The ultimate aim of all creative activity is a building! The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as "salon art", it has lost.
The old art schools were unable to produce this unity; and how, indeed, should they have done so, since art cannot be taught? Schools must return to the workshop. The world of the pattern-designer and applied artist, consisting only of drawing and painting must become once again a world in which things are built. If the young person who rejoices in creative activity now begins his career as in the older days by learning a craft, then the unproductive "artist" will no longer be condemned to inadequate artistry, for his skills will be preserved for the crafts in which he can achieve great things.
Architects, painters, sculptors, we must all return to crafts! For there is no such thing as "professional art". There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.
Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.
BRUCE MAU DESIGN COMPANY MANIFESTO:
BOB NORDA: CREDO MANIFESTO:
I believe that, whatever design problem you need to solve, you should face it with rationality, logic and careful analysis if you want to get to the right idea.
Graphic design is always a synthetic work: you need to reduce and remove until you reach the core of the message. When you work with typography and lettering, the essential goal is to obtain the best possible legibility.To achieve this result, it is fundamental to know typography and its history. The computer has become an essential tool but its undisputed utility and versatility cannot replace knowledge. As extraordinary as this instrument can be, you need deep roots and the ability to express yourself even with the simplest tools—such as a pencil—in order to use it correctly.
A good software does not necessarily create good graphics.
Graphics is not an independent art, but a service. To obtain a correct result, you need to put yourself on the side of the observer, on the side of the public.
A good designer is the one who offers a good service through communication, not the one who wants to surprise at any cost, neither the one who wants to show how good he is.
A designer is good if he can solve a problem, if he puts forward a useful solution.
I believe that these rules could be a good start for a career in design.
BOB NORDA DESIGN: