Field Runners Level 185, How To.

Here is a step by step (no cheating) example on how to reach level 185. If anyone can reach past that let me know... Just click on the pic below to see the sequence.





You might have some success with a jumbled approach but what you need is symmetry!


Click on the PIC and see the sequence and transition from tactic to tactic. Again, if you can get past 185 let me know.

What-it-is.
Click me

How it ended.
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Field Runners iPhone App Review with Cheating - GOD mode or (2nd part - Wave 100). Hack or hacking iPhone 3G to cheat on app games is lame; ya it's cool to see what's possible but to claim a level or simply flood the yard with Tesla's is not skill.

LET IT BURN

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{Jeffrey A. Miron: Director of Undergraduate Studies, Harvard University}

CAMBRIDGE, Massachusetts (CNN) -- Congress has balked at the Bush administration's proposed $700 billion bailout of Wall Street. Under this plan, the Treasury would have bought the "troubled assets" of financial institutions in an attempt to avoid economic meltdown.

This bailout was a terrible idea. Here's why.

The current mess would never have occurred in the absence of ill-conceived federal policies. The federal government chartered Fannie Mae in 1938 and Freddie Mac in 1970; these two mortgage lending institutions are at the center of the crisis. The government implicitly promised these institutions that it would make good on their debts, so Fannie and Freddie took on huge amounts of excessive risk.

Worse, beginning in 1977 and even more in the 1990s and the early part of this century, Congress pushed mortgage lenders and Fannie/Freddie to expand subprime lending. The industry was happy to oblige, given the implicit promise of federal backing, and subprime lending soared.

This subprime lending was more than a minor relaxation of existing credit guidelines. This lending was a wholesale abandonment of reasonable lending practices in which borrowers with poor credit characteristics got mortgages they were ill-equipped to handle.

Once housing prices declined and economic conditions worsened, defaults and delinquencies soared, leaving the industry holding large amounts of severely depreciated mortgage assets.

The fact that government bears such a huge responsibility for the current mess means any response should eliminate the conditions that created this situation in the first place, not attempt to fix bad government with more government.

The obvious alternative to a bailout is letting troubled financial institutions declare bankruptcy. Bankruptcy means that shareholders typically get wiped out and the creditors own the company.

Bankruptcy does not mean the company disappears; it is just owned by someone new (as has occurred with several airlines). Bankruptcy punishes those who took excessive risks while preserving those aspects of a businesses that remain profitable.

In contrast, a bailout transfers enormous wealth from taxpayers to those who knowingly engaged in risky subprime lending. Thus, the bailout encourages companies to take large, imprudent risks and count on getting bailed out by government. This "moral hazard" generates enormous distortions in an economy's allocation of its financial resources.

Thoughtful advocates of the bailout might concede this perspective, but they argue that a bailout is necessary to prevent economic collapse. According to this view, lenders are not making loans, even for worthy projects, because they cannot get capital. This view has a grain of truth; if the bailout does not occur, more bankruptcies are possible and credit conditions may worsen for a time.

Talk of Armageddon, however, is ridiculous scare-mongering. If financial institutions cannot make productive loans, a profit opportunity exists for someone else. This might not happen instantly, but it will happen.

Further, the current credit freeze is likely due to Wall Street's hope of a bailout; bankers will not sell their lousy assets for 20 cents on the dollar if the government might pay 30, 50, or 80 cents.

The costs of the bailout, moreover, are almost certainly being understated. The administration's claim is that many mortgage assets are merely illiquid, not truly worthless, implying taxpayers will recoup much of their $700 billion.

If these assets are worth something, however, private parties should want to buy them, and they would do so if the owners would accept fair market value. Far more likely is that current owners have brushed under the rug how little their assets are worth.

The bailout has more problems. The final legislation will probably include numerous side conditions and special dealings that reward Washington lobbyists and their clients.

Anticipation of the bailout will engender strategic behavior by Wall Street institutions as they shuffle their assets and position their balance sheets to maximize their take. The bailout will open the door to further federal meddling in financial markets.

So what should the government do? Eliminate those policies that generated the current mess. This means, at a general level, abandoning the goal of home ownership independent of ability to pay. This means, in particular, getting rid of Fannie Mae and Freddie Mac, along with policies like the Community Reinvestment Act that pressure banks into subprime lending.

The right view of the financial mess is that an enormous fraction of subprime lending should never have occurred in the first place. Someone has to pay for that. That someone should not be, and does not need to be, the U.S. taxpayer.

This vid is kinda lame but somewhat informative none the less.

Fit For a Villain

This oversized lounger chair is devilishly sleek and comfortable. Made from soft leather, chrome, steel, aluminum, and intimidation, the swivel Villain Chair is super bad ass, price is only $7662.00. Can someone please get it for me? I only want one(1).

Best in Show.

Christ will also be exhibiting it in the new SEGO Art Center in May (opening May 2).

Artist's Statement

"My piece is titled ATOM. It is 18 lamps configured in a sphere and suspended like a chandelier. The light bulbs of all 18 lamps are in the center of the sphere and the lamps are on the outside. The sculpture is held together by a steel infrastructure shaped like an atom symbol. It is an eclectic assemblage of antique to modern lamps of all shapes and colors.

The theme I am working with is "distraction," the idea that the items we use to aid or intensify our senses often turn on us and hinder our ability to gather information. In this sculpture the lamps shade their own light and in a way selfishly refuse to completely contribute and fulfill the purpose of their creation.

Another issue I am confronting in my use of materials is the idea of consumption and waste. With so many items in existence in the world it seems senseless to create more. In my work, I choose to involve discarded and rejected objects that once had value and purpose, but were replaced or eliminated. In this sculpture the found objects were attracted to each other and similar to an atom's collecting protons and neutrons to form a useful element."

DYNAMICS OF DESIGN AND UNIVERSITY EDUCATION

Dynamics of Design 1

DYNAMICS OF DESIGN AND UNIVERSITY EDUCATION

Nathan T. Lake

California State University Northridge

Emergent in the postmodern occupational arena, Graphic Design, a relatively new field, is occupying an increasingly larger segment of professions whilst the curriculum in higher-education institutions accompany supplementary staff to offset the steady influx of students as the world relies more consistently on computers as their tool of choice. Digital programs influencing the field allow for more accurate measurements and greater amounts of experimentation as the designer may create and adapt the model with ease. In this growing field, both professionalism and creativity are required to produce innovative material while integrating others’ ideas to efficiently express their objectives. All major companies use graphic designers: with this in mind, there is a fine line between the professionalism and experience of a graphic design college graduate, and that of a talented young artist. While one may work better with others in a professional environment and be more sensitive to deadlines, the risk of hiring a young artist may inspire edgier material and a greater connection with young consumers. When approaching the field for employment, one might ask, which is the more coveted skill: a professional degree, or natural talent?

To further illustrate the before-mentioned juxtaposition: twenty-eight year old John from Oregon State was excited to graduate with his Bachelor’s degree in Graphic Design. The grueling five-plus years it took him to work his way through college was finally coming to a close, and the time to enter the work force was rapidly approaching. He sent in several applications and decided to fly out for an interview with a dream job in San Francisco, California. As he approached the lovely young secretary, he noticed several other position hopefuls. John took a seat next to a young man in dark slacks and a fashionable sweater (he had to have been at least five, maybe 10 years younger than John was!). Had it not been for the interview, John would have envied the boy’s style compared to his own fatherly suit and tie. Attempting to strike up a conversation, John asked the boy’s name and where he had studied. Without looking up, the young man simply pointed to his nearby art book and said, “um, the school of life.” John was taken aback by the boy’s response, and then shocked as the secretary called for the next interviewee, and the young boy with a substantial portfolio pushed back his black hair and sauntered down the hall. In this anecdote, who would take the job: the accomplished graduate or the more fashionable and talented youngster? In this scenario, who is generally more favored in the field? In a careful balance between professionalism and innovation, which weighs more?

Over the years, as a college education has become more available to the general population through loans, grants, and government mandated quotas, having a college degree is more the rule than the exception in America. Additionally, as one ventures into the realm of higher education, the sky is the limit as far as choosing an occupation. While some things may be taught through study and repetition, other fields may require more natural talent to succeed beyond the university realm. Graphic design is such a field, necessitating knowledge of diverse subjects, ability to efficiently manipulate computerized programs, a natural eye for design, and the ability to adapt a multiplicity of styles that fit the mold of prospective patrons. As more and more students filter through graphic design programs with hopes of filling a position with a prestigious firm, what are reasonable expectations for them when compared to the naturally talented youth of pop culture? In the real world, does a college degree in graphic design add greater desirability to the applicant? Is the pursuit of the certificate of graduation a waste of four-plus years for the naturally talented artist? By the time one completes the rigorous requirements of an accredited graphic design program, are they truly prepared to be a success in the workforce, or are they outdated? Unlike most professions of the day, extensive research has not been conducted regarding the before mentioned questions. Living in the postmodern age, is it possible to statistically gather enough information to put to rest the many questions young aspiring artists want to know? Traditionally, one would look to history and modern data to draw such conclusions. With the rarity and inexperience of those in the field, our only sources of information derive from existing design firms (the majority of such, less than a decade old).

Relying on the relics of past literature and what meager documentation concerning the subject we have to draw conclusions from, when and where did the field of graphic design take root? According to a study entitled Early Graphic Design Periodicals in America (Thomson, 1994) it was the culture of those involved in the graphic arts that propelled the field. Early trade magazines categorically logged the antecedents of graphic designers’ work through related professions such as printmaking, page layout, and early font characters. “The typeface Retina was created to prevent blurring during the printing of financial charts in the periodical “The Wall Street Journal.” The motion picture “Helvetica” documents the creation of the Helvetica typeface. Designer Andrew Leman created the typeface Satisfaction” (Postrel, 2008). “American graphic design magazines first appeared in the 1920s. But the graphic designer’s interests in typography, layout, and illustration were addressed much earlier in publications for less specialized and more diverse audiences” (Thomson, 1994). The earliest known commissioners consisted of small groups of professionals using graphic designers to assemble organizational material for “in house” use. Later after discovering the aesthetic and communicative benefit of said material, medical and mechanical brochures followed for use in these fields. Work done by designers would then branch out to more commercial venues, which made those who were in the field a commodity and prestigious above many occupations of the time. Outside the United States, the graphic design wave was not far behind as to the inception of the occupation: Due to WWI an influx of artists migrated to the US, some of which would contribute to the building of what is known today as “visual communication.”

Born in the 1930’s, Richard Hollis studied at one of London’s prestigious art schools, while performing graphic freelance work and teaching part-time. Because of his work ethic and artistic ability, Hollis’s graphic design compositions are world-renowned. Originally from Britain, Hollis recalls the sentiment in the region as follows: “for young British graphic designers at the time it was important to look beyond Britain. While there were few older designers working in Britain who made the transition from ‘commercial art’ to ‘graphic design’ (such as F.H.K. Henrion and Hans Schleger), it was work done in the USA and on the European Continent that provided inspiration.” (Kinross; Hollis 1992). As this ‘first-generation’ graphic artist would attest, the majority of works, inspiration, and innovation spawned from the U.S. Author, Peter Hall, conducted a study of graphic design in which he compared and contrasted the works done by artists around the world. Hall found that the most influential artists originated or attended school in the U.S. (Hall, 2004).

As a basis for this topic, it is significant to note that the U.S. has traditionally produced artists that set the trend for the world to follow, however, some of the most notable graphic designers of today are outside the US. Romanian artist, Matei Apostolescu, who launched Coca-Cola’s 2007 visual marketing campaign did not attend art school, but who was self taught argued the following:

“I can’t imagine life without a web portfolio. Promoting your work is one the main aspects of today’s life as a freelancer. The internet offers most of the chances of being noticed, so that’s the place to be right now. If it wasn’t for the internet explosion, I would never have had the chance to show my work. Romania is pretty limited when it comes to art and showing art, so my only chance was to go online. It was a big step for me and I have to assume that without the art forums and all the other free channels (MySpace is a great example) I wouldn’t be where I am today” (Ricketts, 2007).

Matei asserts that traditionally, one would attend college to learn the dynamics of various art forms, but without skills in marketing, self promotion, and rudimentary entrepreneurial understanding they will be lacking some of the tools needed for success in today’s global economy. Do universities adequately equip students majoring in graphic design with conceptual familiarity of commerce under the umbrella of business? As previously stated, the various aspects of graphic design (unrelated to motif) should be acclimated into the mandatory curriculum. Department heads at UVU allow for the integration of entrepreneurial type courses with approval. This awareness of the connection between graphic design and business is the first step to full assimilation. With Adobe Systems Inc. recent acquisition of Macromedia Inc., the integration of interfaces between web-affiliated and design programs is yet another example of fields combining. With this unique amalgam of design, business, and web configurations, it seems that higher education directors should consider advocating awareness of the previously mentioned factors currently assimilating.

The influence instructors have is enormous: the student, in most cases will only progress as far as the instructors’ skill. With the general push towards the requirement of a degree in graphic design to obtain employment at a “good” firm, educators should contemplate the effectiveness of their curriculum to strategically gage whether or not it will produce the community of professionals institutions seek to deliver. The ability to mentor students to have a forte for the arts and an eye for design, knowledge of/experience with, primitive and computerized designing tools, ability to market themselves and produce creative works, and optimally the ability to logistically pioneer a start up company (since most graphic designers will presumably perform freelance work at some point (according to data later discussed)) requires a certain level of creativity, talent, and experience with high profile clients.

An enlightening article in the Des Moines Business Record entitled 20 years of challenges and 1,000 awards for Sayles Graphic Design, reveals a tale of two partners who struggled to start-up a graphic design company. In the first few months, Say1es recalls an account of the day-to-day rigors of business where she “came to work at 4:30 am, Clark around 5:30 am, fueling themselves with coffee until 8 or 9 pm, six or seven days a week. Occasionally, they couldn't afford to pay themselves” (Morin 2005). Through turmoil, these entrepreneurs eventually gained employees and became renowned with prestigious clients and international recognition for their design work. Excessive drive and ambition is almost necessary if one is to succeed in the arduous field of graphic design today; long hours and tedious tasks that require artistic ability and creative thought are what design firms are looking for in this highly competitive market.

It seems that the academic major of graphic design is saturated with students both with and without artistic ability or ambition. “Graphic design requires experienced people to help younger people see the world with fresh eyes, not just master white space and page layouts, and to express ideas with respect for the social fabric. There isn't a one-to-one relationship between retirees and job seekers. Instead, there's an oversupply of designers caused by an orchestrated boom in design education” (Khanna, 2004). Accredited graphic design programs are producing designers with little sense of real-world applications. Jorge Frascara argues that graphic design is more a social science than a fine art because of the complexity and multiple variables associated with the discipline:

“Graphic design has evolved into a sophisticated practice in a piecemeal fashion, with scattered efforts aimed at the development of sub areas, such as posters or books, but without either the critical apparatus in literature or the discussion present in architecture. These flaws have led to several distortions, the most important brought about by the praise of modern avant-garde typography. How long will the praise of El Lissitzky continue?... His visual language was tremendously abstract, as inappropriate to mass communication as Schwitters's graphics using Pelikan ink motives were inappropriate for the product. Pelikan ink, used for line drawing and calligraphy, was presented, surrounded by geometric typography, black and red bars, and rectangles. Not only did that imagery not express the product, but it did not even relate to the logo or the label. Why did Schwitters's designs include Pelikan ink bottles when the designs really related to constructivism, not to Pelikan... He and other avant-garde artists… …seem not to have been aware that communication requires the sharing of codes. Although designers need not rely totally on the stereotypes, they cannot disregard the codes of the public; they should work with the public and improve its visual and conceptual language as much as possible, with out breaking the communication link” (Frascara, 1988).

The same problems that existed then still haunt the profession today. Will information regarding the necessities of the field be made known to those who seek to enter the field? In most occupations, problematic issues are measurable by its outcome; the plastic surgeons sutures’ delicately united can yield obvious results; little or no scaring. What of the graphic designer, whose composition and approach please the client but in no way reflect recipient’s commission?

To better understand the artistic mind three behavioral neurologists conducted a two year study to ask the question: if dyslexic individuals have the ability to express themselves in different ways (particularly in the field of modern graphic design) would they be a favored group in creating the extraordinary and outstanding ideas that are required in communication design? “The study group consisted of 20 primary school dyslexic students between ages of 7–12 and 20 non-dyslexics serving as a control group. A jury with four specialists evaluated the drawings gathered from the 40 participants” (Çorlu, Özcan, Korkmazlar, 2008). The study concluded that dyslexic individuals would in fact be among the best candidates for communication design, specifically minor study-areas including icon design (logo/typography affiliated mediums).

Interestingly enough, in 1998 a similar study was conducted by the Department of Educational Psychology, University of Wisconsin-Madison, in which a design experiment consisting of 6^th and 7^th grade students designed various forms of media/documents pertaining to design communication that were used by their classmates as tools for education:

“We illustrate longitudinal transitions in students' critical standards by focusing on changes in those standards developed for judging the appropriateness of a research question and for evaluating the quality of a hypermedia design. Questions that students considered "good" evolved over the course of the study, from those requiring little effort to answer and even less to evaluate to those affording opportunities for building knowledge. Standards for good hypermedia design evolved from eye-catching presentation to clarity of communication and consideration of audience. Without good assistance, students' standards emerge slowly, if at all, and plateau long before they reach their desired levels. For example student design of tutorial hypermedia documents, which we describe later in greater detail, began with posing a question. Initial standards for good questions were simply "yes" or "no." That is, students believed that good questions were those that had precise, unambiguous answers (preferably, yes), therefore, fact-oriented questions were valued most” (Erickson & Lehrer, 1998).

Conclusively, it is probable that not all who enter the field of graphic design are innately inclined to express clients’ preconceived expectations. Irrespective of obtaining a degree, basic social skills and a strong work ethic would be contributing factors to one’s success in the work environment. According to research, not everyone can design using digital representations of the subject.

With our vast knowledge of the various artistic dispensations, graphic designers are now substituting style for raw-talent and education. It is probable, as in times past, aspiring post modern artists aspire to change the way art is perceived. Looking to revolutionize design through abstract Pollock-like techniques/stylization, artists try to invent and sway the direction in which art will venture. Because of our vast historical knowledge of fine art, some seem to audaciously assume that “good design” or cutting-edge is mimicking past works with a consignee familiarity of personal touch. Unlike Marcel Duchamp’s signatory Urinal in 1917 signed “R. Mutt,” graphic designers need not attempt to stylistically piggy-back those who some consider the spiritual father of today’s postmodern conceptual art. Graphic designers need to be on familiar terms pertaining to the complexities associated with the field. Critical standards (referring to the consensual-development of idealizations and rationales aspiring designers utilize when making decisions in relation to elements of design) are primarily essential due to the fact that the majority of design dilemmas are generally ill specified. “For example, designing an "aesthetically pleasing" quilt or a "tutorial" multimedia presentation requires one to define the nature of the problem. To further complicate matters, sub goals that emerge during a design process occasionally interact in unanticipated ways” (Lawson, 1980). This broadening of criteria narrows the number of individuals that can fit such a mold; further illustrating the incumbency an instructor has to teach students.

The aesthetics of designing is gaining popularity among the youth of today: Preliminary graphic design classes offered at some in grade schools surprisingly overflow with eager delight (Hewett, 2004). Living in Americas’ post-modern age, one can choose between occupations that were not substantiated when their fathers were in grade school. At a young age, students are taught to use modern computer programs to express themselves digitally. This proves that graphic design is a growing trend among grade school students who will be acquainted with the variables associated with design well before their predecessors. Consequentially, there is a rise in high school student portfolios’ that mirror university level productions. Through early education, students can decide whether he/she is a good candidate for a career in graphic design. It seems rational to ask the question, are there individuals genetically fit for visual communication among the many majors?

Accounting majors need to understand procedural protocol regarding the logistics of general accounting principles and mathematics; pre law majors must know analytic/problem solving skills, posses general research ability, task organization, management, accompanied with pertinent case studies and rulings. Most occupations require an x+x=y approach, i.e., the answer or conclusion is distinct and exact to any given equation. Typically, occupations have procedural protocols in place to resort to if one does not have immediate access to a given concern or problem. Graphic design necessitates a continuing evolution of thought and creativity that fluctuates with time, clients, budget, demographic, laws, mediums, and procedures that require right and left-brain functionality. For decades artists have been the avant-grade of society, or posses some type of inimitable trait, making them unique. A severely depressed Van Goth severed his ear and mailed it to a prostitute, Andy Worrall secluded himself for months, and Leonardo Da Vinci relentlessly pursued mechanics, mathematics, art and inventions even to defy the law. Were these artists of the past different from those in today’s mainstream society?

Presumably, trade schools, art institutes, and credited universities generally have preliminary qualifications for would-be trainees, requiring an “above average” skill level and work experience (for upper division bachelor/master programs) prior to acceptance. But, do (or should) higher learning institutions discriminate against instructor applicants who lack the before mentioned qualifications? Furthermore, are current instructors fully equipped to lecture the broad and deep skills necessary for success in the ever-so-difficult field of modern arts? These questions are pertinent when job availability is limited in the field.

Graphic Design firms across the nation such as Project 6 Design, 352 Media Group, Bernet Group, Seventh Inc., and Image Works Studio all hire designers both with and without professional certificates. This proves that there are individuals born with an innate sense of hand-eye coordination that can express through pen (or computer) exactly what is in front of them, or in their mind. Some artistically inclined individuals need no schooling to perform at the college level. A segment of the individuals in accredited programs in the field of graphic design lack natural designing ability. Some might know what looks good but cannot implement desired results; college would be most beneficial in this instance. Other artists argue that some training students receive in college robs them of their creative ability. Overall, the necessity upon entering the work force is the possession of a robust portfolio; however, a degree can help individuals with talent get their ‘foot in the door.’ Formal training provides a broad and deep perspective of the discipline. A college experience helps individuals to grow in many ways beyond the drawing board: better social skills, experience with deadlines and self-criticism/peer criticism, etc. Additionally, the importance of various subjects under the umbrella of graphic design is not necessarily innate to the naturally talented individual in any discipline (for instance, the business and marketing aspects accompanied with the development of pertinent social skills), but is addressed in this setting.

The San Diego Business Journal contained an in depth look at the various aspects of graphic design commonly overlooked by many potential clients entitled Why Graphic Design Is Important. The article explains that it is incumbent for business owners to know certain aspects of commissioning graphic designers and their ability to choose a reputable firm or freelancer (Dine, 2003). Public awareness makes it more difficult for freelancers to compete with established firms because the bar has been raised regarding graphic expectations.

Freelance graphic designers and design firms have united around the globe to assemble a private advocacy group aimed at protecting the face value of design professionals. Their approach is to build a solid reputation among recipients by advocating a guarantee of funds for services rendered. The movement is called no-spec.com. The definition of “spec-work” is labor requiring the designer to invest time and resources with no guarantee of payment (a speculative perception of reimbursement irrespective of pretense). One of the advocates on no-spec.com explains a graphic artist’s line of work in this way: “It is the culmination of experiences stored subconsciously for the right moment to all click together. Speculative design work is an attempt to force inspiration without the benefit of experience” (Wurth, 2007). It is common knowledge that the majority of graphic design firms are considered small (less than 500 employees). Small firms represent 99.7 percent of all business; 52 percent are home-based, 2 percent are franchises, etc. In 2006, “two-thirds of new employer establishments survive at least two years, and 44 percent survive at least four years, according to a recent study. Major factors in a firm’s remaining open include an ample supply of capital, being large enough to have employees, the owner’s education level, and the owner’s reason for starting the firm in the first place, such as freedom for family life or wanting to be one’s own boss” (Knaup, 2005).

Without effective instruction and a positive training experience, many students who graduate with a bachelors degree in graphic design are not fully equipped with the necessary skills needed to compete with today’s work force. Lacking skills in the implementation of conceptual designing and fundamental business procedures leads to a pollution of the design occupation (Erickson & Lehrer, 1998). The 2008 edition of International Journal of Art and Design Education published riveting information regarding academic instructors of graphic design where two theories of thought where juxtaposed. The goal was to observe student results between the Gestalt-A Learning Theory and Behaviorism. The article is entitled Gestalt-A Learning Theory for Graphic Design Education. Directly focusing on the graphic design community, the article delves deep into the before-mentioned issues of scholastic knowledge taught through professors, and those who have learned by experience (Jackson, 2008). The article presented a clear awareness of the growing concerns of adequate teaching ability of instructors by individuals who enter the field. The outcome of the study showed that those professors who possess both academic aptitude for the trade and professional experience produced the most effective students. Further studies showed that many students were ill equipped with basic fundamental business practices to sustain a career in the field due to lack of instruction. Jackson’s study plainly indicates that those possessing both education and talent/experience are the most equipped to render advice and pertinent training for work in the field. Professors with natural talent and experience mirrored or exceeded the teaching skill of those with higher learning, but limited experience.

A strong portfolio is absolutely essential when interviewing, employers also heavily rely on a college degree to schedule an interview. It seems for those firmly established in the discipline, acquiring a college degree in Graphic Design is not necessary, but as a newcomer to the professional arena (that has not otherwise made a name for themselves), a degree is highly recommended not only to build upon amateur talent, but to provide employers with a “stamp of approval” from professors and colleagues of an accredited university or institute. A degree ensures (to an extent) that the applicant is knowledgeable, talented, and dependable. A student’s selection of both educational institution and instructors will shape the aspiring graphic artist’s talents, reputation and associations within the field. Therefore, it is crucial that a successful department of graphic design carefully staff instructors who have extensive experience and success in graphic arts, self-promotion, business, and entrepreneurial endeavors.

References

Corlu, M., Ozcan, O., Korkmazlar, U. (2008). The potential of dyslexic individuals in communication design education. Behavioral Neurology, 18(4), 217-233.

Dine, C. (2003). Branding: Why Graphic Design Is Important. San Diego Business Journal, 24(21), p.20.

Frascara, J. (1988). Graphic Design: Fine Art or Social Science? Design Issues, 5(1), 18-29.

Hall, P. Area/Graphic Design for the 21st Century/Graphic Design 20th Century. Print, 58(2), 32-35.

Hewett, L. (2004). Graphic Design Class Uses Remote Mentorship. Media & Methods, 40(6), 8-9.

Jackson, I. (2008). Gestalt-A Learning Theory for Graphic Design Education. International Journal of Art & Design Education, 27(1), 63-69.

Khanna, S. (2004). Enter the Mentor: "It's All About You, Isn't It?" Communication Arts, 46(1), 16-22.

Kinross, R., Hollis, R. (1992). Conversation with Richard Hollis on Graphic Design History. Journal of Design History, 5(1), 73-90.

Morin, E. (2005). 20 years of challenges and 1,000 awards for Sayles Graphic Design. Des Moines Business Record, 23(5), 16-18.

Ricketts, E. (2007). Profile: Matei Apostolescu, Retrieved April 15, 2008, from Future Publishing Limited: Computer Arts Web site: http://www.bradley.edu/campusorg/psiphi/DS9/ep/503r.html

Thomson, E. M. (1994). Early Graphic Design Periodicals in America. Journal of Design History, 7(2), 113-126.

Wheeler, A. (2006). Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands (2^nd ed.). Hoboken, NJ: John Wiley & Sons, nc.

Wurth, R. (2007). Just say no to spec-work. Communication Arts, 49(6), 192-197.

IKEA Branches Up: IKEA Homes

IKEA is taking flatpack construction to a new high – the BoKlok is a flatpack house offering hope to hundreds of thousands of people currently unable to buy a house in the UK. These timber frame, 1 or 2 bedroom homes will be available.. ..for lower income families. Affordable housing is a testing issue for the government as high house prices over a decade forced key workers and local people to the urban margins. Well-tested in Denmark, Norway, Finland and Sweden, where 2,000 BoKloks occupy 45 sites, a new Anglo-Swedish venture aims to offer the flatpack housing at 13 IKEA outlets. Most BoKloks will be offered through the Hyde Group housing association, Paramount Homes and Skanska, IKEA’s partner in Scandinavia. Brits have shown considerable enthusiasm for minimalist Swedish design, with a stampede of 6,000 customers recently at a north London IKEA store. Whether the BoKlok (translating as Live Smart) aesthetic, a hybrid of country-and-western meets summer holiday home, will meet the romantic and practical aspirations of the British public, let alone the planners, remains to be seen. A glance to the post-World War II ‘Cornish Unit’ prefab concrete homes, and others of the same ilk, designed over fifty years ago to meet similar urgent housing needs, still sit awkwardly in the landscape. Whatever happened to ‘local is beautiful’?

ham

yesterday, we had an easter ham dinner

I am married to a model.