Chris HarroldSVP Marketing & Creative @ mohawk
Chris Harrold is Senior Vice President Marketing and Creative Director at Mohawk Fine Papers in Cohoes, New York. In his role he is responsible for brand management and strategic product development, and he also acts as creative director for the company’s product and marketing campaigns. He jointed Mohawk in 1990. Since then he has occupied various roles in sales and marketing, and has played a critical role in establishing Mohawk as a market leader in digital printing. Harrold writes for Lynda.com, where he speaks at length about the role of paper and printing in contemporary design. He holds a degree from the State University of New York in Oswego, as well as a Master of Fine Arts from the Rochester Institute of Technology.Statement zum Thema Change Reloaded:
It’s high time we changed how we think about print media. For a long time we have allowed this one tool, albeit a high-performing one, to define a whole design category. The terms ‘print design’ and ‘print designer’ have become entrenched in the design lexicon, without giving due consideration to the inherent power of this medium. The act of design has a far-reaching and multifaceted purpose; it triggers emotions, enriches culture and brings art and crafts to life. To define design in terms of one single tool undermines the physical character of printed objects – it clips the wings of this medium, limiting the scope of the designer as an ambassador. When we design something ‘for print’, we often curtail the design process: we design something for a tool, rather than using a tool to create a design. The possibilities for giving form to an object are summarised in a single conclusion, reducing ‘print’ to the mere depiction of a PDF document. We would do better to think about our print work in terms of object design. And in order to redefine this object design process, we need to consider a wider range of features than merely the print itself, even though the end result is a printed work. Just think, how will this printed work exist in the world: where and how will it be, how will it feel, what will it be made of – will it be heavy or light, delicate or rough, disposable or an object to treasure? And, above all, how will it resonate emotionally with the beholder? We all rely on two-dimensional screens in order to create three-dimensional objects. And the more we consider printing as a standard extension of our 2D screens, the less we make use of the inherently powerful quality of 3D objects. These features are important qualities that need to be discussed, researched and manipulated in order to generate new design possibilities.