Indulge in the unknown by Giga Kobidze

Indulge in the unknown is a project designed by Giga Kobidze.

“We are what we think and we understand the landscape of our rapidly changing environment through assimilations of our thoughts.
There is no consensus as to how we define or understand it.”

Convergence of art, design, music, technology, and life were always fascinated Giga Kobidze. Giga, based in Tbilisi, Georgia, is a multidisciplinary creative specialising in direction, illustration digital art and typography. He always tries to keep a multidisciplinary approach on all of his projects with passion, care, and love. Visualising life, people, circumstances and memories Giga believes ideas can come from myriad on inputs and it’s exciting to him to bring them to life. Giga strongly believes that a project doesn’t stand a chance without a solid concept behind it.

Check out Giga Kobidze’s portoflio

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Indulge in the unknown by Giga Kobidze

Thanks to Grapicart News for this article.

Double or Nothing Movement Champions Women Design Leaders

DOUBLEORNOTHINGHEAD

As demands for female empowerment and gender equity rise to the fore in the broader society, AIGA has launched “Double or Nothing,” a movement that seeks to double the number of women leaders in design. Time to coincide with Women’s History Month, The initiative launches with a website that will continually expand and evolve with resources such as a corporate pledge for gender equity, practical toolkits, career advice and insights, and inspiring stories about female designers. The sponsors assert that this is more than an awareness campaign but, rather, a movement to create tangible impact and forge partnerships between women who want to lead and those committed to helping them do so.

Spearheaded by AIGA’s Women Lead Initiative and a coalition that includes Blue State Digital, Decker Design, IBM, Lippincott, Pentagram, and Quartz, Double or Nothing intends to catalyze massive change by confronting the biases that exist within the design industry. Female leadership reportedly ranges from only 4% to 11% depending upon business sector and particular survey, despite graphic design being a primarily female profession (53.5% of designers are women, according to a recent study by AIGA and Google). The AIGA Women Lead Initiative was founded in 2014 by Su Mathews Hale and Deborah Adler to address persistent biases and inequities in the design industry.

“Once in the workplace, particularly after five to 10 years, there is a lack of mentorship, celebration of female work, support for mothers, and equal pay,” said Lynda Decker of Decker Design and Co-Chair Women Lead Committee of the AIGA. “At this state of their career, women often do not feel empowered to negotiate pay and the position they deserve or are reluctant to ask for guidance. We want that to end.”

Pentagram, a lead partner, developed the Double or Nothing creative strategy including the name, brand identity, voice and website design. “We’re working to empower women to have a stronger path toward getting what they want and deserve,” said Emily Oberman, who led the team at Pentagram. “To that end, we’re looking for companies to make a public pledge of commitment and to be held accountable for meeting goals. You can bet that savvy designers will be drawn to those companies working to ensure inclusivity and balance.”

“This is not just a campaign — it’s a movement to promote continuous and much-needed progress,” adds  Heather Stern of Lippincott and Co-Chair Women Lead Committee, AIGA. “‘Double or Nothing’ alludes to the ‘duos’ required to achieve our goal:  pay and promotion, men and women, design and business, aspiring leaders and those who want to support them.”

Blue State Digital, also a lead partner, built the website and lent its proprietary tools to serve as a foundation for communications and engagement. “The awareness and momentum are there — it’s time for our community to design a solution to achieve parity,” said Laura Kunkel, Creative Director at Blue State Digital.

As part of the Double or Nothing initiative, AIGA national partner IBM will help develop a series of tangible commitments and best practices for companies to adopt in order to accelerate progress for female designers. “IBM has a commitment to diversity and equality in all of our practices and we’re thrilled to be a launch partner with AIGA in this important initiative,” said Doug Powell, Distinguished Designer at IBM and former AIGA national president. IBM was recently recognized as 2018 Catalyst Award winner for its efforts in supporting women in the workplace.

To expand reach and influence, AIGA is also partnering with Quartz’s How We’ll Win project, a year-long exploration of the fight for gender equality. How We’ll Win highlights strategies for supporting inclusivity, women in power, and the next generation of leaders, including insights from some of the world’s most powerful and influential women across every industry.

Concluded AIGA executive director Julie Anixter, “Our pledge is to continue to champion women’s leadership, as well as women and men who support diversity and inclusion. Double of Nothing is a great example of not just talking the talk, but walking the walk.”

Last year, the group introduced the Gender Equity Toolkit, an interactive game for surfacing implicit bias in the workplace conceived in collaboration with Disrupt Design, and the Mathews Hale Women Lead Award, a scholarship that helps support talented, high potential female designers starting out in their careers.

This post originally appeared in GDUSA. Hear from women leaders in design at the VMA Design Conference during AIGA’s SF Design Week on June 14 in San Francisco.

Will AI Kill Creativity?

Source: Courtesy of Savitude

This Book is a Planetarium (<-it is!)

—Thomas Aquinas


 

In the futuristic-sounding year of 2017, I published a pop-up book of mechanical paper tech.

Expanding out of This Book is a Planetarium’s pages, you’ll find: a stringed instrument, a perpetual calendar, a decoder ring, a spiralgraph drawing generator, a smartphone speaker, and—yes—a constellation-projecting planetarium. With a little tinkering, turning, and futzing: the resulting paper objects actually work! (despite of being made from “almost nothing.”)

 

 

The book was designed to showcase the potential of the material world—while making a case for the inherent educational value of lo-fi experiences.

In their clunky way of functioning, the past’s technology served this unacknowledged secondary function to humanity: These objects helped us glimpse—and therefore connect to —the magic of the physical world. By being glitchy and fussy (and by sometimes requiring manual tinkering or duct tape), lo-fi contraptions more transparently revealed the underlying laws of the world to us.

We’ve increasingly lost that connection point as our things have become more black-box (a loss which may account for the otherwise-irrational cultural resurgence of lo-fi media, such vinyl records.) Sophisticated, opaque things are beholden to what we expect them to do. More primitive things, on the other hand, are beholden to (and reveal a glimpse of) larger forces, like… say, the laws of physics. And, as it turns out, are fun for kids (of all ages) to play with.

This project was born out of the paper record player invitation I made a few years ago (more about the process of experiencing that realization in this podcast interview with Debbie Millman.)

 

We made the record player “just because it felt cool” (the best reason to do anything!) But, the shocked response I received prompted quite a bit of reflection on why people were so surprised (and moved) by it. And where to take that realization that I stumbled-upon.

This is why I’ve been remaking the function of tech with something that most people consider trash: paper. By stripping technology bare of its complication and interfaces, I want to make a place where people can contemplate the wonders of the physical realm.

As long as humans continue to have hands, we can continue to think with them. And we can be moved, surprised, and enlightened by what our hands tell us about how materials, actions, and behaviors are structured.

Mary Oliver provides these instructions for how to live a life, which resonated with me: “Pay attention. Be astonished. Tell about it.” At my desk, with a giant pile of “doesn’t-works,” I would eventually stumble upon something that kinda did. Often, I felt silently blown away by just-how-little it took to build something capable of performing some minor feat. I don’t know if other people will have this same reaction, but this is the best way I’ve found to share it. It’s a pretty fun book.

 

 

 

Behind the Scenes of This Book is a Planetarium (aka crushing all of the magic!)

 

OK, here is how this sausage got made:
1) Pop-up books begin life with the author ripping apart other people’s pop-up books as a form of love, homage, and study (many friends at The Moveable Book Society have confirmed this.)

2) Then, you end up with a disgustingly soft/crappy handbuilt pop-up. It doesn’t close… or even open, really BUT THERE’S A GLIMMER OF HOPE. Like an addict, you keep going.

3) At some point in time, you feel sufficiently confident to scan your crappy-paper-form and make “dielines” which can be cut on a plotter. Refine, cut, glue, repeat.

4) When you achieve perfection, you then send your prototype to the mass-production printer, who will invariably start back at 1) again. This time, progressing through the steps to refinement is very slow, and resemble sa game of telephone.


I made a ton of paper-gadget prototypes and only a few were published. Here is a full gallery of everything I came up with.

Personal favorite is this paper karaoke-room-light-machine (physical wheels that program light are ALWAYS A+++):

 

For someone who is accustomed to having their fingerprints all over every object they make, mass-production was extremely challenging. It took about 4 months to design and paper-engineer the book and then the publisher and I spent 2.5 years problem-solving with the printer. But we got it done! Both: Totally worth it and I’ll probably never do it again.

 

Credits:
The song used in the trailer is the best, most cosmic and ethereal version of ‘Major Tom’ in existence. It is by a self-taught musician named Susan Dietrich aka The Space LadyBuy her music, it is amazing!

Thanks to: Daniel Dunnam (for the support and encouragement and sound-editing), to the team I worked with at Chronicle Books, to Kyle David Olmon and Structural Graphics (both advised on a few tricky production problems), to Alina Keay for the paper-prop production help, to Stefan Pelikan for the handmade galley assistance, to Jen Snow for the moral-support/PR help, Boris Ebzeev for editing the behind-the-scenes, and to Raul GutierrezMaria PopovaDebbie MillmanDaniel Morris Gardiner and Wendy MacNaughton for the invaluable feedback+support. I also worked on the book a bit during my creative residency with Adobe and during my residency at A/D/O. I consider myself so lucky to know you people! Thank you all!

 

This post originally appeared on Kelli Anderson’s blog. Here from her directly at the Visual Media Design Conference on June 15 in San Francisco.