Visual Communication in Design

Mark Roxburgh’s research over the past decade has focused on the evolving conceptualization, discourse and development of research methodologies for design. This has lead him to question the historical pattern of design whereby the methods and epistemologies of other disciplines are used without addressing the differences between them and design. Design is a complex activity enmeshed in many aspects of our lives. In his article in Design Issues (1992), ‘Prometheus of the Everyday: The Ecology of the Artificial and the Designer’s Responsibility’, Manzini foregrounds the relational nature of this complexity by conceiving design (the artificial) as having an ecology. Roxburgh has written about these matters but his critique has conformed to the conventions of academic publishing and he has found articulating aspects of such complexity constrained by the limits of written language. Increasingly, in design, visualization is used to map complex relationships between things, ideas and actions. In this essentially visual essay, Roxburgh is attempting to graphically identify and explore the relationships of some of these concepts in a manner that echoes these trends and his own research practice. He is aware that sketches of complex phenomena, through a process of interpretation and abstraction, become somewhat reductive. The moments he draws on in crafting the depictions of his views are presented episodically rather than chronologically.
Roxburgh sketches out three key historical conceptions of design and the ramifications they have had on our perceptions and practice of it. He depicts these conceptions as being drawn from traditions outside of design and suggests that an alternative strategy may lie within design itself. This strategy calls for an engagement with what he calls the aesthetics of research. He suggests that it is imperative that design encompasses an aesthetic engagement with the world at all levels, and most importantly at the point of design research and conception, for our experience of design is fundamentally aesthetic. He is aware that there is an apparent irony in his use of non design theories to frame aspects of his view but this is a necessary strategy to critique the ontological assumptions inherent within the conceptions of design that he characterizes (one could even say ‘caricatures’). Roxburgh takes the position that there is nothing essentially given about design consciousness. Rather, the characterizations of design consciousness that he outlines all carry (usually implicit) ontological assumptions that may be inappropriate and/or limit design practice. The depiction of design that he offers is based instead on an alternative ontology. While this cannot be empirically verified (no ontology can), he proposes it as a way of extending and critiquing usual conceptions of design practice. No doubt this in turn will be found to have shortcomings of its own.

This handbook is the result of an exploratory study that tries to connect rhetoric and user experience (UX). Here, the user interface (UI) becomes the middle point through which rhetorical figures can be applied to influence the user experience.

Based on the "Rhetorical Handbook" by Hanno Ehses and Ellen Lupton (1988).

Today, it is observed that visual communication is used everywhere and a cultural structure based on seeing is being created with the ever-evolving technology. When we consider that communication started with the drawings on the rocks in caves, we can suggest that there have been a visual communication since the day humans were created. The fast development of today’s technologies has led to the evolution of this means of communication. Today, humans prefer to see rather than to read. As a result of this, visual communication has gained a great importance. The dominance of visuality in the present age has brought with it the use of visual design products. When we step on the street, signboards, billboards, posters appear everywhere. All these elements show that visual communication is the most influential way of expressing oneself in every age.
“The institutions that consider the fact that “the things that do not exist in the media do not exist at all or exist in a very limited form” (Huisman, 2000: 62) prefer to present their products and services and various activities by using means of graphic design. Posters, which are used in announcing a product, service or a campaign, are preferred means of visual communication because they transfer the message to the target audience in a fast, easy and cheap manner. Meanwhile, posters are a product of graphic design. The message to be transferred is designed by using various visual elements, and is presented to the target audience. These products may cause changes in the perceptions of people with the meanings they produce. The analysis of the posters included in the study was made by using the Semiotic Approach of Barthes, who followed and developed the approach of Ferdinand de Saussure. According to Barthes, each text and each visible material has a visible plain meaning and an invisible connotative meaning. The invisible ones awaken new connotations in individual and create a new perception. These connotations are created on the visible materials via symbols.
In the First Part of the study, the titles such as visual communication, graphic design, poster design and semiotics have been examined in the light of the hypothetical framework created for the study. The Methodology of the study, in which the purpose, importance, and method titles are placed, is given in the Second Part of the study. In the Third Part, where analyses are given, the Semiotic analyses of the posters are provided.
It is observed that there are connotations in this direction in the posters used in social responsibility campaigns, and this is the subject matter of this study. It is observed that sometimes negative images are used, the target audience is mobilized, the messages are conveyed and the practitioners receive positive results with these meanings.

Logo is recognized as a form of visual communication to represent an individuals, organizations and enterprises in a form of graphic mark (sign), symbol or emblem. In the fi eld of graphic design, “Logo design”, is an important area as well as most difficult challenge to perfect. Therefore, to design a logo, designers need a systematic design process to guide them to reach an eff ective and effi cient solution. Due to this requirement, logo design process as a methodical series of steps or formulation that designers employ in creating ‘functional logo’ design has been widely studied by design academia and professionals. In this paper, to respond on the research scholarly interest in graphic design, the researcher has made an attempt to propose a creative design process for logo design, known as “Five-I Design Process”.
The research is written based on auto ethnographical research approach in discussing creative design process which is focused on logo design practice. The paper is organized in three sections. (1) Review and discussion on logo design processes (2) Propose “Five-I Logo Design Process” for logo design and development. (3) Case study on implementation of “Five-I Logo Design Process”. It is hoped that this paper will provide insights into an understanding of creative design process implementation particularly
for logo design practice.

Keywords: Design process, Graphic design, Logo design

The aim of this paper is to point out the structural connection between two processes of the recent transformation of Montevideo’s urban landscape. One process is the explicit and intended governmental
incentive of muralism in Montevideo, especially in its most political
and touristic centric spaces. The other process, according to my interpretation, is the dissolution of politically engaged graffiti. Given graffiti’s inherent political potential, I hold that these phenomena contribute to disperse and, thus, to weaken the expressive power of the “urban graffiti”. By virtue of this dispersion, Montevideo is not merely undergoing a material transformation of the colours, compositions,
themes, and textures of its walls, but also a transformation of the
non-verbal ways by which the population conceives its socio-political
problems. Therefore, the phenomenon that I want to call into question is the actual reduction of the public ways of seeing into clearly
institutionalized visual patterns. The analogical, as well as the digital,
visual designs lose a necessary and rich source of popular ways of
visual thinking (graffiti). The main consequence of these processes is
a subtle form of depoliticization of Montevideo’s Agora by a state-imposed aestheticization

Despite proven advantages of parametric design techniques within engineering and manufacturing processes, architects have not applied these methods in their creation tasks to address urban design issues at a higher level of understanding. Through the novel coupling of architectural urban design with parametric modelling methods, the paper validates the claim that parametric techniques enhance architects' contribution to building processes, whilst allowing engineers and clients to better comprehend the objectives and aid design decisions. The digital integration of the building process with design developed from the initial idea of an architect often fails because the design environment differs for each and, thus, preventing a seamless communication with the client, engineers and manufacturers. This paper describes the unique coupling of an architectural urban design studio with an in-depth digital media course for the purpose of exploring new avenues of architectural expression, urban form-finding, and communication through the exploration of urban parameters.

In 2014, 1 in 68 children have autism spectrum disorders (ASD) according to US data from the Centres for Disease Control. Occurring in all groups (race, income, geographic), ASD is diagnosed 1 in 42 in boys, which is nearly 5 times higher than in girls (1 in 189). Almost half (46%) of children identified with ASD have average to above average intellectual ability. That’s a 78% increase compared to a decade ago. Based on an increase in diagnoses, we can assume that the numbers will continue to increase over time.
Researchers have found that child prodigies have greater number of autistic traits, particularly with attention to detail.  Half of the families of the child prodigies studied reported autism diagnoses in first or second degree relatives, indicating strong links to genetics.
I was aware of savant syndrome and its potential in higher education due to my experiences as an educator, in addition to my role as the South Asian self-advocate for ASD. I knew about magazine and website articles from the US, describing extraordinary abilities and splinter skills such as hyperlexia, perfect pitch, pattern recognition and photographic memory. I wanted to create tools and experiences for neurotypical students, adapted from diverse learning strengths of autistic children with extraordinary abilities. Would these blended, individualized interfaces stimulate neurotypical students to learn effectively and efficiently, in the same way that they help gifted people on the autism spectrum?
In order to answer my researchable question, I created sensory-neutral interface design case studies for learners with ASD, which helped them access digital educational content (online or offline). These interfaces can also be used by neurotypical
learners, providing more tools to access digital resources. Additionally, I created an adaptive experience for both neurotypical as well as autistic learners, inspired by self-directed interest-based learning, a common trait of learners on the autism spectrum. My case studies and interaction design projects allow greater choices for both educators and students,
where few existed before. My goal is to facilitate inclusion by using dynamic media technologies that help optimize learning for a greater number of people.

This paper focuses on Virtual West Cambridge – an interactive multimedia environment constructed to support design and development of a large-scale, long-term urban project. In architecture, such persistent, continuously-growing virtual environments are unusual. Consequently, they pose unique challenges in procurement, development, maintenance and utilization. This paper re-conceptualizes virtual environments as situated techno-social performances rather than software programs or multimedia representations and discusses how this re-conceptualisation can inform their understanding, design and utilisation.

The demand for graduates with more competencies, more knowledge, a broader world view and value system, liberated minds and rapidly evolving job descriptions and competitiveness in the marketplace, plus internationalisation in education and competition for status, students and funding at universities, should inform curriculum development in the 21st century. The pursuit of best-practice in teaching and learning is thus paramount to successful higher education and concomitantly it should inform curriculum development. Pursuant to the views of educational theorists and the author’s practice, this paper will present a visualisation of a framework for an ‘Ideal Curriculum’. The model thus presented is a flowchart intended for use as a tool for reviewing learning programmes to establish whether they have best practice credentials, but is also intended for use as a guideline for developing curricula that are a balance of modalities: formal and hidden learning, with vocational and academic tracks. The model has particular resonance to the visual arts programmes from former polytechnic-type universities, where emphasis has traditionally been on hand skills and vocational outcomes, but has since shifted on to encompass critical discourse, cultural awareness, social responsibility, environmental sensitivity and globalism, as these universities became subsumed into the broader tertiary network.

Brand sponsorship connects brands with large, passionate audiences. The sponsorship literature emphasizes the importance of brand sponsor–team congruence; however, prior research has largely focused on the relevance of the brand to the sport or geographic area. This article offers the first real-world empirical investigation of the effects of visual congruence through color matching on sponsorship performance. A wide-scale study of 703 Major League Baseball fans’ evaluations of their team’s sponsors, merged with real stadium signage data, offers evidence of the benefits of visual congruence. Two experiments in the contexts of product packaging and online advertising provide converging evidence of the positive effects of created visual congruence on attitudes toward the sponsorship, brand attitudes, and intentions. Brands without an inherent match to a team can enjoy enhanced sponsorship benefits with little additional costs simply by adopting the team’s colors in visual displays. However, the viewer’s motivation (fan status), opportunity (fan exposure), and ability (lack of color blindness) to process visual congruence moderates its effectiveness. By using the proposed framework, managers can maximize the value of their sponsorship rights.

Stories, folktales and myths have been an integral part of any community. These, stories, myths, etc. are evolve from and within culture. In the collection of tales, there is an incessant addition of contemporary folklores but how and why are these myths developed? How do they sustain within a culture? Why is there a constant need for such stories or tales? This article is an attempt to answer these questions basing the answers on field research. Om Banna Ji is a recently developed 'Folk God' in the district of Pali, near Jodhpur, Rajasthan, India. This provides context for the origin, reasons, and formation of the myth. By comparing it with other well-developed folk narratives from the same region. Such as the myths of Pabuji or Dev Narayan Ji one can establish the structure of myth. And by integrating it with the great epics of our cultures such as Ramayana and Mahabharata one can establish the relation between 'Great Traditions and Little Traditions'. This study explores the immensity and multiplicity in the existence of oral narrative. The stories could be memories of, or mediation between reality and aspirations of a society and what it wishes to express about itself. It is a form of communication by the community. Therefore the objective of this study is to communicate what the community communicates through their oral narratives and through their folk mediums. The research also explores the mediums that act as a bridge between various communities of Rajasthan such Phad artists, Bhats, musicians, storytellers etc., thereby creating an effective communication of the stories which are a part of Rajasthan's culture, that is derived from the people, by the people, and for the people.

Осъщественият теоретичен анализ на Сократовата беседа е свързан с възможността тя да бъде приложена като средство за обучение по графичен дизайн. От своя страна анализът на основните елементи на графичния дизайн, както и на принципите за проектиране като дидактическа основа в обучението по дизайн имат за цел да осигурят основата, върху която да се развие Сократовият метод.

Discourses on epistemology in a variety of disciplines have established the need for diverse and case-specific approaches to writing. This need is as actual in practice-based research and the relevant fields would benefit from better support of creative experimentation with academic expression. In order to demonstrate that advances in this area are necessary, this article examines advice and criteria for writing offered by a typical writing guide. The discussed examples demonstrate that while the recommendations of such guides are useful, their emphasis on standardisation is also limiting. The article contrasts the advice common to writing guides and other prescriptive documents with the current state-of-the-art practice in qualitative research, pointing out productive alternative approaches.

Can the themes of an experience be visualised using a new Visual Phenomenological Methodology to aid interaction designers to design better interactions? Can the creation of such a design methodology cultivate an alignment between HCI with Visual Communication as influences over interaction design research into the aesthetics of interaction? This symposium paper will discuss how a framework for such a methodology can be structured, and explore how the first of its four stages can be rigorously synthesised from phenomenological research methods using Visual Communication techniques.

Strickler argues that the growth of visual communication as an academic discipline can only occur if there is an “empirical bridge between theory and practice” (1999: 38). Such a bridge is also a precondition for the evolution of visual communication as a forward looking and reflective industry as opposed to one that simply responds to the dictates of the market. However, building this bridge is no easy task; visually articulate and practically oriented students are reluctant to engage with theories that may challenge their passionately held understandings of design. All the more so when the commonest mode such inquiry is conducted through is reading and writing. The challenges and problems of writing for visual thinkers has been well articulated by Grow (1994). That such students are resistant to forms that they are generally not well equipped for or confident in is hardly surprising. Couple this with a seemingly near universal questioning of the relevance of theory by aspiring practitioners and it would seem the odds are stacked against such an enterprise. In this paper we will reflect upon efforts to build this bridge through design theory curriculum using visual mapping tools drawn from constructivist education theory. The efficacy of these efforts is explored through both quantitative and qualitative student feedback.

Logo is recognized as a form of visual communication to represent an individuals, organizations and enterprises in a form of graphic mark (sign), symbol or emblem. In the field of graphic design, " Logo design " , is an important area as well as most difficult challenge to perfect. Therefore, to design a logo, designers need a systematic design process to guide them for reaching to an effective and efficient solution. As such, logo design process as a methodical series of steps or formulation that designers employ in creating 'functional logo' design has been widely studies by design academia and professionals. In this paper, to respond on the research scholarly interest in graphic design, the researcher has made an attempt to propose a creative design process for logo design, known as Five-I Design Process. The research is written based on autoethnographical research approach in discussing creative design process which focused on logo design practice. The paper is...

The Icograda Board edits a shared outline that identifies the communication design community's major educational concerns and desired advancements. The draft sets the general guidelines for the development process of defining, first the official draft and ultimately the final 2011 Manifesto. The document starts from the understanding that the world was once Atlantic centred and 4 5 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 8 9 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 2. possesses the intellectual sensibility and skill, nurtured through professional experience and educational training, to create designs or images for reproduction by any means of visual communication. 3. contributes to shaping life and the visual landscape of commerce and culture towards a peaceful balance. 4. creates meaning for a community of diverse clients and users, not only interpreting their interests but offering conservative and innovative solutions as culturally, ethically and professionally appropriate. 5. identifies and frames problems, and solves them collaboratively exploring possibilities through critical thinking, creativity, experimentation and evaluation. 6. conceptualises, articulates, and transmits identity, messages, ideas and values into new, updated or mashup products, systems, services and experiences. 7. uses an inclusive approach that emphasises difference; respects human, environmental, and cultural diversity; and, strives to achieve common ground. 8. applies ethics to avoid harm and takes into account the consequences of design action on humanity (individuals and communities) and the environment. 9. advocates bottom-up (through DIY 02 and DIWO 03 facilitation and technology appropriation) or top-down (through policy) for the betterment of humanity and the environment. 10. adapts to technological change with ease and embraces the challenge of learning and mastering new ways to visualise and communicate concepts across different media and new smart-materials. 11. is a 'designer' with a disciplinary focus and brings that expertise to interdisciplinary collaborations with anthropologists, software programmers, scientists, engineers, architects and other experts. The future of design education Design education is evolving from one to many instruction into many to many. As a result, it should: 1. instill a compassionate and critical mentality and nurture a self-reflective attitude and ability to adapt and evolve through innovative learning tools and methods for communication and collaboration. 2. include the following dimensions: image, text, context, space, movement, time, sound and interaction. MANIFESTO 2011 Icograda Design Education Manifesto 2011 Communication design 01 Communication design is an intellectual, creative, strategic, managerial, and technical activity. It essentially involves the production of visual solutions to communication problems. Communication design has become more and more a profession that integrates the idioms and approaches of other disciplines into a multidimensional and hybrid visual competence. Today the boundaries between design disciplines are more fluid, thanks to the sharing of advanced digital tools and knowledge. As the multiplayer working process assumes a higher complexity, communication designers need to redefine their role and purpose for an expanded media context dominated by a many to many conversation mode. Change: opportunities and challenges New opportunities and challenges confront the designer. Social, cultural, technological, environmental, and economical changes over the last decade have profoundly affected communication design education and practice. As a result, the variety and complexity of design issues have increased. Emerging technologies (e.g. augmented reality, the smartphone, and social media) have broadened the way that designers communicate to include intersensory expressions-visual, aural, somatosensory, gustatory and/or olfactory components. Multi-platform content delivery is now the norm. Direct, open, and instantaneous dialogue with individual end users (coupled with economic recession in many countries) has created opportunities for authorship and invention. Copyright, patent, and creative commons are now all a part of the communication designer's intellectual property lexicon. Designers can virtually serve and interact with the world. Rapid advancements in communication and information technologies have globalised the professional context of design and bridged cultural divides with social networks in spite of perennial language barriers. There is a dire need for a more advanced ecological balance between human beings and their natural environments. This environmental challenge has brought about the need for more sustainable design materials, methods, and outcomes. The designer as professional and global citizen A communication designer: 1. practises identity design; editorial and book design; typography; information design; advertising; illustration; photography; calligraphy; signage and pictogram systems; packaging; animation design; broadcast graphics and film titles; product, web and game interface design; interaction, environmental and exhibition graphics; data visualisation; and any other activity of online and offline shaping of visual form. ICOGRADA DESIGN EDUCATION MANIFESTO 2011 10 11 3. relay models for cross-cultural and transdisciplinary communication and for global-market collaboration with industry, users, other design disciplines and stakeholders. 4. integrate theory, history, criticism, research, and management to increase the production of design knowledge in order to enhance innovation and efficacy in respect of environmental and human factors. 5. teach quantitative and qualitative research methods (e.g. ethnography) to frame and solve problems. 6. inspire professional practice with findings that contribute new knowledge to interdisciplinary discourse. 7. prepare students for technological, environmental, cultural, social and economical change. To this end, it should evolve from teacher-generated projects to more participatory problem definition, enabling students to democratically address their own concerns and ways of learning with student-initiated projects. 8. foster in students of all levels, including pre-college, intellectual curiosity and a commitment to lifelong learning. Through outreach programs, design education should diversify the profession and create opportunities for underrepresented voices to be heard. It should also provide new continued learning programs for professionals that are ever more in need of skill updating and research methods training. 9. imbue in students a sense of personal responsibility for the environmental and social impact of their practice. In the following pages the Icograda Design Education Manifesto 2011 is presented in the six official UN languages of Arabic, Chinese, English, French, Russian and Spanish. Each language version has been translated and designed by a different teacher-student team in alignment with the educational nature of the Manifesto.

"De Gruyter versus Simon de Wit : Supermarket visual identies in the early seventies

In 1972 the Dutch supermarket chains De Gruyter and Simon de Wit both launched a new visual identity. The De Gruyter identity was the work of Total Design and was highly modernistic. By contrast, the style which Tel Design came up with for Simon de Wit can best be described as early post-modernist. It was emblematic of a period in which modernism was increasingly coming under attack within the Dutch design world."

Until recently, visual communication was the province of highly trained specialists who saw little need for methodically and analytically explicit approaches to design, relying instead on creative sensibilities formed during their education and professional experience. The historical link between design and art education has reinforced notions of design as an artistic activity. This perpetuates the myth of creativity by placing undue emphasis on the formal characteristics of design, intuition, and self-expression, resulting in a preoccupation with design intent and outcome, what is called the mimicry of attitude and action.

With the availability of cheap personal computers and graphic software, the production of “professional”-standard visual communication by do-it-yourself enthusiasts is ubiquitous. Design intent and outcome is no longer the sole domain of the visual communication expert. In the past decade attempts have been made to address this problem through a renewed interest in design research. In visual communication this has resulted in the wholesale adoption of critical theory and semiotic analysis. Such tools alone, though useful in dealing with issues of meaning or critiquing ideologies, are poorly suited to the empirical dimensions of design practice. The preoccupation with intent, meaning, and outcome has been at the expense of exploring the world of design use—the realm of everyday experience. This highlights the problem of importing modes of inquiry from other disciplines without addressing the differences between design practice and the disciplines from which it borrows. For visual communication, as for design, the problem lies in the diKerence between the apparently analytical frameworks from which it borrows and the synthetic framework in which it operates. It is the difference between observing, documenting, and understanding aspects of the world (typical of social inquiry) and transforming this knowledge into a meaningful visual communication experience, beyond a presentation of well-crafted visual data with social commentary.

Graphicdesignhasgrownasaprojectactivity.Characterizedasagatheringofknowledge fromseveralfields,andwithoutanindisputabledefinition,itdependsonitstechnical resourcefulnesstosolveproblemswhoseoriginismainly visual.
This text wishes to demonstrate that graphic design is an integral part of visual communicationand,assuch,shouldassigngreaterimportancetothereceptor–itsmainfigureregardingamaterialfulfilment.
Throughacriticalreviewofitsmainliterature,itisintendedtoshowthatthisactivityhasestablishedmethodsandprocessesthatseemtodistanceitfromitsrelationshipwiththereceiver.Graphicdesignhasbeenovervaluatingthesender,whetherasclientorasadesigner.Therelevancegiventothemessageissuingsubjectandtothestyleinwhichitissetisnotnew,anditsoriginisfoundinmomentswheretheactivitywasestablished–withsuchmomentsbeingconsideredasexemplary.

This article seeks to explore the social and negotiated nature of design practice through an analysis of conversations held between clients and designers working on visual communication projects. Of specific interest will be the way in which these conversational participants try to control the outcomes of these conversations through the strategies of rhetorical substitution and subject positioning. I will argue that by regulating access to conversational codes these participants seek to regulate the boundaries of inclusion and exclusion in the decision making process in an attempt to legitimate their authority. Thus the design process can be seen as producing a material outcome as well as a set of social relations both of which are inherently ideological.

Drawing upon recent theories of the social construction of technology, actor network theory, discourse analysis, cultural studies and design as rhetoric, I will argue that design practice is a form of cultural production that is social, contingent and negotiated. Furthermore, I will argue that these social circumstances relate to the roles that a range of 'actors', not just the designer, and the circulation of numerous codes through discourse, other than the codes of aesthetics, play in the negotiations that characterise the design process. Little attention has been given to these complex circumstances in which the design process is located and less still has been given to the specific negotiations that occur between the client and the designer within that context. This essay explores such negotiations through the analysis of two case studies.

The Icograda Board edits a shared outline that identifies the communication design community's major educational concerns and desired advancements. The draft sets the general guidelines for the development process of defining, first the official draft and ultimately the final 2011 Manifesto. The document starts from the understanding that the world was once Atlantic centred and 4 5 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 8 9 ICOGRADA DESIGN EDUCATION MANIFESTO 2011 2. possesses the intellectual sensibility and skill, nurtured through professional experience and educational training, to create designs or images for reproduction by any means of visual communication. 3. contributes to shaping life and the visual landscape of commerce and culture towards a peaceful balance. 4. creates meaning for a community of diverse clients and users, not only interpreting their interests but offering conservative and innovative solutions as culturally, ethically and professionally appropriate. 5. identifies and frames problems, and solves them collaboratively exploring possibilities through critical thinking, creativity, experimentation and evaluation. 6. conceptualises, articulates, and transmits identity, messages, ideas and values into new, updated or mashup products, systems, services and experiences. 7. uses an inclusive approach that emphasises difference; respects human, environmental, and cultural diversity; and, strives to achieve common ground. 8. applies ethics to avoid harm and takes into account the consequences of design action on humanity (individuals and communities) and the environment. 9. advocates bottom-up (through DIY 02 and DIWO 03 facilitation and technology appropriation) or top-down (through policy) for the betterment of humanity and the environment. 10. adapts to technological change with ease and embraces the challenge of learning and mastering new ways to visualise and communicate concepts across different media and new smart-materials. 11. is a 'designer' with a disciplinary focus and brings that expertise to interdisciplinary collaborations with anthropologists, software programmers, scientists, engineers, architects and other experts. The future of design education Design education is evolving from one to many instruction into many to many. As a result, it should: 1. instill a compassionate and critical mentality and nurture a self-reflective attitude and ability to adapt and evolve through innovative learning tools and methods for communication and collaboration. 2. include the following dimensions: image, text, context, space, movement, time, sound and interaction. MANIFESTO 2011 Icograda Design Education Manifesto 2011 Communication design 01 Communication design is an intellectual, creative, strategic, managerial, and technical activity. It essentially involves the production of visual solutions to communication problems. Communication design has become more and more a profession that integrates the idioms and approaches of other disciplines into a multidimensional and hybrid visual competence. Today the boundaries between design disciplines are more fluid, thanks to the sharing of advanced digital tools and knowledge. As the multiplayer working process assumes a higher complexity, communication designers need to redefine their role and purpose for an expanded media context dominated by a many to many conversation mode. Change: opportunities and challenges New opportunities and challenges confront the designer. Social, cultural, technological, environmental, and economical changes over the last decade have profoundly affected communication design education and practice. As a result, the variety and complexity of design issues have increased. Emerging technologies (e.g. augmented reality, the smartphone, and social media) have broadened the way that designers communicate to include intersensory expressions-visual, aural, somatosensory, gustatory and/or olfactory components. Multi-platform content delivery is now the norm. Direct, open, and instantaneous dialogue with individual end users (coupled with economic recession in many countries) has created opportunities for authorship and invention. Copyright, patent, and creative commons are now all a part of the communication designer's intellectual property lexicon. Designers can virtually serve and interact with the world. Rapid advancements in communication and information technologies have globalised the professional context of design and bridged cultural divides with social networks in spite of perennial language barriers. There is a dire need for a more advanced ecological balance between human beings and their natural environments. This environmental challenge has brought about the need for more sustainable design materials, methods, and outcomes. The designer as professional and global citizen A communication designer: 1. practises identity design; editorial and book design; typography; information design; advertising; illustration; photography; calligraphy; signage and pictogram systems; packaging; animation design; broadcast graphics and film titles; product, web and game interface design; interaction, environmental and exhibition graphics; data visualisation; and any other activity of online and offline shaping of visual form. ICOGRADA DESIGN EDUCATION MANIFESTO 2011 10 11 3. relay models for cross-cultural and transdisciplinary communication and for global-market collaboration with industry, users, other design disciplines and stakeholders. 4. integrate theory, history, criticism, research, and management to increase the production of design knowledge in order to enhance innovation and efficacy in respect of environmental and human factors. 5. teach quantitative and qualitative research methods (e.g. ethnography) to frame and solve problems. 6. inspire professional practice with findings that contribute new knowledge to interdisciplinary discourse. 7. prepare students for technological, environmental, cultural, social and economical change. To this end, it should evolve from teacher-generated projects to more participatory problem definition, enabling students to democratically address their own concerns and ways of learning with student-initiated projects. 8. foster in students of all levels, including pre-college, intellectual curiosity and a commitment to lifelong learning. Through outreach programs, design education should diversify the profession and create opportunities for underrepresented voices to be heard. It should also provide new continued learning programs for professionals that are ever more in need of skill updating and research methods training. 9. imbue in students a sense of personal responsibility for the environmental and social impact of their practice. In the following pages the Icograda Design Education Manifesto 2011 is presented in the six official UN languages of Arabic, Chinese, English, French, Russian and Spanish. Each language version has been translated and designed by a different teacher-student team in alignment with the educational nature of the Manifesto.

Thinking MEDIA is an audio-visual platform that was established in 2012 and has held three editions since then.This exhibition is made possible by forming a group of contemporary art practitioners who are continually exploring media for their own creative expression integrating with subjects of their personal interests.

Curators:
Jinsik Shin
Jung-Chul Hur
2018

Interaction Design is a young discipline that grew out of an overlap of other science and design disciplines, its remit was the design of interactive products, services and systems for human behaviour. Visual Communication and its output of graphic design once had an early influence on Interaction Design, but this has since been devalued by the influence from more functionalist disciplines, leading to two myths about Visual Communication: it just does the ‘aesthetic bit’ on the interface, and that aesthetics has no real use or function beyond ‘beauty’. But aesthetics cannot be reduced and measured as a functionalist equation of ‘means-end’. By understanding aesthetics from a Pragmatist philosophical position, the aesthetics of interaction can be explored from a situated and culturally connected embodiment of an interactive experience. From this position aesthetics is viewed as emergent from the interactive experience through three factors: a socio-cultural context, a personal embodiment and finally a means-to-many-ends instrumentality. It is a cultural phenomenon and not an engineering problem that can be explored quantifiably. This makes this a phenomenological study, and closer to Visual Communication. The rhetorical nature of Visual Communication affords a change in human behaviour, evoking a cognitive and emotional response, making its remit about framing decision-making from use of image and text. Experience, emotion, and interpretation can only use qualitative methods to explore an aesthetic experience. This raises a more vexing question: what other design disciplines also share or rather claim a phenomenological position on aesthetics? This paper will set out to explore these amorphous boundaries to decide if Visual Communication still has an actual support position of influence on Interaction Design.

This study examines the concept of visual plagiarism within a contemporary cultural context shaped by postmodern design theory and the digital information age, as a challenging concern for tertiary level graphic design education.
This paper does not condone plagiarism, however it asks design lecturers to reconsider taken-for- granted assumptions that students operate in an unambiguous environment of ‘wrong’ and ‘right’ when it comes to the concept of visual plagiarism. It seems that graphic design students find it increasingly difficult to navigating the grey areas between plagiarism, appropriation, homage, inspiration, ‘referencing’, coincidence and ‘accident’. Disturbing as this may be at an ethical level, it is perhaps not surprising when one considers the contemporary world in which we live and work. This environment is actively shaped by postmodern ideas of appropriation, digital ‘sampling’, digital reproduction and the Internet experience as an infinite repository (resource) of textual and visual information. The ‘remix’ realm within which students operate reinforces postmodern concepts of appropriation and affect students’ understanding of and attitude towards plagiarism. Furthermore, in a postmodern design context, the term plagiarism can be problematic, as there seems little consensus as to where the lines can be drawn between ‘borrowing’ or ‘referencing’ (postmodern appropriation or pastiche) and ‘stealing’ (plagiarism).
This paper briefly describes and contextualises terms relating to the topic, including pastiche, parody, and appropriation. Secondly, the features of contemporary culture including issues such as digital reproduction and the Internet experience are examined insofar as they can be seen to construct, encourage or support understandings relating to plagiarism. As a qualitative study this paper assimilates information from a variety of literature sources including Fredric Jameson’s work on the postmodern concept of ‘pastiche’ to map out terms and concepts which provide a theoretical foundation.
A critical evaluation of the theories and concepts surrounding visual plagiarism and of the complex, often-contradictory contexts within which students operate, provides insight into the challenges faced, as a first step approach towards addressing the problem in a pre-emptive rather than punitive manner.

I almost flunked high school. Academic writing sucked. I liked making stuff and not thinking to hard about why. Perversely I eventually became a career academic in design and needed to start doing what I hated – academic writing. It was a struggle. I have crappy recall of written text, especially most of the dull stuff academics write. I quickly worked out I was a kinaesthetic learner and began to develop techniques for helping me remember what I’d read and to help me with my own writing. I came across the work of Sinatra (not Frank) on mapping and literacy. The light went on.

I’m in the death throes of my thesis and would like to share with you the techniques I have developed. They include:
• recursive writing
• visual mapping of the research process
• visual mapping of arguments and concepts
• diagrammatic interpretation of concepts
• making pictures to explore arguments and concepts
• strategic procrastination

Some of these are like techniques used by the Dadaists. How I conduct and record my research process is both methodical and creative. It has strong parallels with how I design. Rather than writing a thesis I’d argue I’ve designed it, though it is written. I won’t bore you with a written paper describing how I did this. That would be self-defeating. Instead I will show examples of the techniques I have used to design / write. You may or may not learn something about writing but at least you’ll see some pretty pictures.

This paper is a theoretical contribution to the research area of Aesthetics of Interaction, but from a Visual Communication perspective. In order to convince those that still see Visual Communication as merely style and artifice, and an internalized and subjective design process, I will use the theses of Dourish ‘Embodied Interactions’ and McCullough’s ‘Digital Ground’ to connect to current HCI research. A Pragmatist philosophical position will be adopted from which to explore this Phenomenological area. This will present the design discipline from a fresher perspective of intellectual, considered and rhetorical discourse, into a richer understanding of the discipline by dispelling two unhelpful myths. Then an argument can be made to reposition Visual Communication as a stronger influence upon Interaction Design.

Logo diiktiraf sebagai satu bentuk komunikasi visual untuk mewakili individu, organisasi dan perusahaandalam bentuk tanda grafi k (tanda), simbol atau jata. Dalam bidang reka bentuk grafi k, “Reka bentukLogo”, adalah bidang penting serta cabaran yang paling sukar untuk disempurnakan. Oleh itu, untukmerekabentuk logo, pereka memerlukan proses reka bentuk yang sistematik untuk menghasilkan logoyang berkualiti. Oleh kerana keperluan ini, proses reka bentuk logo sebagai siri langkah atau perumusanyang bersesuaian yang direka oleh pereka dalam mewujudkan reka bentuk ‘logo berfungsi’ telah dikajisecara meluas oleh ahli akademik dan profesional reka bentuk. Dalam makalah ini, penyelidik sangattertarik dalam reka bentuk grafi k, penyelidik juga telah mencadangkan proses reka bentuk kreatif untukreka bentuk logo, dikenali sebagai “Five-I Logo Design Process”. Penyelidikan ini ditulis berdasarkanpendekatan penyelidikan etnografi auto dalam membincangkan proses reka bentuk kreatif yang memberi...

The paper contains a theoretical analysis of communicative means comprehended at diverse levels of psyche. The comprehension is understood as an involving of received information into internal systems of cognition, valuation, and skills of the subject. Together with the objects directly given for the feeling, the objects represented by various semiotic means are comprehended as well. Such indirect, or shifted, comprehension can occur at different levels and be realized not only with help of verbalized logical concepts, but also by “infralogical” images and schemes. Particularly, along with ideograms and pictograms as the means intended for upper levels of interpretation, one can speak also about perceptograms and even sensograms aimed for comprehension at perceptual and sensorial levels, correspondingly. The norms of regular connections between the means of comprehension from diverse its levels can be considered as codes with representative and communicative functions. Depending on ...

The paper contains a theoretical analysis of communicative means comprehended at diverse levels of psyche. The comprehension is understood as an involving of received information into internal systems of cognition, valuation, and skills of the subject. Together with the objects directly given for the feeling, the objects represented by various semiotic means are comprehended as well. Such indirect, or shifted, comprehension can occur at different levels and be realized not only with help of verbalized logical concepts, but also by "infralogical" images and schemes. Particularly, along with ideograms and pictograms as the means intended for upper levels of interpretation, one can speak also about perceptograms and even sensograms aimed for comprehension at perceptual and sensorial levels, correspondingly. The norms of regular connections between the means of comprehension from diverse its levels can be considered as codes with representative and communicative functions. Depending on the psychical levels, to which elements and structures of their expression and content planes belong, one can distinguish a number of psycho-semiotic types of these codes.

Despite the fact that our culture views artists with a degree of suspicion - the bad, mad, self-destructive artist is the one most people are familiar with - those who actually  practice art will attest to its soothing, healing, centreing capacities. This deep place within each of us is the well from which art therapy springs. People who are unable to speak about their problems are quite often able to access their own inner wisdom via drawing, painting, playing with clay.

This mind/body interaction enables us to have insight about behaviours which may long have made our lives difficult - addictions, depression, anxiety, repeated poor life choices. To know that we ourselves hold the answers to our lives offers a ray of hope and lessens the need to self-medicate with drugs, alcohol, compulsive overwork.

Being an art therapist enables me to do much of what I love in life and to be a proud exponent of what I believe in and hold dear. The workshops I run are designed to enable participants to view their life from a perspective of journey – a very gentle and forgiving concept and one that inherently contains the principles of change and movement. Participants are enabled to consciously access the wisdom they’ve gained along the way and to thus, build their lives on a firm basis of self-knowledge. 

To address the issue of effective and sustainable design, against decorative or entertaining design, the Department of Visual Communication Design at College of Design, Arizona State University, conducted an experiment. For the last two years, the GRA 362 Visual Communication 4 and GRA 322 Technologies in Design 2 faculty focused on team collaboration based on Daniel Goleman's theory of Emotional Intelligence to resolve design problems. The objective was to observe the relevance and effectiveness of deliverables (the design products) and its relationship to collaborative project management and tools. This paper presents a case study to determine if Emotional Intelligence is an effective model to manage team collaboration within a design studio environment that delivers effective visual design solutions.

Investigations into the role of theories and practices of observation and imaging is commonplace in a range of established intellectual endeavours. The potential of such investigations applied to photo-based image-making, in visual communication design, is significant, yet at this point, under realised. In this paper we advance the proposition that careful observation, in an iterative framework, is a necessary pre-condition for any intelligent and informed photo-imaging practice. We outline a curriculum approach that is premised on a process of research, concept development and project management, within a critical and iterative framework, using photo-observation as the key tool. In this scenario, photo-imaging is used to engage with the world and develop a knowledge of it that feeds into the development of the final outcome. In short, the (re)presentation or fashioning of the world— the central activity of design.

The goal of this project was to redesign an experimental prototype and apply its design features to a different and only tangentially related model. In testing the transferability of a very specific technology across domains we hoped to illustrate how the redeployment of digital design can create affordances for the designer and user alike. The original prototype is an online system for playing back the text of a script [1] intended to support directors in blocking plays, actors in learning their lines, and students in studying plays [2]. This system, "Watching the Script," provides an important educational mid-point between the static printed page and the staged or cinematic play. From this initial prototype, we repurposed the design for use by sports teams, and in particular, American football teams. The new design is intended to support coaches in designing plays, football players in learning them, and fans in watching stylized re-enactments of games. Although a number of software packages provide these groups with the opportunity to play virtual games or view existing plays, our prototype extends functionality in several uncharted directions. Much as a student of drama might replay an entire script, our "Digital Playbook" provides the ability to replay an entire football game from kick-off to touch-down. The "Digital Playbook" can also review sports plays in multiple ways: following a single player, selecting parts of the field, or viewing only offense or only defense. This mirrors its previous use in "Watching the Script," where actors could isolate their part to learn their lines, or directors could replay all the action in a given location. By identifying, and exploring parallel design functions across domains, the evolution of "Watching the Script" to "The Digital Playbook" illustrates how the considerable time, effort, and money spent creating a prototype can, with some thought to the essential needs of the wildly different fields, be recouped through its repurposing. Moreover, by playing with some of the elements of functionality demanded by the original, the designer and user can discover some delightful new ways of looking at their own project, which an independent design might not have offered. We ourselves found that football is a kind of theatre, the text is the play, and 'the play is the thing.'