Business cards are cards bearing business information about a company or individual. They are shared during formal introductions as a convenience and a memory aid. A business card typically includes the giver’s name, company or business affiliation and contact information such as street addresses, telephone number, fax number, e-mail addresses and website.
Before the advent of electronic communication business cards might also include telex details. Now they may include social media addresses such as Facebook, LinkedIn and Twitter. Traditionally many cards were simple black text on white stock; today a professional business card will sometimes include one or more aspects of striking visual design.
Business cards are printed on some form of card stock, the visual effect, method of printing, cost and other details varying according to cultural or organizational norms and personal preferences. The common weight of a business card varies some by location. Generally, business cards are printed on stock that is 350 g/m2 (density), 45 kg (100 lb) (weight), or 12 pt (thickness).
High quality business cards without full-color photographs are normally printed using spot colors on sheet-fed offset printing presses. Some companies have gone so far as to trademark their spot colors.
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The phonograph, also called gramophone or record player, is a device introduced in 1877 for the recording and reproduction of sound recordings. The recordings played on such a device consist of waveforms that are engraved onto a rotating cylinder or disc. As the recorded surface rotates, a playback stylus traces the waveforms and vibrates to reproduce the recorded sound waves.
The phonograph was invented in 1877 by Thomas Edison. While other inventors had produced devices that could record sounds, Edison’s phonograph was the first to be able to reproduce the recorded sound. His phonograph originally recorded sound onto a tinfoil sheet phonograph cylinder, and could both record and reproduce sounds. Alexander Graham Bell’s Volta Laboratory made several improvements in the 1880s, including the use of wax-coated cardboard cylinders, and a cutting stylus that moved from side to side in a “zig zag” pattern across the record.
In the 1890s, Emile Berliner initiated the transition from phonograph cylinders to flat discs with a spiral groove running from the periphery to near the center. Other improvements were made throughout the years, including modifications to the turntable and its drive system, the stylus or needle, and the sound and equalization systems.
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Philosophy of design is the study of assumptions, foundations, and implications of design. The field is defined by an interest in a set of problems, or an interest in central or foundational concerns in design. In addition to these central problems for design as a whole, many philosophers of design consider these problems as they apply to particular disciplines (e.g. philosophy of art). Although most practitioners are philosophers, several prominent designers and artists have contributed to the field. Graphic design has seen many changes and influences. But foundations remain the same. Society heavily pressures graphic design to assimilate to the era. The history or foundation for graphic design has influence from what was depicted to the author during that time. The foundation of letters, that can be designed specifically for communication.
The field needs more depth, in a sense graphic design needs to find itself, all while evolving at the same time. It’s debatable how the background of graphic design needs to be shared. There’s the discussion of different designers, and their notable works. Portrayals of how the physical art has changed and been inspired by past all while embracing the future.
Graphic Design as a field is young. There is not enough information about how it came to be. There is subtle information about society accepting messages being put in front of them. There’s not enough information given to design students about where the concept for graphic design comes from, or at least an understanding about the original forms of communications that used more than words, or why typography has such a large impact.
Herman Miller’s Design Philosophy
In the 1948 Herman Miller sales catalog, George Nelson laid out his view of the company’s design philosophy. These five simple statements echoed the education that Gilbert Rohde had provided for the company in the preceding decades.
- What you make is important.
- Design is an integral part of the business.
- The product must be honest.
- You decide what you will make.
- There is a market for good design.
This simple set of statements has defined a company’s product philosophy for many, many years. It’s no coincidence that Herman Miller has remained a contemporary, sustainable, design-driven business.