Danielle O’Shea works at the internationally acclaimed design studio Cato Purnell Partners. She was awarded this position a mere 4 months after graduating from Swinburne University of Technology with a first class honours degree in Communication Design. Danielle credits this appointment to a previous industry placement as a Publication Designer at Blue Boat Design and her active involvement with the 2009 AGideas Committee; during which time she obtained a three months internship with Cato Purnell Partners, designing the promotional material for AGideas. This evolved into the permanent full time position she enjoys today.

Aficionada – London
Invitation to t alk by Rebecca Brown and Mike Heath (with Matthew Savidge) / Central saint Martins College of Art and Design / United Kingdom / 2000

Kerr/Noble

Folcut Souvenir for riverboat trip on the Thames / Channel Four Television / United Kingdom / 1999 / The foldout features the poem “A Description of London”, by John Bracks (1738)

Michael Worthington

1 & 2 – Posters from Lrics project for exhibition at the Japanese National Museum, Los Angles (made possible by a grant from the City of Los Angles) / USA / 2001

3 – Interior of record sleeve for landscape Number 2, part of the multidisciplinary art project Song Poems (type design Jon Notaro) / USA / 2001

Reza Abedini

Poster for 7th Biennial of Iranian Graphic Designers / Iranian Graphic Designers Society (IGDS) and Tehran Museum of Contemporary Art / Iran / 2002

AGIDEAS IMAGES GO HERE

Inside secrets on working smart and staying creative (2005)

Written by Plazm and Sarah Dougher

A great read with some fantastic articles. Some points of particular interest, include:

30.    If you are a designer, design; if you are a manager, manage
37.    Look far and wide for your sources in the creative process
44.    Read it all, forget it all, and do your own thing
64.    Acknowledge the value of the analog process
67.    Recognize the limits of digital technology for creative work
69.    Whatever you think, technology is in control
70.    Remember that technology serves you; you do not serve technology
80.    Practice and preach, don’t theorise and teach

Technology
Technological innovation has made it possible for designers to work in ways that were oncce practically or financially out of reach. Computer technology has expanded the capacities of many designers, helping htem to develop new skills and gain experience in fields such as motion graphics, digital fonts development, and video editing. It has also streamlined the way designers and clients communicate, and has provided designers in different fields with a new mode of communication.
Although computer technology has clearly altered the aesthetics and basic function of graphic design since the 1980s it is difficult to state where the computer fits on a list of tools used by a desgner because it seems to dominate so ruthlessly.
page 124

Hideki Nakajima
“…feels that technology is a direct result of creativity.”
“I think the final state of the development of technology is the human being. For example robots are improved to become more and more like a human being. Digital processes are inferior to analog. They only enhance design; they cannot replace it. Creativity starts with the human mind and hand.”
page 127

Miles Murray Sorrell FUEL
“The idea of anyone or anything being ‘in control’ is in itself menacing and yet what exactly technology is in control of in this instance is not clear”
page 136

Chase Design Group
“Are we too connected? No. Email is the best invention ever. Technology is a tool, like a pencil. I use both, every day. Technology only helps unless you are lazy. If you are lazy you deserve what you get.”
page 138

Worksight
“The bells and whistles of new technology are not all that they’re cracked up to be.”
page 144