pic (5)

I will probably use a photo of waterfall...
to combine with a picture of flowers or leaves or....
Still undecided...

pic (4)

Beach pictures....
I have couple of them presenting different feeling about beach
Still can't decide which one to go though....

pic (3)

Then I will do a spread for natural landscape.
I found many nice high quality pictures and I just picked some....
The frog is also typical for this kind of theme especially when presenting photo quality....

pic (2)

Then there will be a spread that I want to do a family picture.
Since Advertisement always use family all smiling to get people buying their products...

pics(1)

I found a lot of pictures and I could not really decide which to go yet...
Here are some... these are rafting and snowboarding....

final project ideas

I want to do like outdoor activities with some landscape scenes...
Also family pictures that everyone looks happy....things like that...

software ad ideas

software cover design

I wanna keep it simple and clean. So I use big symbolic objects to clearly point out what are these software tools about.

Good or bad design? The verdict(s)

The mayor of London, Boris Johnson, launched a competition to design a new bus for the city. The winning design, above, by the architects Foster + Partners and the sports car maker Aston Martin, was unveiled late last year. (Transport for London)

Published: January 30, 2009
By Alice Rawsthorn
Original Article http://www.iht.com/articles/2009/01/30/arts/design2.php

DAVOS, Switzerland: What is good design? It's a seemingly simple question, that's surprisingly difficult to answer. The more you think about it, the more complex the question becomes. Not only does "good design" mean different things to different people, it also changes at different times and in different contexts.

Some of the world's leading designers were challenged to define what "good design" means now in a debate at the annual meeting of the World Economic Forum in Davos last week. At the debate, which I moderated, each designer was asked to identify one example of "good" and one example of "bad" design, and to explain the reasons for their choices. What did they come up with?

Everyone agreed that "good design" had to fulfill its function efficiently. Tim Brown, president of the IDEO design group in San Francisco, used the examples of the Flip video camera and Amazon's electronic book, the Kindle. "The Flip is a great example of design simplification," he explained. "Every step of the process of taking, downloading, editing and distributing video has been made simple and seamless. Whereas the Kindle is a great idea, poorly executed. The accidental operation of buttons happens constantly, and it's uncomfortable to hold, which for a book is a very bad idea. My Kindle sits unused on my desk whereas the Flip goes everywhere."

Inefficient design can have grave consequences. Brian Collins, chairman of the Collins creative consultancy in New York, told the cautionary tale of the prescription pill bottles doled out by pharmacies. Traditional prescription bottles often look so similar and their labels are so badly printed that people can easily take the wrong medicine by mistake. That's what happened to the grandmother of the American designer Deborah Adler, who decided to find a solution. She designed clear, legible prescription labels for bottles that can be customized by adding colored plastic rings so you can spot a particular type of pill at a glance. Adler's design is now used by the Target retail group for its ClearRX pharmacy range.

But sometimes efficiency isn't enough. Paola Antonelli, senior curator of design and architecture at the Museum of Modern Art, New York, contrasted the "cheap and efficient, but ugly" Jersey traffic barriers with the "graceful, elegant, playful" version on the streets of Milan. The Milanese have nicknamed them "panettone," after the traditional cakes whose shape they share. Designed by the great Italian architect Enzo Mari, they can be moved around the city as the traffic flow changes, and double as impromptu seats.

A similar emotion vs. efficiency debate has erupted over the design of London's buses, as Hilary Cottam, the social designer and founding director of Participle, explained. Londoners still reminisce fondly about the Routemaster doubledecker bus, which was withdrawn from service in 2005. Popular though the Routemaster was, it was very difficult for small children, elderly people, or parents with strollers to get on and off, and virtually impossible for anyone in a wheelchair. Those problems were solved by the design of one of its successors, the articulated or "bendy" bus, which is easily accessible but widely loathed by Londoners. "The bendy bus is very easy to get on to and can carry twice as many passengers and more people can sit down," said Cottam. "My question is, what is good design? The old Routemaster, which looks great, but is hard for most people to use? Or the new bendy bus, which has improved travel for the majority

The rational answer would, of course, be the bendy bus, but can something be "good design" if no one enjoys using it? That's why London's new(ish) mayor, Boris Johnson, launched a competition to design a new bus which, he hoped, would be as endearing as the Routemaster, as accessible as the "bendy" but environmentally responsible too. The winning design, by the architects Foster + Partners and the sports car maker Aston Martin, was unveiled late last year as a neo-Routemaster sporting solar panels. It is now navigating the treacherous waters of London's transport politics.

The London mayor was right to insist that the new bus be environmentally responsible, because that's another non-negotiable component of "good design," albeit one that has attained the status relatively recently. As the environmental crisis has deepened, it has become impossible to ignore the ecological implications of everything we consume. However gorgeous, witty, ingenious and even useful something is, we can no longer consider it to be a design success unless it is also ethically and environmentally responsible.

Occasionally a project embraces all of those qualities. Take the Tubercle Technology wind turbine blades chosen by Kigge Mai Hvid, chief executive of the Index: Design to Improve Life awards in Copenhagen. Developed for the Canadian company WhalePower, the blades are shaped like the scalloped flippers of humpback whales. The scalloping helps to lift the whales out of the water, and the blades to rotate smoothly. "It has a simple, functional beauty that you almost only find in nature," noted Hvid. "Also it's a great example of how design can positively impact our environment."

Scoring sustainability points is now so important that it can compensate for other shortcomings. The industrial designer Yves Béhar, president of fuseproject in San Francisco, cited the example of the Smart car. Conceived as a compact, fuel-efficient city car, it was launched in 1997 to rave reviews, but poor sales. The Smart's progress was then bedeviled by financial problems, technical squabbles and snipes about its styling. Béhar reckons that even the gas-guzzling Hummer beat it on aesthetics.

But the case for the Smart has strengthened as the market for fuel-efficient cars has expanded, and an all-electric version is to be launched next year. "The Smart car is a great idea, compromised at first, but now getting a second chance," said Béhar. "What makes the Smart win is its respectful, responsible and efficient concept, adding value to the world."

software design rough sketches

stationery idea

Please give me some comments

Final logo

I decide to do this abstractly instead of
using direct image or stereotype symbol of
design for this Stockholm winter game.
The concept will be something energetic
emerges from a powerful source; it
symbolize the energy and spirits of the
Olympics. My original idea was inspired
from the Olympic torch but my design is
more like a symbol of cyclone; and the
spiral cyclone shape kind of pushes the
Olympic ring “rising” from the bottom to the top.

Olympic logos

NEWS: Hot Job of The Day: Emarketing Production Designer, Chicago

(Original Article: http://designtaxi.com/news.jsp?id=15180&monthview=1&month=1&year=2008)
PRESS RELEASE


January 2008

Are you looking for a job opportunity that will allow you to work in a laid back/casual environment?

How about a job that will allow you to be creative and work with other Designers?

If you have 2-3 years hands-on professional experience in interactive design and production and you answered yes to the above questions, read on!

This is an amazing opportunity for a Junior Interactive Designer to get their foot in the door with one of the world's largest internet travel companies!

In this role you will design assets for online merchandising campaigns, including banners, emails, promo spots, pop-ups and micro sites. You will collaborate with the Sr. Designer to adapt your concepts to the entire campaign and obtain images to support concepts. You will also alter campaigns to different visual systems for multiple brands.

TEMPORARY JOB WITH BENEFITS AND PERKS!

This is a 40 hour per week on-site contract job starting on asap and lasting for approximately 3-6 months. After you have worked for 4 consecutive weeks, you will be eligible to sign up for our Cigna medical/dental/vision insurance benefits.

Aquent subsidizes this, so if you choose the HMO option and work 40 hours per week, medical insurance is FREE for you! As an Aquent contract worker, you also get perks such as discounts at the Apple Store, CDW and Barnes and Noble.

After 5 months of working you gain even more benefits, such as paid holidays, option to participate in our 401k program with company match, and annual vacation bonus pay.

Our client has a full-time, permanent job opening for this position, so if things work out, you may be offered a permanent job with them after 1 to 3 months. You are, of course, under no obligation to accept such an offer.

Client Description:
Their client offers an assortment of travel products and services to both consumers and professionals.

Other Requirements:

2-3 years hands-on professional experience in interactive design and production

Expertise with Illustrator, Photoshop, Flash, Fireworks and Dreamweaver

Excellent organization skills to manage vast image library and file archives

Excellent time management skills, including ability to manage multiple creative projects efficiently and simultaneously

Good interpersonal and communication skills

Ability to take art direction and constructive criticism

Ability to balance great design with short deadlines

Strong typographic skills, including knowledge of web typography

Strong attention to detail

Animation skills a plus

Bachelor's degree in design or related field

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