{"id":3360,"date":"2006-08-15T12:40:00","date_gmt":"2006-08-15T12:40:00","guid":{"rendered":"https:\/\/gycouture.com\/blogue\/index.php\/2006\/08\/15\/le-vedettariat-graphique\/"},"modified":"2006-08-15T12:40:00","modified_gmt":"2006-08-15T12:40:00","slug":"le-vedettariat-graphique","status":"publish","type":"post","link":"https:\/\/gycouture.com\/blogue\/?p=3360","title":{"rendered":"le vedettariat graphique"},"content":{"rendered":"

dans la derni\u00e8re \u00e9dition en ligne du magazine \u00abstep inside design<\/a>\u00bb, j’ai trouv\u00e9 un article sur ce qui fait une \u00abstar\u00bb en design. un sujet rarement abord\u00e9, et pourtant, nous avons, nous aussi, nos \u00abstars graphiques\u00bb.<\/p>\n

on explique le ph\u00e9nom\u00e8ne en faisant r\u00e9f\u00e9rence au pass\u00e9. le style des \u00abvedettes\u00bb a chang\u00e9 comme notre m\u00e9tier a chang\u00e9. <\/p>\n

dans les ann\u00e9es 60, on distinguait un designer pour son genre de travail. exemple : herb lubalin pour sa grande ma\u00eetrise du design typographique. depuis quelques ann\u00e9es, on identifie un designer pour son style, comme jennifer sterling pour sa typographie expressionniste, et ce, peu importe le projet, le sujet, le m\u00e9dium.<\/p>\n

l’article raconte aussi que si notre travail graphique est bien fait, il passera probablement inaper\u00e7u, sauf aux yeux des gens qui oeuvrent dans le domaine. alors pour qu’un designer sorte de l’anonymat, il ou elle doit sortir du moule, faire des \u00e9clats, faire parler de sa personne quelque part. bref, \u00e7a ne vient pas tout seul.
je vous propose quelques extraits ci-dessous.<\/p>\n

\"\"<\/a>
\u00abthe thing became more specific, so rather than design, it was identity design (Paul Rand), or movie-title design (Saul Bass), or advertising design (Helmut Krone), or letterbased design (Herb Lubalin), or illustration-based design (Milton Glaser).\u00bb <\/p>\n

\u00abRecent stars symbolize things like borrowed historicism (Paula Scher), creative anarchy (David Carson), expressionist typography ( Jennifer Sterling), high concept (Stefan Sagmeister), extra-dimensional space (April Greiman), or design for social change (Bruce Mau). Today the field is so thick with stars that you have to be a supernova just to get noticed.\u00bb<\/p>\n

\u00abGraphic design\u2014if it\u2019s good\u2014is usually invisible, even to other designers. This is because most of the work we do plays a supporting role, not a lead role, and it\u2019s inextricably linked with a goal that\u2019s somewhat hidden from the audience. For a design solution to get noticed in its own right it usually has to \u201cact out.\u201d Like a child who wants attention, it has to \u201cbe bad\u201d in some way. I personally love design with some attitude, but I\u2019m a designer. Audiences don\u2019t view it the same way. They want design to be invisible\u2014they care much more about the \u201cwhat\u201d than the \u201chow\u201d of communication.\u00bb<\/p>\n

\u00abthe stars will have a role to play. We\u2019ll still need them to inspire the students, break stylistic barriers, challenge the status quo, provide images for design magazines, and so on. We\u2019ll probably end up with more stars, because we\u2019ll have more categories of design and behavior to symbolize. There will be plenty of opportunities for those who choose to pursue stardom, but the pay will be less, the audiences smaller, and the celebrity more fleeting.\u00bb<\/p>\n","protected":false},"excerpt":{"rendered":"

dans la derni\u00e8re \u00e9dition en ligne du magazine \u00abstep inside design\u00bb, j’ai trouv\u00e9 un article sur ce qui fait une \u00abstar\u00bb en design. un sujet rarement abord\u00e9, et pourtant, nous avons, nous aussi, nos \u00abstars graphiques\u00bb. on explique le ph\u00e9nom\u00e8ne en faisant r\u00e9f\u00e9rence au pass\u00e9. le style des \u00abvedettes\u00bb a chang\u00e9 comme notre m\u00e9tier a chang\u00e9. dans les ann\u00e9es 60, on distinguait un designer pour son genre de travail. exemple : herb lubalin pour sa grande ma\u00eetrise du design typographique. depuis quelques ann\u00e9es, on identifie un designer pour son style, comme jennifer sterling pour sa typographie expressionniste, et ce, peu importe le projet, le sujet, le m\u00e9dium. l’article raconte aussi que si notre travail graphique est bien fait, il passera probablement inaper\u00e7u, sauf aux yeux des gens qui oeuvrent dans le domaine. alors pour qu’un designer sorte de l’anonymat, il ou elle doit sortir du moule, faire des \u00e9clats, faire parler de sa personne quelque part. bref, \u00e7a ne vient pas tout seul.je vous propose quelques extraits ci-dessous. \u00abthe thing became more specific, so rather than design, it was identity design (Paul Rand), or movie-title design (Saul Bass), or advertising design (Helmut Krone), or letterbased design (Herb Lubalin), or illustration-based design (Milton Glaser).\u00bb \u00abRecent stars symbolize things like borrowed historicism (Paula Scher), creative anarchy (David Carson), expressionist typography ( Jennifer Sterling), high concept (Stefan Sagmeister), extra-dimensional space (April Greiman), or design for social change (Bruce Mau). Today the field is so thick with stars that you have to be a supernova just to get noticed.\u00bb \u00abGraphic design\u2014if it\u2019s good\u2014is usually invisible, even to other designers. This is because most of the work we do plays a supporting role, not a lead role, and it\u2019s inextricably linked with a goal that\u2019s somewhat hidden from the audience. For a design solution to get noticed in its own right it usually has to \u201cact out.\u201d Like a child who wants attention, it has to \u201cbe bad\u201d in some way. I personally love design with some attitude, but I\u2019m a designer. Audiences don\u2019t view it the same way. They want design to be invisible\u2014they care much more about the \u201cwhat\u201d than the \u201chow\u201d of communication.\u00bb \u00abthe stars will have a role to play. We\u2019ll still need them to inspire the students, break stylistic barriers, challenge the status quo, provide images for design magazines, and so on. We\u2019ll probably end up with more stars, because we\u2019ll have more categories of design and behavior to symbolize. There will be plenty of opportunities for those who choose to pursue stardom, but the pay will be less, the audiences smaller, and the celebrity more fleeting.\u00bb<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3360","post","type-post","status-publish","format-standard","hentry","category-sans-categorie"],"acf":[],"_links":{"self":[{"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=\/wp\/v2\/posts\/3360","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3360"}],"version-history":[{"count":0,"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=\/wp\/v2\/posts\/3360\/revisions"}],"wp:attachment":[{"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gycouture.com\/blogue\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}