마인드맵 참고자료

요새 업무와 개인적인 프로젝트에 마인드맵을 무척 많이 활용하고 있습니다.

 

아래 마인드맵자료는 일단 정성이 무척 들어간거인데요.. 일단 보기에는 좋아서 스크랩

 

Nike Music Shoes: Clap your sneakers, make some noise

신발을 악기의 도구로 유머러스하면서도 확실하게 이미지를 주입시켜주는 퍼포먼스!

An important concept some companies are grasping is that if we're going to be advertised to, or advertised at, we'd prefer to see something unusual or entertaining. (Educational would be great too, but I realize that's too much to ask for.)

So I got a kick out of seeing the Nike Music Shoe video, which combines "bleeding-edge sound artist and alternative interface guru" Daito Manabe, several pairs of Nike Free sneakers tricked out with flex sensors and accelerometers, and Ableton's Max For Live software. Check out the cool results below. (SFW caveat: If you work in a conservative office environment, have your finger hovering over the volume button of your computer as you may get a little more boom-bap through your speakers than you anticipated.)

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So how'd he do it? The short version is that Manabe did the software and sound programming while the hardware programming was done by Tomoaki Yanagisawa, and the full technical explanation is written up here by Peter Kirn.

thanks tony!

(more...)

Knock Knock…Who’s There?

이걸보니 갑자기 노크디자인 로고가 떠 오르는데 ㅋㅋㅋ

It’s me, your doormat!

This Who’s There doormat made me laugh.

World's most technical pasta fork

이런 포크 하나만 있음 멋드러지게 파스타도 먹을수 있을텐데 ㅋ

Projecting "thumb" makes all the difference.

Worked for Homo sapiens....

Stainless steel.

2-Pack: $44.

[via Hurricane Vanessa]

A.R.T.

뭐라 설명하기엔 어렵지만.. Component들이 조화를 이루는것이 아트!

A.R.T. has launched the first fully-customizable and co-creative modular art collection called ModulA.R.T, with scalable contemporary geometric art modules that can be pieced together in an infinite number of ways. It is designed by artist and architect Donald Rattner and includes 3 lines: Wall A.R.T., Mural A.R.T., and Shelf A.R.T. They just launched their website and you can check out their pop-up shop if you’re in the DUMBO NYC area over the next month.

Wall A.R.T. consist of a series of atomic modular sculptures that can be assembled in many different configurations to create a beautiful wall design.

Mural A.R.T is artist-designed wallpapers featuring various shapes that add a new dimension to the wall when placed behind Wall A.R.T.

Shelf A.R.T is a series of modular artist-designed books to fit in-between your precious leather-bound volumes, or you can put Shelf A.R.T alone in a bookshelf, turning it into a modern piece of art. Choose from colorful designs or order serif and sans-serif letter books to spell out whatever you wish!

Cupmen not only help to keep your instant...

 

Cupmen not only help to keep your instant noodle's lid closed, they also change color as the temperature rises. In 3 minutes, the Cupman will turn completely white. Your noodles will be ready!

(Want more? See NOTCOT.org and NOTCOT.com)

Easy-Thread Sewing Needle — 'So easy to use, you can thread one with your eyes closed'

이 아이디어가 진작에만 나왔어도 수많은 우리 조상님들이 안보이는 눈으로 바늘에 실을 넣을려고 고생하지 않으셨을텐데.ㅎㅎ

아이디어만이 살길이다!!

Pam Turner of Minnesota invented the Spiral Eye Needle, easy to thread "thanks to a 'sideways' opening that admits thread as it slides down the needle's length."

From $5.50.

cardboard tower

작품하나 만들어 볼려면 이정도는 되야 하지 않겠나? ㅋㅋ

팀으로 저렴한 소재 가지고 이런 웅장한거 한번 만들어 보는 것도 큰 이슈가 될 거 같네...

cardboard tower

the institut fuer konstruktion und gestaltung (KoGe) based at the leopold franzens university
of innsbruck, developed in close cooperation with the international collective archiwaste
a tower, reaching a height of 10 meters, entirely built of cardboard for the exhibition
'carton plein' in the cite d‘architecture et de la patrimoine in paris.



the tower is based on a simple folding principle that creates a unity between material,
space and structure. the aim of the project was to keep the value of the existing space,
the so called 'pink staircase'.  the object is not conquering the eye of the staircase, it is
adding a new momentum to the moving visitor. the structure opens constantly new
views within the movement of the visitor and underlines in that way the vertical component
of the space. because the tower is lower than the upper handrail, visitors only discover
its existence upon entering  the staircase.




the structure is based in a simple strip with  a changing rotation axis fold. to create
the tower it was necessary to bend the stripe in an angle that is defined 360 strips.
the starting point was a vertical element from that the bending started in both directions.
from this four parameters the geometry of the tower is defined.













the structure was built on-site in only 9 hours




diagram of tower








students working on the tower

the parts were CNC milled and afterwards drilled and finished by hand.
the tower is built out of 96 elements that are 28mm thick.
these elements are hrld together with more than 300 screws and give
the tower its height, weighing only 280kg.

Pretty Vases Collection by FxBalléry

하수도 관을 저렇게 이쁜 화분으로 뒤바꿔놓다니.. ㅎㅎ

 

These vases by FxBalléry are useful materials transformed into beautiful objects. They’re made out of lacquered industrial materials that make unique holders for flowers.

[via MoCo Loco]

Biker-centered design in Denmark

덴마크에서는 자전거를 타는 사람들을 위한 공공 시설물이 있구나..

Check the railings that the man is holding onto and resting his foot on. It's located on a little Copenhagen traffic island where cyclists often wait, reports Copenhagenize.com.

The City of Copenhagen has implemented this double railing simply as a convenience for the cyclists who stop here. A high railing to grasp with your hand and a foot railing for putting your foot up, if that's what you fancy doing. Either way you can also use the railing to push off when the light changes.

The foot rest reads: "Hi, cyclist! Rest your foot here... and thank you for cycling in the city."

It certainly is a fine example of the City understanding human behaviour and basic anthropology.

>> Read article

MIT's AIDA project

MIT와 폭스바겐이 공동 연구한 AIDA 프로젝트..

 

 

 

the AIDA project (affective, intelligent driving agent) is a driving navigation system with a robotic interface
that goes far beyond turn by turn navigation. the project is a collaboration between, volkswagen of america
and the massachusetts institute of technology (SENSEable city lab and personal robots group of media lab).
the navigation system stores information about the city, the driver’s routine and a number of other sources.
it combines this with road conditions, traffic and other data to create an ultra intelligent driving assistant.
by knowing more, AIDA can behave more intelligently. the platform even predicts your destination
notifying you of any incidents along the way and proposing alternative routes. one of the best
demonstrations of AIDA’s intelligence is that it will include a trip to the gas station in your route if
your tank is running low.

http://senseable.mit.edu/aida









새 창에서 보기

Industrial Design Portfolio Advice: Back to Basics

디자이너를 위한 포트폴리오 에 관한 조언...

 

기본으로 돌아가라....

 

 

 

For an Industrial Designer a design portfolio is an essential element in getting employment. There are hundreds upon hundreds of ways that you can construct your portfolio. You could create it in Flash, on the Web, as a hard copy, as a movie – the possibilities are endless if you put your mind to it.

In this article I will be talking about the basics of design portfolio creation that will allow you to create an excellent portfolio, no matter what medium you decide to choose.

In the creation of a design portfolio there are many considerations you must take into account throughout the building of the portfolio. However the overall process can be broken down into 5 main steps.

1. Plan, Plan & Plan.
2. Collect & Curate Content.
3. Design & Layout.
4. Review.
5. Revisit & Refine.

Plan, Plan & Plan

Planning is an important part of creating your portfolio. Since your portfolio is representing you and your work to people who, in many cases, you have never met then it is very important that it is well thought out and coherent. A portfolio should not be thrown together in a rush – which so often happens when that elusive job opportunity pops up.

You can avoid the rush by setting aside time to properly prepare your portfolio before your start searching for any form of employment. If you are a student, start making every project you create portfolio worthy as soon as possible and take time to consider how each one will fit into your portfolio. I know many people probably tell you this, but it is very very true and it will make life much easier come graduation.

The planning stage is essentially about clarifying a few things for yourself. This clarification will guide your decisions as you create your portfolio.

Portfolio Aim - Who is the portfolio for?

A portfolio is usually meant for one of two particular types of people 1. Potential Employers or 2. Potential Clients.

Although a portfolio for either of these types of people may be quite similar, it is an important consideration to keep in mind as these people will be looking for slightly different things in your portfolio.

Purpose of the Portfolio

Always keep in mind the main purpose of the portfolio – to effectively communicate and showcase you and your amazing design work. This affects many aspects of the portfolio, the main one being the design. The design of any portfolio should be understated, and allow your amazing skills and design work to shine.

Tip: A portfolio is a container for your design work, but it is a container that can be tailored to complement the work. Bottom Line – You don’t want the container to be better than the work inside.

Key Questions

Here are some other key questions to think about during the planning stage.

• How will you or how do you want to guide a prospective employer or client through your body of design work?
• How will you convey the right information, without undersupplying or over-supplying information?
• How much do you want to spend? – don’t spend the earth on your portfolio, but don’t be cheap either (spending might include things like printing & binding).
• What is the deadline for having your portfolio ready to present or send to someone?
• How many pieces do you need to show? This might be specified as a requirement in a job application or by a potential client, then again it may not.
• Does the portfolio need to display a broad set of skills or a very particular set of skills?

Tip: Go for Quality over Quantity.

Collect & Curate Content

In a portfolio, like on the web, Content is King. The design work that is actually contained within your portfolio is very important. Your portfolio is (or should be) telling someone a lot about you and what type of designer you are. It needs to be telling them exactly what they want or need to know, especially when you are not there with your portfolio – which is often the case.

Dependant on some of the answers to the questions mentioned in the planning stage you will have a tentative idea of some of the content that you will be putting into your portfolio.

At this stage it is important to gather as many of your relevant projects and design work as you can so you can begin the arduous task of sifting through and deciding what makes it into your portfolio and what does not. Note the use of the words Arduous and Curate. This stage is always the hardest part of constructing any portfolio, thus it is arduous. Curating your work to ‘tell a story’ and guide the viewer through it is very important so that your portfolio presents a coherent message about you and your design work.

Tip: Try out different combinations of your design projects for your folio, spend time considering each combination. Curate it until you find a flow through the work – flow is the point when it seems to fit together and tell a cohesive story.

Key Questions

• What does this particular combination of my design projects say about me and my design work?
• Does it communicate what the target audience might want to see? I use the word audience because your portfolio may be reviewed by more than one person – sometime an entire design team may see your portfolio.
• How many pieces of design work do you need to show to tell your ’story’? I would personally put in 6 – 10 pieces dependant on the work I have recently completed and the prospective job/client. Amount of pieces is always a key area of contention among designers, so go with what you feel is suitable.

Tip: If in doubt, take it out.

Design & Layout

The design of your portfolio needs to thought through quite carefully. The design and layout of a portfolio must do two things:

• Allow your work to shine ,and thus by extension make you shine. Do not create a portfolio that looks better than the work inside!
• It should make you look professional.

Avoid creating something that distracts from the work contained inside. A great example of portfolios that have a multitude of distractions are Flash based folios.

Designers get over excited by the many things they can do in Adobe (formerly Macromedia) Flash – animations, crazy unintelligible menus etc… These flashy bits cause it to take longer to load and serve no useful purpose other than to distract and annoy the viewer.

Unless you are actually a flash designer, then people are not going to look at your folio to see the amazing flash skills you have, they are looking at the actual work contained within. These bells and whistles will severely annoy the extremely busy people (company owners, studio heads or the underpaid HR people) who have the unfortunate job of having to sift through hundreds of portfolios. So if they are in Flash, take a million years to load even on their high speed connection, and they cannot quickly and easily navigate them then you will probably be passed by.

This also applies to portfolios in other mediums that have terrible layouts that distract (overly flashy graphics and colours), are badly designed (there are a few too many badly designed websites that showcase design work) and are not easy to figure out (sure get creative with your portfolio presentation, but if someone has to read a manual to figure it out, forget it they have already moved past yours!). Make your portfolio clear and simple. It MUST communicate, not confuse.

Remember simplicity does’t mean you don’t take time to put some effort into designing your portfolio or that you don’t explain yourself. Simplicity means you create a considered and appropriate design, and then take away all the superfluous crap that is not truly needed to communicate you and your work.

Multiple forms of media

These days it is also common for people to have a portfolio across a variety of media, the most basic and obvious being print and web. Don’t put all the effort into one and neglect the other.

Make sure that no matter how many mediums you are putting it into, that the portfolio design is as consistent across the mediums or that they complement each other as much as possible*. These days those looking at portfolios are likely to see a web and a print one, its nice if they obviously have a consistent look and feel so that the portfolios speak to them in a similar way about the work inside.

*Note: This is of course not always possible when using a service like Coroflot. But the great thing is that they have already provided a portfolio container that does a lot of things that your portfolio container needs to – its understated, clear, simple, sort of elegant. But remember it doesn’t do everything.It is just a cookie cutter approach to allow you to get up and running quickly at no cost.

Tip: If you are not skilled in graphic design, page layout, web design or what ever medium you want to use, then find someone who is to help you with the design and layout of your portfolio in that medium.

Cost

Cost is another major point of contention among designers when discussing portfolios, so I will be brief.

Spend what you think is reasonable and what you can afford. If you cannot afford a lot use that designer brain you have and treat it like a design problem, come up with a creative solution that meets all the requirements previously talked about. Don’t go overboard (your portfolio doesn’t need to be gold-plated or hosted on a Nitro Mediatemple hosting package), but don’t be stingy (make it look professional, shitty photocopied pages don’t look professional!).

Key Questions

When you execute the design of your portfolio the types of questions you should ask yourself are the same questions you should ask when you are designing a product.

• Does this actually need to be there? (e.g.: a little hovering thing next to the cursor in a Flash portfolio)
• What reason is there for it to exist?
• Does it serve  a purpose? Or is it just a bell & whistle designed to distract?
• Does it actually look good?
• Does it communicate?
• Is it an effective and appropriate design or design element?

Review

Get someone to review your portfolio. You should take your it and show it to your peers, and anyone else who you think will provide you with excellent feedback on your portfolio.

Your peers might include (dependant on your situation) fellow students, lecturers, work colleagues, friends or family. Anyone else could include people you are aquatinted with in your part of the design industry.

For example you might, through your networking (which is an essential for any designer), be aquatinted with the senior designer at a local design studio (if applying at that particular studio then be careful about asking for a portfolio review, personally I might find someone else to ask for a review who knows what that studio is like).

Bounce this acquaintance an email which politely and courteously asks them if they will take some time to sit down and talk with you about your portfolio OR if they will review it via email/phone.

DO NOT attach a digital copy your portfolio to this email, the reasons for this are two fold.

They do not want any more attachments clogging up their email inbox – especially if they decide they do not want to or have the time to review your portfolio.

The second reason is that if possible you want to talk with them in person. If you were to send them your portfolio in the request email they are more likely to do a short, possibly unconsidered review (this is not always the case, but for busy people you could visit it person it usually is) via email.

Having your portfolio reviewed in person is excellent as it allows you to do several things at once.

1. If the person is an acquaintance then you  are provided with a chance develop and further the relationship.

2. You will also get a more in-depth review because the person will in be forced to actually take the time to review and provide feedback directly.

3. You will also pick up on more subtle reactions  - often facial reactions, but also changes intone of voice and the particular words used – that you would NEVER be picked up via email or over the phone.

4. Its more personal.

Getting a Face to Face Review

Getting a face to face with senior design professional can be difficult. As they are of course busy and they probably receive similar requests more often that you can imagine. Sequence things should occur – email, potentially a phone call, possibly a follow up email, then if everything goes well a meeting.

GOLDEN RULE : DO NOT be rude, always be extremely courteous and polite. They are doing you a favour.

Be bold and direct – ask for what you want, in other words don’t dilly dally around making small talk about the weather.

When writing an email, if you have met them previously be casual polite (i.e you could open the email with ‘Hi John’). If you do not know them and this is first contact be proper and polite (i.e. ‘Dear John’) and introduce yourself (i.e ‘My name is Jane Jones I am writing to you because……’).

Keep the emails short, punchy and too the point.

Ask for 1 hour. You may not get it, you may only get 30mins or 45mins. But always ask because you might. An hour is a good amount of time as it allows time for the person to be late, for the review and a bit of chit chat and a coffee. If they are willing only to give you say 15 mins, then politely decline and explain why you need at least 30mins to 1 hour. If they still won’t let up then move on and find someone else to ask.

Pick some dates and times that suit you and suggest them to the person, ask if any of these dates or time suit them and negotiate from there. Be flexible they are busier than you are.

If you want to visit the studio, ask to meet them there, but try to make sure you have the meeting a nearby quiet coffee shop. The reason for this is that it takes them out of their work environment where they may be easily distracted by work things. Eg: if other staff know its not a client meeting they may ask for opinions from this person – which will eat into your meeting time.

Once you have had the meeting and the portfolio review follow up by sending a thank you email.

Tip: ALWAYS be courteous and polite about criticism. DO NOT burn bridges (translation: don’t piss them off) you never know what you might might happen in the future.

Key Questions

Here are a few basic starting questions to ask anyone (or even yourself) who is reviewing your portfolio.

• These are the skills I want to convey, INSERT SKILLS  HERE (e.g., Excellent attention to detail), do you feel that my portfolio conveys this?
• Does this all make sense to you without me having to explain it? If I wasn’t here would these projects make sense to you?
• If no (to the above question), then how do you think I could make sure they are conveyed effectively?
• Does the Design of my portfolio compliment the work inside or does it over shadow it?
• The purpose of this particular portfolio is XXXX do you think that it is suitable for this purpose?

Revisit & Refine

There are several likely scenarios after you have had a few people review your portfolio for you (scenarios 2 and 3 are probably most likely, and ideal).

1. You need to go all the way back and start from scratch – hopefully not, but it could be the case.

2. Your need to review the overall portfolio and then refine it.

3. A few small areas need fine tuning and refining.

4. That senior designer that reviewed it thought it was so good that he offered you employment and you no longer need to use the portfolio for that other job you were going for (You never know who might see your portfolio and offer you employment!).

Wrap Up

Keep in mind you will need to revisit, update and refine your portfolio regularly. I would say it is ideal to revisit every 3 – 6 months, but this is dependant on your situation and it might occur at different times for different reasons.

Reasons could be:

• You create some new work you feel needs to be in your portfolio.
• You have a particular job you want to apply for, so you revise and update to match the requirements of that job.
• You want to change jobs, are retrenched or are fired from your job.
• You get sick of the portfolio and design you have, so you start from scratch.

Tip: Look after your portfolio and keep it safe and dry, don’t show a portfolio around that has coffee stains all over, is ripped or looks like it has been for a trip through a sewer.

Good luck with your portfolio and I hope that some of the tips and advice above helps you create one that you will be proud to show around, but more importantly will get you employment.

Additional Resources

While I hope I have covered some of the most important aspects of portfolio creation in this article, not everything can be fitted in. Here are a few additional resources that might help you create an excellent portfolio.

Online Folio Solutions Series – A review series written last year on Design Droplets about various online portfolio hosting solutions.

Why You Should Start Your Portfolio Now – As always, great advice for design students over at Core77.

Advanced Portfolio Tips - Now you have some basics down, why now get into the advanced stuff?

Creating A Successful Online Portfolio - Taking your portfolio online, then be sure to read this one from Smashing Magazine. It also covers some nitty gritty of portfolio creation.

Please take time to leave your thoughts or feedback. Got some tips of your own? Or maybe a question? The comments section is waiting below for you.

Designer Salary Survey: The results are in!

CORE 77에서 조사한 디자이너 연봉에 대한 리서치..

 

결과만으로보면 돈 많이 버는 분야는 디자인경영이랑 인터랙션 디자인이네..

우리나라에서도 조사하면 아래와 같을까?

 

 

 

The numbers are in, and they are both great and terrible. Coroflot's Designer Salary Survey, now in its ninth year (true!), broke the 5000 response barrier this time around, with strong showings from every design field that calls the site home. The findings are a combination of expected and astonishing.

First, the expected:

Salaries took a tumble this year, almost across the board: the Design Management and Interaction Design fields in particular saw their meteoric 3-year rise come to a sharp and dramatic end, though they're still the highest paid among the eight fields covered. Other disciplines saw gentler declines, with the peculiar exception of Fashion and Apparel, which bucked the downward trend in a big way, showing a nearly US$3,000 increase over last year. Fashion also bucked the experience trend, with mid-level designers in the field out-earning their more venerable counterparts:

Graphic and Interior designers continue to languish at the bottom of the pay scale, and those very few web designers who've been at it since the beginning (Mosaic, Hotbot, blinky text...ah the mid-90s) are making an absolute killing.

Here's another noteworthy shift from last year:

Corporate design studios are losing their dominance. While last year's survey showed more than 60% of respondents working in-house in every field but web design, this year flips that around: all but two fields saw the in-house fraction drop below 60%, with the Freelance and Consultancy categories taking up the slack. The temping of design, it appears, accelerates during dark financial days.

This is just scratching the surface though. For lots more analysis, including regional and international comparisons, salaries by job title, and the influence of education on design salaries, plus a customizable database of all Survey results, go to the 2009 Salary Survey Results page on Coroflot. We've broken it down for you into The Six New Realities of Creative Work, and you know you want to read about those.

>>Read the full analysis and see the entire 2009 data set here.

(more...)

 

ming vase by noam bar yochai

도자와 LED Tech와의 만남

the process began by turning the form on a lathe

young israeli designer noam bar yochai has designed the ming vase.
in this glazed earthenware piece, yochai has incorporated decorative techniques found in
chinese craft and has combined them with new technology. 58 LED lights are used to illuminate
a random pattern, which ends up spelling the word 'ming' across the vase, reflecting on our
society's perceptions of aesthetic values throughout time, and questioning the role of craft
in our industrialized world.


the wooden vase is then cast to make a plaster mould


the completed plaster mould and vase slip cast


utilizing chinese techniques


appearance of vase when LEDs are not lit


LEDs creating a random pattern...


before spelling out the word 'ming'


'ming'