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19 excerpts on the topic “Prospective”
Elizaveta Porodina
[…] I feel like there is enough room for everyone. The whole problem of over‑saturation is a construct, honestly, and you can view it like that. Or you can view it as a perseverance thing, where, sure, there is a moment in time where it seems there are a lot of people, but then how many people are there who really combine all the qualities that you need to persevere in them? You will always find it’s physically impossible to have too many of these people out there. Because even if they have all the qualities, they might not have the interest in the end. Or they might have the interest and the talent, but then not all the qualities. So it’s never really oversaturated and everyone who wants to be somewhere will be there. […]
Elizaveta Porodina
[…] I feel there is a big interest in being really creative. I feel people are more free, and they are more interested in unique visual solutions – which include a big range of different methods like opening themselves up to really interesting visual solutions. Obviously, video is a big part of it. But not only. Even the fact that people are interested in someone like me is a really good sign that people can be more open, more experimental, more daring with what they do. I obviously don’t think that everything’s good but that everything is always equally good and bad, and that the good things can be enjoyed. And then, the bad things can be used as opportunities to create new solutions. […]
Random Studio
[…] DL
There are a lot of changes in the market and a lot of clients are asking themselves: “What am I supposed to do with technology in my business? I see technology is everywhere now and how do I work with technology in a way that doesn’t feel cold and stale but also allows me to make money?” So the domain we are in – which is the digital and the merging of the digital and the physical – is actually a very relevant domain for a lot of industries. In that sense, anything we do somehow resonates with a lot of different clients. […]
Random Studio
[…] DL
A lot of people realised – because of the pandemic – that we have to change our ways. There is a change in the way we look at ourselves, at others, and the world as a whole.
We are looking to become a B‑corp within a few months, we hired a sustainability manager and in our works we try to put humans first. How can we surprise people, give them a sense of wonder, make them aware – of themselves, the others and the space they are currently in? […]
Random Studio
[…] DL
Funnily enough, I still see a lot of graphic design in people. And I don’t see a lot of people who work with technology in the design world. That is strange because technology is so incredibly present in our daily lives… […]
OK-RM
[…] RM
we’re seeing a lot of positive progressive activity from younger makers (…) We have to change, adapt and develop, and this is the opportunity. I guess bigger, heavier entities will take a longer time to do that. Creative practitioners have always been agile, moving with the times, we call this the flow! In a sense we’ve always had to be reactive and agile. So, I don’t see any reason why that shouldn’t encourage positive creative activity. […]
OK-RM
[…] OK
There’s a lot of questioning going on of status quo at the moment, and that can only be a positive thing when it comes to the potential for creativity. That’s the most optimistic thing. There are a lot of fashion projects that are starting to do that, and also we see developments in the way architecture’s being practiced and questioned. Architecture in many ways got hijacked by property developers for so many years, but in many cases it’s really taking on a more cultural, social, political role now, at least in our viewpoint. And that also happens in fashion, and I think in art, too. It’s a fertile time I’d say […]
Services Généraux
[…] A
I get the impression that entrepreneurship is increasingly important; there’s also a kind of atomisation, since you’re contacted by smaller and smaller entities. The agency model seems to be disappearing. Brands and designers are more and more often in direct contact. Many studios have been set up, I don’t know if it’s a consequence of this. […]
Services Généraux
[…] A
Naturally I wonder about the end of it all. I say to myself that there’s going to come a time when the CGI aesthetic is going to level off. Soon the entire aesthetic we’re producing will become something future generations are going to wax nostalgic about, so I believe people are going to return to the roll of film and VHS. […]
Services Généraux
[…] A
I believe people are going to return to the roll of film and VHS. […]
Yorgo Tloupas
[…] It would appear that things are improving in terms of logo redesign. It’s a long‑haul battle. That’s the quixotic side: constantly combating windmills. While faced with the complete and utter disinterest of the public and business leaders. […]
Yorgo Tloupas
[…] Mathieu Lehanneur summed it up for me when he said he wanted to be an author rather than a service provider. […]
Yorgo Tloupas
[…] I’ve increasingly been wondering about the possibility of automation taking over my profession. I mean, nowadays someone talented enough might create an app, a system using the best layout table, best font associations, best balance… you press a button and it comes out. […]
Yorgo Tloupas
[…] How do we know that very soon somebody isn’t going to come up with an app that can take care of graphic design, even logos? (…) What I find rather reassuring is that you soon realise that designing a logo really isn’t that easy. I have a hard time imagining how automation could work. Certain projects necessitate hundreds of tests before I get it right, on paper and on the computer. […]
Mirko Borsche
[…] I don’t know how it is in France right now, but in Germany, so many people have lost their jobs in the creative business, so it’s really easy for clients to get them to do whatever they want. The problem is that the more people are out of work, the lower the prices get.
Let’s see how that develops, it’s such a weird phase. Even here in Munich, and even more in Paris, when that curfew stops and you can go out again, it’s going to be interesting to see how many agencies still exist, how many of your old bosses – the crappy ones – remain. My feeling is that all the people who went into it are going to be gone. I don’t know what this is going to mean for the whole industry. […]
Liza Enebeis
[…] with the studio in the last years, we focused more and more on motion. This didn’t happen accidentally, it’s something that we really looked into, something that we wanted. It felt comfortable in the development of our work but also, we felt that within design, it was the next step. If motion is the next step, then that means you need to make room for designers to learn more motion, or the next person you hire needs to have motion skills. […]
Jean-Baptiste Levée
[…] Every year for the past 15 years a good three dozen type designers have appeared on the scene fresh out of a training course in “type design.” Whereas before they had studied “graphic design and typography”. So you do see more typography in portfolios, on websites, in pitches. You see more typographical work overall, mostly in the media. I think this is a cyclical phenomenon. In fact the current wave might already be behind us. […]
Jean-Baptiste Levée
[…] I get the impression that something new is brewing.
It was easy to start an e-business and produce typography rather quickly. The reason why I think we have reached the end of a cycle is because I have yet to see anything new on the horizon. Something is going to happen; it just hasn’t happened yet. […]
Willo Perron
[…] You can do all this shit from a laptop and you can learn all the software. If you sit down, you can learn all of adobe suite in a few months. It’s not the medium that’s stopping people anymore. When I started graphic design, a scanner was cost prohibitive, a scanner cost $5000 when I started doing graphics. You’re going to see a generation of film makers slash graphic designers slash architects slash etc […]

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