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#22493
AIGA Design Forum: Illustration 
Illustration lies in a no man's land, somewhere between fine art and clip art. Though illustration remains a powerful and versatile communication tool, it often plays a lonely role in the graphic arts. Illustrators operate from isolated studios, ignorant of the concerns of designers, who in turn are oblivious to the needs of illustrators. Design Forum: Illustration is an online forum built to bridge the gap between these two worlds. It's a place for criticism, commentary, and dialogue between illustrators and designers, to explore the evolving role illustration plays in today's publishing environment.
Niemann, Christoph. AIGA. Design>Graphic Design>Technical Illustration>Community
#22491
AIGA Design Forum: Information Design
ebster's Dictionary defines information as: "The act of informing; the communication of knowledge". Information design is a highly specialized area of design that involves making large amounts of complex information clear and accessible to audiences of one to several hundred thousand. This section of Design Forum looks at characteristics and issues connected to this interesting and often misunderstood area of design. It contains articles both general and specialized that address issues, constraints and characteristics and attempts to formulate a working definition for those who are new to the subject. Is information design the best example of 'form following function' in graphic design? Designers usually love it or hate it...why?
Irwin, Terry. AIGA. Design>Information Design>Community Building
#22492
AIGA Design Forum: Professional Practices
As a champion of creativity, quality and a strong sense of community, AIGA is a valuable resource for designers seeking support for the work we do. Professional Practices focuses on important issues designers face daily, from the pragmatic matters of management to the pursuit of design excellence and integrity. Sometimes our work can be magical, other times our work can be mundane, and on any given day we believe this forum is the place to seek best practices, share success stories, and address the challenges of our profession.
Shelton, Sam. AIGA. Design>Graphic Design>Professionalism>Community
#21464
AIGA Experience Design: Case Study Archive
Welcome practitioners, educators and students from all experience design disciplines! The goal of this archive is to build a teachable and learnable body of knowledge for the extended experience design community, which can be referenced and is freely accessible. These cases have been peer-reviewed and present best-practices from each year.
#13996
This forum is for the passionate. It’s for those who are crazy in love with type, absolutely hate the problems fonts can cause, have an uncontrollable need to learn more about typography, or an irresistible desire to share typographic opinions and stories. This is not a place for the typographically indifferent. This is the place to rant about dumb quotes (hey, I still see them in supposedly good design), find out why font foundries don’t want you to embed fonts in the files you send to service bureaus, discuss the merits of Emigre’s new font family, or ponder the value of hanging punctuation. It’s a place for criticism, observations and lively discourse. Come on in!
#11814
American Institute of Graphic Arts (AIGA)
The purpose of AIGA is to further excellence in communication design as a broadly defined discipline, strategic tool for business and cultural force. AIGA is the place design professionals turn to first to exchange ideas and information, participate in critical analysis and research and advance education and ethical practice.
AIGA (2001). Organizations>Graphic Design
#26202
Archiving Experience Design: A Virtual Roundtable Discussion
The following discussion was conducted over a six-week period late in 2002. We invited members of Loop’s advisory board and several distinguished guests to address the question of how we, as an emerging community of interest, might begin to address the critical question of preserving the history of our field.
AIGA (2003). Design>User Experience>History
#26376
Beatrice Santiccioli: Specializing in Color
A visual designer discusses why Swatch, watercolors and cooking can inspire the design of color. Louise Sandhaus draws out how Beatrice Santiccioli came to be the Queen of Color.
Sandhaus, Louise. AIGA (2005). Articles>Graphic Design>Interviewing
#19394
Border Crossing: The Role of Design Research in International Product Development 
At a time when theorists write of globalization as a global and local process, businesses can little afford to make assumptions about customers, even in traditional markets. This paper addresses the importance of applied design research, in the context of globalism, to the initial stages of product development. Products are understood here to include three-dimensional objects like appliances and furniture as well as communication products like software. Current debates about cultural identity in the context of widespread travel and global media are outlined. The possibility for research to identify the criteria of cultural appropriateness and acceptance of products is explored, and an argument for applied research as imperative for product design in today?s international business arena is advanced. The essay concludes with an appendix outlining an array of relevant research methods.
Roberts, Melody. AIGA (2001). Design>Web Design>International
#26203
The Internet Archive is one of the largest archives of digital media in existence. It contains five times more information than is in the Library of Congress and several times more information than is currently available publicly on the web. David Womack interviewed its creator, Brewster Kahle, for Loop.
Womack, David. AIGA (2002). Articles>Web Design>History
#29515
A Client's Guide to Design: How to Get the Most Out of the Process 
Unlike so much in today's business world, graphic design is not a commodity. It is the highly individualized result of people coming together to do something they couldn't do alone. When the collaboration is creative, the results usually are too. This brochure is about how to get creative results.
#26378
Design can be more than meets the eyes. Denise Gonzales Crisp opens her ears to unfamiliar territory.
Crisp, Denise Gonzales. AIGA (2005). Design>Graphic Design>Multimedia>Audio
#26383
What made Lubalin’s Avant Garde such a troubled face? Heller reports on its use and abuse.
Heller, Steven. AIGA (2005). Design>Typography
#21488
Designing the Handheld Maritime Communicator
We present the process of designing the first prototype of the Handheld Maritime Communicator: a mobile computer system supporting communication and coordination of safety-critical work activities on large container vessels. Designing the user experience of the Handheld Maritime Communicator was a particular challenge because it targets a highly specialized context of use and because poor design could potentially become a safety hazard. Meeting this challenge, ethnographic field studies on board container vessels were conducted, detailed analyses were carried out, and iterative design was performed. The design produced replaces a large amount of present spoken communication with predefined textual messages on a handheld device. This facilitates persistency, partial automation, and possible integration with other computer-based data. Evaluating the prototype in a high-fidelity ship simulator, prospective users validated the overall design, but also identified a number of usability problems that need to be addressed.
Kjeldskov, Jesper and Jan Stage. AIGA (2003). Design>User Interface>EPSS>Usability
#26380
When you think about sound in regard to the internet, what comes to mind? Dutch design firm LUST explores the sound of the internet with this original project.
AIGA (2005). Design>Web Design>Multimedia>Audio
#19392
Extending Motion into Interactivity: A Curriculum for Interaction Design
One of the difficulties of teaching interaction design is its extremely vast scope. How do we decide what to emphasize and teach in this broad, multidisciplinary area? This article describes a framework for teaching interaction design that leverages basic art, design and motion skills taught in an art department. This framework also serves as a foundation for future discussions in theory.
Salto, Ron. AIGA (2002). Design>Web Design>Interaction Design
#26388
For Your (Typographic) Information: Initial Letters
The first in a series on typographic know-how by Ilene Strivener. Want to get your text off to a great start? Try initial letters.
Strizver, Ilene. AIGA (2004). Design>Typography
#13995
AIGA's graphic design journal. The new online version of the Gain publication focuses on the intersection of design and business. Gain follows real-world projects from conception through completion.
#26377
Understanding the dynamic qualities of typography through analogies with sound and music.
Armstrong, Frank. AIGA (2005). Design>Typography>Visual Rhetoric>Audio
#19393
Information, Interaction and Place
In the graduate course Interactive Visual Communication and Interface Design students apply course principles by creating an interactive multimedia CD-ROM that integrates images, sound, and motion, founded on strong visual communication design principles. The course provides students with an opportunity to learn about important principles of interface design and the significance of integrating them with effective interaction design. It is also provides students with an adequate background in multimedia authoring and current associated technology. Students address issues concerning innovations in screen-based communication and the challenges associated with realizing them. Design solutions are directed to carefully address the specific requirements and abilities of the user audience; be easy to understand; and support the structure, meaning, and purpose of the information.
Stone, Brian. AIGA (2002). Design>Web Design>Interaction Design
#26389
Review: Making Digital Type Look Good
'Typography is entirely about the business of detailing,' writes Bob Gordon, and he practices what he preaches in this attractive and well-designed book.
Gordon, Bob. AIGA (2004). Articles>Reviews>Typography
#26381
A re-assertion of the personal as essential to design innovation and the development of a strong character among students.
Inciong, Anthony. AIGA (2005). Design>Typography
#22494
Up goes that hand and out pops that dreaded can-opener of a question: 'Why aren't we learning programming in this class?' A litany of responses begins to unfold in my now Prozac-pleading brain: Because it's not graphic design; because it's too specialized; because graphic designers won't be doing it or shouldn't be doing it because they'll end up as hacks if they do it and the profession will go to hell; or because it's another program - maybe even a department-unto itself. I'm feeling queasy. It used to be so simple, so clear: We knew what graphic design was and what it wasn't.
Sandhaus, Louise. AIGA (2004). Articles>Education>Graphic Design
#26386
Caplan gets lyrical about his favorite beauty marks as he explores the visual poetry of the ?!; and .
Caplan, Ralph. AIGA (2004). Design>Typography
#26379
One of the functions of design is to bring order to the world. But how to decide what the categories are that constitute order?
Crisp, Denise Gonzales. AIGA (2005). Design>Graphic Design
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