignvegas.com.
Design, particularly graphic design, is not a profession that most inner city kids consider, partly because many don’t know that such a profession even exists. In fact, the whole notion that somebody had made design choices about the size, color, typography, etc. of a simple sign comes as a revelation to some kids. Jessica Weiss, a student in the nonprofit Inneract Project program, explained her surprise. “I just thought, oh, someone wrote this sign. Someone wrote that sign. No, it had to be designed.”
This is exactly the lesson that Inneract Project founder Maurice Woods hoped to pass on. Woods, a senior designer at Studio Hinrichs in San Francisco, started the program in 2004 when as a graduate student in a University of Washington’s Visual Communication Design class, he got the assignment to “Use Design to Try to Change the World.” Drawing from his own experience growing up in the violent teen-gang and drug-plagued town of Richmond near San Francisco, Woods wanted to help young adolescents expand their awareness of the career options open to them.
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Las Vegas has a problem. Maybe you can help.
After finishing up his “Red Piano” show at Caesars Palace this spring, Elton John donated the sign that hung above the stage to the city’s Neon Museum. Spelling out “Elton” in glowing neon letters with a heart-shaped arrow in between, the sign weighs in at 15,000 pounds, with the largest letter measuring 20 feet x 30 feet. Unfortunately, “Elton” is an indoor sign and the Neon Museum display area is currently all outdoors.
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If you have something to hide, design badly and write poorly. Set the text in small type, no leading and wide measure, and use mind-numbingly dull legal language. This approach all but screams, “We don’t want you to read this, but we are required by law to tell you.”
Whether intentional or not, this is the impression given by credit card issuers when disclosing fees and terms. Cardholders who don’t immediately throw out these “envelope stuffers” are often stunned to read about a plethora of penalties, hidden fees and compounded interest. What’s more, the majority of card issuers also claim the right to increase APR or change credit terms “at any time for any reason.”
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