Bicycle torch, mirror, A3 white paper sheet, four matchsticks, photography.
Again, thank you for sending this over!
Strictly speaking, there are seven parameters from which a quote for infographics is constructed:
1. What is the usage? (Unpromoted blog post of a smaller client is priced differently from the publication on the front page of a major media portal).
2. Area of Use or Territory (I'm still looking to understand how this applies to web distribution)
3. Duration of License (digital licenses are offered on a 1,3,5 years and on Perpetuity. I think it was mentioned before that most work done on Contently is done as a work-for-hire, but in cases where it's not, it's best to build quotes based on the length of time the work is seen on client's website).
4. Client’s Profile (life dictates that it works both ways: big companies have bigger budgets, and especially advertising (!). On the other hand, elite clients who are a prestige to work with, often pay little because there are too many high profile designers willing to work for them, even pro bono).
5. Client's Budget (connected to previous one).
6. Deadline (urgent jobs cost more than the normal priority ones. Also, different clients see urgency very differently, so it's worth considering something fixed, like number of days per amount of work?).
7. Expenses (travel and accommodation obviously do not apply to online freelance work, but there might be some - in your examples, there are costs for photography, where it is used).
Apart from that, are of course the very reasonable considerations that you listed - complexity of data, number of visuals to be created/number of entries, how prepared the data is (how much additional research is needed).
I agree that for most cases the quotes you list in the pdf are quite realistic, but it is hard to assess them because we don't know much about their production. Illustration on page 4 is easy to do visually and probably wouldn't require much research, but we don't know what were the deadlines and how much the photographer charged for his picture. Besides, usage rights for this image by now should be sky high, because it is so well-known! Authors who came up with such a brilliant idea should have quoted a lot, despite of visual simplicity.
- The categorization is another potential threat, because not all timelines are the same, and the prices for them vary greatly - the same goes for maps, comparisons, and other genres - some of them take weeks to do, others are very easy.
- The other important point with regards to the pricing is that the boundary between the writer, the producer and the designer in the infographics are very vague. The writer creates the text, and does research for that, but the production of the visual story is a completely different thing. Text for the infographic has to be cut down to a few dozen words (that's editor's work, which is often done by designers), and there has to be an approved wireframe in place before any design work starts. Producers often do the wireframes, but in those cases where they only manage and research, the fees for design work has to compensate for creation of wireframes. Often designers have to do research, too.
Hope this helps - wanted to thank you again for working on this! Very much appreciated your efforts!
13-jan : Iconography+crumpled paper tracing - at which point the sign is not working anymore?
- drawing with light: how can shadow from a 3d part of drawing be a part of the drawing, too?
- drawing breaking out to space: a mix of drawing and 3d objects of line- like quality: thread, paper cuts, matchsticks.
- Rorschach tests, ink drawing by bending the paper.
11 jan: Folding the paper: a sequence of drawings made througholding the paper 1,23 times, etc. What the algorithm for such folding could be?
9 Jan : Family tree: connecting standing matchsticks with thread, add names of relatives to matchsticks.
8 Jan: resistance of form. Fold the letters, tie the paper on which the letters are printed with thread and test how these forms resist the tention. (This te had been completed. Outcome: there is also a tension when you physically hold a resulting object, a strive to open and see the letter fully, without the bend. Feeling of psychological discomfort).
I spent yesterday evening at The Showroom gallery, drawing as we listened to a sound piece from Graeme Thomson and Silvia Maglioni.
It took forever getting ready to exist: UIQ (the unmaking-of) - non-existent film by Felix Guattari
In the artists' words:
“A small community of envisionaries are invited to inhabit a zone of autonomous temporality where they become the hosts, receivers and transmitters of UIQ, contaminating each other in turn with their own visions and ideas of Guattari’s film and of UIQ’s possible manifestations, both within and beyond its limits.”
The soundwork recombines fragments of recordings of these “seeances” in a composition of myriad voices and electronic signals, elements that circulate in the Showroom gallery space, offering visitors glimpses of a missing film and universe that, though invisible, may begin to affect their own vision.
Source: The Showroom
A day of drawing and electronic opera from Mouse on Mars and Oval in Barbican.
P 114 - Pestalozzi, Table of Unit
P. 209 - Vojta Naprstek and Alois Studnicks divided collections into 20 groups:
A. Machines and apparatuses.
B. Metalworking in Industry.
D. Processing of clay, earthenware, ceramics and porcelain.
F. Wood processing
G. Clothmaking and weaving, laces
H. Animal Products - leather, leather goods, hat-making
K. Stationery, book binding, papermaking
L. Small items - miscellaneous
M. Chemical industry
N. Food stuffs and delicatessen
O. National industry
P. Household goods - tools, instruments, common furniture.
R. Civil Engineering
S. Light, heat, magneticity
T. Graphic art - book binding, photography, pencils, drawing tools.
U. Commercial section - measures, weights, international currencies.
V. Education - school aids, templates for drawing and modeling.
Z. Art and applied arts: a) assorted arts and crafts items; b) collection of artworks and assorted casts; c) arts and crafts antiques.
Paul Elliman’s ‘Beyond Police Call’ 2014, comprises of all the equipment
required to turn a car into a police car (radios, sirens, lights etc). The
resulting stack of equipment (purchased from internet retailers) is
presented on the gallery floor as an informal sculpture. The lights have
been slowed to the frequency of an average human pulse.
- A total absence of information about a given subject usually solicits no curiosity: without an awareness of its existence, we can't possibly care about it;
- When we come to realise the existence of something we never knew was there before, our curiosity is sparked: What is it? How does it work? What should we call it? Why is it there? But we remain in the early stages of our ability to recognise and read it;
- We attempt to accumulate information and, while additional research provides many answers, it also reveals additional questions, fuelling more curiosity still;
- At a certain point – at the top of the bell curve – we come to a place where effective discussion and debate is possible, but much still remains speculation. It is a moment of intense scrutiny and educated hypothesising when questions, answers, contradictions, controversy, desire, violence, disappointment and determination make up a complex system;
- Little by little, though, speculation gives way to consensus. The power structures that make up the socio-political fabric begin enforcing their choices. The many questions gather around common answers, and information becomes more and more organised, making the transition into 'the understood';
- Sinking into 'the understood', our given subject provokes less and less curiosity;
- Eventually, we have a dictionary definition.
This progression is also a loop: thanks to scientific, artistic or intellectual pioneers – from Copernicus to Duchamp – common assumptions about the world are second-guessed, challenged, and 'the understood' once again becomes 'no longer understood', prompting the cycle to begin anew.
Rule 1: Find a place you trust, and then try trusting it for awhile.
Rule 2: General duties as a student - pull everything out of your teacher; pull everything out of your fellow students.
Rule 3: General duties as a teacher - pull everything out of your students.
Rule 4: Consider everything an experiment.
Rule 5: Be Self Disciplined - this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
Rule 6: Nothing is a mistake. There is no win and no fail. There is only make.
Rule 7: The only rule is work. If you work it will lead to something. It is the people who do all the work all the time who eventually catch onto things.
Rule 8: Do not try to create and analyze at the same time. They're different processes.
Rule 9: Be happy whenever you can manage it. Enjoy yourself. It is lighter than you think.
Rule 10: “We are breaking all the rules, even our own rules and how do we do that? By leaving plenty of room for X qualities.” (John Cage)
Always Be Around.
Come or go to everything.
Always go to classes.
Read everything you can get your hands on.
Look at movies carefully and often.
Save everything - it may come in handy later.
And some process work for Resistance of Form (2)
As the economic, environmental, and cultural model in which we live continues to collapse, people across the world are starting to realize that the lifestyle, dictated to them by capitalist governance, is no longer (and for many, never has been) fulfilling, meaningful, or even viable. The need to learn from historical resistance subjects and "commoning" practices (like the collective management of resources by peasant or indigenous communities) is therefore a worthwhile venture. Activist and theoretician Silvia Federici describes the commons as follows:
"For me the idea of the commons is that of a society built on the principle of solidarity rather than the principle of self-interest and competition. It is a society in which wealth is shared, there is collective decision making, and production is for our wellbeing and not for monetary accumulation. So it would involve a radical change. I would not call it a take over, however. That society is still only on the horizon. But we can begin to create new types of relations".– Silvia Federici during Revolution at Point Zero, an event organized by Casco — Office for Art Design and Theory, 1 February 2013
Chrome occurred to print black background by default - cured by inserting white rectangles in background.
Do #dogs make us and our lives better? I have done an #illustration on the #stats across US. #infographic #doggylove
What works best for me:
- weird fingers, wavy arms/legs forms, twisted forms;
- ink blots, dry brush shading with black ink
- dirty walls and floors
- dry brush/pen hair
- very thin nervous pen lines + thick dirty lines made with a brush;
- parts filled with black (eg black suits, pants etc.)
- empty areas in the image
- dry brush tints (arylic, watercolor)
- brown ink/ or ink of any other color together with black ink
- pale acrylic backgrounds
- characters should be like me, act like me, have similar mimic;
- not more than 2-3 colors in one picture;
- uncertain characters with faces that make me smile;
- grey shading;
- lots of detail in one place and a blank field in the other.