NESHAN, The Iranian Graphic Design Magazine

Member of International Council of Design ico-D

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Neshan 35

Different-1

Look Up to LUST

Emily Verba Fischer

Young designers often develop good taste before they develop good design skills. As a design educator, I help students differentiate between visual inspiration and plagiarism — a surprisingly grey area. Trends and specific styles are often lifted and replicated (consciously and subconsciously) from sites like Pinterest and Designspiration. Although designers are always informed by the past to a certain extent (be it 100 years ago or 100 minutes ago), it may be argued that the combined elements of originality, quality, and surprise in graphic design separate the men from the boys.

Enter LUST, a design studio based in The Hague in the Netherlands. LUST has managed to create a breadth of fascinating design solutions that never fail to create wonder in conjunction with decisive communication. LUST was born in the mid-nineties from the partnership between Thomas Castro and Jeroen Barendse.

LUST’s visual acuity and sensitivity in creating shocking and delightful works renders them a prime example for illustrating crucial lessons for design students and professionals alike. Some of these lessons may be articulated as follows:

1 — Variety is the spice of (your design) life.
A simple glance at LUST’s homepage illustrates the breadth of their design exploration. From books to video, data visualization to identity, they truly do it all. Their website allows users to sort projects randomly, by tag, or by timeline. 

2 – Effort in originality creates inspiriting longevity.
It is clear that LUST’s work will stand the test of time. Nothing looks outdated because nothing follows a tired style that will eventually become passé. LUST understands the significance and subtlety of contemporary versus trendy design.

3 – Type is your backbone.
LUST reinforces that type is the backbone of any design project. Type and typeface design is of crucial importance, no matter where a project falls on the design spectrum (interaction design, motion design, graphic design, etc.). It has been my experience that students with a special interest in motion or interaction design can be impatient with learning the intricacies of typography and designing with text. LUST’s typographic play would make any skeptic excited. 

4 — Data visualization is the perfect marriage between clear communication and aesthetic sophistication.
In our complex world of information and image overload, data visualization is meant to ease the understanding of complex content for audiences. LUST creates beautiful, unique data visualizations. They are never overcomplicated; they just makes sense. The results are visually arresting but do not overpower the communication of data.

5 – Work is a lab.
In addition to their regular client work, LUST has LUST LAB, whose mission is described as follows:
    LUSTlab researches, generates hypotheses and makes unstable media stable again. According to LUST lab, the future of digital media lies in the design of its use. Humanizing the unhuman, bringing the internet down to earth and finding the missing link between the digital and the physical. The outcomes vary from (strategic) visions to new communication tools, man-machine installations and physical products using digital content.
LUST’s effort to extend beyond what is expected of them and explore unchartered territory is nothing less than admirable. Their lab serves as further evidence that they are role models for any designer, ripe or seasoned. LUST reminds us all to hold a delicate balance between novelty, excellence, meaning, and clarity of visual communication.

lust.nl
lustlab.net

Emily Verba Fischer

(b. 1982) is an Ohio native who returned to the Midwest after receiving her master's degree from the Basel School of Design. Prior to her studies in Switzerland, she lived and practiced design for a variety of corporate and cultural clients in New York City, San Francisco, Seattle, and the French Alps. Through these international experiences, she developed a teaching approach that emphasizes the concept of global citizenry in addition to design acuity. She believes that maximizing understanding of other cultures through interpersonal connection and the shared language of design can create a more empathic world for all. Emily is currently an Assistant Professor at the Myron E. Ullman, Jr. School of Design in the University of Cincinnati's College of Design, Architecture, Art, and Planning (DAAP). She frequently travels abroad to share her research and pedagogical activities. Her work has been featured in exhibitions and publications nationally and internationally. emily.verba@uc.edu

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