The mission of the inHouse Design Association is to create a sustainable organization promoting the interests of in-house designers, both in business and in the design community.
The inHouse Design Association is a new organization launched in June 2008. We are working hard to create a place for in-house designers to come together and celebrate our unique segment of the graphic design profession.
We seek to create a community and we need your involvement! Please take a moment to join the organization as a charter member or director (membership is free!) and leave your feedback. We’re excited to be in-house designers and we’re excited to meet you!
A friend recently started working more heavily with interfaces and user experience. To help her get started I complied a list of resources and thought I’d share them with you as well! — Amber
This is the very FIRST resource that popped into my head so I’ll go ahead and embed it here. Well worth a watch:
Editor’s Note: Please welcome Jon Benjamin who wrote the following blog post on being an in-house designer and working in a cube. This article was first published on his company’s blog. Want to contribute to our blog? Send an email to blog at inHouse Design Association dot org.
If an artist chooses a constraint… he presumably believes that he will benefit artistically from having a smaller sphere of choice. Some examples of chosen constraints are sonata form, sonnet, haiku, iambic pentameter; still-life painting, charcoal drawing; two-person play, comedy of manners; Greek temple, Roman arena. (Livingston)
My constraint of choice is the “cube” or as some refer to as the cubicle. At first look, the “Freedom” of the free-lance would seem a far superior choice to the graphic artist. The free-lance has the freedom to create a work environment that reflects all that is conducive to creative thinking—choice furniture, quiet music, and few interruptions. Although the cube may not possess the environmental qualities that promote creativity to its fullest, I will argue that the constraint of the cube does provide for high-quality work that is better suited to the client. Design, by definition, is problem solving, and—boy—do you have to problem solve in the cube. The tempo is fast, interruptions are commonplace, and the workload is intense—what better environment to force a designer to create efficient and effective systems that allow for good, consistent solutions. It is working within these systems that excellent work can be created. Rarely is the work clever or cerebral, but occasionally, when it is called for, it can be. That is the point, as graphic artists, our work should be a result of our clients wants and needs—which less often calls for a dramatic creativity, and more often calls for solid, consistent, and successful design. This might be a stretch—but I will liken it to Vermeer rather than Picasso.
Beyond the constraint of the cube, as an in-house graphic designer working for an AMC, I have the added benefit of possessing a pre-developed understanding of each client and their needs. Being on the “inside” I develop an understanding of each client that could never be attained from the “outside”. Also, by superseding the “getting to know you” steps, efficiency is dramatically increased.
Great design doesn’t need unlimited budgets or tons of man-hours. The constraint of the Cube can help the graphic artist produce work that is effective and efficient, and over the long haul, develops a certain client trust that can lead to a deeper relationship and greater success.
