Brief 1 – Perspectives

This initiative examines graphic design’s boundaries and genres in relation to personal, regional and global perspectives.

It focuses on ‘identity’ as a theme, and the outcome will be based on a reflective journal, data analysis and design artefact.

Lectures | Challenges

1. Introduction: who, what, where and why?

2. Industry today: geo-tagged studio exercise and company analysis.

3. Fields of practice: designers, design, new languages, theory and the new aesthetic.

4. The self and identity: values and equities. 

 

Weekly Learning Objectives

By the end of this week, you should be able to:

1. Analyse different types of studio practice;
2. Communicate what graphic design means to you;
3. Create a piece of work that communicates who you are, what you do, where you are and your relationship to graphic design;
4. Participate in and reflect upon debate on the ideas wall;
5. Document and communicate your working process on your blog;
6. Manage your independent learning through good planning and self-direction.

 

In this blog, it works as a digital sketchbook and research journal. I aim to express what I find to be the most important facts or ideas about each section and task, highlighting the pros and cons and key points and presenting a critical reflection.

Welcome to GDE710: Contemporary Practice

Module 1/Week 1: Welcome and Introduction/Overview

 

Module 1/Week 1 of the Graphic Design MA involves an introduction to the subject’s contemporary developments and contexts. Online Tutors and Guest Lecturers will guide the learning process. The course is structured around three core projects aimed at personal and group reflection and skill development in design and research. Students are advised to maintain a WordPress blog, a sketchbook, and a camera/smartphone for ongoing observation and reflection.

Key Points

1. Educational Support: Online Tutors and Guest Lecturers are part of the educational framework.
2. Course Content: Introduction to modern trends and contexts in graphic design.
3. Local and Global: Addresses both local and global perspectives in graphic design.
4. Methodology: Three core projects serve as the foundation for the study.
5. Skill Development: Focuses on design, academic, and research skills.
6. Curiosity and Observation: Students are expected to be curious and observant.
7. Documentation: Use of WordPress blogs for reflection and sketchbooks for idea collection.

Pros

1. Expert Guidance: Learning from leading experts in the field is a huge advantage.
2. Holistic Approach: The course addresses both local and global perspectives.
3. Practical Experience: Core projects provide hands-on experience.
4. Skill Enhancement: Covers not just design but also academic and research skills.
5. Interactivity: Encourages active learning through curiosity and observation.

Cons

1. Tool Requirement: Obligatory use of WordPress, sketchbooks, and a camera may not be accessible to all.
2. Potentially Overwhelming: Managing blogs, projects, and observational tasks could be overwhelming.

Critical Reflection

From a freelance graphic designer and student’s perspective, this module offers a comprehensive and multifaceted approach to learning. The inclusion of expert opinions through Guest Lecturers provides invaluable insights that classroom lectures often lack. This complements well with the course’s ambitious scope to cover both local and global perspectives.

The emphasis on skill development is not limited to just graphic design but also expands to academic and research skills. This could provide a well-rounded education, but it might also risk diluting the focus on design skills, which should be the core of a Graphic Design MA. The variety of required tools—WordPress, sketchbooks, and a camera—can enhance the learning experience, but they also add multiple layers of tasks that could become overwhelming for some.

The encouragement for students to be curious, take risks, and reflect is noteworthy. However, the module could benefit from more structured guidelines on effectively reflecting and analysing one’s observations. In summary, the course appears to be rich in content and experiential learning but may benefit from more focused curriculum elements and better-defined guidelines for reflection.

Module 1/Week 1: Welcome and Introduction

 

Being presented with outlines of the Week 1 introduction and schedule of a graphic design master’s module led by Susanna Edwards at Falmouth University, the module aims to explore contemporary graphic design, focusing on local and global perspectives and essential skills for effective communication. Students are introduced to three core projects, and learning is facilitated through lectures, webinars, workshop challenges, and online blogs. The first week includes lectures, practitioner case studies, and a workshop challenge focused on creating a quadriptych to answer questions about the student’s identity and practice. Learning resources are provided for additional reading and research; an ideas wall serves as a community platform for feedback and discussions.

Key Points

• Leadership: The module is led by Susanna Edwards and includes online tutors who are experts in the field.
• Objectives: Introduce students to contemporary graphic design, focusing on local and global perspectives.
• Learning Methodology: Combines lectures, practitioner visits, online challenges, and independent research.
• Weekly Assignments: Includes practical exercises like creating a quadriptych and weekly reflections on a WordPress blog.
• Interactive Platform: An ideas wall on Padlet serves as a communal space for discussion and feedback.

Pros

1. Expert Guidance: The module is led by experts in the field of graphic design.
2. Comprehensive Approach: Covers both theory and practical exercises, aiming to provide a well-rounded understanding of contemporary graphic design.
3. Interactive Learning: Utilises an ideas wall for community interaction, which enhances peer-to-peer learning.
4. Real-world Insights: Students get to visit practitioners in their workplace for practical insights.
5. Structured Learning: The module is well-organised, with a clearly defined weekly schedule, objectives, and resources.
6. Focus on Self-Reflection: Students are encouraged to maintain a blog and reflect on their learning journey.

Cons

1. Resource Dependent: The module suggests students should buy books, which might be a financial burden.
2. Technology Dependent: Requires students to have access to various digital platforms like WordPress, Padlet, and Canvas.
3. Time-Intensive: The module appears to be demanding in terms of time commitment.
4. Lack of Offline Interactions: Being an online course, students may miss out on face-to-face interactions and networking opportunities.

 

Critical Reflection

As a freelance graphic designer and student, the module is comprehensive and robust, aimed at producing well-rounded designers. Focusing on local and global perspectives is crucial to understanding the broader scope of graphic design in today’s interconnected world. The incorporation of real-world visits to practitioners provides invaluable insights into the industry, but I can’t help but wonder if virtual visits can truly replace the tactile experience of physical visits.

The use of digital platforms like WordPress and Padlet is commendable for fostering an interactive learning environment. However, the dependency on these platforms might exclude students who are not tech-savvy or lack the financial resources for regular internet access and buying books.

Overall, the module appears to offer a holistic approach to learning graphic design, but improvements could be made in terms of accessibility and financial considerations.

Practitioner Case Studies/Guest Lecturer

Who, What, Where and Why?

 

Intro

An interview with Julian House (JH) and Adrian Talbot (AT), creative partners at Intro, a London-based design cooperative. Julian specialises in music work and film, incorporating his background in illustration, collage, and typography. Adrian focuses on 2D-printed communications and identity work. Intro operates uniquely, allowing each creative partner to manage their own clients and projects with minimal collaboration. Both discuss how they have adapted to changes in the industry, notably the digital revolution and shrinking budgets.

Key Points

• Background and Interests: JH is passionate about music graphics, and AT has a long history of working on identity projects and printed communications.
• Company Structure: Intro functions as a design cooperative, where each creative partner handles their projects and has their own clients.
• Geographical Influence: Based in London, most of their clients are also London-based, which they find to be a hotbed of creative inspiration.
• View on Design: Both see design as problem-solving. JH also views it as a form of cultural language, while AT enjoys telling a story through minimalistic design.
• Adaptation to Change: Both have adapted to the digital era, although AT admits to being a bit of a Luddite. Budgets have also tightened over the years, affecting the scope of projects.
• Skill Evolution: Technology has empowered them to expand their skill set, with AT even designing typefaces on his laptop.

Pros

• Versatility in Skills: JH and AT have diverse backgrounds that enable them to tackle different kinds of design projects.
• Company Structure: The cooperative model allows for specialisation and minimises internal competition.
• Reputation: Both designers have solidified their places in the industry, attracting clients who seek their specific expertise.

Cons

• Limited Collaboration: The unique structure means that cross-discipline collaboration is limited, which could be a downside for holistic projects.
• Budget Constraints: Decreased budgets have forced them to be more efficient but may limit creative exploration.
• Local Client Base: Their predominantly London-based clientele might limit exposure to global design perspectives.

Critical Reflection

From a freelance graphic designer and student’s perspective, the interview provides an invaluable look into how seasoned professionals adapt to industry changes. Their expertise shows that having a specialised skill set can establish you as a go-to person in those areas, which is encouraging for me as I have re-entered the academic phase of my career.

Their discussion on adaptation to technology and budgetary constraints is particularly relevant today. It underlines the importance of being good at design and adaptable and efficient—qualities crucial in modern design practice.

The cooperative model at Intro is interesting and unconventional. While it allows for specialisation, it may limit the ability for more holistic, collaborative projects that could benefit from a multidisciplinary approach. As a freelance designer and student, this raises questions about what type of work environment would benefit personal and professional growth.

Sarah Boris

Sarah Boris is a London-based graphic designer with an international upbringing, having grown up in France and America. Her primary work areas include editorial design, visual identities, and branding, largely for cultural institutions, art organisations, and artists. She is also known for her work in large publishing projects and art books. Her design philosophy is influenced mainly by people and her surroundings. Sarah takes a flexible approach in her practice, adapting to diverse working environments and project needs. She recently worked on an exhibition and a book project called “Le Theatre Graphic,” a product of a design accident that turned out to be serendipitous. Her skills have evolved over the years, especially in editorial design and production.

Key Points

• Background and Influence: Grew up in France and America but is currently based in London. Draws inspiration primarily from people and urban life.
• Area of Work: Specialises in editorial design and branding, primarily for the cultural and arts sectors.
• Adaptability: Has a flexible approach, adapting to the changing dynamics of her work environments and evolving her skill set over time.
• Projects and Innovations: Known for her solo exhibition in a theatre space in France and her book “Le Theatre Graphic.” Both projects demonstrate her creativity and adaptability.
• Skill Evolution: Her skills have diversified from working on small print runs to massive ones, enhancing her editorial design and production capabilities.

Pros

• Versatility: Versatile in her design approach, working across different sectors like art, culture, and publishing.
• Adaptability: Able to adapt to different types of projects and work environments.
• Innovation: Creative and open to experimentation, as evidenced by her solo exhibition and book project.
• Global Perspective: Diverse cultural background and international work experience enrich her design philosophy.
• Client Base: Being based in a bustling city like London gives her access to a diverse and extensive client base.

Cons

• Limited Digital Skills: Acknowledges that her digital skills are not as strong as her expertise in other areas.
• Time Constraints: Faces challenges in keeping up with the demand for digital skills while managing existing projects.

Critical Reflection

As a freelance designer and student in the field, I find Sarah’s approach to be enriching and multifaceted. Her international upbringing lends a global perspective to her design language, which is invaluable in our increasingly interconnected world. Her specialisation in branding and editorial design for cultural and art organisations makes her niche yet versatile within those sectors.

Sarah’s adaptability and willingness to evolve are key takeaways for design professionals. The design landscape is ever-changing and free-flowing, and her flexible approach allows her to navigate those changes adeptly. Her story of the “happy accident” that led to her book project also emphasises the importance of experimentation and being open to unplanned outcomes in the creative process.

However, her limitation in digital skills is a crucial point to consider. As the world increasingly moves towards digital platforms, her less-than-optimal skills in that domain might limit her reach or make her practice appear outdated. This is a common struggle for many designers who are trying to balance traditional design skills with the rapid technological advancements in the field. Overall, Sarah Boris exemplifies the kind of diverse, adaptive, and creative approach that is increasingly essential in modern graphic design.

Regular Practice

Regular Practice is a London-based graphic design studio founded by Kristoffer Soelling and Tom Finn, who met while pursuing their master’s degrees at the Royal College of Art (RCA). Their focus is on type-centric design, and they’ve worked on projects like The Type Singularity Project, an exhibition showcasing RCA students’ typographic experiments. Their practice is influenced by their environment, Hackney Wick, East London, a space teeming with creative energy. Both partners appreciate the tangible rewards of the design process and continually adapt to change and challenges, acknowledging mistakes as opportunities for growth.

Key Points

• Background: Met at RCA and formed a partnership after graduation.
• Type-Centric Design: Their work focuses on engaging deeply with typography.
• Pivotal Project: The Type Singularity Project helped establish their working relationship and direction.
• Location: Based in Hackney Wick, East London, which offers an affordable and synergistic environment.
• Why Design?: They find the work rewarding, and their design process informs their style.
• Adaptability: Willing to evolve and take fresh approaches for each project.
• Skills & Challenges: Admit to learning from their mistakes, especially in the areas of project management and business.

Pros

• Specialisation in Typography: A distinct niche that helps them stand out.
• Location: Being in a creative hub provides inspiration and networking opportunities.
• Open-Ended Practice: Willingness to explore varied kinds of work, from furniture design to different forms of graphic design.
• Educational Background: Their master’s degrees give them a strong theoretical and practical foundation.
• Adaptability: They embrace change and consider every project an opportunity to grow.

Cons

• Inexperience: Being a new studio, they are still learning about project management and business.
• Over-Specialisation Risks: Their type-centric focus might limit them from exploring other aspects of design fully.
• Ambiguity in Approach: While their openness to different types of work is a strength, it may lack a cohesive business strategy.

Critical Reflection

Regular Practice offers an interesting look into a modern, urban design studio with an academic background. Their focus on type-centric design allows them to carve out a unique space within the crowded design world. While their niche specialisation can be seen as a strength, it also poses a risk if they do not diversify their skill set or adapt to market demands, especially as a young studio.

Their location in Hackney Wick, filled with like-minded creatives (a completely different area time and way of thinking in comparison to how it was when growing up in the ’80s to ’90s), is both an asset and a potential pitfall. On the one hand, it’s an environment that fosters creativity and networking; on the other hand, the sense of community might create an echo chamber that could limit fresh perspectives.

Their openness to adaptation and change is commendable but also highlights the gaps in their business acumen, as seen by their acknowledged mistakes in project management. Their educational background, while providing a robust foundation in design theory and practice, might have left them slightly unprepared for the realities of running a business.

Overall, the duo at Regular Practice demonstrates a balanced mix of academic rigour, creative enthusiasm, and an eagerness to evolve, even if this journey comes with its own set of challenges.

Sam Winston 

Sam Winston is a London-based designer who studied at the University of Arts London. He has dyslexia, which influenced his interest in design, typography, and language. Initially, he aimed to work with books, but after graduation, he realised the vastness of the design industry. He shifted from seeking employment to looking for commissions, valuing his independence. He works in a mixed-use studio complex in London, emphasising the importance of silence and space for his creativity. Winston views design as a verb, an ongoing process of problem-solving. He believes in incorporating change into his work strategy and emphasises the importance of discipline. Over time, his skills have evolved, emphasising the importance of interpersonal skills, budgeting, and adaptability.

 

Key Points

• Sam Winston’s background includes studying design in London and having dyslexia.
• He initially aimed to work with books but realised the vast opportunities in the design industry.
• Winston values independence and shifted from seeking employment to looking for commissions.
• He works in a mixed-use studio in London, emphasising the importance of silence for creativity.
• Winston views design as a verb and an ongoing process of problem-solving.
• He believes in incorporating change into his work strategy.
• Over time, his skills have evolved, emphasising interpersonal skills, budgeting, and adaptability.

Pros

• Dyslexia led him to a unique perspective on design and problem-solving.
• Independence allows him to choose projects that align with his interests.
• His flexible approach to design allows for adaptability and innovation.
• Regular work patterns provide stability amidst change.
• Recognises the importance of interpersonal skills and adaptability in the industry.

Cons

• An initial narrow view of the design industry led to some early career confusion.
• The high cost of living in London poses challenges.
• The constant need to adapt to technological and industry changes can be stressful.

Critical Reflection

Sam Winston’s journey in the design world offers valuable insights for designers and students and those of us with neurodiverse conditions ranging from mild, moderate and severe. His story underscores the importance of adaptability, both in terms of skills and mindset. While technical skills are essential, Winston’s experiences highlight that interpersonal skills, adaptability, and a clear understanding of one’s value and place in the industry are equally crucial. His perspective on design as a verb, rather than a static profession, encourages a more fluid and dynamic approach to the field. This mindset can be particularly beneficial in an industry that is constantly evolving. Additionally, his emphasis on the importance of physical and mental space serves as a reminder of the need for creatives to prioritise their well-being and work environment.

Simon Manchipp

Simon Manchipp is a seasoned professional in the field of graphic design and branding. He co-founded SomeOne, a branding agency that started out as NoOne, a part of advertising agency HHCL. The agency, based in London but with studios in Sydney, Berlin, and New York, specialises in large-scale and complicated projects like branding for the London Olympic Games and the UK Parliament. Manchipp believes in the power of storytelling and finding influences outside of traditional design spaces, including literature, art, and other sectors. While he embraces change, he warns about the dangers of being too far ahead of the curve and discusses the current tension between data-driven digital design and creative architectural design.

Key Points

• Background & Journey: Comes from a creative family, attended St Martin’s, and quickly transitioned into work. Experience spans advertising and design.
• SomeOne’s Services: Offers a wide range of branding services, including films, sculptures, animations, typography, and more—Specialises in large-scale, complex projects.
• Influences: Varied and largely external to the traditional design world, including literature, art, and ideas.
• Location: Originally London-based, it has expanded to Sydney, Berlin, and New York.
• Philosophy: Believes in storytelling and enjoys working on difficult, complex projects that require extensive thinking and strategy.
• Change Adaptation: Constantly adapts to new trends and client demands but cautions against being too ahead of the curve.
• Skills & The Industry: Discusses the ongoing tension between data-driven digital design and more creative architectural approaches to design.

Pros

• Versatility: SomeOne’s services are diversified, touching on various aspects of branding.
• Expertise in Large Projects: Proven ability to manage complex and high-profile projects.
• Interdisciplinary Influences: Drawing inspiration from a broad spectrum of fields enriches the creative process.
• Global Presence: Presence in major cities adds to the agency’s versatility and reach.
• Adaptability: Openness to change and evolution as per industry demands.

Cons

• Innovator’s Dilemma: Being too far ahead of the curve can be isolating and confusing for clients.
• Sector Homogeneity: Expresses concern about the industry trend toward homogenised, data-driven design, which can stifle creativity.

Critical Reflection

From a freelance graphic designer and student’s perspective, Simon Manchipp’s journey and insights offer valuable lessons. His varied influences underscore the importance of looking beyond one’s field for inspiration, a practice often encouraged in advanced academic settings. His multidisciplinary approach aligns well with contemporary pedagogical trends in graphic design education, which increasingly emphasise the overlap between design, storytelling, and branding.

However, Manchipp’s caution about being too ahead of the curve brings up an interesting paradox often discussed in academic settings: the tension between innovation and practical applicability. It also highlights the debates within the industry and academia about the merits and pitfalls of data-driven design versus more creative, intuitive approaches. This is particularly relevant today, where the line between ‘designer’ and ‘engineer’ is becoming increasingly blurred and a subject of much academic inquiry and discourse.

His observations on sector homogeneity could serve as a basis for further academic study, exploring how data-driven methodologies impact creativity and originality in design.

Manchipp’s insights provide a comprehensive look into the evolving world of graphic design and branding, replete with its opportunities and challenges.

Resources – Read | Watch | Listen

Studio Culture by Tony Brook; Adrian Shaughnessy 2009

Read pages 7-25 (intro overview essay), Pages 114 -121 (case study Lehni Trüb Switzerland) Pages 114 – 121 ( Case Study Edenspiekermann Berlin / Amsterdam)

 

Intro overview essay (First Section)

The section discusses the author’s journey in co-founding a design studio called Intro’ in the late 1980s. It elaborates on the ups and downs of maintaining a studio environment that balances creativity, profitability, and employee satisfaction. The section also delves into the underrepresentation of design studios in literature, emphasising the importance of understanding the role of the studio in a designer’s life and work. It argues that contemporary design is a collaborative effort that goes beyond individual contributions; hence, it’s essential to comprehend the workings of a design studio.

Key Points

• Importance of a Balanced Studio Environment: The author notes that a great design studio combines physical space, people, and creative output.
• Lack of Academic Focus on Design Studios: Surprisingly, there needs to be more academic literature focusing on the importance and dynamics of design studios.
• Collaboration Over Individualism: Modern design is not just about individual designers but about a collective group effort, especially in the digital domain.
• Role of Leadership: Leaders of design studios play a crucial role, but all team members’ collective work creates successful outcomes.
• Work-Life Balance: The pressures of maintaining a creative and profitable environment can lead to burnout, as evidenced by the author’s own experience.

Pros

• Fulfilling Work Environment: A well-balanced studio can provide a satisfying and creative work environment.
• Collaborative Effort: Design studios enhance collective effort, which can lead to more comprehensive and diverse design solutions.
• Role Variety: Everyone has a role to play, from leaders to interns, offering varied perspectives and skills.

Cons

• Potential for Burnout: Balancing creativity and profitability can be exhausting.
• Under-Representation in Literature: There needs to be more academic focus on design studios’ structure, benefits, and challenges.
• Hero Worship: The focus on individual “star” designers can often overshadow the collaborative nature of design work.

Critical Reflection

The first section from the Intro aptly reveals the complex, yet seldom discussed, world of design studios. It rings true that the design community often idolises individual designers, overlooking the collaborative nature of design work. However, this is where academia could step in and fill the gap. The lack of scholarly articles or literature on ‘The Studio’ shows a missed opportunity for deeper understanding and discussion on its evolving role, especially in an increasingly digital landscape.

As someone intrigued by the dynamics of design studios, I find it strange that the “real estate, psychology, and creativity” triangle hasn’t received more academic attention. It’s not just the designs that come out of a studio that matter; it’s also about the people, their interactions, and the space that fosters this creativity. A deeper academic investigation into this area could lead to practical benefits, such as improved studio design and better mental well-being for designers, which in turn could positively impact creativity and productivity.

 

(Second Section)

The second section explores the balance and dynamics between individualism and collective aims within graphic design studios, using the influential design group 8vo and Total Design as primary examples. Hamish Muir from 8vo emphasises the success achieved by studios like Total Design and Studio Boggeri, which benefited from the synergy of individual talents working collectively. Total Design, co-founded by Wim Crouwel, epitomised this balance with a structured yet collective approach to design. However, today’s culture of individualism presents challenges for studios, which must strike a balance between individual voices and the group’s collective objectives.

Key Points

• 8vo’s Influence: 8vo, led by Hamish Muir, was inspired by Studio Boggeri and Total Design for their collective approach while valuing individual talents.
• Total Design’s Legacy: Established in 1963, this Dutch studio’s meticulous craft and unique style made it stand out. They believed in collective work but with a structured team approach.
• Wim Crouwel’s Perspective: Crouwel emphasised Total Design’s collective venture and pointed to Pentagram and the GGK studio as inspirations.
• The Balance of Individual vs. Collective: All studios, regardless of size, grapple with balancing individual needs and collective objectives.
• The Role of Ego in Design: While designers seek a sense of personal authorship, unchecked egos can undermine the studio’s collective goals.
• The Answer to Balancing: The best studios create a sense of communal purpose while allowing space for individual voices.

Pros

• Synergistic Power: Collective studios that balance individual talents can produce work with more energy and purpose than individuals working solo.
• Structured Teamwork: Having a structured approach, like that of Total Design, can lead to recognisable and consistent outcomes.
• Collaborative Growth: Studios that foster collaboration and mutual respect can grow and influence future generations of designers.

Cons

• Rising Individualism: The growing culture of individualism can pose a challenge to the collective spirit of studios.
• Ego Clashes: Designers seeking individual recognition can harm the collective goals if not kept in check.
• Loss of Community Traditions: The modern emphasis on individualism erodes community and collective responsibility traditions.

Critical Reflection

The discourse on individual versus collective in design studios has never been more relevant. As the world increasingly celebrates individual achievements, studios face a challenge in fostering an environment where personal egos don’t overshadow collective objectives. The examples provided, particularly that of Total Design, exemplify a balance between the two. It’s evident that the magic recipe for a successful studio isn’t a one-size-fits-all approach but rather a carefully calibrated balance of individual creativity and collective drive. The need for inspirational leadership is crucial. This underscores the importance of evolving and adapting to the changing cultural landscape to ensure that the spirit of collective creativity in design studios stays strong in the face of rising individualism.

 

(Third Section)

 

The third section explores the evolving role and significance of artists’ and designers’ studios. It contrasts the studio’s near-sacred status in the art world with the dual functionality required in modern graphic design studios, which serve both as creative spaces and business environments. It also highlights key figures such as Otl Aicher and Massimo Vignelli, who have diverging perspectives on studio design. The text delves into the complexities of planning a studio and discusses how technological advances, particularly the rise of computers, have transformed the layout of studios. Additionally, it addresses the dynamics of growing studios and the necessity of considering multiple factors when planning, such as privacy, transparency, and team communication.

 

Key Points

• The studio in art has a mythic, near-sacred status, unlike in graphic design.
• Graphic design studios serve dual functions: creative space and business environment.
• Industry leaders like Otl Aicher advocate for complete transparency, while Massimo Vignelli opts for a more luxurious approach.
• Computers have considerably impacted the physical layout and size requirements of modern studios.
• Small studios often excel in agility and efficiency but may need more comprehensive oversight found in larger setups.
• Psychological aspects, like transparency and privacy, play a significant role in organising a studio.
• Studios must cater to different roles and needs, including those of clients, making space planning a complex task.

Pros

• Rich Historical Context: Provides a comprehensive backdrop of how studios have been perceived and utilised across different periods and professions.
• Insights from Industry Leaders: Quotes from notable designers like Otl Aicher and Massimo Vignelli offer diverse viewpoints on studio layout and organisation.
• Technological Impact: Offers a nuanced view of how computers have revolutionised studio design.
• Small vs. Large Studios: Discusses the advantages and disadvantages of various studio sizes.
• Holistic Perspective: Addresses the physical space and the psychological and functional aspects of studio design.

Cons

• Lengthy: The text is rather extensive, possibly diluting its core messages.
• Lack of Practical Guidelines: Despite detailing problems and perspectives, the section needs to offer actionable advice for setting up a studio.
• Overemphasis on Dichotomy: The text heavily leans on contrasting art studios with design studios, which might limit its applicability to those who see the two as more interconnected.
• Limited Global Perspective: Mostly focuses on Western design practices and studios.

 

Critical Reflection

This section is particularly enlightening but also somewhat limited. The depth of historical and modern perspectives offers valuable context for understanding the evolution of studio spaces. However, the text could offer more actionable insights or case studies that provide practical takeaways for designers like myself, either in the early stage of setting up a studio or rethinking an existing space. The article rightly emphasises the importance of creating a space that nurtures creativity while accommodating business requirements. However, the balance between these two can be more nuanced than the text suggests, as evidenced by hybrid spaces that artists and designers increasingly use.

The focus on the impact of technology is apt. Still, I’d like to see further discussion on how emerging technologies like augmented reality or collaboration software could affect future studio designs. Additionally, it would be valuable to examine how the shift to remote working impacts the necessity and functionality of physical studios.

Overall, the section offers a comprehensive look at the complex issue of studio design but could be more actionable and future-focused.

 

(Fourth Section)

The fourth section discusses the complexities of managing a modern design studio, emphasising the importance of trust, value, and reward in employing designers. It points out that while talent is essential, the human characteristics of the designers are equally important for a harmonious work environment. The section also touches on different managerial models, focusing on the non-hierarchical, democratic approach as the most effective for fostering motivation and creativity among designers.

Key Points

• Human Characteristics: Hiring should not be based solely on talent; human characteristics are equally important.
• Democratic Structure: Modern design studios benefit from a democratic, non-hierarchical approach.
• Self-motivation: Designers are best when self-motivated, which can be cultivated through effective and sensitive leadership.
• Trust, Value, and Reward: These are essential elements in managing designers.
• Client Relationships: Sometimes, backing the team over the client can build strong trust.
• Creative Fulfillment vs. Remuneration: Designers value creative fulfilment but expect fair remuneration.
• Psychological Hygiene: Constantly acknowledging contributions and assigning inspiring work is important for a healthy work environment.

Pros

• Comprehensive Understanding: The section thoroughly examines various managerial styles suitable for a design studio.
• Emphasises Soft Skills: Soft skills and human characteristics are highlighted as necessary for a healthy work environment.
• Valuable Insights: Provides actionable insights into fostering self-motivation among designers.

Cons

• Length and Complexity: The section is lengthy and covers many topics, which could be overwhelming.
• Lack of Practical Examples: While it gives theoretical insights, the section could benefit from more practical examples.

Critical Reflection

I find the section’s emphasis on democratic management, trust, value, and reward quite relevant. Traditional hierarchical management is often counterproductive in creative fields, stifling innovation and motivation. However, the section generalises that designers are primarily looking for creative fulfilment. While this is often true, overlooking financial incentives could be detrimental to retaining talent. The idea of ‘psychological hygiene’ is apt but could be explored further, especially in the light of remote work and how that impacts team dynamics and mental health.

The section also does not delve into the challenges that can arise when trying to balance the individual creative visions of multiple talented designers, something that’s a daily reality in a design studio. Overall, the section is a valuable resource but should be considered alongside other perspectives for a holistic view.

 

(Fifth Section)

The fifth section outlines the significance of prioritising creative work over financial gains in graphic design studios. It emphasises that having a vision and ethical considerations are essential for producing quality work. The article discusses the changing landscape of the design studio, mentioning virtual studios and remote collaboration as emerging trends. Finally, it stresses humour’s crucial role in enriching studio life.

 

Key Points

• Work Over Money: Prioritising quality of work over financial gains leads to better projects and overall studio reputation.
• Need for Vision: A shared vision or philosophy is crucial for studio success, aligning the team, and attracting clients.
• Avoiding Formulaic Responses: Original and unique design solutions yield better results for clients and maintain creative satisfaction.
• Ethical Dimensions: The industry is increasingly looking at design ethics, focusing on the common good and social design.
• Changing Studio Dynamics: Advances in technology and shifts in cultural values affect how studios operate, with a rise in virtual and remote work.
• Importance of Humor: The section calls for preserving humour as an integral part of studio culture.

Pros

• Emphasis on Quality: Delivering quality work, ultimately leads to a stronger reputation and long-term success.
• Adaptability: The section highlights the industry’s capacity to adapt to new technological and cultural shifts.
• Ethical Growth: The discussion acknowledges the growing ethical maturity of the design industry, adding depth and responsibility to the role of a designer.

Cons

• Financial Risks: While prioritising work over money is ideal, financial instability is risky if not balanced well.
• Client Divergence: A strong vision might align with only some clients’s needs or views, potentially leading to lost opportunities.
• Traditionalism vs. Modernity: The evolving studio model may lose certain traditional elements, like close-knit teamwork or in-person humour.

Critical Reflection

The section is relevant and timely and successfully identifies the core values that make a design studio thrive—such as a strong vision and commitment to quality work. These are elements that I’ve often considered critical to the profession, especially while working on academic projects and professional assignments.

The section’s focus on ethics aligns with the increased scrutiny that the field of graphic design is currently undergoing in academic discourse. As designers, we need to consider not just aesthetics or client demands but also our work’s social and ethical implications. This area often forms the basis of postgraduate research.

However, the section could delve deeper into the financial challenges of prioritising creative work, an area often under-discussed in academia but critical in the real world. More is needed to state that we should prioritise quality over money; practical strategies for achieving this balance would make the argument more robust.

The mention of the future being “virtual” resonates with my own observations, and current courses focus on preparing us for such an environment. However, the section overlooks the possible loss of team cohesion and the spontaneity of face-to-face interactions, which are often the bedrock of creative brainstorming sessions.

Finally, the note on humour is interesting. While it may seem trivial, a healthy work environment is critical for creativity, and humour often serves as a catalyst for new ideas and stress relief—a point that I wholeheartedly agree with and believe should not be lost in future studio models.

Case Study Lehni Trüb Switzerland

Urs Lehni and Lex Trub operate both individually and collectively under the name Lehni-Trub, specialising in art books and cultural projects. They graduated from Swiss design and art schools in 1997 and met in Zurich through shared interests in sports. They are known for their aversion to “slick” design and their preference for ambivalence over clarity. Lehni-Trub is more of an “occasional graphic design studio” rather than a conventional, commercial entity. Their work process is spontaneous, and their business side could be more organised. The studio mainly operates in the rich, culturally vibrant Zurich area but has yet to delve much into corporate work. They share similar skills, handle their projects semi-independently, and foresee incorporating interns in the future.

 

Key Points

• The duo met in Zurich and initially got acquainted due to shared interests in sports involving boards and wheels.
• They embrace ambivalence over clarity in their designs.
• Their work process is highly fluid and dependent on what interests them.
• Administrative aspects like accounting are often neglected.
• They are looking to extend their independent publishing activities with more financial freedom in the future.

Pros

• Unique Approach: Lehni-Trub’s unique design philosophy is an asset, challenging the norms of modern commercial graphic design.
• Independent Ventures: Both partners are involved in independent publishing, suggesting a diversified portfolio and an entrepreneurial mindset.
• Cultural Capital: Operating in Zurich offers them a rich tapestry of cultural and artistic influences, providing constant inspiration and potential collaborations.
• Flexibility: They can operate both collectively and independently, giving them adaptability in choosing projects.
• Passion-Driven: Their focus is on work that genuinely interests them, leading to better-quality outcomes.

Cons

• Lack of Business Structure: Proper administrative and financial systems could help long-term growth and sustainability.
• Limited Portfolio: Primarily involved in cultural and artistic sectors, which may limit their market reach.
• Inconsistency: Their ‘occasional’ approach to graphic design may lead to periods of low productivity or financial instability.
• No Employees: Currently, they have no additional staff, which could affect scalability.
• Physical Constraints: Their studio setup seems less than ideal, especially during winter, potentially affecting productivity.

 

Critical Reflection

Lehni-Trub’s philosophy and approach towards design are refreshing and challenge commercial norms. Their focus on ‘occasional’ and passion-driven work provides a counter-narrative to the often highly structured and commercial world of graphic design. However, their disorganised approach to business management raises sustainability concerns, especially in a field where financial stability can be precarious. Their work, heavily based on cultural and artistic projects, demonstrates a potential lack of diversification, which could be risky for long-term financial health.

Their model, while fascinating, challenges traditional views on scalability and growth in a design studio setup. The question remains: Is Lehni-Trub’s model sustainable and replicable, or is it an anomaly facilitated by the unique cultural and financial landscape of Zurich? Future trends in design entrepreneurship might benefit from observing their journey.

Case Study Edenspiekermann Berlin / Amsterdam

Erik Spiekermann, a renowned graphic designer, discusses various aspects of his career and design philosophy. He emphasises the importance of discipline, organisation, and the physical workspace in design studios. Spiekermann describes his ideal studio layout as concentric circles, with the central area for reception and communal activities and outer rings for privacy and focused work. He believes that frequent interaction among team members is crucial.

Spiekermann reflects on his role as a manager and designer, highlighting the importance of knowing the team and projects intimately, even as the studio grows. He emphasises the value of hiring specialists with a broad range of interests and expertise.

The discussion touches on design ethics, including accepting commercial work that may have conflicting values. Spiekermann believes in giving credit to all team members and creating a positive work environment with quality furniture, cleanliness, and a central urban location.

He also emphasises the importance of socialising within the studio to build team cohesion and loyalty.

Spiekermann notes that design studios can exhibit national characteristics, with differences in workspace layouts and cultural influences on design practices.

 

Key Points

• Design discipline and organisation are essential.
• Studio layout should promote collaboration and communication.
• Team knowledge and project involvement are crucial for effective management.
• Hiring specialists with varied interests enhances creativity.
• Ethical considerations should guide project selection.
• Giving credit to team members fosters a positive work environment.
• Socialising within the studio builds loyalty and cohesion.
• National characteristics can influence design studio practices.

Pros

• Emphasis on discipline and organisation in design.
• Ideal studio layout promoting interaction and transparency.
• Focus on knowing team members and projects intimately.
• Hiring specialists with diverse interests and expertise.
• Ethical considerations in accepting commercial work.
• Giving credit to all team members.
• Creating a positive work environment with quality furniture and cleanliness.
• The value of socialising for team cohesion.
• Recognition of national characteristics in design studios.

Cons

• The ideal studio layout may only be feasible for some organisations.
• The emphasis on team interaction may only suit some design studio’s needs.
• Finding specialists with diverse interests and expertise can be challenging.
• Ethical dilemmas in accepting specific commercial projects.
• The need for quality furniture and office amenities may increase costs.
• Regular socialising may only be practical for some studios.

 

Critical Reflection

Erik Spiekermann’s insights offer valuable perspectives on the dynamics of design studios and their impact on creativity, productivity, and ethical considerations. His emphasis on discipline, organisation, and the physical workspace highlights the importance of structure in the design process.

Spiekermann’s ideal studio layout, characterised by concentric circles, presents an innovative approach to fostering collaboration and transparency while respecting the need for privacy in certain tasks. However, it may only be feasible for some design studios due to space constraints or differing work cultures.

His commitment to understanding team members and projects intimately underscores the value of personal engagement in design management. This approach may help maintain a strong sense of purpose and direction even as a studio grows in size.

Spiekermann’s approach to hiring specialists with diverse interests and expertise aligns with the idea that multidisciplinary teams can bring fresh perspectives to design challenges. However, finding such individuals may present challenges.

The point on design ethics highlights the need for designers to grapple with moral dilemmas when accepting commercial work. The emphasis on giving credit to all team members and creating a positive work environment resonates with the importance of recognition and collaboration in creative industries.

Socialising within the studio, while valuable for team cohesion, may only be practical for some studios, especially in larger organisations. Finally, recognising national characteristics influencing design studio practices provides valuable insights into how culture can shape design approaches and workspaces.

In conclusion, Erik Spiekermann’s experiences and reflections offer valuable lessons for both aspiring and established graphic designers and design managers, emphasising the importance of discipline, collaboration, ethics, and a well-designed workspace.

Communication design: insights from the creative industries by Derek Yates; Jessie Price 2015

Communication design: insights from the creative industries In Conversation with Will Hudson, founder, It’s Nice That.

 

Will Hudson, founder of It’s Nice That, built a multifaceted platform with Alex Bec to promote creative work across various fields. Originating as a blog, the platform has diversified into a quarterly magazine, audiovisual site, events program, and more, boasting a monthly readership of about 350,000. Besides, Hudson and Bec launched INT Works, a London-based creative agency. Both companies aim to connect and collaborate with talents and have become self-sufficient entities. The focus remains on quality, original content, and a consistent, positive tone.

Key Points

• Multifaceted Platform: It’s Nice That is not just a blog; it’s a composite of various platforms that include a magazine, events, an audiovisual site, and more.
• Network and Collaboration: Both It’s Nice That and INT Works benefit from Hudson and Bec’s wide network in the creative industry.
• Revenue through Content: They have found a sustainable way to generate income without compromising editorial quality.
• Consistency and Quality: The success of It’s Nice That is partly due to its consistency in posting and maintaining a positive and professional tone.
• Separate but Connected: While INT Works and It’s Nice That are separate, they are still connected in philosophy and collaborative efforts.
• Commitment to Sustainability: Both companies are autonomous, focusing on long-term growth rather than quick profits.

Pros

• Broad Reach: It’s Nice That has a wide audience across multiple platforms, making it influential in the creative sector.
• Reliability: They’ve built a level of trust by maintaining consistency in their output and quality.
• Networking: The platform serves as a valuable networking tool for both Hudson and Bec and their users.
• Versatility: By diversifying their offerings, they have multiple revenue streams and can appeal to a broader audience.

Cons

• Over-reliance on Quality: There’s the potential for the quality of the content to dip if it expands too fast.
• Risk of Dilution: With so many verticals, the brand message will get diluted.

Critical Reflection

The journey of Will Hudson and Alex Bec is awe-inspiring. Their multi-pronged approach to promoting creative work is something that every aspiring designer can learn from. It emphasises the importance of not just talent but also networking, consistency, and diversification in a career. They’ve shown how one can go from a student project to a fully-fledged, influential platform in the creative industry.

However, there’s a cautionary story embedded in their success. Expansion brings the risk of dilution in brand messaging and content quality. This balance between growth and quality is something that every designer, not just in graphic design but in any creative industry, has to manage carefully. Notably, their passion for the work is the underpinning of all they do; they manage to commercialise without commodifying, which is an invaluable lesson for anyone in the creative field.

Communication design: insights from the creative industries In Conversation with Stefanie Posavec, Designer.

Stefanie Posavec is a U.S.-based designer specialising in information design, data visualisation, book cover design, and more. She initially gained prominence for her work in translating literary data into visual forms, notably the “On The Road” project, which eventually led to her job at Penguin Books. Her career turned towards data visualisation after her works gained online traction, notably through collaborations like “Left vs. Right” with David McCandless. She highlights the importance of handwork, saying she gathers data manually to conceptualise her projects. Posavec sees her work as a balancing act between aesthetics, meaningful data, and viewer interpretation, and she is keen to explore dynamic and physical data representations in the future.

Key Points

• Career Path: Thanks to online exposure, from literature-focused designs to data visualisations.
• Working Process: Manual data gathering, reading, and counting words for conceptualisation.
• Collaboration: Often works with data experts, especially for client projects.
• Data and Design: A balance between aesthetics and meaningful data patterns.
• Future Interests: Working on dynamic and physical data representations.

Pros

• Versatility: Able to work on both traditional and more creative or illustrative projects.
• Attention to Detail: The manual method of gathering data ensures deep understanding.
• Collaborative Synergy: Effective in working with data experts to produce accurate and visually compelling stories.
• Innovative: Continuously interested in pushing boundaries, especially interested in making data “physical.”

Cons

• Limited Coding Skills: Lacks coding expertise, which could limit access to larger datasets.
• Data Constraints: Sometimes limited by the form that data can naturally take, causing challenges in meeting client expectations.
• Time-Intensive: Manual data gathering could be seen as inefficient compared to automated methods.

Critical Reflection

Stefanie Posavec’s approach to design offers an intriguing blend of artistry and data-driven rigour. Her trajectory from a book cover designer to a data visualisation artist demonstrates the mutable boundaries between design categories and highlights how online platforms can catalyse career shifts. The pros of her work lie in its emotional resonance and deep data understanding, yet these can also be seen as cons when considering efficiency and scalability.

Posavec’s approach resonates well with the ongoing discussions in the academic world about the balance between artistry and function in design. Her work serves as a case study for the importance of conceptual depth in design, a notion often taught but less often illustrated so vividly in the professional realm. It also raises questions about future skills necessary for designers as the demand for data interpretation grows. Will coding become a must-have skill for all designers, or will there always be room for a more tactile, manual approach? Either way, her work challenges the norms of what a graphic designer can do and sets the stage for new dialogues around data representation in design.

Communication design: insights from the creative industries In Conversation with Tara Austin and Paco Conde, Ogilvy & Mather.

The conversation with Tara Austin and Paco Conde, key players at the international advertising agency Ogilvy & Mather. Both discuss their socially impactful projects that also serve as advertising campaigns. Austin talks about “The Power of Cute,” aimed at reducing anti-social behaviour by painting shutters with the faces of local babies. Conde focuses on “Immortal Fans,” aimed at encouraging organ donation by creating club-specific donor cards. Both projects have been successful and exemplify Ogilvy & Mather’s larger goal of utilising psychology and behavioural economics to create advertising that fosters positive social change.

Key Points

• Ogilvy & Mather: A global advertising agency interested in psychology and behavioural economics.
• Tara Austin: Created “The Power of Cute” in response to the 2011 London riots. Utilised theories like “broken windows” and “baby schema” to design the project.
• Paco Conde: Developed “Immortal Fans” to tackle low organ donation rates in Brazil. The campaign uses the passion for football to encourage fans to become organ donors.
• Social Impact: Both projects achieved significant positive social impacts, from reducing crime rates to increasing organ donations.
• Media & Expansion: Both campaigns received global attention and are being looked into for potential expansion or adoption by other parties.

Pros

• Innovation: Creative application of psychology theories in advertising.
• Social Good: Projects have proven positive impacts on society, going beyond mere advertising.
• Global Reach: Scalability and potential for the projects to be applied elsewhere.
• Media Attention: Global media coverage for the projects amplifies their positive impacts.

Cons

• Ethical Concerns: The line between social good and corporate marketing may blur, raising ethical questions.
• Sustainability: It is not clear if these campaigns can sustain their positive impacts in the long term.
• Resource Intensive: Implementing such projects requires more than traditional advertising, possibly deterring other companies from taking similar initiatives.

Critical Reflection

Both campaigns are highly commendable for their innovative approach to tackling social issues via visual communication. They incorporate psychology and behavioural economics elements, blending them with design principles to achieve real-world impacts. However, it’s crucial to scrutinise the ethical dimensions, especially if social good becomes a ‘commodity’ for brand promotion.

Austin’s project is particularly intriguing as it employs the visual language of street art to “humanise” otherwise inhuman spaces. This could be a rich area for academic exploration, examining how such ‘humanisation’ through design elements can impact psychology and community dynamics.

Conde’s project could be considered a masterclass in user-centric design, where the intended ‘users’ are not only the brand’s consumers but society at large. Incorporating real patient stories adds depth and authenticity to the campaign, making it emotionally resonant.

The projects show the power of design to effect positive social change but also raise important questions about the ethical responsibilities of designers and advertisers in shaping public perception and behaviour.

Intel Visual Life – Michael Wolff

A video with Michael Wolff features an insightful talk with a master who shares his perspectives on the design field and the roles of human self-expression and branding in design. Michael emphasises three “muscles” that are critical to his work—curiosity, appreciation, and imagination. He mentions that his holistic education in design, instead of being siloed into specific design roles, has been an advantage in his work. He delves into the emotional aspects of design, using the example of designing a magazine for farmers to illustrate how emotion is essential in effective design.

Key Points

• Human Packaging: Wolff begins by discussing how humans package themselves through appearances to either genuinely reveal or disguise their true selves.
• Holistic Design Education: Wolff appreciates his wide-ranging education in design, lamenting that designers today are often forced into specialised “silos.”
• Muscles of Design: Wolff believes that curiosity, appreciation, and imagination are critical traits for any designer.
• Emotion in Design: He highlights that effective design should not just inform or persuade but also emotionally move people.
• Branding: Wolff discusses how the job of a brand identity is to package the essence of a brand such that people can relate to, value, and treasure it.

Pros

• Comprehensive View: Wolff provides a rounded, in-depth view of design, including the often-overlooked emotional aspect.
• Interdisciplinary Approach: The talk emphasises the value of holistic design education, arguing against the trend of specialisation in design fields.
• Real-world Examples: Wolff uses practical examples, like the magazine he designed, to illustrate his points, making the talk relatable and actionable.

Cons

• Limited Scope: Although insightful, the talk doesn’t dive into the technical aspects of design or how new technologies are shaping the design landscape.
• Abstract Concepts: While the idea of ‘muscles’ for design is an interesting metaphor, some might find it abstract and prefer a more straightforward discussion of skills or techniques.

Critical Reflection

Michael Wolff’s perspective on the emotional aspects of design is particularly compelling. Often, we get caught up in the technicalities and need to remember that design is a medium to evoke emotions and facilitate human connections. His take on ‘human packaging’ directly correlates with personal branding, which is integral in today’s digital age.

However, specialisation in design isn’t necessarily negative. In a rapidly evolving landscape where technology is integral, specialised skills in, for example, UX/UI design, are invaluable. What would make a difference is if designers with specialised skills also had an appreciation for the holistic aspects that Wolff talks about, like emotional connectivity and a broader understanding of design’s impact.

Moreover, while Wolff celebrates the ‘muscles’ of curiosity, appreciation, and imagination, there’s a gap in discussing how one can practically nurture these muscles. Adding insights into the ‘how’ could make his argument more robust and actionable for budding designers.

Abstract – The Art of Design Season 1 Episode 6- Paula Scher – Graphic Design

The video features Paula Scher, a renowned graphic designer, discussing her career, design philosophy, and experiences in the field of graphic design. Scher talks about her work with Pentagram, her passion for typography, and her iconic designs for clients like the Public Theater and Citibank. She also discusses her transition into environmental graphics and her role in the Palm Beach Ballot controversy.

 

Key Points

• Paula Scher’s passion for typography is a driving force in her graphic design career.
• She works at Pentagram, a design collaborative known for its creative independence.
• Scher’s iconic work includes redesigning the Public Theater’s identity and the Citibank logo.
• The video discusses her transition to environmental graphics and involvement in the Palm Beach Ballot controversy.
• Scher’s design process involves a combination of strategic thinking and intuition.
• Her work has left a significant mark on the field of graphic design, particularly in New York City.

Pros

• Passion for Typography: Paula Scher’s enthusiasm for typography and her ability to see typography in everyday life is a highlight. Typography is portrayed as a powerful tool for creating character and meaning.
• Diverse Portfolio: Scher’s work spans various mediums, from record covers to environmental graphics, showcasing her versatility as a graphic designer.
• Influence: Scher’s impact on the field of graphic design is evident, with her work becoming iconic and recognisable in everyday life, such as the Citibank logo.
• Design Process: The video offers insights into Scher’s design process, from brainstorming and sketching to client presentations and the challenges faced during design projects.
• Personal Connection: The video provides a glimpse into Scher’s personal life, including her relationship with Seymour Chwast, her inspirations, and her upbringing.

Cons

• Limited Focus: The video focuses predominantly on Paula Scher’s career and experiences, which may need to provide more in-depth coverage of broader topics in graphic design.
• Lack of Criticism: The video does not explore any critical viewpoints or controversies in Scher’s work or the graphic design industry, presenting a largely positive perspective.

 

Critical Reflection

Paula Scher’s journey and contributions to the world of graphic design are inspiring. Her passion for typography and her ability to see design potential in everyday life are commendable. The video provides valuable insights into her design process and her challenges throughout her career.

However, the video could benefit from a more critical examination of the graphic design industry and the impact of design decisions on society. Exploring controversies or discussing the responsibilities of designers in shaping public perception would add depth to the narrative.

Overall, Paula Scher’s career and influence on graphic design are noteworthy, and her story inspires designers.

Workshop Challenge

The introductory lecture by Kristoffer of Regular Practice for the workshop challenge titled “Quadriptych.” The lecture outlines the historical and artistic context of multi-panel artworks like triptychs and quadriptychs. It explores different mediums (heraldry, vexillology), techniques (subdivision of surfaces), and elements (text, imagery, illustration) that can be used to convey messages or stories. Several examples from various artists and fields are cited to provide inspiration and guidance.

Key Points

• Definition and Context: A quadriptych is an artwork with four panels. It shares similarities with a triptych, which was historically often religious.
• Subdivision of Surface: How the surface is divided can add meaning to the artwork. This applies in various fields like heraldry and vexillology.
• Choice of Medium: Different mediums like text, photography, and illustration can be used to convey messages or emotions.
• Shared References: Consider our audience’s background and shared references to communicate more effectively.
• Curatorial Aspect: The arrangement and relationship between the panels can give additional layers of meaning.
• Juxtaposition and Hierarchy: The juxtaposition of different elements within the panels can create explicit or implicit hierarchies and influence audience perception.
• Artistic Examples: Various works by artists like Andy Warhol, Ellsworth Kelly, and Piet Mondrian are cited as examples.

Pros

• Comprehensive Overview: The lecture offers a well-rounded introduction to quadriptychs, touching upon history, mediums, and techniques.
• Interdisciplinary Approach: Examples span from heraldry to modern art, offering a rich context for the challenge.
• Practical Guidance: The lecture provides concrete tips and considerations for participants to keep in mind, aiding in the creation of a meaningful artwork.

Cons

• Length and Complexity: The lecture is dense with information and examples, which could overwhelm some participants.
• Limited Visuals: Given it’s about graphic design, more visuals could enrich the understanding but are missing from the lecture.
• Limited Focus on Execution: While it gives several points to ponder, it doesn’t provide much guidance on the actual execution or technical aspects of creating a quadriptych.

Critical Reflection

As a freelance designer and student, the introduction is enlightening but also a bit overwhelming. The historical and interdisciplinary contexts are thought-provoking, and the emphasis on conscious choices in medium and surface subdivisions is highly relevant. However, the piece could benefit from a more step-by-step approach to effectively guide participants, especially for those unfamiliar with multi-panel artworks. Including a larger range of visual examples would have been invaluable for better understanding. It also might have been useful to touch upon the importance of modern software tools in executing these design concepts. Overall, the lecture serves as a stimulating intellectual exercise but could be more accessible and actionable.

As a freelance designer and student specialising in Graphic Design, the task involves understanding my background, influences, geography, and views on design. In order to gather comprehensive and nuanced information that will allow me to complete this task effectively, I created the following list of questions from within the original four questions, which I found to be crucial to ask.

I found this challenge exciting to answer, as these are questions that I ask myself every cycle. In order to help me get my thoughts together, I designed sub-questions to assist me in getting the correct answers.

 

Who are you?

1. What is your name and a brief introduction?

• I’m Roan, a British graphic designer with over a decade of experience in graphic design. I am a first-generation British Citizen born in North London to immigrant parents of mixed Guyanese and Jamaican heritage (African, Asian, Caribbean and South American), but later raised and educated in East London and returning to higher education/academia to consolidate my understanding of my field of study as a mature dyslexic student. 

1. What is your academic background?

• I hold a Bachelor’s in Graphic Design from London Metropolitan University, an HND in Graphic Design from Richmond upon Thames College and an HNC in Graphic Design from the London College of Contemporary Arts.

1. Have you had any formal training in graphic design, or are you self-taught?

• My background started as an autodidactic creative/designer since childhood, later experimenting with tools during my early twenties, but later pursued formal education and attended various workshops.

1. How would you describe your personal design style?

• My style leans towards minimalism with bold colours inspired by mid-century modern aesthetics.

1. What are your main influences in design?

• Paula Scher for her typographic mastery. The playful geometry of Memphis Design and the vibrant hues of the Brazilian carnival.

1. What other interests or experiences have played a significant role?

• I’ve always been passionate about photography, greatly influencing my sense of composition and colour.

1. Do you come from a family background related to design or arts?

• My mother was a self-taught artist (unpaid), (blue collar) factory worker (doyley machine operator/designer), and Crochet maker. I grew up surrounded by her creations, which nurtured my love for art.

What is it that you do?

1. Can you describe your design process step-by-step?

• It begins with client discussions, followed by research, then sketching ideas, creating digital drafts, gathering feedback, refining, and finally producing the end result.

1. What tools and software do you use?

• I primarily use Adobe Illustrator for vector work, Photoshop for editing, InDesign for desktop publishing and After Effects for animation/motion graphics.

1. What types of projects do you usually work on?

• I specialise in branding for small businesses, particularly those in the security, law, real estate and sports sectors.

1. Do you collaborate with other professionals?

• Often. I work closely with web developers when crafting online experiences and with copywriters to ensure brand messaging is on point.

Where are you?

1. Where are you currently based?

• I’m based in London, a city teeming with artistic energy and history.

1. Has your geographical location influenced your design?

• Absolutely. London’s blend of classic architecture with modern street art always finds a way into my designs. 

1. Do you work in a studio, from home, or a mix of both?

• I have a small box room, but occasionally, I find inspiration working from libraries, cosy cafes or my favourite train station balcony.

1. How does your environment impact your creativity?

• The River Thames proximity gives me calmness, while the city’s hustle injects energy into my work.

1. Does your location give you access to unique resources or networks?

• Being in London connects me to a vast network of artists from various fields, from ceramicists to muralists, which is enriching.

1. Have you worked internationally?

• Yes, I’ve collaborated with clients from Manila to Tokyo, each bringing fresh perspectives and broadening my design horizon.

Why Design?

1. What drove you to choose design as your field?

• As a child, I was captivated by my parent’s record collection and the album covers. That intersection of art and communication drew me into design.

1. How do you define good design?

• Good design solves problems elegantly, communicates effectively and evokes emotion.

1. What does design mean to you personally?

• Design is my voice. It’s how I express, comment on the world, and connect with others.

1. How do you think design impacts society and culture?

• My knowledge in Social Anthropology, Psychology, and Security background has given me insights into human behaviour and cognition. Design shapes perceptions, builds identities, and even directs behaviours. It’s both a mirror and a mould for society. 

1. Do you feel there are ethical responsibilities?

• We must design with inclusivity, avoid promoting harmful stereotypes, and always aim for sustainability.

1. Where do you see the field of graphic design going in the future?

• I foresee a digital and physical merge, with augmented reality playing a massive role in experiential design.

1. How do you want to contribute to the field of design?

• I aim to teach/mentor designers and career changers and advocate for sustainable design practices.

1. What are some design problems that you’re passionate about solving?

• I’m focused on creating designs that promote mental health/neurodiversity awareness and bridge cultural divides.

Using the Double Diamond framework, the information provided by my questions and answers assisted me in organising the text by categorising the information according to the four stages: Discover, Define, Develop, and Deliver to flow from broad insights to specific objectives, then exploring solutions and finally delivering actionable outcomes.

Discover – Uncovering insights and understanding the broader context

• Who are you?
• Introduction: I’m Roan, a first-generation-born British graphic designer of mixed Guyanese and Jamaican heritage, returning to higher education as a mature dyslexic student.
• Academic Background: I hold a Bachelor’s in Graphic Design from London Metropolitan University, an HND from Richmond upon Thames College and an HNC from the London College of Contemporary Arts.
• Initial experience: My background started as a child by my late mother and graphic design as an autodidactic creative/designer during my early twenties.
• Where are you?
• Current Location: I’m based in London, a city teeming with artistic energy and history.
• Working Environment: I work from a small box room, but occasionally from libraries, cosy cafes or my favourite train station balcony.

Define – Focusing on specific areas and determining the challenges or objectives

• Who are you?
• Design Influences: Paula Scher for her typographic mastery. The playful geometry of Memphis Design and the Brazilian carnival.
• Personal Interests: I’ve always been passionate about photography, which influences my composition and colour.
• Family Background: My mother was a self-taught artist, doyley machine operator/designer, and crochet maker. Her creations nurtured my love for art.
• What is it that you do?
• Design Process: It begins with client discussions, research, sketching, creating digital drafts, gathering feedback, refining, and producing the end result.
• Tools: I use Adobe Illustrator for vector work, Photoshop for editing, and After Effects for animation/motion graphics.
• Collaborations: I work closely with web developers and copywriters.
• Why Design?
• Motivation: As a child, I was captivated by my parent’s record collection and the album covers. This intersection of art and communication drew me into design.
• Design Philosophy: Design is my voice. It’s how I express, comment on the world, and connect with others.

Develop – Ideation and exploration to address the defined challenges

• What is it that you do?
• Project Specialisation: I specialise in branding for small businesses in the security, law, real estate and sports sectors.
• Where are you?
• Influence of Location: London’s blend of classic architecture with modern street art influences my designs.
• Environmental Impact: The River Thames brings calmness, while the city’s hustle adds energy to my work.
• Networking: Being in London connects me to a network of artists from various fields.

Deliver – Implementing solutions and sharing them with the world

• Why Design?
• Definition of Good Design: Good design solves problems elegantly, communicates effectively and evokes emotion.
• Impact on Society: Design shapes perceptions, builds identities, and directs behaviours.
• Ethical Responsibilities: Inclusivity, avoiding stereotypes, and sustainability are crucial.
• Future of Graphic Design: A digital and physical merge, with augmented reality playing a massive role.
• Contribution to Design: I aim to teach/mentor career changers and advocate for sustainable practices.
• Design Challenges: Promoting mental health/neurodiversity awareness and bridging cultural divides.

 

Key Points

• Identity & Background:
• First-generation-born British graphic designer with Guyanese and Jamaican heritage, identifying with African, Asian, Caribbean, and South American roots.
• They’re returning to higher education as a mature dyslexic student.
• Educational Trajectory:
• Exposed to art basics by my late mother
• Autodidactic graphic design began in my twenties.
• Bachelor’s in Graphic Design from London Metropolitan University.
• HND from Richmond upon Thames College.
• HNC from the London College of Contemporary Arts.
• Design Aesthetics and Influences:
• Minimalistic style with bold colours influenced by mid-century modern aesthetics.
• Influences include Paula Scher, Memphis Design, and the Brazilian Carnival.
• Photography plays a key role in shaping my sense of composition and colour.
• Professional Scope:
• Use of Adobe Illustrator, Photoshop, and After Effects.
• Specialises in branding, particularly for small businesses in the security, law, real estate and sports sectors.
• Collaborates with web developers and copywriters.
• Geographical & Environmental Context:
• Based in London, which influences design sensibilities.
• Works from a small room, occasionally in libraries, cafes or on my favourite train station balcony.
• Finds peace near the River Thames and energy from the hustle of the city.
• Philosophy & Future Outlook:
• Sees design as a form of voice and expression.
• Believes in the power of design to shape societal perceptions.
• Envisions augmented reality’s significant role in future design.
• Aims to mentor career changers and promote sustainable and inclusive design.

 

Pros

• Diverse Background: Mixed heritage and experiences as a first-generation British Citizen from immigrant parents can offer fresh perspectives in design, bringing cultural nuances into aspects of work.
• Rich Educational Foundation: A Bachelor’s, HND, and HNC in Graphic Design, a solid academic foundation in the subject, coupled with practical experience.
• Varied Influences: Drawing inspiration from renowned designers and global cultures gives a broad palette to work from.
• Hands-on Experience: Specialisation and collaboration with professionals in adjacent fields can ensure well-rounded project outcomes.

 

Cons

• Late Formal Education Start: Being an autodidact in the early stages might have led to some gaps in foundational knowledge, but now catching up.
• Potential Over-reliance on Specific Tools: Heavily invested in the Adobe suite. Exploring other software could broaden my skills.
• Geographical Limitations: While London is diverse and offers a lot, the designs might be too geographically centred and may only sometimes cater to global audiences.

 

Critical Reflection

My journey paints the portrait of a designer shaped by diverse cultural influences, personal experiences, and academic pursuits. Beginning as an autodidact, later, the decision to pursue formal education showcases adaptability and a commitment to the discipline. Specialisation in branding for niche sectors, like security, law, real estate and sports, might seem limiting, but it could also mean unparalleled expertise in these areas.

The potential challenges lie in geographical limitations and toolset. Expanding horizons beyond London and exploring software beyond Adobe could enhance versatility. However, it’s evident that my philosophy towards design, emphasising sustainability, inclusivity, and mentorship, promises a forward-thinking approach in the design world.

I would like to see how my student perspective and past professional experiences enrich discussions and practices in a postgraduate setting. Given my background and trajectory, I can offer unique insights into the application of design across varied contexts, creating a bridge between academic principles and real-world challenges.

Task

Discover/Research

An authentic digital aesthetic has been said to be developed through Diane Fenster’s paintings. Her work is included in the permanent collections of institutions, businesses, and individual buyers. Her fine art and commercial photo illustrations have sparked admiration and imitation, and her work has been exhibited abroad. She is a trailblazer in the creative industry.

 

Diane’s work has pushed the limits of illustration and photography in many respects. Setting a course has frequently proved challenging. No one knew where computer-based art creators belonged in the early days when they displayed their work—none of the conventional categories for how one creates a picture applied to them. The limits appeared clear and defined.

 

With Diane’s work, we have all been able to broaden our understanding of what is possible in the realm of image creation. Today, digital photography and illustration can stand independently and are frequently used by fine artists and the business world. Computer-based photography, digital art, and illustration have established their spheres of influence thanks to Diane and other artists like her.

 

She refers to herself as an alchemist who uses modern technology. According to Diane, “I started making digital photos in 1989 and pleaded for a beta copy of the first Photoshop before it was made available to the general public. Since then, I have yet to turn around.

 

She has tested our limits of perception and cognition throughout the past thirteen years, reshaped our thoughts and dreams, and helped establish the high standards of digitally based art creation. With her inclusion into the Photoshop Hall of Fame, we are grateful for her dedication and talent.

 

The title of this artwork is “Look, Listen, Think, and Feel.” Dianne Fenster promoted her work by using it to do so. An illustration of this would be the “feel” image, as you can feel with your hands and heart, which is why she has portrayed a hand holding a heart. All of these images are relatively straightforward but have a twist. She just modified the hue of the rough edge on each image and made all the photos yellow to link together. Each has a square, giving the impression that they are canvas wall art. As she does with all the pictures, Dianne has aged them. She added photographs that were scanned in over her own and gave them depth and attention-grabbing qualities.

 

Define/Insights

I want to use my quadriptych to illustrate one of the best aspects of graphic design: narrative. The practice of displaying emotions, feelings, and goals through graphic design and visual art has always captivated me. 

This project is very different to what I have ever created so far, as I have complete freedom on what I can choose as a means of an outcome for the topic, and the design assets are the only outcomes that matter for Who, What, Where and Why? This project is one step closer to working within the industry, and developing critical thinking is a crucial element. 

At the start of the project, my illustration skills, branding and identity skills, and typography set would be my main strength. Still, throughout this workshop and pre-reflection, I understood that typography would be my main focus as I wanted to explore more of my passion for type. 

After listening to the breakdown from Regular Practice and the types of tetraptych or quadriptych, my initial sketches focused more on some of the things they highlighted. I wanted each section within the tetraptych or quadriptych to be equally balanced and not odd-looking based on my preference for what each section means to me, and the aim was to create a series of four posters.

 

Develop/Prototype

My first approach to working out how to present my quadriptych was to use a mind map. 

Image First – Mind Map 

(Show image) 

 

While creating my mind map, collage struck a chord with me as a traditional method of condensing much information into a single area. I did some light research to establish the proper mood for my collage. These materials provide me with a plethora of knowledge while keeping a solid graphic structure, creating a dynamic and captivating visual narrative. 

 

# Image Second – Collage 

(Show artist work and one example of my work from HNC Jean class) 

 

My second approach for this week’s challenge of ‘Identity’ was using images in either colour or black/white. There is something quite compelling and moving when photographs or pictures are in black and white, for example, Nōtan (Nōtan is a Japanese design concept involving the play and placement of light and dark elements as they are placed next to the other in the composition of art and imagery). As the old saying goes, “A picture paints a thousand words”. I wanted to present my photographic quadriptych outcomes robustly and didactic, efficiently answering each question.

 

The first is Who Am I, using a relatable photo to represent myself. What I do, is defined using two Apple PC – Old and New blended. Where I am, a photo of the M25 Greater London map. Why design? The use of an exclamation mark and a question mark set as a logo (!?) represents problem-solving.

 

With my second attempt, I explored the use of a photo of a man because I didn’t want to crack anyone’s screen with my picture; the Apple PC’s show age and development and how technology is an integral part of what I do as a Jack of All Trades Full-Stack Digital Creative. The map is from my old days learning (trying to learn the first 80 Blue Book Runs) via The Knowledge (Black Cab), but it represents so much of where I’m from leading into where I am; a Londoner born and bred in North London – grew up in East London – London Essex – West London – West Central London. Questions and symbols unlock clues, and every clue brings me one step closer to solving a problem, and every problem has a solution, which encapsulates what design means to me.

 

While thinking about “Ways of Seeing”, a little Toolbox Talk that I developed when I felt that there were elements I had missed, it appeared as though only a little thought had gone into it, meeting what I felt was only the basic standards without constructive self-analysis. Grabbing pictures to symbolise the answers was a good starting point in my attempt to do something different, so I took a little diversion and embarked on a short inward journey to consider alternative approaches than using pictures alone. Utilising actual objects as a depiction first came to mind, whether via type, pictures, or both. Following the experiment with images, I put pen/pencil to paper. I created a rough sketch of the potential visual representation, comprising four objects for the four Who, What, Where, and Why questions. 

 

My third attempt was a more object-orientated and selective approach, as I tried to simplify my quadriptych with objects for a more sequential flow of what could potentially be a finished example showcasing a Half Blue and White Shirt (Blue = My Working Class roots and being a first generation British citizen from foreign parents and White = My current socio-economical position), a Wacom Pen, a Map = Because I’m a Londoner and a Question Mark within Speech marks “?” = Levelling up on thinking (as the old saying comes to mind, “As a man thinketh”) and asking the right questions to solve problems.

 

After this last attempt, I felt as though something was awry. It lacked maturity, independence, minimalism, and a sense of introverted-extrovertism and didn’t convey “me” as intended. I started outlining the new panels with a pencil on paper after coming up with the idea that reflected the unconventional quirkiness that came to mind and could be arranged as a series of images that could stand alone or be joined horizontally or vertically. So even though each element may be used independently when taken as a whole, they all work best when used together, like the interconnectedness of the who, what, where, and why. 

Reverting to my Toolbox Talks and looking at what was around me, my child’s Sony PlayStation Controller was on charge. This gave me the final piece of the jigsaw as everything I was trying to put together fell in place by being linked to the buttons on the controller.

 

In typography, we can see the relationship between shapes, symbols, and letters; for example, the square = the letter H – the triangle = the letter A – the circle = the letter O and X marks the spot. Within the gaming industry, the use of typography is at such a high level, whether that be in advertising the games and platform at events such as E3 (Electronic Entertainment Expo (which will not be going ahead this year, 2023), web design and development, or the competitions that are held such as Esports Championships Series the use of typography can be found everywhere. 

 

According to Morihei Ueshiba, one of the great masters whose wisdom, knowledge and ways of seeing exceed mine at present and have had a powerful influence on my thinking. According to his book The Art of Peace, the body should be triangular and the mind circular. The most stable physical position is the triangle, which also symbolises the creation of energy (Fire). The circle represents tranquillity, perfection, and the source of all possible techniques and processing (Wind). Solidity, the cornerstone of applied control, is symbolised by the square (Water). But this also leads me to the teachings of Sun Tsu in his book The Art of War and Miyamoto Musashi in his book The Book of Five Rings; with this in mind, the X is the perfect representation encapsulating me in general as a Generation X (Gen X), with a culturally diverse ethnic background from immigrant parents (Caribbean, South American and Asian) now reflectively questioning who I am, and how do I fit in racially within society as a London born, first-generation British Citizen (Earth).

 

Deliver/Outcomes

Who Are You? 

X – Earth

Wassup! 

I’m Roan, a mature student returning to higher education and a Graphic Designer with over a decade of experience in design. My background started as an autodidactic creative/designer. I have studied graphic design in three ways to get to where I am now.

The first phase was self-taught; my teachers and journey through graphic design were trying to absorb as much information from short college courses, online learning platforms, magazines, books, and recreating material that I would encounter.

The second phase was my decision to study an HND vocational course in graphic design after realising my outputs needed improvement.

Then my third phase was to switch it up a gear and embark on a more academic path by studying at university. 

I’m more of an extroverted introvert or introverted extrovert, who is also a dyslexic neurodivergent solutions-based creative, still finding difficulties in reading without fear (False Evidence Appearing Real), but fuelled primarily with more excitement towards the use of typography and colour in the way we communicate with the world and how the world communicates with us.

Internal cultures influence me within my bloodline (African, Asian, Caribbean and South American) and external cultures, particularly the Filipino culture, as my partner is from the Philippines and our children are British Blasians. Being born in the demographic group Generation X, the retro designs of the 1980s and 1990s and music (old skool rave flyers/zines from the 90s – 4 Aces AKA The Labyrinth to Elevation and Ravealation to Hackney Squat Parties) also influence how I work. Still, depending on the work I’m doing, I would listen to everything ranging from Classical, Jazz, Hip-Hop/Rap, Rock, Nu Metal, Electronic, Techno, Drum ‘N’ Bass, Cyberpunk, Synthwave, Vaporwave, Phonk, Dubstep, Lo-Fi, K-Pop, Gospel to Soul. 

 

What is it you do? 

Circle – Wind

At present, I’m more of a Jack of All Trades Creative (JoATC) or, in professional terms, a Full-Stack Creative (FSC). My BA was heavily spent working on digital publications. I was confident I would work in magazine design as a graphic designer. 

 

I have always been fascinated by AI and AR. How physically printed material and the digital realm can seamlessly work together to bring about an immersive experience for the user, so when an idea sparks in my mind, I ask myself why I would want to design and develop this, how I will create and develop it and what are the benefits of designing and developing it. My work is more experimental, and I merge two worlds without clashing. This is what makes this a special one for me. It represents my understanding of finding what and who I want to work with. It took a while, but I now know the clients I want to work with and, most importantly, don’t want to—the people I want around me and the design work I want to take on. Where previously, I did whatever I was asked, even if I had doubts; now I love to experiment, and I’m a super clean designer, and I like it that way. 

 

Where are you? 

Square – Water

I live in London, one of the most culturally rich and diverse cities, and I’m a Londoner to the core. 

I don’t have a physical studio, so I must work in a small box room. Still, occasionally, I find inspiration working from libraries, cosy cafes or my favourite train station balcony. This gives me the space for my work to materialise, as I like that option of zoning out, listening to whatever genre of music fits my mood, or just enjoying the silence (and yes, I do like Depeche Mode). Now, don’t get me wrong, I love collaborating on projects with other creative minds and seeing the journey taken to get a project completed, but 80% of the time, it’s just me, myself and I where I can think and work in solitude (not isolation) and in an uninterrupted way. 

Because London is such an intense environment, there is always so much going on; whether going on a walk or taking public transport, my brain is constantly stimulated and absorbs stuff on a much more subliminal level and throw in a cup of dyslexia into the mix helps to get the creative juices flowing interestingly, plus having an area and space to take time to reflect and process/filter out stuff is unique in its way. 

 

Why Design? 

Triangle – Fire 

Design is a way to visually communicate my thoughts and feelings and solve problems by asking questions until I ask the right questions (still trying to get this right) to present a solution. Design is everything, everywhere and in everyone, and it is similar to travelling from point A to point B, like a connecting link that carries a thought from its inception to its transition point whilst asking myself what issue I’m attempting to resolve while employing aesthetics to improve its appearance.  

 

It allows my mind to create, and I can share my creativity from within my mind and allow the world to see. Design is a way of thinking about life and how to live it; the potential choices I make are influenced by design, and design is also a form of self-expression, a way of doing, not just being and allows me to understand how things around us interact with us, and continually change, which makes being a designer so enjoyable.

The Source – References

 

Being presented with outlines of the Week 1 introduction and schedule of a graphic design master’s module led by Susanna Edwards at Falmouth University, the module aims to explore contemporary graphic design, focusing on local and global perspectives and essential skills for effective communication. Students are introduced to three core projects, and learning is facilitated through lectures, webinars, workshop challenges, and online blogs. The first week includes lectures, practitioner case studies, and a workshop challenge focused on creating a quadriptych to answer questions about the student’s identity and practice. Learning resources are provided for additional reading and research; an ideas wall serves as a community platform for feedback and discussions.

Key Points

• Leadership: The module is led by Susanna Edwards and includes online tutors who are experts in the field.
• Objectives: Introduce students to contemporary graphic design, focusing on local and global perspectives.
• Learning Methodology: Combines lectures, practitioner visits, online challenges, and independent research.
• Weekly Assignments: Includes practical exercises like creating a quadriptych and weekly reflections on a WordPress blog.
• Interactive Platform: An ideas wall on Padlet serves as a communal space for discussion and feedback.

Pros

1. Expert Guidance: The module is led by experts in the field of graphic design.
2. Comprehensive Approach: Covers both theory and practical exercises, aiming to provide a well-rounded understanding of contemporary graphic design.
3. Interactive Learning: Utilises an ideas wall for community interaction, which enhances peer-to-peer learning.
4. Real-world Insights: Students get to visit practitioners in their workplace for practical insights.
5. Structured Learning: The module is well-organised, with a clearly defined weekly schedule, objectives, and resources.
6. Focus on Self-Reflection: Students are encouraged to maintain a blog and reflect on their learning journey.

Cons

1. Resource Dependent: The module suggests students should buy books, which might be a financial burden.
2. Technology Dependent: Requires students to have access to various digital platforms like WordPress, Padlet, and Canvas.
3. Time-Intensive: The module appears to be demanding in terms of time commitment.
4. Lack of Offline Interactions: Being an online course, students may miss out on face-to-face interactions and networking opportunities.

 

Critical Reflection

As a freelance graphic designer and student, the module is comprehensive and robust, aimed at producing well-rounded designers. Focusing on local and global perspectives is crucial to understanding the broader scope of graphic design in today’s interconnected world. The incorporation of real-world visits to practitioners provides invaluable insights into the industry, but I can’t help but wonder if virtual visits can truly replace the tactile experience of physical visits.

The use of digital platforms like WordPress and Padlet is commendable for fostering an interactive learning environment. However, the dependency on these platforms might exclude students who are not tech-savvy or lack the financial resources for regular internet access and buying books.

Overall, the module appears to offer a holistic approach to learning graphic design, but improvements could be made in terms of accessibility and financial considerations.