hello color!

Branding the event

After some days developing the concept and identity for certifyD, it became evident that the initial red/gray combination was too safe and conventional. Then I thought:

If I am presenting ideas, notions and perspectives towards certification different from the ones discussed in the past, why should I do so with black, red and helvetica? 
 
​old colors

​old colors

 

Through the design of the upcoming promotional poster and event materials, the red gave way to a more unified color palette that more closely communicates the idea of two separate opinions coming together to form one new whole. I had to struggle with my built-in designer attraction to red. However, the message and the merger of two elements works best when one color is not overpowering the other; with a more welcoming, approachable and less aggressive look.

Oh red, maybe next time.

 
​new colors

​new colors

 
This is how the new color system was finalized. It will become versatile enough to allow contrast and diversity. The colors are alive and clearly distinct—one cold, one warm—just like opinions on certification.
 
​new color palatte

​new color palatte

a look at process

Branding the event

​sketching process

Design and content are inseparable; and certifyD is no exception. For the past month, I have been working to contact and confirm the event’s panelists, the date and venue; simultaneously making sure I continue to refine my thesis writing. The actual planning of the event has been a draining yet incredibly inspiring experience. Can I now add “event production” to my resume? Not likely. The goal when creating certifyD, was to establish a platform where we can all discuss certification with a new set of eyes (and ears). As an event tailored to the design industry crowd, this event needs an identity. The challenge becomes in how to combine a simple, focused and clear message while remaining profound, serious and non-pretentious. So, here begins my attempt to merge the event’s topic and content to a visual identity. More progress will follow.

are you beyond graphic?

certifyD_LOGO-06.png

Beyond Graphic was launched in 2003 with initial essay/manifesto by Canadian designer Errol Saldanha. In his essay of the same name, Saldanha argues for replacing the term “graphic designer” with the more appropriate and encompassing term: Communications Designer. This proposal, which was also addressed by ICOGRADA and the AIGA, does not introduce a new terminology for the sake of it. Instead, it serves as a confirmation of the global reach and growing responsibilities within design today. Saldanha boldly concludes that:

Most business people – the ones who hire us – think that we are at the table to create the “look and feel”. They see our work as decoration, a nice-to-have after the strategic thinking is performed. This is why graphic designers remain at the bottom of the communications chain – below advertising professionals, communication consultants, and marketing strategists. As long as we are seen only as visual enhancers, we will never command the respect (or fees) that other professionals do.

Additionally, Saldanha​ clarifies what Communications Design implies within three scenarios: the discipline, its practitioners and the field itself. When originally published in 2003, his views caused a stir within the Canadian design community and abroad. He shares:

As intended, my views sparked much controversy – some agreed and some disagreed, but that is the purpose of a debate. Beyondgraphic.org spread virally on the web and was the topic of many heated online discussions. Result? After careful thought, I decided to go with the term communication design(er) and launched Communication Designers of Toronto (CDOT) in 2007 (now Communication Designers Association (CDA). As part of this decision, I have spent numerous hours attempting to create a simplified model and definition of communication design(er).

​This latest organization has grown rapidly, with local chapters in Berlin, Zurich, Toronto, New York and London. Established as a “pro-active association,” it requires members to agree and complete 8 hours of community service hours annually, the CDA’s mission states:

In digital times, where anyone can create an online group, the traditional role of the professional association has changed and so has the role of the designer. Due to our unique membership model, CDA is truly a proactive association, always looking for new ways to engage members. Our organizational structure is streamlined for entrepreneurial action by those who want to advance our design discipline and be the best in their field.

This single step makes the CDA vastly different than bigger design associations in North America. Although the movement is still in its infancy—by demanding members to become directly involved with their peers, the organization and the general public—the CDA encourages us to take a new look at the possible role and structure of design institutions. of the future. Saldanha concluded his 2003 essay with a simple appeal:

How can we command respect and fairer fees when we haven’t communicated our own “brand” to the public? We must band together and take our industry to its rightful place in the professional business world. We either redefine our own profession or graphic design ourselves right out of existence. The first step is retiring an outdated term that is doing us far more harm than good.

 

profession(alism)

Herbert Spencer & the profession

​This British designer, teacher, writer and editor powerhouse was the brain behind the classic Typographica publications and The Penrose Annual. He also provided this upfront challenge to every member of our profession.

The design profession, emerging from a long period of adolescence, seems now to be wavering…the designer – just as much as the scientist, the engineer, the doctor, or the teacher – has an important part to play. After all, nobody knows better than they do what as a profession they have to offer.
— Herbert Spencer, The Penrose Annual 57 (1964)

What in his time was called lettering art, commercial art, printing, typesetting or graphic arts have now transformed into a diversity of specialized descriptions and confusing nomenclature like: UX designer, information architect, interactive designer, motion artist, graphic designer, communications designer, front-end developer, UI designer, Social media specialist, media evangelist and many more. Regardless of the time, Spencer’s statement is as relevant today as it did when he first uttered them in 1964. 

“Typographica” magazine collection