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theme of New Views: Repositioning Graphic Design History took place at the London College of Communication, with the intention of looking at graphic design history and its relationship to design education and professional practice. As a platform for discussing issues across a range of themes (e.g. national design histories, practice of design, exhibiting the graphic object, critical theories, design education and alternative histories), New Views solicited the help of keynote speakers J. Abbott Miller (Pentagram), Professor Jeremy Aynsley (Royal College of Art), and Rick Poynor (freelance design critic) to provoke the audience to think differently about ways of engaging with their subjects history. The event was so successful that a follow-up was mooted almost immediately.
graduate student reviews and critiques held during RMITs Graduate Research Weekend in Australia, we, the two organisers of the follow-up New Views event, met for the rst time. We talked about the interesting and challenging questions students raised about doing research in the eld of graphic design and through graphic design practice and agreed this was a vibrant yet under-theorised area with possibilities not often articulated amongst practicing designers or within the academic community. We began to ponder the possibilities of capturing this moment as part of a future New Views event. And thus, New Views 2: Conversations and Dialogues in Graphic Design was born.
It is intended to explore what lays ahead for the profession whilst opening up our understanding of what academic conferences might be. We are deeply indebted to Professors Ken Friedman and Owen Smith who introduced us to the idea of restructuring an academic event to be more engaging and participatory in its scope. Their own symposium Event and Event Structures held at the Denmark School of Design (2007) prompted in us a new way of thinking about the productive nature of conversations using a set of propositions and thematic discussion groups. We have followed a similar model for New Views 2conversations and dialogues in graphic design.
sharing of concepts. We believe in fostering collaborative design discussions and the potential this method has for moving forward the exchange of knowledge in new and innovative ways. By facilitating large and smaller (more focused groups) of participants New Views 2 aims to identify the challenges we are currently facing in graphic design, but more importantly to propose potential ways forward under six main themes: DESIGN WRITING CRITICISM, INTERDISCIPLINARITY, PRACTICE AND METHODS, RESEARCH/INNOVATION & NEW CRITICAL THINKING, RESPONSIVE CURRICULA and CHANGING THE REAL WORLD. With the help of keynote speakers who are breaking new territories in their own research and practiceChris Downs (live/work), Terry Irwin (University of Dundee) and Professor Richard Buchanan (Carnegie Mellon University)along with the other participants, who we are very pleased to welcome aboard, we have been able to set the platform in place and table the propositions. At the symposium we simply ask that you share your views with othersshare a dialogue. We look forward to talking with you. Professor Teal Triggs & Dr Lauren Vaughan, co-organisers and moderators, London & Melbourne, June 2008
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES AN INTERNATIONAL SYMPOSIUM DEFINING GRAPHIC DESIGN FOR THE FUTURE
SYMPOSIUM: JULY 9 11 EXHIBITION: JULY 9 21
London College of Communication University of the Arts London, UK Opens in London and then travels to RMIT, Melbourne, Australia
IN GRAPHIC DESIGN
WWW.NEWVIEWS.CO.UK
NEW VIEWS 2: CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN AN INTERNATIONAL SYMPOSIUM DEFINING GRAPHIC DESIGN FOR THE FUTURE 9-11 JULY 2008 LONDON COLLEGE OF COMMUNICATION UNIVERSITY OF THE ARTS LONDON UNITED KINGDOM
CONTENTS
3 6 7 8 10 13 62 5 5 63 About Us Sponsors Venue Information Introduction Moderators Peer Review Panel Keynote Speakers Schedule Proposition Abstracts Exhibition
ACKNOWLEDGEMENTS Events such as these are the result of a number of people working together. We would like to thank in particular the following students and colleagues who have gone above and beyond in ensuring the success of New Views 2:
Sir Michael Bichard Yoko Akama, Miek Dunbar, Marius Foley Keith Deverell, Greyspace Eric Eng, Eren Butler and David Lee, David Sims, Nicolas Marechal, Anthony Petrou, Danny Hollowell, Graham Diprose, Claire McAndrew, Nagma van Kampen Helen Etherington and Alysha Mirza, London ArtsCom Ltd. We would also like to thank all of our sponsors in Australia and the United Kingdom for their continued support PARTNER INSTITUTIONS: London College of Communication, University of the Arts London and the Information Environments Research Unit School of Applied Communication RMIT University and the Design Research Institute
New Views 2 identity and programme designed by Niall&Nigel at Pony Ltd., London Printed on Mohawk superne white 118gsm, supplied by GF Smith 020 7394 4660 Printed by Gavin Martin Associates, London FOR FURTHER INFORMATION ON FUTURE NEW VIEWS EVENTS PLEASE CONTACT: Nagma van Kampen n.van-kampen@lcc.arts.ac.uk
ABOUT US:
THE LONDON COLLEGE OF of the University of the Arts London, which groups six COMMUNICATION is part
of the worlds best-known art, communication, design and related technologies organisations. University status was awarded following a long run of outstanding evaluation of teaching quality, and sector-leading research performance. Formerly the London College of Printing, LCC re-launched in 2004 and now operates from a striking building with stateof-the-art facilities. As a specialist college, LCC has around 9,000 students of all ages and from a variety of backgrounds and cultures with staff including successful academics and practitioners engaging in Londons thriving design, photography, broadcasting, publishing, advertising, lm, printing, retailing and media industries. For further details on courses, research and other related college activities please see: www.lcc.arts.ac.uk
THE SCHOOL OF APPLIED COMMUNICATION is located within the Design and Social Context Portfolio at
RMIT University, in Melbourne, Australia. Programs within the School span the Communication Professions; including Media, Journalism, Cinema, Communication Studies, Public Relations, Advertising and Communication Design. The diversity of disciplines results in undergraduate and postgraduate education programs, and research and professional activities which endeavour to result in innovative and professionally relevant outcomes. RMIT is renowned for collaborating with industry, providing solutions, new ideas and processes that deliver real outcomes for businesses. For further details on courses, research and other related activities please see: www.rmit.edu.au/appliedcommunication
SPONSORS:
RESEARCH UNIT FOR INFORMATION ENVIRONMENTS (IE), UNIVERSITY OF THE ARTS LONDON, UNITED KINGDOM
PROFESSOR TEAL TRIGGS, CO-DIRECTOR AND DR PATRICK ROBERTS, ASSOCIATE DIRECTOR The remit for Information Environments (IE) is to explore, examine and contribute to the shifting paradigms of our contemporary information and knowledge-based society. We dene Information Environments as any virtual or physical spaces where information is generated, received and experienced. IE questions what is meant by information with a view to documenting its history, engaging with the communities and environments in which it occurs and the technologies used in its mediation. What makes this research unit unique is the potential for developing new synergies between art and design with a focus on communication and information environments. Thirty members are drawn from four of the six University of the Arts London colleges and include specialist research in the areas of digital arts, site-specic installation, graphic and information design, design history, architecture, typography, spatial drawing, interaction design and oral history. IE external partners consist of organisations and professional design practices specialising in areas that enhance IEs own staff research. An International Advisory Board provides guidance and support as IEs research potential is established. Research projects are funded by the UK Research Councils and other external sponsors with outcomes published in referred books and journals, gallery and museum exhibitions, conferences, keynote presentations, workshops and other public forums.
ie
Information Environments
DR LAURENE VAUGHAN AND PROFESSOR HARRIET EDQUIST, CO-RESEARCH LEADERS, COMMUNICATION INTERFACES/ DIGITAL ARTEFACTS, GEOPLACED KNOWLEDGES PROGRAM. PROFESSOR MARK BURRY, DESIGN INSTITUTE DIRECTOR User-led design resulting in new understandings, innovative products, enhanced performance and well-being. The purpose and objectives of the Design Institute are to engage with new design technologies to enhance community and individual life. Its research focuses on the delivery of space, environments, services and products through design methodologies that elicit and guide our needs and wishes. THE INSTITUTE AIMS TO: Build design research capability and community Develop new products, services and constructed and virtual environments To be recognised internationally as a design research institute delivering excellence through a distinctive approach to the iterative integration of community with design methodologies Develop new products, services and constructed and virtual environments The Design Institute brings together researchers from a range of design disciplines to work in teams around project challenges such as new urban environments, customized manufacture of apparel, creating healthy and supportive workplaces, art in public and private places and interactive construction of spatial maps and archives. It actively explores the applied design, production and marketing potential of selected research outcomes and seeks to forge key external industry partnerships and raise awareness of the value of design. Overseen by Academic Leaders and an International Advisory Committee, the Design Institute has ve streams of inquiry: Customising Space, Rapid Manufacture, Intervention through Art, Geoplaced Knowledges and Urban Liveability. It will facilitate and fund ve major projects in 2008 and seed a number of smaller projects. The outcomes of these projects include refereed articles and books, national and international keynote presentations, exhibitions, symposia, programs, studies and products.
MODERATORS:
CO-MODERATOR and Head of Research in the School of Graphic Design, London College of Communication. She is also Course Director (designate), MA Design Writing Criticism and co-Director of the University of the Arts London Research Unit for Information Environments (IE). As a graphic design historian, critic and educator her writings have appeared in numerous international design publications. She is co-editor of the academic interdisciplinary journal Visual Communication (Sage Publications) and has edited several special issues including Screens and the Social Landscape (June 2006 with Dr Carey Jewitt), The New Typography (June 2005) and a forthcoming issue on Information Environments (2009). She is author of The Typographic Experiment: Radical Innovations in Contemporary Type Design (2003); co-editor with Roger Sabin of Below Critical Radar: Fanzines and Alternative Comics From 1976 to Now (2000); and editor of Communicating Design: Essays in Visual Communication (1995). She is currently working on a book on the graphic language of fanzines from punk to present day. Triggs is co-Principle Instigator with Professor Mike Press, University of Dundee, working with an interdisciplinary team from across seven UK universities on a major UK Research Council (EPSRC) funded project Safer Spaces: Communication Design for Counter Terror. She is also a Fellow of the International Society of Typographic Designers (ISTD), and a co-signature on the First Things First Manifesto 2000. Triggs organised the rst New Views eventNew Views: Repositioning Graphic Design Historythe focus also of a forthcoming special issue of Design Issues (M.I.T. Press).
CO-MODERATOR
Research and Innovation in the School of Applied Communication at RMIT University. She is also Research Leader with Professor Harriet Edquist of the Geoplaced Knowledge Program within the newly established RMIT, Design Institute. The Program explores the possibilities of the intersections between Communication Interfaces and Digital Artefacts within diverse contexts. Originally coming from an art and design education background with a major in sculpture, Laurene has melded a career of practicing artist, designer and educator in Australia and internationally. Since 1995 she has been a lecturer and research supervisor at RMIT for both Masters and PhD students. She has supervised 25 research students to successful completion. In 2001 she co-founded the Master of Design Online program in the School of Applied Communication. This was the rst completely online design degree within RMIT that was focused on extending professional design practice for working designers. Since 2005 Laurene has been a Chief Investigator and Project Leader within the Australasian CRC for Interaction Design (ACID). Investigations have included explorations of design methodologies for interactive environments and new methods for working collaboratively in digital studios. Within her practice Laurene endeavours to explore and present comment on the interactive and situated nature of human experience, particularly creative practice. Her PhD research in this eld is entitled Anfractuous: an exploration of creative practice. Current projects within this area include The Map of Fashion and the Affective Atlas Project. Laurene has published, presented and exhibited work across these diverse areas, and continues to pursue a trans-disciplinary perspective.
My proposition is about the way in which we engage with design criticism. The rst New Views symposium (2005) was about graphic design history and showed that history and criticism are intimately connected. We have gone some way in highlighting the importance of documenting and critically engaging with the professions history and position within academic programmes. Yet, there is still more to do. Criticism can raise the bar of discussions about our discipline. Without criticism we have no benchmarks. Without criticism we are not able to reect on how we approach professional practice. Without criticism a rigorous and systematic approach to research provides little insight. But how far has the language of design criticism evolved? Do we need to rene the intellectual tools that the critics need? And why, as Rick Poynor pointed out at New Views (2005), are there so few venues for publishing high quality design writing and criticism? While there are many questions to address outside the academy, it is worth noting that such criticism is not a formal taught component within graphic design curricula in Britain. While students are encouraged to contextualise and engage with theoretical frameworks offered by the areas of visual culture and art and design history, less emphasis is placed on the way in which the visual might be used to facilitate critical engagement with design. As visual communicators we must consider ways of using our knowledge of design tools and visual methods to critique our own practice as well as that of others. We must consider ways of generating our own content and designing appropriate forms, and in this process ideally the act of writing and criticism can be explored and pushed through the act of design. Engaging in a discourse about graphic design, its future and what role design criticism and writing play in the development of practice, research and education, is what inspired me to co-create New Views 2. This event is a unique opportunity to move the discourse forward and to nd new and appropriate ways for developing a new language for design.
HOW MIGHT DEVELOPING A LANGUAGE OF CRITICISM PROVIDE NEW WAYS FORWARD FOR GRAPHIC DESIGN?
WHAT ARE THE IMPLICATIONS OF THE SHIFT FROM GRAPHIC TO COMMUNICATION DESIGN?
The nature of graphic design practice has changed signicantly over the past 20 years. Few areas of the eld have been unmarked by the evolutions of change; these include the context of design projects (what is designed for), the methods used in their creation (how we design) and the application of design outcomes including the identity and location of design clients. From the business to the creative practice, graphic design now, is not what it was, which opens up the question of interest that drives me herewhat is it becoming? Over recent years a number of graphic design education programs have shifted the name for their program from Graphic Design to Communication Design. Some designers have adopted this new title, but many are unsure of what it means. The shift in title from a form of communication, graphic, and a particular practice of design, to embracing the eld as a whole, communication, is signicant. Communication happens in many ways through different literacies and sensorial receptors. Communication draws on sound, visual, smell, touch or motion for example, it is visual, textual, aural and ephemeral. Communication is also two-way, between something and something else. There is an exchange between the entities involved, and in this context, the designed is the medium through which this happens. Is communication design just another name for graphic design? Or, does it open up bigger questions, possibilities and challenges. What shifts in practice, in process and in outcomes emerge through this? Does this open up the possibilities for the graphic designer or create fear about a loss of recognition? It is these questions that underpinned my desire to co-create this event New Views 2: Conversations and Dialogues in Graphic Design. The time is ripe for exchange and exploration. The only people who can address these issues with any meaning and potential application are the practitioners, academics and students engaged in this design endeavour. I look forward to seeing and hearing what emerges through our explorations.
PEER REVIEW PANEL: The symposiums Call for Papers provided a submission of over 110 propositions
and interest from many more long after the closing date. In order to provide a fair and rigourous assessment of the nal submissions we called upon a panel of internationally recognized designers, educators and academics to assist us in the peer review process. Each proposition was double blind peer reviewed, with an opportunity for reviewers to comment and provide constructive feedback to authors. We are deeply indebted to our reviewers in their contribution to shaping the main strand themes of this event.
KEYNOTE SPEAKER
CHRIS DOWNS
KEYNOTE SPEAKERS:
WEDNESDAY 9TH JULY 6:45PM
Chris Downs is a Director and the founding partner of live|work. Established in 2001 live/work is the worlds rst service innovation and design company and is responsible for pioneering this new design discipline. Now 26 people, live|work has ofces in London, Newcastle and Oslo and their clients include include Sony Ericsson, Experian, Boots, Orange, Norwich Union Insurance, Vodafone, Egg.com, Macmillan Cancer Support as well as a number of public sector clients including the NHS, the Cabinet Ofce and Kent County Council. Prior to this Chris was part of the start-up team responsible for the development and implementation of The Interaction Design Institute Ivrea, in Italy and is a NESTA Pioneer Programme mentor. Chris has taught and lectured internationally on the subjects of service innovation, design and entrepreneurship. Chris holds a MA Interaction Design from the Royal College of Art and a BA Product Design from Glasgow School of Art.
OPENING REMARKS
Michael Bichard has worked throughout his career in the public sectortwenty years in Local Government and nearly ten in Central Government. He was Chief Executive of Brent and Gloucestershire Local Authorities and in 1990 became Chief Executive of the Governments Benets Agency. In 1995 he was appointed Permanent Secretary of the Employment Department and then the Department for Education and Employment. Michael received a Knighthood in the Queens Birthday Honours 1999. In May 2001 he left the Civil Service and in September 2001 was appointed Rector of The London Institute, the largest Art and Design Institute in Europe, which in May 2004 became University of the Arts London. In January 2004 he was appointed by the Home Ofce to chair the Soham/Bichard Inquiry and on 1 April 2005 he became Chair of the Legal Services Commission. He was appointed as Chair of the Design Council on 22 September 2007.
What does it mean to be a practicing designer in a company that uses design rather than produces designs? What are we doing to design when we treat it as a tool for solving problems and capitalising on opportunities? What is left for the professional designer when its gone all-inclusive and participatory? And what possible future might we have to look forward to when we actively encourage the idea that everyone is a designer? Basing the talk on his practice within live|work, Chris will present examples of projects where Design is being used and quite possibly abusedin new and surprising places. He will also talk about the changes in attitude, aptitude, skills, knowledge and perspective that have been necessary to survive in a world where the meaning of Design is in constant ux and the context within which we design has fundamentally altered. A passionate advocate for Design and Design thinking, Chris will be asking the question, Who is stealing design from the designers? And why is this the best thing that can possibly happen to the discipline?
1 Borrowed from the title of Lucy Kimbells blog on design leadership, design research, emerging practices such as interaction and service design, and the framing of unframed problems. http://designleadership.blogspot.com/
KEYNOTE SPEAKER
Originally from Phoenix, Arizona, Terry Irwin was classically trained as a graphic designer and worked in the Los Angeles area for several years before returning to graduate school in 1983. She received an MFA from the Basel School of Design, Switzerland in 1986, and in 1992, along with partners Erik Spiekermann and Bill Hill, Irwin opened the San Francisco ofce of MetaDesign, an international design consultancy with over 300 employees in ofces in Berlin, London and Zurich. From 1992 until 2001, Irwin served as principle and creative director for clients such as Sony, Apple Computers, Audi, Nike, The Berlin Transport Authority and Nissan Motors, among others. Since 1986 Terry has balanced three complementary roles: practitioner/educator/student. She has served as adjunct faculty at Otis Parsons School of Design, Los Angeles (1986-1989) and California College of Arts and Crafts (1989-2003) as well as institutions in Europe and the UK. As a student, Irwin studied for 10 years energetic healing and a 2-year MBA equivalent program which explored the linguistic and biological roots of human cognition. She moved to Devon (2003) to study in the Masters programme for Holistic Science at Schumacher College, an international centre for ecological studies where her thesis looked at how principles of holistic science have relevance for traditional design/design process. After completing her degree, she joined the faculty to incorporate design thinking into the Masters curriculum. In 2005, she co-authored a report for DTI, Defra and The Design Council entitled Design and Sustainability, A Scoping Report, which looked at the state of sustainable design in the UK among 5 key stakeholder groups. Irwin is currently a part-time lecturer at Duncan of Jordanstone School of Art & Design, University of Dundee and is enrolled as a part-time PhD researcher with the Universitys Centre for the Study of Natural Design where her work investigates the components of a holistic/ecological worldview as the basis for more responsible and appropriate design processes and methodologies for traditionally trained designers. She continues to balance her PhD research with teaching, lecturing and freelance design consultation and stresses that she is not an academicrather a practitioner who likes to study.
TERRY IRWIN
In his milestone book, The Turning Point, Fritjof Capra argued that the underlying dynamics of our most pressing social and environmental problems are all the same and result from what he called a crisis in perception; our inability to apply the concepts of an outdated worldview to the globally interconnected and interdependent world that we nd ourselves in. These problemsglobal warming, war and violence, poverty, ination and the energy shortage, to name but a fewcould be termed wicked problems, a term coined by designer/theorist Horst Rittel to describe problems that have incomplete, contradictory and changing requirements and whose solutions are difcult to recognize because of their complex interdependencies. Design is implicated to varying degrees in most of these problems and therefore has the potential to contribute to their solution. However, more sustainable/appropriate design must arise out of a more holistic/ecological world-view, which implies seeing and solving problems in a new way. As Thomas Kuhn said in The Structure of Scientic Revolutions, what were ducks in the scientists world before the revolution are rabbits afterwards. Systems theorist Donella Meadows believes that sweeping and fundamental change can only happen at the level of paradigm or worldview and although they are a lifetime in the making, under the right conditions, can shift in a moment. And Einstein famously said that problems cannot be solved within the same mindset that created them. Our worldview affects our perception of problems, how we frame them within a context and the way in which we set about solving them. In her talk, Terry Irwin explores how a shift in perception or worldview at a meta level can inform practice at the micro level of a specialty such as graphic design. This new way of seeingof connecting the dots between seemingly unrelated issues within much broader contextsrequires designers to seamlessly toggle between the macro and the micro in a more dynamic and effective way than traditional design process requires. This represents new ways of seeing and new ways of working that must be addressed within every specialty, within every discipline.
A CRISIS IN PERCEPTION
KEYNOTE SPEAKER
Richard Buchanan is Professor of Design and former Head of the School of Design at Carnegie Mellon University, where he is also Director of Doctoral Studies. He teaches in the traditional areas of Communication Design and Industrial Design but is also well known for extending design thinking into new areas of application such as Interaction Design and Organization Design. Among his numerous publications are Discovering Design: Explorations in Design Studies, The Idea of Design, and Pluralism in Theory and Practice. He is an editor of Design Issues, an international journal of design history, theory, and criticism published by the M.I.T. Press. He is also a former president of the Design Research Society, an international learned society founded in the United Kingdom and serving a multidisciplinary network of design researchers in 35 countries. Professor Buchanan received his A.B. and Ph.D. from the Committee on the Analysis of Ideas and the Study of Methods at the University of Chicago, where he studied with the distinguished philosopher Richard McKeon.
RICHARD BUCHANAN
In his talk, Richard Buchanan will round off the symposium by summarising some of the main themes and key issues which have emerged during the two days of round table discussions. He will seek to identify what new challenges might lay ahead for practitioners, academics, industry and the design profession overall. At the same time, Buchanan will provide his own insights into ways in which we might move our ideas about graphic design forward.
SCHEDULE:
6:00pm 6:45pm 7:00pm 8:15pm
PLEASE NOTE THAT ROOM ALLOCATIONS WILL BE MADE AVAILABLE AT REGISTRATION THE SCHEDULE IS SUBJECT TO CHANGE
Lunch (provided) CONVERSATION CLUSTER II Refreshment Break CONVERSATION CLUSTER III Private View and IE Launch EXHIBITION: New Views 2: Conversations and Dialogues in Graphic Design, The Well Gallery, London College of Communication LAUNCH: Information Environments, University of the Arts London research unit
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TEAL TRIGGS
TERRY IRWIN
RICHARD BUCHANAN
LAURENE VAUGHAN
CHRIS DOWNS
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DESIGN WRITING/ CRITICISM: REPOSITIONING THE DEBATE
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
A
John Calvelli
Associate Professor, Communication Design, Pacic Northwest College of Art, Portland, USA
B
Teena Clerke
University of Technology, Sydney, Australia
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DESIGN WRITING/ CRITICISM: REPOSITIONING THE DEBATE
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Esther Dudley
Design Research, Faculty of Arts, University of Plymouth, UK
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Stuart Evans
Research Fellow at Central Saint Martins, London, UK
REVISITING THE UNDERWORLD: EXPLORING THE PRODUCTION AND CONSUMPTION OF PUBLICATIONS THEN AND NOW
Graphic Design has had a love-hate relationship with its own history, if it should engage with it and on what terms. Just as historians need practitioners to enrich their understanding of both practice and its context, so students and practitioners can enrich their understanding by detailed and sometimes speculative reection on case studies from the past. As part of a long term study of the Century Guild of Artists, its book, Wrens City Churches (1883) and its journal, The Century Guild Hobby Horse (1884-1892), are being re-evaluated in the context of their productionthose involved in design, editing and realisationand consumptionwho contributed, subscribed and read them. It is proving helpful to discuss the research with designers and students at LCCs Ph.D. Design Forum, and elsewhere, to gain the connoisseurly insights of specialists on design and production, and aiding reection on similarities between the Guilds work and the positioningpromotional publications issued by design practices today. The publications of both eras are manifestoes and polemical, both demonstrate how appearance, handle and editorial and visual content reect the principles and operation of the group which spawned them, and this allows us to speculate about what is innovative and what achieved. Through the presentation at News Views 2 and circulation of a response sheet and it is hoped that the study will be further enriched, in particular to expose how current working associations respond to Century Guild polemics and its designs. Why the Underworld? The Guilds emblem was a pomegranate, Persephones legendary fruit, split suggestively to show its seeds. Eating the pomegranate committed her to visit the Underworld each year and her return to earth symbolizes the hope of artistic regeneration.
[ Mackmurdo, AH 1883, Wrens City Churches, George Allen, Orpington, Kent. / The Century Guild Hobby Horse, 1884-1892, The Century Guild of Artists, London. ] Evans is a Research Fellow at Central Saint Martins. He qualied as a designer (DipAD & HDipDes), then as an art and design historian (PGDip & MPhil), and is now an experienced supervisor and examiner for research degrees, currently supervising 6 Ph.D. students, including practice-led projects. Prior to this he ran a methods course for students of MA Communication Design and MA Industrial Design, working with them on linking theory with practice. Evans own research is in two parts, one is research pedagogyhe organised the MATRIX series of conferences on research in art and design - the other focuses on the history of design and design practice - how the profession has chosen to organise and present itself - including a long term study of The Century Guild of Artists.
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DESIGN WRITING/ CRITICISM: REPOSITIONING THE DEBATE
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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James Faure Walker
Reader, SCIRIA, Camberwell College of Arts, University of the Arts, London, UK
F
Kate Ann B. LaMere Gunnar Swanson
Kable design + research, East Carolina University, Jenkins Fine Arts Center, School of Art and Design, Greenville, USA East Carolina University, Gunnar Swanson Design Ofce, Greenville, USA
ANONYMITY, PSEUDONYMITY, AND THE GRAPHIC DESIGN CONVERSATION: CONDUCT, HONESTY, AND BLOGS
In a December, 2007 Design Observer post, www.design observer.com/archives/030925.html, Steve Heller condemned people who post to blogs under assumed names as cowardly and inherently deceitful. He called for all blog participants to use real names rather than pseudonyms or anonymous. The resultant online conversation tended to center around the right to anonymity, fears of persecution, the nature of blogs and the internet, and personal identity. One of the more interesting arguments was the notion of anonymity forming an equal opportunity on a level playing eld to become a hero or a fool in a conversation with wellknown designers and critics. That idea can provide an entry into a variety of issues in design writing and criticism as well as the less formal debate on a range of blogs: Honesty and community (Are anonymous postings dishonest or unfair and do they undermine trust and the social fabric. Are claims of honesty and community mechanisms for instituting discipline and regulating how and what can be said about graphic design?) Inuence, graphic design hierarchy, and ideas of power and control in the conversation (Does an insistence on real names unduly favor the views of leading designers and writers? Where/how does ad hominem function in graphic design discourse? Does the threat of social sanction preserve a higher level of discourse? How do the social mores of the graphic design community preserve or diminish power structures in the creation of graphic design knowledge?). Designers sense of importance and vulnerability (Does fear of sanctions for web comments represent realistic caution in an age of persistent information, levels of power within the profession or middle class paranoia? How are these modes of conduct self-initiated reactions to a larger system of differentiation within graphic design?). Finally, what are the relationships between private identity and public brand, connection to (or disconnection from) ownership of ones statements, and sense of power or powerlessness within the conversation? This position paper will take the form of a conversation between a young, new to the tenure track graphic designer/ design educator/researcher/Ph.D. in design/adherent to Foucauldian analysis of power relationships and a (less young) long time graphic designer, design writer, blog regular, and design educator.
LaMere, is an assistant professor of graphic design at East Carolina University in Greenville, North Carolina, USA, and is the sole proprietor of the graphic design rm Kable design + research. LaMeres research focuses on networks, power, and knowledge within graphic design higher education and the profession. She conducts qualitative research that integrates methods and theories from other disciplines, such as cultural studies, history, sociology, and anthropology. Swanson is a graphic designer and design writer and teaches at East Carolina University in Greenville, North Carolina, USA. His graphic design has received over 100 awards and his writing is widely published. He has been an author on the popular Speak Up website, was a founder of the once-popular graphics email listserv, and is an occasional participant on Design Observer, Typo-L, and the PHD-Design listserv.
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DESIGN WRITING/ CRITICISM: REPOSITIONING THE DEBATE
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Stuart Medley
School of Communications and Arts, Edith Cowan University, Mt Lawley, Australia
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Julia Park
University of Western Sydney, School of Communication Arts, Sydney, Australia
LESS REALITY: MORE MEANING QUANTIFYING AND CLASSIFYING IMAGERY FOR THE VISUAL COMMUNICATOR
Typography as a dening term has become interchangeable with graphic design, thanks largely to the International Typographic Style of the Swiss (Meggs 1998, pp. 363-370), and while font choice and application is seen as of paramount importance, image choice, which is virtually half of the communication design equation, is neglected in the theory and in practice. This is left to the instinct of the designer. I seek to address the paradox that we are able to communicate more accurately through less accurately rendered images. I will explain how the human visual system, evolved over time by looking only upon the natural world in all its reality (Gregory 1970, p. 32), can look upon a stick-gure and make an emotional and intellectual connection. I examine the design implications of this strange faculty of the visual system. Disciplines outside of graphic design are brought together for two principle tasks. Firstly, to show how the visual system works and how it has historically been put to work in graphic communication. Secondly, to quantify means to understand, classify and teach image (Dwyer 1972; Wileman 1993; Gropper 1963; Knowlton 1966) to the same extent that typography is understood, classied and taught. The paper covers: History of image in design: modernism as the benchmark of 20th century graphic design and its ill-informed reliance on realism through photography (Lupton and Miller 1999, p. 133) for its imagery; Interdisciplinarity. The importance of psychology for an understanding of the visual system and its implications for the designer. The key is held by face recognition experts in their work on the mechanics of caricature. Caricature, and not realism, is a mechanism for visual memory: distillation and exaggeration actually communicate more accurately to the psyche than the real thing (Rhodes 1996); Culturally specic visuality. I will show revelatory examples of visuality from outside of anglophone cultures (Asia and Europe); How to teach image: examination of images as departures from a norm; and through their position on a realism continuum, including student case studies; The paper addresses the void in graphic design theory that sits outside of typography, but its ndings can be used as a more appropriate means to classify type itself. In a time when traditional literacy skills are becoming outmoded and illustration is in the ascendancy (Mareis 2007, p. 8), this paper argues that curricula need to be in the vanguard of a new visual literacy where equal emphasis is given to image and typography.
[ Dwyer, FM 1972, A guide for improving visualized instruction, Learning Services, State College, PA, Pennsylvania. / Gregory, RL 1970, The Intelligent Eye, McGrawHill, London. / Gropper, GL 1963, Why is a picture worth a thousand words?, AV Communication Review, vol. 11, pp. 75-79. / Knowlton, J 1966, On the denition of a picture, AV Communication Review, vol. 14, pp. 147-183. / Lupton, E & Miller, JA 1999, Design Writing Research: Writing on graphic design, Phaidon, London. / Mareis, C 2005, Illustration in Practice, [in] Klanten, R & Hellige, H (eds.) Elusive: Contemporary Illustration and its Context, DGV, Berlin, p. 8. / Meggs, P 1998, Meggs History of Graphic Design, John Wiley and Sons, Hoboken. / Rhodes, G 1996, Superportraits: Caricatures and Recognition, Psychology Press, East Sussex. / Wileman, RE 1993, Visual Communication, Educational Technology Publications, New Jersey, pp. 12-17. ] Medley is a lecturer in graphic design at Edith Cowan University in Perth. Formerly he lectured in design at Otago University in New Zealand and has presented design papers in Turkey and Lebanon. His work has been consistently published in Neomu magazine in New York. His designs have been published in several reference books including Rotovisions, Grids: Creative Solutions for Graphic Designers, and Harper Design Imprints Typographics 5, Big Type and Design Rules. Medley has been a professional communication designer in Australia for 14 years. He has worked in print, multimedia, animation and video graphics. Currently Stuart is a partner in and the designer for Hidden Shoal Recordings, a critically acclaimed record label with a growing stable of international artists. He is completing his Ph.D. in the area of visual perception based on the paradoxical premise that less realism in an image equates to more accurate communication.
THE MORAL DIMENSIONS OF DESIGN: THE RE-EMERGENCE OF THE DESIGN MANIFESTOS AND THEIR EFFECT
This paper examines the re-emergence of the design Manifestos* from various sources since the 1990s to articulate what they tell us about the morality of design. I hypothesise that these Manifestos offer moral dimensions to design by espousing ethical, social and civic values. Therefore, this paper proposes that the Manifestos remind us of our responsibilities as designers and suggests that the moral dimensions they prescribe should form part of a necessary framework within which a responsible designer performs. By applying theories and methods, a designer acts upon his/her acquired knowledge of the design process to research, analyse, and individually achieve an outcome. This paper sets out to develop an understanding of the graphic designers framework of responsibility and terms of reference. The moral dimensions presented in the Manifestos invite graphic designers specically to look closely at their actions as design agents and to incorporate research, theory and practice as a unit of design process. In so doing, the paper critically highlights the importance of dening the graphic designers role and responsibilities inherent in visual communication. The design Manifestos dene the capacity and conditions required to actively change and proclaim important relevant design issues. They re-afrm the beliefs and insights about design presented in our everyday life. Their function is to provoke designers to take action, address specic needs and clarify the responsibilities of the designer, on the premise that design has signicant social impact on contemporary visual culture. However, the paper does not propose that designers dictate a moral framework within graphic design education; rather the paper looks at why the Manifestos re-emerged as a reminder of individual ethical responsibility. This paper asks how we can have a moral purpose in a global/virtual village and proposes that such an objective is a civic as a well as personal project highlighting that there is both a public and private dimension to the responsibilities of the graphic designer.
* The design Manifestos from various sources include First Things First 1964 and 2000, A Scandinavian Design Council Manifesto on Nature, Ecology, and Human Needs for the Future, the Icograda Design Education Manifesto and the rst and second Declaration of the St. Moritz Design Summit. Park lives and works in Sydney, Australia. Julia is a designer and associate lecturer in visual communication in the School of Communication Arts, University of Western Sydney. In 2007 she completed her Master of Arts (Hons) in Visual Communication, her thesis titled The Moral Dimensions of Design: the re-emergence of the design manifestos and their effect. This thesis highlights the innite possibilities that graphic design offers within any given context to the community of users and determines that the incorporation of responsibility must be part of everyday design practice. The key aspects of this research resulted in a creative outcome in the form of a poster titled The First Man which is currently being exhibited in the Hong Kong International Poster Triennial 2007 until May 2008. In her graphic design practice she adheres to her new set of guidelines which she developed as part of her masters, a Design Park Manifesto.
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DESIGN WRITING/ CRITICISM: REPOSITIONING THE DEBATE
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Luke Wood
The National Grid / University of Canterbury, Christchurch, New Zealand
MESSAGE IN A BOTTLE
The National Grid is a graphic design publication established in early 2006 as a collaborative research project by myself and Jonty Valentine (www.thenationalgrid.co.nz). The impulse to self-publish evolved from a shared sense of disenchantment with our immediate situation living and working as designers and design educators in New Zealanda small professional and academic community dominated by the generally conservative concerns of the so-called industry. As marginal players at best, we imagined, somewhat romantically, that we might generate our own terms and conditions for successful practice via an adventure in independent publishing. Beginning work on our 5th issue now however, we have come to understand that the real benets of this exercise have been more to do with the way we have been able to establish a community of like-minded practitioners around the publication. This presentation will offer a critical reection on our experiences with the rst 4 issues of this publication exploring our successes and failures within the framework of a peculiar national context. As a precedent for our own project, I would like to introduce and discuss the typographic journal Typo, published by Robert Coupland Harding in New Zealand from 1887 until 1897. Particularly I am interested in Hardings ability to establish international networks of communication and inuence, reaching far and wide from within the isolated colonial outpost that was late-Victorian New Zealand. Within this discussion I want to explore the possibility that by operating as an independent publisher and distributor the channels one must work throughexpanding local and/ or international peer networkscan develop into something like a legitimate, alternative community of practice. I might also try to argue that, in our case, the same community might not have been established through a similar online exercise, and that the printed and bound artefact is in fact fundamental as a point of connection here.
Wood is currently based in Lyttelton, a small port town on the east coast of New Zealands South Island. Wood works as a freelance graphic designer, lecturer, and musician. He graduated from University of Canterburys School of Fine Arts in 1997, and completed a Masters in Design at RMIT (Melbourne) in 2006. An interest in practitioner-oriented writing and independent publishing evolved from his postgraduate research, motivating and informing the foundation of The National Grid project (www.thenationalgrid.co.nz). He is co-editor of The National Grid with Jonty Valentine.
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GRAPHIC DESIGN: INTERDISCIPLINARITY
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Eric Benson John Jennings
University of Illinois at Urbana-Champaign, Champain, USA
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Alex Bitterman
School of Design, Rochester Institute of Technology, Rochester, USA
ETHICS OF A DESIGNER IN A GLOBAL ECONOMY (EDGE): A COURSE ON ETHICS, DIVERSITY AND SOCIAL AND ENVIRONMENTAL SUSTAINABILITY
What is good design? What constitutes an ethical design decision? Aristotle argued that an object is good if it fullls its purpose. This philosophy dictates then, for example, that a well-designed knife is good if it cuts effectively. However if the same knife was used in the taking of an innocent life, the concept of a good design gets murky. Ethics are based on moral choices and the reasons people give to support their belief systems. Ethics also help us appreciate and evaluate our choices and allow us to be more cognizant of how we can better shape our future. When one looks at how design connects to ethics, it is fairly evident that a direct relationship exists. Every object and system in our daily lives has been intentionally created through a design process. With that in mind the designers power to enact a positive or negative ethical or equitable change is profound. This paper (details the results of the fall 2007 EDGE course) argues that the more the design student explores the ethical questions posed previously, the more they will be able to make informed moral design decisions in the professional world. This paper further explains how and why EDGE was structured into two distinct but connected modules. These divisions of study allowed the students to address the courses principal argument by exploring designs relationship to cultural and racial stereotypes and also to environmental degradation. Finally, the paper compares the traditional paradigm of design curriculum constructed on the philosophical models of egoism and hedonism (increasing students skills to fuel economic/personal success) with a more utilitarian and relativist version of design ethics where good design is conditional and provides the greatest happiness for the greatest number of people.
Jennings is an Associate Professor of Graphic Design at the University of Illinois at Urbana-Champaign. Jennings frequently lectures on visual literacy, popular culture, and the visual communication found in Hip Hop culture. Jennings is also the co-author of the graphic novel The Hole: Consumer Culture and a co-founder of Eye Trauma, a web based collective of sequential artists, activists, and curators who seek to expand the publics perception of the comics medium. Benson is currently an Assistant Professor of Graphic Design at the University of Illinois at Urbana-Champaign. His work/research has appeared in HOW Magazine, Creative Review, Communication Arts and will be featured in Blogs: Mad About Design (Maomao Publications), SustainAble: A Handbook of Materials and Applications for Graphic Designers and Their Clients (Rockport Publishing) and Reproduce and Revolt (Soft Skull Press). He has lectured internationally on the topic of sustainable design and his work has appeared in various galleries from Portland, OR to Beirut, Lebanon. Benson received his BFA in graphic and industrial design from the University of Michigan at Ann Arbor in 1998. His work professionally has been focused on creating enriching digital experiences on the web and environmentally friendly print and packaging material. In 2006 Benson received his MFA from the University of Texas at Austin with a concentration in design and social responsibility. His research is available at www.re-nourish.com, which provides a depository for practical information about sustainable materials and design theory.
DEFINING PLACE BRANDING: A CRITICAL EXAMINATION AND THE IMPLICATIONS FOR GRAPHIC DESIGNERS
Urban environments are in a state of constant change. Issues such as social integration, economic stratication, ethnic and racial composition, and immigration, test the traditional image of the city. This perceptual shift has given rise to a new method of identifying cities, the place brand. Over the past 25 years, the number of city-based place brands has increased nearly ten-fold. Place branding takes cue from the practice of modern consumer product branding, which began in the mid- to late-nineteenth century. The practice of place branding, much like consumer product branding, draws heavily upon advertising and marketing professionals to communicate and connect with the public. Traditionally, graphic, information, and communication designers have worked closely with advertising and marketing professionals to develop brand campaigns. Place branding, however, is different than branding automobiles, jeans, or lipstick. Flavors of other brand, place-making practices and customs inuence the development and evolution of contemporary place branding, and the role of the designer must adapt to these shifting demands. This information shift and focal re-alignment has created a gap in knowledge for most designers. Compounding the issue, the moniker place branding remains vague and a touchpoint for charged debate. As such the denition of place brand remains elusive for most design professionals. This paper outlines the ve main types of place brands as a mode of moving toward a clearer denition of place branding, and provides a brief historical context for designers and evaluators of contemporary place brands.
Bitterman, MArch, Ph.D. is an Assistant Professor in the School of Design at the Rochester Institute of Technology in Rochester, New York. Dr. Bitterman is an expert on branding, identity, and identity systems, and particularly place branding. Much of his research focuses on the accessibility of branding and identity systems for people with physical, cognitive, cultural, or situational impairments. Dr. Bitterman recently completed a three-year research program funded by the National Endowment for the Arts to design an identity program for universally designed spaces, places, products, and systems. He is the founding editor and current editor-in-chief of Multi: the Journal of Diversity and Pluralism in Design. Multi is an international peer-reviewed, journal that examines issues of social responsibility in design practice and design education. The journal can be accessed at http://multi.cias.rit.edu.
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GRAPHIC DESIGN: INTERDISCIPLINARITY
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Jody Joanna Boehnert
EcoLabs, London, UK
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Riitta Brusila
University of Lapland, Rovaniemi, Finland
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GRAPHIC DESIGN: INTERDISCIPLINARITY
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Project holder of Graphical Design of the University of Barcelona, department of design and image, Barcelona, Spain
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Laura Chessin
Associate Professor, Graphic Design Department, Virginia Commonwealth University, Richmond, USA
MODEL OF ANALYSIS OF THE IMAGE: PROPOSAL FOR THE CONSTRUCTION OF AN INTEGRATED AND STRUCTURED MODEL FOR IMAGE ANALYSIS
There exists a lot of literature across different disciplines that highlights the importance of the semantic construction of the identity and the use of the same concepts. However, according to this bibliography, there is evidence of a lack of cohesion at the moment of dening concepts, and the lack of measure and evaluation instruments. The following investigation tries to make a proposal of parametric, hierarchic and interdisciplinary integration of bibliography to make operative and coherent all theoretical approaches. We propose a model called First Integration Phase, FIP, to contribute with certain clarity to the current state of disorder, and tries to make a systematic theoretical model for order all design variables. Moreover, we expect that it could be useful both for design practice and to other disciplines that has common elements to design practice. Firstly, this research tries to demonstrate the existence of a high disparity between different disciplinary areas. Secondly, it proposes how we might be able to analyze these areas from different points of view. DEVELOPMENT As the rst step of this research, we compared between terms used in design bibliographies and disciplines related to design bibliographies, for example, Semiotic, Image Theory, Communication Theory, Advertising Communication, Advertising Theory and Evaluation, and advertising efciency. Our initial exploration of the bibliographies revealed an absence of constructed tools and a lack of clear parameters, the utilization of different semantic elds to name the same concepts, the mixture of concepts with more general areas, and the existence of a hierarchic chaos in the majority of the discipline areas. As a rst possible solution to this semantic chaos, we realized the ISIAC, an Integration System of Image Analysis and Comprehension. This forms part of a theoretical methodology. The ISIAC is a diagram of categories that arranges the hierarchies and discipline ranges of the analytical parameters used from an integrated discipline vision that allows the analysis of concepts from the same point of view. Concepts proposed by different authors of the same discipline area are tested with the ISIAC, with the aim to organize the different disciplines under the same criteria and strata, by the arrangement of generals criteria to particularly ones, based on strata and ranges. The result of testing all disciplines by the ISIAC is named First Integration Phase (FIP). This First Integration Phase reveals different disciplines, authors, diagrams and relations between disciplines expectations, and gives answers to demonstrate our initial hypothesis.
Garcia was born in Igualada, Barcelona and lives in Collbat, Barcelona. Licensed in Bellas Artes of the University of Barcelona. She studies Advanced in Research in design, crediting the research sufciency at the Department of design and image, University of Barcelona. She is a teacher of Theory of Design, Theory of the Image and Projects in the different schools of art and design in Barcelona. Arjona was born in Antequera, Mlaga and lives in Matar, Barcelona. Awarded a doctorate in Bellas Artes / Design in 2002. He is an adviser and consultant in strategies and project denition of communication and design. He is a project holder of Graphical Design of the University of Barcelona, Department of design and image. He teaches and researches Corporate Identity, schematic-informative Graph and typography and runs design, communication, marketing, Analysis and critique of the design courses within the doctoral program (Research in Design) at the University of Barcelona. Involved in scientic communication, in the Master Ofcial, Bologna, Biodiversidad Animal.
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GRAPHIC DESIGN: INTERDISCIPLINARITY
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Hoi Yan Patrick Cheung
Arizona State University, Chandler, USA
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Michael Dunbar
Communication Design, School of Applied Communication, RMIT University, Melbourne, Australia
COLLABORATING THROUGH AESTHETICS: LOOKING AT THE ROLE OF AESTHETICS IN INTERDISCIPLINARY INTERACTION DESIGN PROJECTS INVOLVING COMMUNICATION DESIGNERS
In many interaction design projects collaboration is common between software developers, interaction designers, web designers and communication designers. In this presentation I will use a case study of a commercial interaction design project to explore the relationships between aesthetics and identity design in digital artifacts. In particular, I will draw on the rst-hand experience in the collaborative process where misunderstandings around the role of the communication designer lead to failures in the design of the digital artifact. The communication designers role was to redesign the user interface of the digital artifacta web-based tool to support collaborative document authoringwhilst simultaneously creating an identity and surrounding communications (website, brochures, etc) to brand and market the product. The client wanted their product to be clean, simple, human and friendly; the resulting identity and surrounding communications reected these qualities. However, the software interface reected none of these qualities, resulting in a product that promised an experience that is easy and relaxed, but delivered one that is clunky, confusing and incoherent. WHAT WENT WRONG? The designer, client and developer didnt work together to design these qualities into the digital artifact. The role of the communication designer was limited to providing a style-sheet to apply colour and images to already-existing elements for the system. The interface had a new coat of paint and a shiny new sign, but underneath, the foundations were still the same. The case study highlights a perception by others outside of the eld that the practice of communication design is a surface activity. This perception disregards the deeper connection between the surface and structural elements of digital artifacts as well as the design of their surrounding identity. This case study opens up the discussion on understanding the aesthetics of digital artifacts. Discourse on aesthetic computing sheds light on the aesthetic nature of digital design artifacts. Jonas Lwgrens account from an interaction design perspective suggests that, we need to realize that a digital artifact is constituted primarily not by its static visual design but by its dynamic gestaltthe character of the interaction it allows over time (Fishwick et. al. 2005) Lwgren illustrates examples of aesthetic qualities used in digital artifacts, one being the notion of seductiveness, which describes the process of enticement, relationship and fulllment between people and artifacts. This notion is not restricted to digital artifacts, and was rst introduced to interaction design from looking at the way brands work. Such parallels in discourses in aesthetics from interaction design and communication design bring opportunities for deeper understandings between practices in interaction design projects. These shared spaces for understanding could catalyse new ways of looking at interdisciplinary practice, and afford new ways of looking at respective disciplines of communication design and interaction design.
[ Fishwick, P & Diehl, S 2005, Perspectives on Aesthetic Computing, Leonardo, vol. 38, no. 2, pp. 133-141. ] Dunbar is a Ph.D. student at RMIT University in Melbourne, Australia. His research project, entitled Beyond Skin Deep explores what it means to be a communication designer collaborating in interaction design projects or is it an interaction designer from a background in communication design? Through his practice, he began looking at skinningreshaping the outer surface of a digital artifact. Through several projects, he moves from concrete of skin to the more abstract notions of identity and strategy to the meta of user experience and dynamic gestalt. He is supported by RMIT University and the Australasian CRC for Interaction Design (ACID).
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GRAPHIC DESIGN: INTERDISCIPLINARITY
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Lisa Fontaine
Iowa State University, Ames, USA
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Elizabeth Guffey
Humanities Division, State University of New York, Purchase, USA
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Dawn M. Hachenski Ronn M. Daniel
Associate Professor of Graphic Design, James Madison University, Harrisonburg, USA Associate Professor of Interior Design, James Madison University, Harrisonburg, USA
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Russell Kennedy
Monash University, Faculty of Art & Design, Melbourne, Australia
A STATE OF MIND OR A MIND OF STATE? INTERDISCIPLINARITY: A BROADER DESIGN CONTEXT UNITES GOVERNMENT WITH THE PROFESSION
The paper from this abstract will inquire into the promotion and positioning of design around the world with the specic purpose of informing the development of a National design strategy for Australia. Design is now referred to holistically. Interdisciplinary and multidisciplinary practice is growing. Countries around the world are rapidly investing in design by establishing design centres, which promote human-centred design and broker relationships between designers and business. Governments and corporations increasingly acknowledge design as an important economic and cultural driver while also respecting the role it can play in improving the human condition. Global networking, self-analysis and the redening of our traditional design areas are emerging as the major issues facing the practitioners and educators of design. A shrinking world combined with the merging of creative disciplines encourages us to, not only redene our profession but also internationalise our approach to its practice, education and government promotion. Countries like Denmark, Korea, Japan and Great Britain are beneting greatly from a strategic and holistic approach to design promotion. This paper will propose that the design professions in Australia would benet greatly from adopting a less territorial approach to promoting its discipline. It will highlight successful examples of multidisciplinary design promotion such as the UKs Design Council, the Korean Institute for Design Promotion (KIDP), the Danish Design Centre and the International Design Centre Nagoya, Japan. These case studies will illustrate how a united voice provides more clarity and focus for stakeholders such as governments, businesses, investors and the consumers of design. The move to unite the design disciplines under a single term has already occurred in some countries with professional design organizations such as BEDA (Bureau of European Design Associations), the Danish Designers and BNO (Association of Dutch Designers) who all refer to design holistically. INDEX: design to improve life, the worlds largest Design Awards program also refer to design as multidisciplinary. The most signicant demonstration of this shift is the recent formation of the IDA (International Design Alliance) between three peak professional bodies, Icsid (International Council of Societies of Industrial Design), Icograda (the International Council of Graphic Design Associations) and IFI (International Federation of Interior Architects/Designers). All three organizations have acknowledged the importance of speaking as a single and united voice for design. This paper will analyse these examples in the context of design promotion in Australia, a country with a dynamic, emerging design culture but whos Federal Government is yet to develop a National design policy. This paper will explore potential strategies for Australian design promotion based on the experience of other countries that have already re-aligned their discipline-specic past into a multidisciplinary or pan-disciplinary future.
Kennedy MA FRSA (Melbourne, Australia), President Elect, Icograda 2007-2009. Kennedy is a Senior Lecturer of Visual Communication with the Department of Design, Faculty of Art & Design at Monash University, Melbourne, Australia. Kennedy is a Fellow of the Royal Society for the encouragement of Arts, Manufacture and Commerce (RSA) and a member of both the Australian Graphic Design Association (AGDA) and the Design Institute of Australia (DIA). He is an academic and practitioner of both graphic design and lm-making. Before joining Monash in 1994 he was the principle of Russell Kennedy Design Pty Ltd, a corporate identity consultancy and Co-Director of Onset Productions Pty Ltd, a motion picture and documentary company. Kennedy actively promotes a network interface between design education and industry. An international lecturer, he is often invited to assist other educational institutions within the Oceania/Asian region. He has been active in the development of the Icograda Education Network and the deployment and promotion of worldwide educational exchange initiatives. He is also responsible for initiating and developing INDIGO, Icogradas Indigenous Design Network.
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Steven McCarthy
College of Design, University of Minnesota, St Paul, USA
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GRAPHIC DESIGN: PRACTICE AND METHODS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Boris Bandyopadhyay
Berne University of the Arts, Research area communication design, Bern, Switzerland
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Gene Bawden
Monash University, Faculty of Art & Design, Melbourne, Australia
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Leslie Becker
Professor, Graphic Design, Critical Studies, Visual Studies, California College of the Arts, San Francisco, USA Doctoral Candidate, Architecture, University of California at Berkeley, Berkeley, USA
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GRAPHIC DESIGN: PRACTICE AND METHODS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Suzanne Boccalatte
Boccalatte Pty Ltd, Surry Hills, Australia
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GRAPHIC DESIGN: PRACTICE AND METHODS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Linda Fu
Global iCom Consulting, RMIT University, Canberra, Australia
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Lisa Grocott
Dean of Academic Initiatives / Associate Professor, Parsons The New School for Design, New York, USA
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GRAPHIC DESIGN: PRACTICE AND METHODS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Luciana Gunetti
Politecnico di Milano, Dpt of Industrial Design, Arts, Communication and fashion (INDACO), Milano, Italy
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Robert Harland
School of Art & Design, Nottingham Trent University, Nottingham, UK
THE ATLAS AS A COMMUNICATION FORMAT FOR GRAPHIC DESIGN ARCHIVES: THE CASE OF THE ALBE AND LICA STEINER ARCHIVE
How do Communication Design and information technologies contribute to the construction of multilevel narrations aimed at designing digital memory/archives about communication artefacts? The Albe and Lica Steiner webarchive (www.archiviosteiner. dpa.polimi.it) is here analysed to investigate how Communication Design can contribute to making archives open resourcesopen in terms of content and interface designusing its own analytical and design instruments. The protagonist, Albe Steiner, is still viewed as a leading gure on the scene of Italian visual design on both the cultural-political and design-didactic levels. Through an observation of his cross-disciplinary design activity it is possible to reconstruct the socio-cultural context and the area of design studies and practice of his time, just by turning to the materials in the archive. The archive under study was conceived as a space for pure research images, which the designers choice to collect and arrange in notebooks and albums turns into communication images. In Steiners view, an archive should be a tool to collect visual ndings and interesting images, be them his own or someone elses creations. Regardless of the criteria adopted to organise image archives of this kind, they will in any case be evidence of doing design. These are archives of visual knowledge, which designers in general and Steiner in particular often arrange following their own distinctive methods. The archive Albe Steiner managed included different kinds of visual knowledge, with content areas as led samples were arranged and properly displayed, i.e. paged, following a strategy based on a specic display toolthe album. Based on these considerations, we re-read the whole Archive as a digital atlas of the designers visual processes of association and design thought, investigating the potential of a paradigm that can depart from the taxonomies that normally regulate archives. The atlas metaphor enables us to consider archives as places to open up new research elds, and above all, places for the localisation/representation of complex knowledge systems related to the culture of graphic design. The digital atlas is thus the design instrument that enables a narration of communication designers archives. Using the tools of Communication Design to translate into visual language collections of images and ideas as well as theories and processes, this may be enjoyed both locally (i.e. inside individual archives based on a structure dened by single designers) and globally, building the possible relations between different archives. The result is an interactive prototype based on historical and critical methodologies to be applied to teaching, or to elds of study and research, but also to the practice of graphic design.
Gunetti is an architect with a background in history of architecture and a research consultant with a Ph.D. in Industrial Design and Multimedia Communication from Politecnico di Milano. Since 2000 she has been involved in research in the area of the theory and history of Communication Design. She completed a post-graduate specialisation course in Industrial Design at the S.S.D.I. School of Naples University Federico II. In A G Fronzonis practice-workshop in Milan she has inventoried part of the archive and is still carrying out research regarding the mapping and design of new info-display systems for the archives of the main gures of Italian visual design. She has worked at the Albe and Lica Steiner Archive, Department of Architectural Design at Politecnico di Milano, with research and management roles. At Milan Politecnico she is currently collaborating with the Research Unit d.com, Communication Design Research and Teaching Unit, INDACO Department, Faculty of Design.
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GRAPHIC DESIGN: PRACTICE AND METHODS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Peter Jones
University of Plymouth, Plymouth, UK
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Bettina Minder
Lucerne University of Applied Arts and Sciences, Luzern, Switzerland
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Arina Stoenescu
Sdertrn University College, School of Communication, Technology and Design, Stockholm, Sweden
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Karel van der Waarde Maurits Vroombout
AKV | St. Joost, Avans University, Breda, The Netherlands
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Joyce S. R. Yee
Centre for Design Research, Northumbria University, Newcastle upon Tyne, UK
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Barbara Brownie
University of Hertfordshire, Hateld, UK
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igdem Demir
Gazi University of Fine Arts Faculty Of Visual Communication Department, Ankara, Turkey
THE RESEARCH OF TODAYS TURKISH GRAPHIC DESIGN (THE INNOVATIONS AND CULTURAL REFLECTIONS) AND A SHORT LOOK OF THE CARREER CHOICES OF THE SUCCESSFUL TURKISH GRAPHIC DESIGNERS
This paper focuses on innovations of the new Turkish visual communication and their carreer choices of successful Turkish graphic designers in the world. Despite Turkeys short history of graphic design, they have found their own language. This language allows people to talk within their own nation but also with the rest of the world. With the help of Turkish Society of Graphic Design (founded in 1978) and their yearly graphic design exhibitions, designers from all over the country are able to communicate with each other and exchange information on trends and innovations. Although it is a great privilege to be a graphic designer and discover new ways of thinking for the country, life is not easy for a Turkish graphic designer. This is due to the insufcient working conditions of the advertising agencies (working hours, salaries etc.); undiciplined ambiance and competitive work choice in freelance and low salaries as teachers in univerities. New generations of Turkish graphic designers have to guide their carrers very carefully to enjoy their job while maintaining good standarts of living. In the last ve years Turkish graphic design has established a good combination of visual communication language that combines the modern culture and its traditional roots. This has helped many brands to reach its target audience effectively. Advertisement can potentially reach audience in many towns and villages across Turkey through television, newspapers and magazines. But due to the social and cultural differences between large cities and villages, the use of visual language in advertisement may not always engage its target audience. Using traditional and cultural details in the communication materials, which are still an integral part of the region, may assist the designer in this process. Even though designers were reluctant to use cultural hints and details in their design, they are now boldly using them to communicate with the public. These designers incorporate daily trends of the modern world as well as the traditional, cultural elements of Turkey in their graphic language.
Demir was born in Ankara, Turkey in 1975. She graduated from Faculty of Fine Arts, Graphic Design Department Hacettepe University in 1998. Finished Master of Arts in 2001 and Ph.D. in 2006 in Graphic Design Department, Social Sciences Institute, Hacettepe University. She studied in Multimedia Department, Faculty of Fine Arts, Brera Unversity in Italy in 200-2002 with a scholarship from the Italian Government. She worked as a research assistant in the Department of Fine Arts Teaching, Gazi University Education Faculty during 2003-2007 and as an instructer during 2007-2008 and currently working as an Asstant Professor in the Department of Visual Communication, Faculty of Fine Arts, Gazi University. She is giving lessons of vectorel illustration, digital art practices, photography, illustration, computer design graphic and design history. Demir has six awards in Graphic Design, has four personal exhibitions, participated in six international exhibitions and 26 international exhibitions. Speaks English, Italian, Spanish.
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
D
John Francis
Boise State University, Rochester, USA
E
Jacqueline Gothe
Senior Lecturer, Visual Communication Design, DAB, University of Technology Sydney, Sydney, Australia
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
F
Michael Hohl
CCI / Art and Design Research, University of Hertfordshire, Hateld, UK
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Narelle Lancaster
MKTG Marketing Outsourcing, Melbourne, Australia
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Michael Longford
Associate Professor, Department of Design, York University, Toronto, Canada
I
Peter Maloney
Course Director, Graduate Diploma Motion Graphics, Chelsea College of Art and Design, University of the Arts London, London, UK
DESIGNING FROM THE MIDDLE INSIDE OUT ORTHE STORY OF THE DISAPPEAR-IT-ALL BOY MAGICIAN
National networks, multidisciplinary collaboration, strategic clusters, and knowledge mobilization inform much of the current thinking in university research ofces and government funding agencies. The design disciplines with an emphasis on experimentation, and an intuitive holistic approach to research/creation seem poised to play a key role building bridges between the many stakeholders that make up large scale research projects. However, are designerly ways of knowing (Cross 2007) enough to bridge the complex relationships that emerge between researchers, institutions, and funding bodies that drive research agendas? In 2007, I completed a three-year research project, the Mobile Digital Commons Network (MDCN), a national network made up of artists, designers, social scientists and engineers. MDCN research projects developed a range of interactive mobile experiences exploring the potential for mobile technologies to enhance and transform our culturally situated experiences of urban spaces. Utilizing one of those projects as a case study, I will explore the many ways in which design played a key role on stage and behind the scenes as an active research agent in project development. The Haunting is a cell phone based ghost capture game in which players are invited by VFB Mobility (Voices From Beyond) to use the phone as the means to explore paranormal disturbances and to communicate with the dead in Mount Royal Park in Montreal. Using GPS and Bluetooth beacons in a networked environment, this project treats the territory of the mountain as a lively and volatile interface playing with the potential of mobile technologies to augment our experience of space and place. Throughout this project, MDCN designers found themselves working in the middle, the space in between disciplinary boundaries occupied by social scientists, artists, and engineers. Negotiating different languages, ways of knowing, working methods and methodologies all contributed to a lively and volatile interface between researchers on and off the mountain. Harry Houdini, magician, escape artist and debunker of spiritualists plays a major role in The Haunting, acting as guiding spirit and mediator between players and malevolent ghosts. With an emphasis on process, MDCN designers also played the role of mediators facilitating collaboration through sketching, rapid iteration, participatory collective action, and provoking the senses, in order to navigate research streams from the middle inside out.
[ Cross, N 2007, From a Design Science to a Design Discipline: Understanding Designerly Ways of Knowing and Thinking, Design Research Now: Essays and selected projects, Michel, R (ed.), Birkhuser Verlag AG, Basel. ] Longford recently joined the Department of Design at York University in Toronto. His creative work and research activities reside at the intersection of photography, graphic design, digital media, and wireless and mobile communication technologies. He recently completed a three-year project as the co-principal investigator for the Mobile Digital Commons Network (MDCN), a national research network developing technology and media rich content for mobile devices. He is a founding member of Hexagram: Institute for Research and Creation in Media Arts and Technologies in Montreal, and served for three years as the Director for the Advanced Digital Imaging and 3D Rapid Prototyping Group. Currently, he is launching the Mobile Media Lab, which will be co-located at York and Concordia University.
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
J
Sally McLaughlin
University of Technology, Sydney, Australia
K
Giles Rollestone
Central Saint Martins College of Art and Design, University of the Arts, London, UK
DYNAMIC TYPOGRAPHY AND EMOTION: TYPOGRAPHIC INTERPRETATIONS OF EMOTION (PROSODY) EXPRESSED IN ORAL HISTORIES OF URBAN LIFE IN KINGS CROSS, LONDON
The increasing sophistication of computation based speech recognition systems and ability to detect prosody (emotion) in speech opens up possibilities for the design of dynamic typographic forms that extend the traditional vocabulary of typography. In the context of printed media, artists, designers and poets have attempted to evoke emotional aspects of speech by arranging or designing typefaces for use in books or posters. More recent experimentation and research has considered the exploration of typographic forms in the context of dynamic typography for the screen. The term dynamic typography refers to an area of study within digital media/interaction design and communication design, concerned with the dynamic, expressive and interactive possibilities of typography in digital computerised environments focussing on the dynamic treatment of text as an extension of written language. Prosody in this research refers to the rhythm, stress and intonation in speech. Prosodic features in speech directly map to features of the speech signal: amplitude, pitch, duration and intensity. Variations in the speech signal typically reect changes in the emotional state of the speaker. This practice-led research project builds on previous research concerned with potential paralinguistic mappings that explore and extend the traditional vocabulary of typography in order to visually extend an audiences ability to interpret voiced emotion through dynamic typographic form. This research acknowledges the dialogic aspects of speech and texts surfaced and further evoked in the context of digital media; and investigates ways in which dynamic typographic interventions can surface additional layers of interpretation and open up new dimensions of engagement with audio based recorded oral histories of place. Technical issues have been encountered as well as some difculty in questions of interpretation. Evaluation has been conducted through user testing. Dynamic typographic interpretations of emotion (prosody) expressed in recorded histories are based on audio recordings of oral history interviews conducted for the Kings Cross Voices Oral History Project between 2005 and 2007. The use of the oral history interview method provided an opportunity to record a range of different emotionally expressive voices and encounter conventions and practices of oral history interviewing and documentation. The nal outcome of this research is a web application designed to provide researchers and users of digital archives the potential to scrutinize emotion expressed in recorded oral histories of urban life in Kings Cross, London, through dynamic typographic form and motion graphics.
[ Bachscher, G, Robertson, T 2003, From Movable Type to Moving Type Evolution in Technological Mediated Typography, AUC 2005 Conference Proceedings, pp.1-10. / Bahktin, M 1982, The Dialogic Imagination: Four essays, Austin: University of Texas Press. / Marinetti, FT 1912, Exhibition of Works by the Italian Futurist Painters, London: Sackville Gallery. / Massin, R 1970, Letter and Image, New York: Van Nostrand Reinhold Company. / Mealing, S 2003, Value-Added Text: Where graphic design meets the paralinguistic, Visible Language 37.1: 42 57. / Rosenberger, T 1998, Prosodic Font: the Space between the Spoken and the Written, Masters Thesis, Massachusetts Institute of Technology. / Small, D 1999, Rethinking the Book, Doctoral thesis, Massachusetts Institute of Technology. / Wong, YY 1995, Temporal Typography: Characterization of time-varying typographic forms, Masters thesis. Massachusetts Institute of Technology. ] Rollestone has a background in Graphic Design, Interaction Design and Information Architecture. He brings over fteen years experience in the conceptual design, development and implementation of software-based tools and digital media experiences; eleven years in industry based user
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RESEARCH/ INNOVATION: NEW CRITICAL THINKING
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
L
Nicole Wragg Denise Whitehouse
Faculty of Design, Swinburne University, Melbourne, Australia
centred web application development and four years in interaction design research at the Royal College of Art (RCA) as tutor in Computer Related Design (now Interaction Design) and as an Interval Research Fellow. During this time, Giles created the multi-award winning CD-ROM projects Urban Feedback and Urban Feedback London Tokyo, Tokyo Nomad. Urban Feedback was published on Neville Brodys Research Arts Label. After the RCA, Giles worked for Meta Design, Scient, SBI and Company, Sapient and Icon MediaLab amongst others, as a Senior Information Architect and User Experience Design Consultant. His research interests range from; audio & speech visualisation; memory & experience of place; networked information services and design methods for innovation. Giles is currently a Ph.D. candidate in Communication Design at Central Saint Martins College of Art and Design, University of the Arts, London.
EXAMINING HOW COMMUNICATION DESIGNERS UNDERSTAND THE CONCEPT OF INTERACTIVITY AND THE DESIGN APPROACHES AND STRATEGIES THEY USE TO IMPLEMENT THEIR UNDERSTANDINGS IN DESIGN FOR THE WORLD WIDE WEB (WEB)
An issue that confronts us when speaking about design is the breadth and ambiguity of design terminology. In particular, in relation to web design concepts such as interactivity, it is not clear whether tacit knowledge has marginalised Communication Designers entry into web design and whether their understanding of interactivity continues to pose a problem when designing for the web. To understand current changes in design thinking relating to web design, it is important to explore the multifaceted role interaction plays within the design process and trace the origins of the web and the gradual involvement of Communication Designers. This paper will explore the implications and impact of Web Design for Communication Designers focusing on how designers perceive and implement interactivity within web design and the driving forces behind this. We intend to investigate how previous design practise has inuenced perceptions of the web and shaped the way Communication Designers design for the web. It is my intention also to establish a common framework within which interaction and interactivity is understood and contextualised in terms of web design. The rst section of this paper addresses the changes in the practice of graphic design due to the impact of the Apple Macintosh (Mac) computer in the 1980s as evidenced in magazines such as migr, Creative, Print and promotional writings such as Typography Now: The next wave. Within this analysis we note the changing perception and distinction between embodied interaction; actor-network interaction and computer mediated interactivity in the design process. Finally we will reect on earlier inuences and assumptions that have shaped Communication Designers perceptions and implementation of interactivity and interface within Web design.
Wragg is the Academic Leader of Communication Design at the Faculty of Design, Swinburne University. She has worked extensively in the design industry and taught in Higher Education both in Australia and Internationally. She is published within the elds of design and is undertaking her Ph.D. that focuses on the notion interactivity in Web Design and the implications for Communication designers. Whitehouses work as a design educator and design historian has involved the development of innovative design and cultural history programs the most recent of which involves the online delivery of an introductory undergraduate course in Twentieth Century Design. She is published within the elds of design history and Australian design - historical and contemporary, and is a leader of an Australian Research Council funded Designed Learning Environments research project.
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RESPONSIVE CURRICULA: SHIFTING PARADIGMS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
A
Jonathan Baldwin
School of Design, Duncan of Jordanstone College of Art and Design, University of Dundee, Dundee, UK
B
Roberto Bruzzese
MDes. (Communication Design) Candidate, RMIT University, Melbourne, Australia
THE LOST BOYS (AND GIRLS): IS THE DESIGN INDUSTRY WASTING GRADUATE TALENT BY MAKING IT START AT THE BOTTOM? A PROVOCATION
According to Creative and Cultural Skills, an organisation that claims to represent employers in the creative industries, British design is under threat, and its all the fault of academics. It seems we churn out far more designers than anybody needs and, among that number, employers cannot nd enough with the right skills. The design industry has never quite grasped the purpose or value of a degree. It seems to think that the only reason anyone would study design is to be a designer, and that more graduates means lower standards. No one really questions how it is that industry uses graduates, treating them like low-paid (or even unpaid) dogsbodies instead of intelligent, creative and innovative individuals who are more at ease in the modern world than any of the suits who run the company. It is odd that the creative industries should be so lacking in creativity and vision as to waste such a valuable resource in this way. Compared with other industries, where graduates are taken into roles with strategic responsibilities and allowed to direct the future of the company (the denition of a graduate job), design still insists on recruits starting at the bottom and working their way up, often over many years, no matter what their qualication. Could this be why British design is in trouble? Not only is it wasting the talent on offer by hiding it away for several years while it earns its stripes, it is also turning people off a career in design. Richard Florida has identied the things that todays creative class crave, and it isnt being stuck in front of a Mac for 50 hours a week, often for little or no pay. Maybe this is why employers cannot nd the people it needsthe jobs on offer are crap. Making graduates undergo yet another apprenticeship, and expecting them to have basic technical skills rather than higher thinking skills, is a bit like the construction industry putting newly qualied architects to work as brickies. Why does the design industry distrust academia so much? Why does it undervalue degrees in design? And why are UK policies signalling a shift towards industry-controlled training? Is the real threat to British design in the 21st century not a lack of technical skill, but the design industrys lack of vision and creativity when it comes to using graduate talent? This paper seeks to open up discussion about the role of the graduate in the design industry, (and the design graduate within non-design industries), and to establish an international sense of the value and expectations of the product of universities. Are we alone in Britain in losing our graduates by expecting them to start at the bottom, or is this an international phenomenon?
Baldwin is a lecturer at the University of Dundee where he teaches the cultural and social history of design to students from a number of disciplines. He has a wide range of experience in higher education, running graphic design courses at all levels. He co-authored, with Lucienne Roberts, the award-winning book Visual Communication: From Theory to Practice, which has quickly established itself as a core text on design courses worldwide. His research interests lie in design education and the links between academia and industry.
LEARNING AND TEACHING PRINCIPLES: A GATEWAY TO FACILITATE A RESEARCH-LEARNING ENVIRONMENT IN GRAPHIC DESIGN EDUCATION?
This presentation explores the question of how teachers are adjusting to the urgent need of research integration in graphic design curricula and what may be alternatives for creating a research-learning environment. The institutional environment has changed. With high enrolments and a wide range of academic ability of students in university, as in many disciplines, there is a focus on vocationally oriented courses. The design industry has also voiced concerns over the ability of graphic design graduates that can handle the analysis and solution of complex communication problems faced today. There has been much advancement towards the investigation of diverse methodologies and their relationship with practice and learning environments but there still remains a prevailing cloud on how to encourage process-led enquiries and deeper learning approaches in graphic design education. Recent studies have found that even with the awareness and use of research-led teaching, some methods are still directed towards the nal product instead of process outcomes (Brew 2001). In her article on the conceptions of research, Brew found that learning principles, theories and methods maybe the vital link between research and teaching. Another educator, John Biggs (1999), discusses and details the structure of an aligned curriculum and how it can support and promote a rich research environment where the teaching activities are student-focused. If we now understand why design research education is important, then, the next obvious step would be to investigate how to teach this within a practice and educational system where project-based learning environments prevail. Drew (2000) argues that it is the way teachers conceive of and approach teaching that encourages deep learning. Ramsden (2003) also describes how the goal in any teaching is to change the students approach to the subject matter they are learning. By actively inviting students to participate in their own learning teachers may nd channels towards higher cognitive levels of understanding. These deep learning environments can facilitate understanding. While they may not be directly linked to design research they can provide a pathway for students to actively participate in their learning of reection and process. In light of these changes, universities may need to investigate perceptions of teaching and learning in design departments and explore how pedagogical principles may be integrated in curricula that encourage process-based research. By doing so, we may be able to establish a strong relationship between design research and learning methods in graphic design education.
[ Brew, A 2001, Conceptions of Research: a phenomenographic study, Studies in Higher Educations, vol. 26, pp. 271-285. / Biggs, J 2003, Teaching for quality learning at university, Buckingham, Philadelphia, Society for Research into Higher Education, Open University Press. / Drew, L 2000, A disciplined approach: Learning to practice as design teachers in the university, Paper presented at Reinventing Design Education conference, Curtin University, Perth, Australia. / Ramsden, P 2003, Learning to teach in Higher Education, Routledge Falmer, London, New York. ] Bruzzese graduated in Publishing and Design at Langara College and trained at Emily Carr Institute of Art and Design. He has worked as an in-house print designer and advertising manager for various colleges in Canada and Italy. For a number of years he was co-director of Parpfo Communications, an identity design studio located in Vancouver, Canada. He has previously taught graphic design in Florence, Italy for ve years and currently teaches in the communication design department at RMIT University. His practice encompasses corporate identity and exhibition design. Currently, he is pursuing a Master of Design degree in communication design and his research covers the integration of design research in undergraduate curricula.
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Piers Carey
Department of Visual Communication Design, Durban University of Technology, Durban, South Africa
THE SHAPE OF THINGS TO COME, OR A STAB IN THE DARK? SPECULATIONS ON THE DIRECTION OF GRAPHIC DESIGN EDUCATION IN DURBAN, SOUTH AFRICA
This presentation will discuss a probable future issues relevant to Graphic Design education, particularly at the Masters degree level, in the Department of Visual Communication Design at the Durban University of Technology (DUT), Durban, South Africa. The current social context in Durban is highly complex in terms of culture and of the effects of historical and economic processes. South African society deals daily with factors such as the health crisis, (including HIV/ AIDS, Malaria, and TB), the effects of globalised media on indigenous languages and cultures, and fundamental social changes and disruptions brought about or exacerbated by processes such as consumerism, development and globalisation. These difculties are unlikely to be ameliorated soon, and may be further complicated by issues like climate change. The Graphic Design profession in South Africa is still dominated by the hegemonic cultural effect of contemporary Western graphic design, and the notion that designs primary function is to service consumerism. Both these issues affect South Africas ability to establish and/or maintain a viable and sustainable environment, culture and economy. The department sees its role as moving towards the development of designers who can contest these forms of dominance and contribute positively to the society, as a consequence of engaging in research that will assist both them and the process. There are signicant barriers to achieve this role for the department, students and designers. Cultural pressures in favour of Globalised or Eurocentric models of development, education, and the Graphic Design profession are probably the most signicant. In education our own experiences are mirrored in disciplines as unrelated as Law, where Majeke has reported on the complete lack of interest in Indigenous law on the part of students in two South African universities. We nd ourselves in a similar position to that described by Crossman and Devisch: most people recognised the problem (of localisation) and believed it to be an important issue, yet stated that little has been or can be done because of insufcient resources or because demands of participation in the global system of education and research made it impossible. Pityana restates this issue as part of the requirements of Transformation, which he clearly sees as part of a project of educational de-colonisation. In Graphic Design, the contest is between the Globalised visual culture, visual language and norms, centring on the printed English language and its typographical norms for the computer-typeset Roman alphabet, and computerised design technology; and the long but almost abandoned African visual traditions and graphic Systems. The South African designer of the future, if they do not wish to be a mere imitation of an American or European model of society, will need to develop a constructive accommodation between these disparate models.
[ Crossman, P & Devisch, R 2002 Endogenous Knowledge in Anthropological Perspective, [in] Odora Hoppers, CA (ed.), Indigenous Knowledge and the Integration of Knowledge Systems, pp. 96-127. / Majeke, AMS 2002 Towards a Culture-based Foundation for Indigenous Knowledge Systems in the Field of Custom and Law, [in] Odora Hoppers, CA (ed.), Indigenous Knowledge and the Integration of Knowledge Systems, pp. 141-157. / Pityana, N B 2004, A Decade of South African Higher Education Post Democracy: An Overview, viewed 2 August 2006 www.unisa.ac.za/contents/about/principle/docs/ AAU%202005% 20Assembly_1.doc ] Carey was born in England 1955. Studied Fine Art, and worked as Art School technician, freelance graphic designer and illustrator, and assistant cameraman on documentary lms, etc, before three years in the London printing industry. This led to two and a half years with a printing co-operative of ex-guerillas in Zimbabwe, which in turn led to South Africa, marriage, two children and eighteen years as a lecturer in Graphic Design at what is now the Durban University of Technology. Carey completed a Masters degree on African Graphic Systems, and currently teaches Graphic Design History and supervises senior students. At the end of 2007, the Department of Graphic Design merged with Photography to form the Department of Visual Communication Design, which he now heads.
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RESPONSIVE CURRICULA: SHIFTING PARADIGMS
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
D
Bronwyn Clarke
Programs Coordinator, Communication Design, School of Applied Communication, RMIT University, Melbourne, Australia
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
E
Mark Fetkewicz
Coordinator Graphic Design Program, School of Art and Design, University of Northern Colorado, Greeley, USA
F
R. Hakan Ertep
Associate Professor, Izmir University of Economics, Faculty of Fine Arts and Design, Department of Communication Design, Izmir, Turkey
POSITIONING VISUAL COMMUNICATION DESIGN IN COMMUNICATION FACULTIES: A NEW MODEL OR A NEW PROBLEM?
Visual communication design or communication design has recently become a rather popular term in design education, and also a favourite departmental title particularly in Turkish academia. Although its roots emanate from the graphic design discipline, a thorough enquiry shows that these new departments are being alienated from their ne arts and graphics origin and are being positioned in communication faculties rather than ne arts and design faculties. This recent trend does not stand on any rm grounds or rationale; in contrast it appears to be merely due to the existence of the word communication in the title of those faculties. This appears to be a relatively new model being applied in Turkey, which does not have a pervasive practice worldwide either. The programs of these departments carry the word design in their titles, yet in most cases they do not have proper communication design courses or academic staff members educated in design elds, nor do they share the responsibility to carry or display the aim of raising or educating potential designers. This recent trend, which is taking place predominantly in private Turkish higher education institutions, needs to be critically probed and discussed as this arrangement is becoming a conventional treatment in this country. The paper intends to analyse the relationship between graphic design and visual communication design in terms of paradigm, discipline, design education. The study will reveal a fairly comparative and comprehensive study between the practices of visual communication design departments in Turkey and many other countries. It also aims at describing the risks that exist in this recent model displaying the many precarious outcomes. The study further intends to discuss the issue in the framework of todays design education in order to attain a more modern and comprehensive set of academic standards.
Ertep studied graphic design at Kent State University, USA (BFA-1982), and Michigan State University (MA-1985) where he worked as a teaching assistant. Later, completed his Ph.D. at Bilkent University, Turkey in Media Studies (1996). He worked as an art director and graphic designer at advertising agencies in Istanbul and Izmir; taught classes in Graphic Design, Typography, Advertising Design, Portfolio Design, Signage Systems, and the History of Graphic Design at undergraduate as well as graduate level at prominent Turkish design schools such as Anadolu University, Bilkent University, and METU since 1990. He also holds a special interest in photography, which has lead him to enter various photography contests and open several exhibitions. Ertep joined the teaching staff of Izmir University of Economics in September 2004, where he continues teaching and also runs the Department of Communication Design as the Department Head.
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Will Hill
Senior Lecturer in Graphic Design, Anglia Ruskin University, Cambridge, UK
H
Sarah Jones
Monash University, Faculty of Art & Design, Department of Design, Melbourne, Australia
TYPOGRAPHIC LITERACIES
This paper develops themes introduced in my recent paper Teaching typography in the 21st century: Reviewing the fundamentals of typography in a post-modern design culture, delivered at the AGRAFA International design education conference in Katowice, Poland in December 2007. The paper will identify and consider emerging issues in the teaching of typography at degree level. It considers the view that while a typographic education remains fundamental to a designers visual literacy, its parameters and precepts need to be re-examined in the light of the post-modern conditions of the twenty-rst century. The paper contrasts the modernist perception of typography as a practical organizational discipline with the postmodern development of typography as an interrogatory or interpretative medium, and considers the nature of contextual and theoretical teaching required to complement and support intelligent and informed typographic practice. The paper develops the view that educating informed, intelligent typographers depends upon enhancing their knowledge in two key areas: perception of language and perception of history. The development of reective practice depends upon effective and informed contextualization, which requires a sound working understanding of design history, and a corresponding knowledge of critical debate within the discipline. The paper considers the concept of the typographer as both reader and collaborative author, and proposes the study of language as a key element of typographic education. The paper maps the emergence of typography as a medium of cultural awareness, an expression of response to language, and a medium for exploration of ideas and meanings. It will be argued that current conditions require a more extensive and varied typographic vocabulary than is offered by the modernist ideal. The paper considers the extent and variation with which these priorities are recognized or implemented in curricular design at undergraduate level in the UK. The paper will conclude that the possibilities of a postmodern condition, require a different kind of typographic literacy, that the education of a typographer extends beyond the mechanics of process into the exploration of culture; and that in order to ensure that students develop the necessary typographic literacies to function effectively, we must ensure that they develop an awareness of the culture of typography. These questions will be explored through reference to the authors own research and teaching but also to sources including David Crystal, Gunnar Swanson, Robert Bringhurst, Ellen Lupton, Rick Poynor, Hrant Papazian.
Hill is Senior Lecturer in Graphic Design at Anglia Ruskin University, Cambridge, and has for the past four years been pathway leader for the MA in Typographic Design. He is the author of The Complete Typographer (2nd edn.) 2004, and has given conference papers at the annual St Brides conference 2005, the Moving Type conference 2007 and the AGRAFA International Design conference in Katowice 2007. He has recently completed an MA in Typeface Design at the University of Reading, based around the design of a dual Latin/Cyrillic typeface and a dissertation addressing issues of postmodernity in type revivals. His work has been published in journals including Ultrabold, Zed and the Journal of the International Association of Word and Image Studies. He has also exhibited recent experimental print work at the Plus International design festival in Birmingham in 2007, integrating letterpress wood type and digital processes. He is a member of ATYPI and a participant in the ATYPI educators network.
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I
Beth E. Koch
Assistant Professor of Design, University of Minnesota, Duluth, USA
GRAPHIC DESIGN EDUCATION ISNT ENOUGH: INTERACTIVE AND DIGITALLY RESPONSIBLE COURSE DESIGN
Design educators teach a range of skills and topics that expands in direct proportion to the speed of technological change. In 2008, many graphic design programs require students to take courses in web, animation, interactive, or motion graphics in addition to other course requirements. To many educators it seems there isnt enough time in the already overcrowded design curriculum to teach these additional subjects. Even so, it is believed that incorporating a greater range of media will make students more marketable (Dyson & Picho-Owiny 2000). Employers want students who can manage digital media workows and develop creative projects, as well as implement the programming algorithms and technologies that power their digital projects. Yet students are overwhelmed about learning complex software and programming and they dont understand the four-dimensional problem-space of time-based projects. But learning software is the least of the problems in digital design. More than ever, design education must prepare students for change (Poggenpohl & Ahn 2002). Graphic design has long been organized around a problem solving approach (Kelly 1994), but recently Dyson & Picho-Owiny (2000) and Raein (2004) have suggested that teaching should embed theory within design projects to develop concepts that can transfer to different technologies. Most educators would agree that design instruction must include art, science, and technology (Findeli 2001) and that complex problems like those in nature and humanity require overarching orientations like systems theories, social sciences, and human studies. Swanson (1994) noted that design is integrative in that it has the potential to connect to many disciplines. By understanding cognition, emotion, physical, social, and cultural factors, designers can improve designs performance (Poggenpohl & Ahn 2002). What is needed is a new pedagogy for design. When considered in a purely philosophical sense, experience design could be the next pedagogical platform. It transcends technology, focuses on human beings and multiple senses, and suggests an interdisciplinary approach. It considers human perception, action, reection, and aesthetics (Findeli 2001). Importantly, the experience philosophy explores characteristics common to all media (Shedroff 2008). Still, graphic designers need to know how to design for a number of contexts. Software training is not the answer. Rather, principles and classical frameworks from allied disciplines can help designers think in new ways. Projects in advanced typography and interactive design subjects have begun introducing classical frameworks from cinema, lmmaking, acting, and music in order to help students understand time-based environments and broaden the range of creative responses.
[ Dyson, M & Picho-Owiny, C 2000, The integration of theory and practice in teaching designing for the screen, Digital Creativity, vol. 11, no. 1, pp. 17-33. / Findeli, A 2001, Rethinking design education for the 21st century: Theoretical, methodological, and ethical discussion, Design Issues, vol. 17, no. 1, pp. 5-17. / Kelly, RR 1994, Postwar graphic design education: A conclusion, Graphic Design Education Association Bulletin, January. / Poggenpohl, SH & Ahn, SS (2002), Between word and deed: the ICOGRADA design education manifesto, Seoul 2000, Design Issues, vol. 18, no. 2, pp. 46-56. / Raein, M 2004, Integration of studio and theory in the teaching of graphic design, Art Design & Communication in Higher Education, vol. 3, no. 3, pp. 163-174. / Shedroff, N 2008, viewed 20 April 2008, www.nathan.com/me/index.html / Swanson, G 1994, Graphic design education as a liberal art: design and knowledge in the university and the real world, Design Issues, vol. 1, no. 1, pp. 53-63. ] Koch is an Assistant Professor of Design at The University of Minnesota Duluth (USA) where she serves on the graduate faculty and teaches typography, graphic design, interactive design, and senior and graduate studio courses. Apart from teaching and academic administration, her extensive experience in practice has garnered numerous awards including prestigious CLIOs, International Advertising Festival, Echo, Midwest Book Awards, AAAI Golden Circles, ADDYs, and the Mary Hoover Award for Teaching Excellence. She holds an MFA with Honors in Design, Housing & Apparel with an emphasis in Interactive Design from the University of Minnesota, and a BFA in Visual Communications from Herron School of Art at Indiana University Purdue University at Indianapolis. She is currently pursuing a Ph.D. at the University of Minnesota to investigate how emotional design might improve learning in interactive experience design.
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Louise J.I. McWhinnie
University of Technology Sydney, Sydney, Australia
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Eilish ODonohoe Howard Riley
Faculty of Art & Design, Swansea Metropolitan University, Swansea, UK
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Eden Potter
Designers Institute of New Zealand (DINZ) Associate Member, Education Sector and AUT Universitys School of Art & Design, Auckland, New Zealand
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Assistant Professor, Graphic Design, Massachusetts College of Art and Design, Boston, USA
Joseph A. Quackenbush
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NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Patrick Roberts
University of the Arts, London, UK
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Department of Graphic Design, Virginia Commonwealth University, School of the Arts in Qatar, Doha, Qatar
THE IMPACT OF EMERGING EASTERN DESIGN SENSIBILITIES ON ESTABLISHED DESIGN STRUCTURES SUCH AS THE GRID
What are the relevance of traditional communications concepts such as grid systems in contemporary multi-modal environment? This paper will endeavor to establish that Western ideals such as the grid are no longer relevant in a society. It proposes the need to shift from the reductive/rational ideals of Western thinking to an international mindset that blends Eastern and Western ways of thinking. The paper will then evaluate what is being pursued within contemporary design to take the grid forward, which incorporates new ways of thinking. It will also investigate new developments within science and technology and the ways in which these are affecting society as an insight in to how the grid may further develop as a central systematic communication concept.
Roberts is a subject leader/principle lecturer BA Graphic Design at Camberwell College of Arts and Asociate Director of the research unit for Information Environments. His Doctoral thesis (London School of Economics) researched language as a structuring principal of knowledge management. Commercial experience includes Habitat catalogue design and art direction, wagamamaconcept creation, Adidas, Heals corporate identity, BBH, Carluccios, Unicef, HSBC, Alessi, Alvar Aalto Foundation, M&S, Sainsburys, Kings College, UNICEF. Directorships include Design director London Lighting Co., Architectural Lighting Ltd, and Pradesign. Publications include most recently Graphic Design: This Way, co-author with Peter Anderson and designer (Zidane Press 2007); with Judith Passow, Shattered DreamsIsrael and the Palestinians (Halban, 2008); and author and designer of Laws of Informationwhen does data become information and when does information become knowledge (Zidane press, 2008).
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Joshua Trees Yvn Martnez Arguiarro
Art Center College of Design, Gerrit Rietveld Academie, San Francisco Art Institute, San Francisco, USA
Phatanateacha is originally from Thailand and is an Assistant Professor currently teaching at Virginia Commonwealth University School of the Arts in Qatar. She received her Bachelor of Fine Arts from the University of Utah and Master of Fine Arts from Virginia Commonwealth University Richmond, Virginia. She had worked at the international multi-disciplinary design rm RTKL Associates Inc. for branding and environmental design in Baltimore, Maryland USA. She also served as Alumni Managing Liaison, supervising and supporting communication and cooperation between the Fitch Qatar Ofce of Fitch London and VCU Qatar. In addition Ms Phatanateacha is an author of Passage Through Qatar and Charm of the City, publications about Qatar with Photographer Hani Nakib. She is also a co-author of Revival of the Fittest: Digital Versions of Classic. Her work has also been published in The Color Management: A Comprehensive Guide for Graphic Designers, a publication dealing with the physical and psychological effects of color. Her current research interests concern the transitional period from academic environment to professional environment. She is working on the development of a model for the organizational structure for design studio that will be implemented in design curricula. As a result of her research interest, Phatanateacha has been involved in the development of the design curriculum for VCU Qatar. Martin has been teaching graphic design at Virginia Commonwealth University School of the Arts in Qatar since September 1999. His experience of working in design education within a multi-cultural context has inspired his particular interest in design problem denition methodology, contextual design, design performance evaluation, design education, and cross-cultural information design. These interests are actively being pursued in his scholarly research. Martins background includes a B.S. in Environmental Design and Analysis from Cornell University and an M.F.A. in Communication Arts and Design from Virginia Commonwealth University, as well as ve years of professional design experience. Also, his travels and photography in nearly 50 countries has exposed him to the tremendous diversity of form, meaning, and context that is critical to the performance of design.
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Assistant Professor of Visual Communication, Herron School of Art and Design (Indiana University), Indianapolis, USA
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Jeremy Tridgell
University College Falmouth, Falmouth, UK
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CLUSTER
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Yoko Akama
Communication Design, School of Applied Communication, RMIT university, Melbourne, Australia
B
Carolyn Barnes Simone Taffe
Senior Research Fellow in the Faculty of Design, Swinburne University of Technology, Melbourne, Australia Coordinator of the Communication Design programs in the Faculty of Design, Swinburne University of Technology, Melbourne, Australia
KNOWLEDGE IN PRACTICE: USING PARTICIPATORY GRAPHIC DESIGN TO ENCOURAGE SAFE AND SUSTAINABLE INDOOR CLEANING
The theory of mode 2 knowledge production, while in some respects contentious, suggests a socially engaged way of being a design researcher, codifying a pattern of interdisciplinary research that engages with specic problems in real world contexts. This paper describes such a project, being based on research carried out as part of the Safe and Sustainable Indoor Cleaning project (SASI Clean), a government-funded pilot study into the promotion of sustainable cleaning in childcare centres in the Australian state of Victoria. Low-chemical cleaning practices are recommended for cleaning surfaces like baby change mats and play tables in childcare. Currently, however, a medley of surface sprays, disinfectants, harsh detergents and air-fresheners are used in many childcare centres, demonstrating that information alone can be inadequate to the task of inuencing attitudes and behaviour. To address this problem the project brought together a team consisting of sustainable cleaning consultant, bureaucrats from three tiers of government, childcare workers, environmental scientists, graphic designers and microbiologists. The projects rst objective was to demonstrate worthwhile reductions in environmental impacts while maintaining hygiene. The second was to identify the real and perceived barriers to the adoption of safe and sustainable cleaning and to propose solutions as a result of this study. The project undertook a participatory design process to integrate childcare workers knowledge of the human and material context for information delivery with designers knowledge of visual communication and design production. In elds including architecture, urban design, humancomputer interaction and product design, participatory design encompasses a diversity of methods and motives for involving end-users and other stakeholders in design. Graphic design, however, lacks signicant applied studies in participatory design as the paradigms and methodologies for its application are not yet established. In the SASI Clean project, its participatory design process incorporated various graphic design techniques for idea generation and design renement. These were oriented to the philosophical perspectives of the global investigation, which was not simply to deliver quantiable environmental benets but to afford childcare workersso often the subjects of externally imposed expectationsa measure of self-determination in their working life. Scope for mutual learning, the exchange of critical knowledge and collaborative creation was thus privileged over more basic issues of the efcacy of information. The paper uses a case study approach for its capacity to address the whole context of the applied project, allowing for the drawing of specic insights and the beginnings of theory development; the vignettes we present revealing the challenges in applying participatory design within multidisciplinary projects.
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Noel Douglas
Senior Lecturer, Programme Leader in Graphic Design and Illustration, University of Bedfordshire, Luton, UK
MYSPACE?
To call on people to give up their illusions about their condition is to call on them to give up a condition that requires illusions. Karl Marx Imagine a city where grafti wasnt illegal, a city where everybody could draw wherevever they liked. Where every street was awash with a million colours and little phrases. Where waiting standing at a bus stop was never boring. A city that felt like a living breathing thing which belonged to everybody, not just the estate agents and barons of big business. Banksy Neo-Liberal Capitalism has drastically altered the shape and fabric of key cities around the world. More than any other country in Europe the UK has slavishly followed these policies for the last quarter of a century. London in particular represents a city that embodies these values in explicit ways in its organization of space and public life. This presentation will address how Neo-Liberal values and ideology are expressed and visualized through the forms of graphic imagery and systems that adorn the urban spaces of London. It uses the theories of alienation, commodity fetishism, semiotics and the everyday, drawn primarily from Marx, Trotsky, Lefebvre, Berger, Fromm, Voloshinov, Harvey and the Situationists. It will focus on how imagery is used to help the commodication and privatization of space and make an argument for how this impoverishes, not only the space we live in, but also our relations with each other and our very being. The presentation will contrast this enclosure with examples of artists, designers and activists projects drawn from the social and political movements of the past decade that attempt to either open up the urban space to dialogue and debate or re-imagine what the city could be through graphical forms. By looking at a range of contemporary and historical examples, the presentation will attempt to look forward to ask, what is the potential for the city to become a space beyond alienation and commodication? What role does imagery play in this? Ultimately the kind of cities we want to live in the future cannot be divorced from what kind of people we want to be. We face an uncertain future and we need to examine our options. This presentation will make an argument for an engaged graphic practice that attempts to raise questions and open up new possibilities for the eld of art and design.
Douglas is an artist, designer and activist who work across a range of media. He completed an MA in Computer-Related Design at the Royal College of Art in London and also holds a BA in Fine Art. Recent projects have included a residency using Europes largest slide projection system at Ars Electronica in Linz, Austria and the bestselling satirical pack of playing cards Regime Change begins at Home and with the Greater London Authority as an organiser of a three-day cultural programme for the European Social Forum. He writes regularly for cultural publications including Eye the International Journal of Graphic Design and his publications include, as Editor Website Graphics Now (Thames and Hudson 1999). His work is part of the permanent collection of the British Museum and has been featured in Adbusters magazine (Canada), Atlas magazine (USA), Art Monthly, Blueprint, Dazed and Confused, The Economist, The Guardian, Malababa (Spain), Mute, NME and Time Out.
Barnes is a Senior Research Fellow in the Faculty of Design, Swinburne University of Technology, Melbourne, Australia, where she is involved in a range of research projects investigating the role of art and design in public communication. These include the role of design and national self-representation in Australias pavilions at world expositions; the use of participatory design as a resource for public information campaigns and designs role in brokering knowledge, meaning and visitor experience in the contemporary museum. Carolyn holds a Ph.D. from the University of Melbourne. Her monograph on the Hong Kong Australian artist John Young was published by Craftsman House in 2005. She is an assistant editor of the International Journal of Design. Taffe is Coordinator of the Communication Design programs in the Faculty of Design, Swinburne University of Technology, Melbourne, Australia. Simone has 15 years industry experience working in leading Australian design consultancies, including FHA Futurebrand where she worked on many large-scale branding projects. For seven years she managed the City of Melbournes design and communication service, leading a comprehensive re-branding project that saw the municipality be the rst to shift from a heraldic crest to a modern corporate identity system. She later managed this process for four other Victorian municipalities. Simone holds a Master of Arts (Design) from Royal Melbourne Institute of Technology and is currently a Ph.D. candidate in the Faculty of Design, Swinburne University of Technology, researching the role of participatory design in design management.
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Anna Gerber Zo Whitley
Independent V&A Museum, London, UK
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Neal Haslem
Ph.D. candidate, RMIT University, Melbourne, Australia
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Russell Kerr
RMIT University, Melbourne, Australia
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Susan King Roth
School of the Arts, Virginia Commonwealth University, Richmond, USA
FOR WE ARE YOUNG AND FREE. DESIGN + MANIFESTO = A NEW WORLD ORDER
The real world can be a nasty place; rampant consumerism and wealth generation now underpin all aspects of human function. This way of life is not sustainable and generally does not value equality or human life in any meaningful way. The graphic design industry thrives on income earned from peddling misconceptions, and the virtues of lust and excess. These actions lead to gentrication of culture and the degradation of living standards for the vast majority of inhabitants of this planet. This paper outlines the role socially aware graphic designers can play in shaping a just real world. It discusses the need for a real world manifesto that positions graphic design in a wider social context, not one that compromises its principles by failing to acknowledge the inherent problems of consumerism. Attempts have been made to change the landscape in which graphic design occurs, most notably the First Things First manifesto. For me First Things First doesnt go far enough in specifying the underlying link between graphic design and the problems mentioned above. First Things First raised important issues but failed to adequately relate graphic design to the personal accountability of the designer. Another example to be discussed is the Designers Accord (www.designersaccord.org). While being an advancement on First Things First I believe that it does not go far enough in its vision, merely focusing on sustainability and failing to address graphic designs capacity to effect positive social change through socially responsible and ethical practice. A meaningful manifesto needs be hard hitting and address three key areas of concern; sustainability, social responsibility and ethical practice. A meaningful manifesto would denounce designers who work on sustainable projects while simultaneously undertaking commissions for companies who engage in questionable practices. Such a manifesto would set the bar for entry deliberately high. Adopting such a stance would give the manifesto relevance and command respect, and would not merely be a feel good initiative. I believe the way to formulate such a manifesto is to begin discussions on these issues where the formulation of graphic design thinking is at its most impressionable; within design curriculums. I will present a survey of graphic design students, staff and recent graduates from the Communication Design at RMIT University, (a structure indicative of the majority of design curriculums across the industry). This survey will be used to support a discussion on what needs to be done to formulate a meaningful manifesto. Further I will discuss a project conducted by graphic design students who were asked to develop a position statement discussing What is graphic design? The resulting submissions clearly dene a vision for the future of graphic design.
Kerr is an Artworker, Activist and Educator based in Melbourne, Australia. He creates hand-made, screen-printed posters for grassroots political organisations and social causes. Since 2006 he has been the Honours coordinator at The Works, RMIT Universities Design Consultancy. He has a Masters in Public Advocacy and Action from Victoria University and a Bachelor of Arts in Graphic Design with Honours from the University of Ballarat. He has extensive professional experience in the design industry, he spent three years working at one of Australias premier design studio, Inkahoots, before moving on to set up his own studio, Transfer Press. Kerr continues to practice design working with grassroots community organizations and creating street based art and screen-printed posters with political content. His work is in the permanent collections of the State Library of Victoria and the Centre for the Study of Political Graphics, Los Angeles. Russell is a founding member of Australian Disruptive, a collective of graphic activists established to cultivate social change through graphic agitation. In 2006 Russell formed the Whale Conservation Front, a not for-prot organization advocating the conservation of whales through visual communication.
MOVING ON, MOVING OUT: FUTURE SCENARIOS FOR DESIGN EDUCATION & PRACTICE
Jared Diamond, author of Collapse: How Societies Choose to Fail or Succeed (2007) examined factors that caused civilizations of the past to collapse. One factor appears to be the isolation of leadership from problems experienced by the rest of society. Industrialized nations support the pursuit of prot and accumulation of wealth through incentives and policies that benet some, but do not necessarily promote democratic ideals or address basic needs. Design has participated in this worldview by association with business and industry but an underlying current of altruism and social responsibility has surfaced at the beginning of the twenty-rst century with the potential to become mainstream. This focus on ethical issues, expanded models of practice, challenges to the status quo, and a sustainable role for design and education in the real world are explored through alternate future scenarios. The global context for design activity is sobering. Reports of oppression, genocide and religious extremism dominate the media; poverty and preventable diseases continue to devastate populations around the world. Climate change is irrefutable and possibly irreversible. Environmental degradation and the socioeconomic impact of addiction to fossil fuels (war, ination, terrorism) are as threatening today as nuclear attack appeared to an earlier generation. Access to clean water is a challenge in many parts of the world and thousands of children die each day due to unsafe water and poor sanitation. Not long ago it seemed possible to envision a utopian future based on the development of new technologies, global communities of interest, freedom from disease and hunger and an increasing standard of living. Since 9/11 the possibility of a dystopic future seems equally feasible. Under such daunting circumstances, can design intervention really make a difference? Will designers develop products and communications that produce long-term benets for society as well as short-term gains for business and industry? Which signicant or seemingly intractable problems can be addressed successfully by design, and who will fund design in the public interest? Future scenarios provide a device for envisioning models of design with the potential to address problems experienced by the rest of society. The rst scenario extends pro bono design activity through mass collaboration with a visionary twist. The second overwrites traditional practice with concept design, strategic thinking and a global perspective. The third has predictive potential. Scenarios are presented with reference to recent writings on the topic to provoke dialogue on the future of design and education.
[ Diamond, J 2007, Collapse: How Societies Choose to Fail or Succeed, Penguin Books, London. ] Roth is Associate Dean for Research and Academic Affairs and Associate Professor of Graphic Design in the School of the Arts, Virginia Commonwealth University. She has an undergraduate degree from Cooper Union and graduate degree from Ohio State University and has practiced design for New York City, the Whole Earth Epilog and others. She was Chair of Industrial, Interior & Visual Communication Design and Co-founder/ Co-director of the Center for Interdisciplinary Studies in Art and Design at Ohio State University. Publications and presentations focus on design research, human-centered design and interdisciplinary education. Research on the design and usability of voting systems received widespread attention following the presidential election of 2000 including testimony for national panels, citations and interviews in the media and participation in federally-funded research. She is Vice President of NASAD, reviews educational programs of art and design throughout the US, and chairs the Design Futures Working Group.
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Paul Linnell
Senior Lecturer, Graphic Design, De Montfort University, Faculty of Art and Design, Leicester, UK
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Peter S. Martin
Department of Graphic Design, Virginia Commonwealth University, School of the Arts in Qatar, Doha, Qatar
THE GRAPHIC DILEMMA IN USER INSTRUCTIONS EXPLORING THE GAP BETWEEN PAST GRAPHIC DIVERSITY IN INSTRUCTIONAL MATERIAL AND CURRENT PRACTICE
The history of user instructions demonstrates a graphic diversity and freedom from the conventionality that typies current examples, especially those that attempt to explain the operation of new technology products to ordinary consumers. This paper shows how ideas from graphic design history can be used both critically and creatively to question and improve current practice. The overall aim of the project is to formulate a new model that will benet both the user and the manufacturer as an integrated part of brand communication. Firstly, this paper will dene the problem: it will attempt to trace and explain the separation of research into the effectiveness of user instructions from the broader ow of graphic design practice and research. Current user instructions demonstrate a limited graphic language that has evolved through a science-based quantitative research methodology. This process measures the readers cognitive responses in articial test conditions. The visual outcomes have failed to satisfy the increasing need for user instructions to be both simple and an integrated, consistent tool of brand communication between manufacturer and user. Secondly, the paper explores the potential through a range of examples from the history of user instructions. Examples will focus on those that introduce new technology to a domestic context. These demonstrate both the aesthetic and rhetorical breadth of graphic language, as well as their signicance to specic audiences. They illustrate attempts to resolve the conicting demands of technical instruction whilst promoting brand values and persuading users of the benets of new technology. Design historians such as Brockmann and Atteld have shown that exploring design ideas from a real-user context can provide an alternative, more meaningful and relevant assessment of designed artifacts. Finally, this paper will describe research practice, showing how visualised qualitative methods can analyse rich and signicant graphic communication content, considering visual rhetoric and relevance to the users context in addition to instructional content. This method can be used to extract ideas and content from instructional documents, which could provide design principles incorporating contextual relevance and value to the user. This parallels recent trends in other areas of design that explore beyond mere functionality to the emotional signicance and users experience of design.
Linnell is Subject Leader for Graphic Design and Course Leader for BA (Hons) Graphic Design at De Montfort University. His specialist areas are typography, information and instructional design. He is also External Examiner for BA (Hons) Graphic Design at University College Suffolk in Ipswich. Before teaching, he worked in Higher Education as a graphic designer and design team leader in educational technology, producing instructional materials and graphic information systems. He designed a series of self-study workbooks on transferable skills for undergraduates, published by Kogan Page. Other includes a teachers pack on racist bullying for Leicestershire Constabulary. He is also currently studying part-time towards a Ph.D., which investigates the effectiveness of graphic communication of user instructions for new consumer technology. He is a member of the Typographic Circle, IIID, Design History Society and Design Research Society. He has presented papers at the Design History Society conference, TU Delft, and the Design Research Education East Midlands (DREEM), Nottingham, both in 2006.
PAINTING NEW SHADES OF GRAY IN THE DESERT: A CASE OF EXPLORING GRAPHIC DESIGNS CAPABILITIES IN IDENTITY CONSTRUCTION OF YOUNG MODERN ARABIC WOMEN
Buckminster Fuller declared that change is our only constant. This seems to be an increasingly apt paradox to attribute to our globalizing world as it aggressively equips itself for rapid adaptation, integration, and innovation. Systems of identity perpetuation operating within the intergenerational relationships inherent in traditional societies are being transformed, abandoned, or assimilated into mediated environments comprised of increasing degrees of hybridity. Individuals less automatically assume identities provided to them by their culture as they increasingly negotiate and utilize identity fragments that are encountered within the diverse and mediated contexts of everyday living in a globalizing world. If this modern context is navigated without sensitive support and contextual processes of identity construction, individuals can become vulnerable to arbitrarily selected identities or can become susceptible to a desperate reaction of localization; of which both situations are not sustainable leaving individuals subject to depressive and/or violent conditions. This paper presents a graphic design potential-seeking project that is pursuing identity construction strategies and methods for the modern Arab woman. This project is the quest of a community of 25 senior-level graphic design students who are all young Arab women living in the modern context of a hybridized society where it is impossible for them to live the same lives as their mothers. With themselves as a point of departure, this project is following a process of research and innovation in graphic design to develop visually communicated identities for the Modern Arab Woman that will be proposed (5 May 2008) for development and implementation to augment an ongoing multi-year Arab women identity research project funded by Qatar National Research Fund. This paper will present a model of graphic design that asserts that identity construction is at its core. Using this perspective as a foundation the paper will establish a case study of this project to demonstrate and evaluate the capacity of graphic design (research, process, thinking, and generation) to construct functional identities for members of communities and demographic sectors within dynamic and hybridized societies. In conclusion, this paper will argue that the process of graphic design is one of globalizing worlds most powerful tools to construct sustainable social identities within the modern condition of change that is constant.
Martin has been teaching graphic design at Virginia Commonwealth University School of the Arts in Qatar since September 1999. His experience of working in design education within a multi-cultural context has inspired his particular interest in design problem denition methodology, contextual design, design performance evaluation, design education, and cross-cultural information design. These interests are actively being pursued in his scholarly research. Martins background includes a B.S. in Environmental Design and Analysis from Cornell University and an M.F.A. in Communication Arts and Design from Virginia Commonwealth University, as well as ve years of professional design experience. Also, his travels and photography in nearly 50 countries has exposed him to the tremendous diversity of form, meaning, and context that is critical to the performance of design.
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GRAPHIC DESIGN: CHANGING THE REAL WORLD
NEW VIEWS 2 CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN
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Ellen McMahon Erin Moore
School of Art, University of Arizona, Tucson, Arizona USA School of Architecture and Landscape Architecture, University of Arizona, Tucson, Arizona USA
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Alistair S. Ross
Central Saint Martins College of Art & Design, University of the Arts, London, UK
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PRIVATE VIEW NEW VIEWS: CONVERSATIONS IN GRAPHIC DESIGN AN EXHIBITION OF 40 POSTERS FOCUSSING ON THE FUTURE OF THE PROFESSION
THE WELL GALLERY THURSDAY 10TH JULY 6:00 8:30PM THE EXHIBITION CONTINUES 9 19TH JULY 2008 MONDAY FRIDAY 10:00AM 6:00PM, SATURDAY 10:00AM 4:00PM
Situated within an academic symposium, New Views: Conversations in Graphic Design makes a vital contribution to the events exploration of conversations and dialogues in graphic design. Typically academic investigations into a eld design practice and theory are undertaken through written or spoken text that links to imagery. In this case, we wanted to extend the possibilities of critical and reective discourse in graphic design, and do this through the medium of design itself. The exhibition has been conceived of as a conversation, where images speak to others and to the audience. Submissions based upon the themes of the symposium have been received from around the world from students, design professionals and academics. The exhibition is divided into two components: physical and digital. All works that are presented were selected through a rigorous curatorial process. 40 of the submissions were selected to be part of of the physical travelling exhibition that is featured in this catalogue. These, plus another 60 images, combine to create the visual conversation that is the digital exhibition. The exhibition is rst shown in conjunction with the symposium, at London College of Communication, London. It then travels to Melbourne, Australia, where it will be exhibited in the Design Gallery at the Museum of Victoria.
CO-CURATORS: Dr Laurene Vaughan, Professor Teal Triggs with the assistance of Dr Yoko Akama SOUND RECORDINGS: Marius Foley PRINTING: Graham Diprose DIGITAL EXHIBITION DESIGN: Miek Dunbar, Keith Deverell, Greyspace TECHNICAL SUPPORT: Nicolas Marecha, David Sims Special thanks to those involved in the exhibition and to our partner institutions and sponsors.
The digital gallery may be accessed through:
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SYMPOSIUM VENUE: London College of Communication University of the Arts London Elephant & Castle SE1 6SB London UK TRAIN: The Elephant & Castle site is connected by Thameslink trains from Blackfriars Station UNDERGROUND: Both the Bakerloo and Northern Lines stop at Elephant & Castle BUS: Elephant & Castle is extremely well provided for with buses including: 1, 12, 40, 45, 53, 68, 133, 171, 176, 188 CAR: LCC does not have the provision for on-site parking. Please also note the college is inside the Central London Congestion Charging Zone For up-to-date and more detailed travel information see TRANSPORT FOR LONDON: www.t.gov.uk
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NEW VIEWS 2: CONVERSATIONS AND DIALOGUES IN GRAPHIC DESIGN AN INTERNATIONAL SYMPOSIUM DEFINING GRAPHIC DESIGN FOR THE FUTURE 9 11 JULY 2008 LONDON COLLEGE OF COMMUNICATION UNIVERSITY OF THE ARTS LONDON UNITED KINGDOM
WWW.NEWVIEWS.CO.UK