Methods for a Critical Graphic Design Practice
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Zuzana Licko’Dur
Slovak dilini konuşup geleneklerini servet kazanmak için kestirme sürdürürken, okulda ikinci bir dili bir yol olacağını düşünmüşlerdi. ve yeni âdetleri öğreniyordum. Başlangıçta amaç sadece Hollandalı Bu benim farklılıkların farkına sanatçılara odaklanmaktı, ama varmamı sağladı ve bana bir sonraları içeriği yurt dışında yabancının bakış açısını verdi. Aynı çalışanları kapsar hale gelince ismi, zamanda muhtemelen her şeyi uygun biçimde, Emigre oldu. Uzun sorgulama eğilimimi geliştirdi ve ön lafın kısası, Rudy’nin arkadaşları yargıları sorgulamayı öğretti, bunlar derginin umdukları gibi kârlı da beni tasarım mesleğine çeken olmayacağını anlayınca dergiyi bize şeyler oldu. bırakıp gittiler. O sıralar ben zaten Mac ile yarattığım bitmap fontları doğmuş ama Kaliforniya Dijital yazıtipi tasarımıyla dergide kullanıyordum. Fontların dolaylarında yetişmişlerdi ilgilenmeye başlayan ilk grafik 1985’te Emigre’yi çıkartmaya tasarımcılardan ve Mac kullanan başladığımızda Mac’te sayfa ve bu yüzden girişimlerine ilk yazıtipi tasarımcılarından düzeni programları yoktu. arkasındaki Emigre (Göçmen) Grafik birisiniz. Bu nasıl oldu? PostScript ve lazer yazıcılar bile adını koydular. Aslında Resim yapmayı, Legolarla oynamayı henüz yoktu. Yazıtiplerini nokta yüzler gurbetçiler için mizahi ve matematiği seven bir çocuktum. vuruşlu ImageWriter yazıcılarda bir sanat dergisi olarak Bu yüzden mimar olmak istediğimi düşündüm ve UC Berkeley’de MRS EAVES OT Zuzana başlamış olan Emigre Çevre Tasarımı Bölümüne girdim. Dergisi zaman içinde Okula başladığımda, fotoğrafçılık, tipografi için son derece tipo ve tipografi gibi yan derslerle Licko etkin bir vitrin haline daha fazla ilgili olduğumu fark ettim. Bölüm Görsel Çalışmalar MyFonts, Creative Characters, gelmiş ve yazıtiplerinin programını durdurmuştu, ancak sayı 105, Haziran 2016 tartışıldığı avangard birçok mimarlık öğrencisinin Çeviri: Ayşe Dağıstanlı bir foruma dönüşmüştür. ufkunu genişleteceği düşünüldüğü Yaratıcı yeniden için bu dersler iptal edilmemişti. -
Acquisitions
Acquisitions Objects are presented in order of acquisition. African Art Ancient and 2008–09. Gift of A Practice for Everyday Life (APFEL), and Indian Art Byzantine Art 2013.1058. of the Americas A Practice for Everyday Life Finger Ring with Intaglio (APFEL) (English, founded Depicting Eros, 3rd century 2003), Kirsty Carter (English, Container Depicting Warriors, a.d., Roman. Gift of Dorothy born 1979), Emma Thomas Rulers, and Winged Beings with Braude Edinburg to the (English, born 1979), Performa Trophy Heads, 180 b.c./a.d. Harry B. and Bessie K. 09 Graphic Identity System, 500, Nazca, South Coast, Braude Memorial Collection, 2009. Gift of A Practice Peru. Gift of Edward and Betty 2013.1105. for Everyday Life (APFEL), Harris, 2004.1154. Solidus of Empress Irene, a.d. 2013.1059. 797/802, Byzantine, minted A Practice for Everyday Life in Constantinople. Gift of the (APFEL) (English, founded American Art Classical Art Society, 2014.9. 2003), Kirsty Carter (English, Statuette of a Woman, c. 450 b.c., born 1979), Emma Thomas J. Robert F. Swanson (1900– Greek, Boeotia. Katherine K. (English, born 1979), Performa 1981), Pipsan Saarinen Adler Memorial Fund, 11 Graphic Identity System, Swanson (1905–1979), Eliel 2014.969. 2011. Gift of A Practice Saarinen (1873–1950), made for Everyday Life (APFEL), by Johnson Furniture Company 2013.1060. (1908–1983), Nesting Tables, Architecture A Practice for Everyday Life c. 1939. Gift of Suzanne (APFEL) (English, founded Langsdorf in memory of Martyl and Design 2003), Kirsty Carter (English, and Alexander Langsdorf, born 1979), Emma Thomas 2006.194.1–3. Joel Sanders (American, born (English, born 1979), Performa Union Porcelain Works (1863– 1956), Karen Van Lengen Relâche Party Invite Card and c. -
Inter-Media Agenda-Setting Effects in Ghana: Newspaper Vs. Online and State Vs
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2008 Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private Etse Godwin Sikanku Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Journalism Studies Commons Recommended Citation Sikanku, Etse Godwin, "Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private" (2008). Retrospective Theses and Dissertations. 15414. https://lib.dr.iastate.edu/rtd/15414 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Inter-media agenda-setting effects in Ghana: newspaper vs. online and state vs. private by Etse Godwin Sikanku A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Journalism and Mass Communication Program of Study Committee: Eric Abbott (Major Professor) Daniela Dimitrova Francis Owusu Iowa State University Ames, Iowa 2008 Copyright© Etse Godwin Sikanku, 2008. All rights reserved. 1457541 1457541 2008 ii TABLE OF CONTENTS LIST OF TABLES iii LIST OF FIGURES iv ACKNOWLEDGEMENTS v ABSTRACT vii CHAPTER 1. INTRODUCTION AND STATEMENT OF THE PROBLEM 1 CHAPTER 2. LITERATURE REVIEW AND THEORETICAL FRAMEWORK 4 The agenda-setting theory 4 Agenda-setting research in Ghana 4 Inter-media agenda-setting 5 Online News 8 State Ownership 10 Press history in Ghana 13 Research Questions 19 CHAPTER 3. -
UN Delegates Lounge
OMA’s layout design trisects the central section of the UN North Delegates Lounge, with private seating along the edges and communal furniture in the middle. UN North Delegates Lounge Hella Jongerius assembled a force of the Netherlands’ top designers including Irma Boom and Rem Koolhaas for the prestigious renovation of the North Delegates Lounge in the UN Building in New York. WORDS Oli Stratford PHOTOS Frank Oudeman 152 Disegno. UN NORTH DELEGATES LOUNGE UN NORTH DELEGATES LOUNGE Disegno. 153 The east window is veiled by the Knots & Beads curtain by Hella Jongerius and Dutch ceramics company Royal Tichelaar Makkum. In front is the UN Lounge chair by Jongerius for Vitra. uring the summer of 1986, Hella Jongerius1 was backpacking across America. She was 23 years old, two years shy of enrolling at Design Academy Eindhoven,2 1 Hella Jongerius (b. 1963) is and picking her way from state to state. Three months in, she reached New York. a Dutch product and furniture designer whose Jongeriuslab studio is based in Berlin. She She had a week in the city, but her money had run out. So, broke, Jongerius went to Turtle Bay, is known for furniture and a Manhattan neighbourhood on the bank of the East River and the home of the UN Building, a accessory design that steel and glass compound built in the 1950s to house the United Nations.3 “I’d gone down there combines industrial manufacture with craft to see the building and I was impressed of course,” says Jongerius. “It’s a beautiful building. But sensibilities and techniques. -
Critical Design – a New Paradigm for Teaching and Learning Universal Design
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION, 7 & 8 SEPTEMBER 2017, OSLO AND AKERSHUS UNIVERSITY COLLEGE OF APPLIED SCIENCES, NORWAY CRITICAL DESIGN – A NEW PARADIGM FOR TEACHING AND LEARNING UNIVERSAL DESIGN Anne Britt TORKILDSBY PhD in Design, The Norwegian Research Laboratory for Universal Design, NTNU, Norway ABSTRACT The critical design method, which was originally developed as a tool for designers, architects, engineers, etc. to open the (design) brief when designing “extreme environments” of the future [1a] – in so doing throwing light upon the design process from a critical perspective and highlighting considerations that might otherwise be overlooked – is now gradually being adapted to and applied in the field of universal design. Bringing this way of thinking about design into higher education could encourage teachers and students to broaden their knowledge in this field, better equipping students to create in an inclusive manner and ensuring that future products, buildings, and exterior spaces are accessible to all to the greatest extent possible [2]. In order to test and further develop this way of thinking about universal design for educational contexts, two series of workshops have been conducted: One at a research institute for rehabilitation engineering and design, and one within a Master’s programme in occupational therapy. The purpose of this paper is to describe the process of adapting the critical design method as it is used in institutional environments, such as hospitals and prisons, to various universal design contexts, and to discuss the preliminary results. The paper also examines the question of whether critical design is an optimal method of challenging and ultimately improving the field of universal design – and, if so, how to proceed in order to achieve the best teaching and learning outcomes. -
Graphic Design and the Cinema: an Application of Graphic Design to the Art of Filmmaking
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2016 Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking Kacey B. Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Graphic Design Commons Recommended Citation Holifield, Kacey B., "Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking" (2016). Honors Theses. 403. https://aquila.usm.edu/honors_theses/403 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking by Kacey Brenn Holifield A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts of Graphic Design in the Department of Art and Design May 2016 ii Approved by _______________________________ Jennifer Courts, Ph.D., Thesis Adviser Assistant Professor of Art History _______________________________ Howard M. Paine, Ph.D., Chair Department of Art and Design _______________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract When the public considers different art forms such as painting, drawing and sculpture, it is easy to understand the common elements that unite them. Each is a non- moving art form that begins at the drawing board. -
Communication Design: Material Artefact, Immaterial Influence Culture–Practice–Discourse: a Theoretical Framework for A
Volume 15 Paper 04 SMT VOLUME 15 ASTRACT KEY WORDS Communication Design: Material Communication design is a purposeful activity that and culturally produced it can also be conceived as a Communication Design, Artefact, Immaterial Influence involves human subjects and relations, is tied to action, discourse. This paper considers the relationship between Practice, Culture, Discourse, representation and is context-bound. Furthermore, design culture, practice, and discourse and proposes an PAPER 04 Production, Critical ‘effective’ communication design can be understood as emergent theoretical framework for critically reflecting on Culture–practice–discourse: Practice, Theory accomplishing its purpose in having a desired influence on communication design as a discursive practice—a practice a theoretical framework an individual’s belief, values, behaviour, or action, and is that both shapes and is shaped by culture and wider for a critical approach a basic concern of the design practitioner. In this regard, discourses, that is both regulated and has the potential to to communication design design practice knowledge—‘practice’ meaning both transform its operations. professional situations and preparing for such situations AUTHOR Veronika Kelly by increasing expertise—can be conceived as being created in and by a particular culture, at the same time that it also creates culture. As design practice knowledge is socially Culture–practice–discourse: a theoretical framework for a critical approach to communication design Volume 15 Paper 04 INTRODUCTION world’. As ‘culture’, ‘practice’ and ‘discourse’ can be understood differently, taking into consideration 1 – In this paper the terms Communication design1 that is ‘effective’ in achieving the scholarship of Michel Foucault, Donald Schön, ‘communication design’ and its purpose can be conceived as having a desired and Norman Fairclough helps inform examination ‘design’ are used interchangeably. -
Books Beyond Artists ARTISTS’ BOOKS in the 21St CENTURY: CULT OBJECTS? Damien Hirst, 2005 | Photo: Ramiro Casal
Ivorypress presents the panel discussion BOOKS BEYOND ARTISTS ARTISTS’ BOOKS IN THE 21ST CENTURY: CULT OBJECTS? Damien Hirst, 2005 | Photo: Ramiro Casal. Courtesy Ivorypress Damien Hirst, 2005 | Photo: Ramiro I Want to Spend the Rest of My Life Everywhere..., I Want Dates: 24 February 2015 at 12:00 p.m. Venue: Ivorypress Space c/ Comandante Zorita, 48 Madrid Participants: Irma Boom, typographer and graphic designer; Peter Sacks, artist and professor of poetry at Harvard University (USA); Rowan Watson, head of Collections Development in the National Art Library at the Victoria and Albert Museum (London, United Kingdom). The discussion will be moderated by Elena Ochoa Foster, founder and CEO of Ivorypress. On 24 February 2015 the exhibition Books beyond Artists: Words and Images, dedicated to artists’ books and their role in the history of art until the present time. The show is curated by Elena Ochoa Foster in collaboration with the Ivorypress team, will open at Ivorypress. Parallel to the exhibition there will be a panel discussion entitled ‘Artists’ books in the 21st century: cult objects?’ Irma Boom Irma Boom lives and works in Amsterdam, the Netherlands. She studied graphic design at the AKI Art Academy in Enschede and nowadays she works as a graphic designer specialised in making books. After graduation she worked for five years at the Dutch Government Publishing and Printing Office in The Hague. In 1991 she founded the Irma Boom Office in Amsterdam and since 1992 she has been a senior critic at Yale University in the US and gives lectures and workshops worldwide. She has designed and edited more than three hundred books, 100 of which are part of the permanent collection of the Museum of Modern Art in New York (MoMA). -
Emigre No.40
Fall Information is in a way the opposite 1996 of garbage, although in our contemporary Guest Editor: THE INFO Andrew Blauvelt PERPLEX commercialized world they may at times Designer: Rudy VanderLans Copy Editor: appear identical. As a rule, information is Alice Polesky Emigre Fonts: something to preserve, garbage is Zuzana Licko Sales, distribution, and administration: Tim Starback something to be destroyed. However, both Sales John Todd and Darren Cruickshank can be looked on as a kind of waste product, a physical burden, and for contemporary society both are among the most pressing 1 Emigre no.40 This issue of Emigre problems today. was typeset in Base-9 and Base-12, designed – B i l l V i o l a by Zuzana Licko. Postmaster: Emigre (ISSN 1045-3717) is published quarterly for $28 per year by Emigre, Inc. 4475 D Street, Sacramento, CA 95819, U.S.A. Second class postage paid at Sacramento, CA. Postmaster please send address changes to: Emigre 4475 D Street, Sacramento, CA 95819, U.S.A. Copyright: © 1996 Emigre, Inc. All rights reserved. No part of this publication may be reproduced without written permission from the contributors or Quotes on inside front and back covers by Bill Viola. Emigre, Inc. Emigre is From HISTORY, 10 YEARS, AND THE DAYDREAM, in Reasons for knocking at an Empty House . Cambridge, MA a registered trademark of and London: MIT Press, 1995 Emigre Graphics. Phone: 916.451.4344 / Fax: 916.451.4351 Email (Editorial): [email protected] / Email (Subscriptions, etc.): sales @emigre.com 1 27 1 We write not to be understood 2 28 2 but to understand. -
Critical Environments Engineering Guide
SECTION E Photo Courtesy of Bruce T. Martin© 2 011 Engineering Guide Critical Environments Please refer to the Price Engineer’s HVAC Handbook for more information on Critical Environments. Critical Environments Engineering Guide Introduction to Patient Care Areas Each different room type in the hospital environment requires a unique and strategic approach to air distribution and temperature control. Past and ongoing industry research continues to impact the thinking of HVAC engineers involved in the design of health care facilities or the development of governing standards. This section will help explain some of the key North American codes and standards for health care facility design as they relate to each space type, as well as the logic behind these design Neutral Pressure Space guidelines. Following these design standards, air distribution strategies are presented for PATIENT ROOM patient care areas, waiting rooms, operating rooms, and hospital pharmacies and labs. Corridor The many design examples included in this Negative chapter should serve to further clarify the key Pressure Space points presented in each section. The health care facility includes a number of different spaces, all with unique HVAC requirements. Well designed hospital HVAC Figure 1: Typical patient room systems should support asepsis control The variability in occupancy levels, solar/ with the discharge pattern of horizontal throw while also taking advantage of energy saving conduction loads through exterior walls, and diffusers. Lift rails or curtains may redirect technologies and strategies. Understanding equipment loads will generally facilitate the high velocity supply air directly at the the needs and goals of each space as well as need for reheat, VAV control, supplemental patient if positioned too close to the diffuser. -
Speaker Biographies
Postgraduate Research & Writing Conference Creative Connections Tuesday 5th July 2016 DMU Hugh Aston, 4th floor (4.10-15) Speaker biographies Julia Reeve Julia is a DMU Teacher Fellow and co-ordinates the East Midlands Centre for Writing PAD: her research involves applying creative, arts-based methods to the teaching of theory in order to deepen learning and increase engagement. Julia is the Research ELT Officer for the Graduate School, and joined the CELT team in June 2015. Her role involves the design, development and evaluation of online courses for PhD researchers, and work towards a Virtual Graduate School at DMU. Julia is particularly interested in inclusive approaches to learning design, with an emphasis on visual learning. Before moving into teaching, Julia worked as a designer in the fashion industry, and then spent around 10 years as a lecturer in Further Education. She joined DMU in 2006, and worked as a Senior Lecturer in Art, Design & Humanities for 9 years, delivering Critical & Contextual Studies across a range of Fashion programmes. Kaye Towlson Kaye Towlson, Academic Team Manager (Information Literacy and Teaching), DMU Teacher Fellow, De Montfort University. Kaye has worked as a Librarian for many years; she ran the business information service at DMU and has worked as a subject Librarian with responsibility for a variety of Humanities subjects. Her research interests include information literacy and employability, visual and creative learning techniques and digital identity. She has experimented with visual learning techniques within a library and information literacy and other contexts. She is interested in using visual and creative techniques to overcome textual barriers for visual learners and visual disciplines. -
Book Proposal Title Rod Clark A). Philosophy of Design an Index Of
Book Proposal Title Rod Clark a). philosophy of design an index of possibilities Draft Version 1 Dec 2014 Not for circulation a). philosophy of design: an index of possibilities 1 a). philosophy of design: an index of possibilities 2 Contents List Genesis of the project 1 Background 1 Background - Function of Design Philosophy; An Index of Possiblities was begun in 2010 as a WP blog under Don’t explain your philosophy. Function of Philosophy in relation to design Philosophy in relation to Design the title Design Philosophy and its posts were concerned with ideas of values in Embody it. Epicetus naming and language around design, ‘design-time’ (multiple-speed periodicity) Most academic subjects have a philosophy about them. Science, medicine, politics 2 Overview, Approach, Organisation innovation and systems. A somewhat oblique look at design posts were about the all have underpinnings of thoughtful direction. They are complex and important and Coverage biro, design ‘classics’, British military vehicles, the iPod/iTunes system and the history subjects and need ethical and theoretical understandings for them to function. of the record player. From this beginning the project has grown organically into a very Design, as a much more recent, but as I try to point out, a just as important 3 Rationale thorough and structured investigation of design as a central human activity; themes discipline, coming as it does from craft roots does lack the intellectual basis that include how values initiate and are embedded in design as a cultural force, the other fields of activity have accrued over millennia. 4 Contents/ Section sequence importance of technology, the social role design has and how design performs in and over time and the nature of multiple interpretations.