Good pattern

Probably, if Dieter Rams had not become a designer, Apple products would look completely different.

Die­ter Rams.

Die­ter Rams was born in 1932 in Wies­ba­den. He stu­died at the Aca­de­my of Fine Arts in his home­town.  He admits that his grand­fa­ther, a car­pen­ter by tra­de, had a big impact on his care­er.  He was the per­son that instil­led in Die­ter firm belief that objects sho­uld be sim­ple and func­tio­nal. The desi­gner fol­lo­wed this rule till the end of his care­er. Rams is a master of func­tio­na­lism and one of the most impor­tant desi­gners of the 20th cen­tu­ry. For 40 years (1955 – 1995) he has been the head of design at the Braun com­pa­ny. Many of his desi­gns are con­si­de­red ico­nic. Many cri­tics cla­im that Apple pro­ducts were inspi­red by his design.

The cre­ator him­self once said:

- How would a com­pu­ter of my design look today? Like one of the Apple pro­ducts. In many new­spa­pers or on the Inter­net people keep com­pa­ring Apple pro­ducts to things that I desi­gned when wor­king for Braun. But I think that the­ir design is bril­liant. I do not think of it as an imi­ta­tion. I con­si­der it to be a compliment.

Good design.

Jobs had to leave the Apple com­pa­ny for a few years becau­se of his clash with the CEO John Scul­ley. He re-ente­red the com­pa­ny in 1997. At that time he star­ted atta­ching a lot of impor­tan­ce to the way his pro­ducts looked. He wor­ked and liste­ned only to Joh­na­tan Ive. They met by acci­dent. Right after coming back to the com­pa­ny, Jobs star­ted looking for a chief desi­gner. He took into con­si­de­ra­tion the most remar­ka­ble cre­ators of that time. He also visi­ted design depart­ments across the coun­try. He stop­ped i.a. in Cuper­ti­no, whe­re Jona­than was the direc­tor. It tur­ned out that they were both „on the same wave­length”. Jobs cho­se the young artist to be his chief desi­gner (he is now a Senior Vice-Pre­si­dent). Toge­ther they desi­gned the uni­ver­sal Apple pro­ducts – the iMac, the ico­nic iPod, and iPhone.

Jona­than Ive.

Ive was born and raised in Ching­ford in the North-Eastern part of Lon­don. His care­er was influ­en­ced by his father, a gold­smith and excel­lent cra­ft­sman, who lec­tu­red at the local col­le­ge. He instil­led respect and sen­si­bi­li­ty into his son. Jona­than also appre­cia­ted pre­ci­se reali­za­tion as well as atten­tion to deta­il. He often said:

- Whe­ne­ver I sen­se a kind of slop­pi­ness in a pro­duct, it real­ly dis­gu­sts me.

Ste­ve got real­ly atta­ched to his new desi­gner. He tru­sted him. He gave him almost unli­mi­ted fre­edom in terms of action and deci­sion-making. He spo­ke of him: „Besi­des, Jony under­stands that Apple is a com­pa­ny, which tar­get is to cre­ate pro­ducts; he is not a mere desi­gner. That‘s why he works direc­tly for me. He has more power than any other per­son at Apple, except for myself. The­re is no one at Apple who could tell him what to do or tell him off. This is how I orga­ni­zed it.” (sour­ce: Wal­ter Isa­ac­son. „Ste­ve Jobs”. iBooks.)

Inspi­ra­tion or plagiarism?

Is it bad that Jona­than Ive and Ste­ve Jobs were inspi­red by good, func­tio­nal design? When does inspi­ra­tion turn into pla­gia­rism? It seems that as long as the desi­gner (of the first pro­duct) is fine with using his or her idea, then eve­ry­thing is OK. If the inspi­ra­tion con­si­sts of a skil­ful­ly pro­ces­sed and enhan­ced form that intro­du­ces a new quali­ty to the mar­ket, it means that some­thing new was inven­ted. Some­thing that, in such a con­text, is not plagiarism.

Apple pro­ducts inde­ed set new trends and quali­ty. This brand has taken the world by storm due to its func­tio­na­li­ty as well as uni­ver­sal design. The pro­ducts featu­re inno­va­ti­ve sha­pes, func­tio­na­li­ty, and sur­pri­sing technology.

What we can real­ly ask our­se­lves is: After Jobs‘ death, won‘t Jona­than Ive distan­ce him­self from the Apple design? Won‘t he lean towards the func­tio­nal and ter­se sty­le of Rams? Will he aban­don immor­tal rules of good design, in order to achie­ve glo­ry and cre­ate some­thing extra­or­di­na­ry? It seems that over the past two years, Ive has aban­do­ned the clas­sic pat­tern stan­dards of Apple. He added colors to the pro­ducts, which is con­tra­dic­to­ry to the prin­ci­ple of scar­ci­ty and mode­sty (look below: 10 prin­ci­ples for good design). He also modi­fied forms and sha­pes. Howe­ver, was it a good cho­ice? Will the clients accept and enjoy the chan­ges? The­se questions will be answe­red in the cour­se of time, and the designer‘s talent will be verified.

10 prin­ci­ples for good design.

Die­ter Rams have listed 10 prin­ci­ples for a good design that chan­ged the histo­ry of design. Even after 50 years, they are still up-to-date.

Good design is…

1. inno­va­ti­ve. The tech­no­lo­gy deve­lops at an incre­di­ble pace, allo­wing new oppor­tu­ni­ties for design work. Chan­ces for inno­va­tion are unli­mi­ted. A good design mer­ges inno­va­tion with technology.

2. use­ful. We buy pro­ducts that we want to use. Design sho­uld the­re­fo­re be func­tio­nal and aesthetic.

3. aesthe­tic. Besi­des func­tio­na­li­ty, appe­aran­ce is the most impor­tant featu­re of a pro­duct. The pro­ducts we use on a daily basis have a signi­fi­cant influ­en­ce on our well-being. Only well-manu­fac­tu­red pro­ducts can be beautiful.

4. under­stan­da­ble. A well-desi­gned pro­duct sho­uld have cle­ar­ly spe­ci­fied func­tions, and be intu­iti­ve, under­stan­da­ble, and cle­ar. When using such pro­ducts, the Clients do not need to read the manu­al in order to know which but­ton to push.

5. honest. No fal­se pro­mi­ses. It is not said to be more func­tio­nal or inno­va­ti­ve than it real­ly is.

6. unob­tru­si­ve. A pro­per­ly desi­gned pro­duct sho­uld be neu­tral and restra­ined. After all, most pro­ducts are not works of art – they are tools desi­gned for a par­ti­cu­lar pur­po­se. Tools sho­uld not be conspicuous.

7. long-lasting. It will never go out of fashion or grow old. Good design is neu­tral – a pro­duct can be used for many years and will never lose its style.

8. tho­ro­ugh down to the last deta­il. Pre­ci­sion is one of the most impor­tant featu­res of good design. No pro­duct can be per­fect witho­ut pre­ci­sion. More­over, caring for deta­ils is caring for the customer.

9. envi­ron­men­tal­ly frien­dly. The design makes an impor­tant con­tri­bu­tion to the pre­se­rva­tion of the envi­ron­ment. The manu­fac­tu­rers must take respon­si­bi­li­ty for the­ir work and save natu­ral resources

10. Good design is as lit­tle design as possi­ble. Sim­pli­ci­ty is the highest vir­tue. As Rams would put it “Weni­ger, aber bes­ser” – less, but bet­ter. Pro­ducts sho­uld not be bur­de­ned with non-essen­tial func­tions and embellishments.

All rights reserved by Ola Wróbel / Site designed by Zbyszek Pietras

about me

About me
ola /olga/ wróbel

Ola (Olga) Wróbel – born in Poland, a Polish painter and designer. She has painted and drew since childhood. She graduated from the Academy of Arts. After graduation, she started working as a designer. For many years she worked at the French television station CANAL+, where after a few years she held the position of Artistic Director. She was responsible for the image, the graphic design and maintaining the consistency of the TV station’s identification in Poland. In-depth studies of the work of Etienne Robiale started fascinating her and guided her further career path. For over nine years, she co-directs her own graphic studio, SOJUZ. She is responsible for design and illustration. Experience in graphical design has left a mark on her current creativity and creations.

She currently lives and works in Warsaw. She creates her paintings in her small studio in Saska Kępa. In 2018, she returned to the profession of an artist. Her paintings can be found in many private collections in Poland and abroad.

 

concept

concept

The foundation of my work is always a real pose which I’m trying to simplify over the years, striving to show the pure form. I’m not interested in details, but in conventional form, shape and functionality. I try to destroy reality, to blur the details of the drawing to express my visual point of reference to the human body. This is a surreal approach, in which I strive for total simplification. The human body in my paintings becomes inhuman. In the paintings, you can see a familiar, intimate pose, movement or activity that “I record” with a blotch. I’m constantly modifying and simplifying my paintings, striving for maximum simplicity, expressed in the form of my own organic abstraction, where the human body will be a blotch without any outlined details. My forms should dazzle with their shape and color, and permeate one another.

My paintings contrast with the contemporary concept of the perfect body. By simplifying the form I unify the human body. Details and characteristics fade away. Bodies become similar. In my body shapes I omit the heads, hands and feet, genitals and I get the effect of oval, organic forms. I place each of my forms in the space of gray canvas, thus thriving to obtain the absolute minimum of the influence of the outside world. Against the raw background of gray canvases, my organic forms and their function in the world exude their strength.

exhibitions

exhibitions
Planned Exhinitions

2023, SEPTEMBER
individual exhibition – Gnome / Gnome
Gallery BWA, Olsztyn

 

Exhibitions Finished

2022, MARCH
curator / organization / group exhibition – Rewizje / Revisions
Gallery Pod okiem, Warsaw

2021, OCTOBER
individual exhibition – Ciało. Forma /Body. Form/
ZPAP, Gallery Lufcik, Warsaw

2007, APRIL
group exhibition
Gallery Pod Dachem Nieba, Ciechocinek

2005 JUNE
individual exhibition
Gallery Dorożkarnia, Warsaw

2003, MAY
individual exhibition of the Artistic Studio Bigos
Culture Club Anin

2003, JANUARY
individual exhibition of the Artistic Studio Bigos
GOKRiS, Wiązowna

2003, NOVEMBER
group exhibition – graduate works EAS
Gallery E.A.S., Warsaw

2002, SEPTEMBER
individual exhibition, artistic installation Poczułam życie jednym dotknięciem, /I felt life with one touch
Gallery, Cracow

2002, SEPTEMBER
individual exhibition, artistic installation Poczułam życie jednym dotknięciem, /I felt life with one touch
Gallery E.A.S., Warsaw

 

contact

contact

GET IN TOUCH
ola (olga) wróbel
artist, painter and designer

ola@olaolgawrobel.com
+48 663 441 066


feel free to contact me anytime to ask about pricing, availability, shipping, and further details.

press pack

press pack
Download

Press pack includes: Print ready photos, bio, portfolio (PDF).

PORTFOLIO | BIOGRAPHY | PHOTOS | LOGO