Steven Heller & Lita Talarico - Design School Confidential - Extraordinary Class Projects From International Design Schools
Steven Heller & Lita Talarico - Design School Confidential - Extraordinary Class Projects From International Design Schools
Steven Heller & Lita Talarico - Design School Confidential - Extraordinary Class Projects From International Design Schools
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THIS BOOK WOULD NOT BE POSSIBLE if not for liant format, has been essential to the creative
our colleague Lara McCormick, whose organi- team. A big tip of the hat to Esther Ro-Scoheld
zational skills were put to the test. Thanks also and Matthew Shapoff, at the School of Visual
to Hyun-Jung Hwang, Jia Chen, Lesley Weiner, Arts, MFA Designer as Author program, for
and Zarina Lagman for their invaluable assis- helping with our technical needs.
tance. We appreciate the continued support of
Much gratitude goes to our tireless editor at David Rhodes, President, and Anthony Rhodes,
Rockport, Emily Potts, the chief shepherd of this Vice President of the School of Visual Arts.
material, and to art director Regina Grenier. Thanks to all the teachers and students
A book is often as good as its design, and who contributed so generously to the develop-
our designer Rick Landers, who produced a bril- ment of this project. -SH + LT
con~en~s:
INTRODUCTION 10. New Identity for the Academy of Fine Arts
6
of Bologna . .. ..... . . . . . . ... ..... . . . . ..... .... 62
THE GOLD STANDARD
Academy of Fine Arts of Bologna, Bologna, Italy
4. Visual Identity for the 25th Biennial 18. Visualizing Various Information Types
of Graphic Arts in Ljubljana .... . ............. 38 across Multiple Channels ... . . .. . .. ....... . .. 92
University of Ljubljana, Academy of Fine Arts and Design, Illinois Institute of Technology, Institute of Design,
Ljubljana, Slovenia Chicago, Illinois, USA
5. On Trial .. .. .... . . .. .... .. ...... .. ... ... ..... 40 19. X Box . . . .. ... .. . . . . . . . . ... ..... . . . . ..... .... 94
The Arts Institute at Bournemouth, Poole, Dorset, UK Istanbul Bilgi University, Department of Visual
Communication Design, Istanbul, Turkey
6. Product Identity ... . ............. . ........... 44
Alberta College of Art and Design, Calgary, Alberta, Canada 20. Breaking the Rules in Interactive
Media Design .............. . ........... . .... 100
7. Locale .. . .. . . . .. .. . .. . . .. . ..... . . .. . .. . .. .... 50 Yildiz Technical University, Department of
American University of Sharjah, School of Architecture and Communication Design, Istanbul, Turkey
Design, Sharjah, Emirate of Sharjah, United Arab Emirates
21. Medical Information Design . ... ... ... . . ... . 103
8. Turning Data into Information . . ............. 56 University IUAV of Venice, Department of Art and
Art Center College of Design, Pasadena, California, USA Industrial Design, Venice, Italy
9. Sacral Design . . .. ... . . . .. .. .. . .... . . .. . . ... . . 60 22. Human Rights, Human Wrongs . . .... .... ... 106
Berlin University of the Arts, Berlin, Germany Massachusetts College of Art and Design,
Boston, Massachusetts, USA
23. Illustrating a Fiction Spread ................. llO 39. Beyond the Surface . . . . . . . . . . . . . . . . . . . . . . . .. 168
Missouri State University, Department of Art and Design, Royal College of Art, London, UK
Springneld, Missouri, USA
40. Pattern Magazine .... . ............. . ........ 174
24. Prague Souvenirs , , . . . . . . . . . . . . . . . . . . . . . . . . . ll4 University of New South Wales, College of Fine Arts,
North Carolina State University, College of Design, Sydney, New South Wales, Australia
Raleigh, North Carolina, USA
41. Color y Carnaval. . . . . . . . . . . . . . . . . . . . . . . . . . .. 178
25. User-Centered Communication . . . . . . . . . . . . . ll8 University of Bogota Jorge Tadeo Lozano, Bogota, Columbia
The University of the Arts, Philadelphia, Pennsylvania, USA
42. The Transparent Cover. . . ... . .... . . .... .... . 180
26. Creating Meaningful Graphics . .. . . . .. . .. . .. 122 Autonomous Metropolitan University, Azcapotzako
Jan Matejko Academy of Fine Arts in Krak6w, Faculty of Campus, Mexico City, Mexico
Industrial Design, Department of Visual Communication,
Krak6w, Poland 43. Reading the Urban Landscape . . .. . . . ........ 183
University of Hawai'i at Manoa, Graphic Design Program,
27. Make a Chair ............................... 12 6 Honolulu, Hawai'i, USA
Portfolio Center, Atlanta, Georgia, USA
44. Comic Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . .. 188
28. Books for Travel ... . . . .. .. ... . ... . . . .. . .... . 130 University of Technology, Sydney, New South Wales, Australia
Folkwang University Essen, Essen, Germany
45. Senior Degree Project in Graphic Design .... 192
29. Collage Poster Workshop . . . . . . . . . . .... .. . . . 134 The University of the Arts, Philadelphia, Pennsylvania, USA
Rhode Island School of Design,
Providence, Rhode Island, USA 46. Modular Type . . . . ... . ..... .... .... . . . ... ... . 196
University of Ulster, School of Art and Design, Belfast, UK
30. Research Project. . . . . . . . . . . . . . . . . . . . . . . . . . .. 138
RMIT University, The Works, Communication Design, 47. Communication Design Program ............ 198
Melbourne, Victoria, Australia University of Washington, School of Art, Division of
Design, Seattle, Washington, USA
31. Undaunted Courage ...... . . . ....... . .. .. . . . 140
School of the Art Institute of Chicago, Chicago, Illinois, USA 48. Major Design Project . . ... ... ... . . . ..... ... . 202
University of Wollongong, Faculty of Creative Arts,
32. Development of Type Families for Magazines . 144 School of Art and Design, Wollongong, New South
Senac University Center, Santo Amaro Campus, Wales, Australia
Sao Paulo, Brazil
49. Graphic Design with Any Media . .. . .. . . ..... 206
33. Type as Metaphor. .. . ..... ... ..... . ..... ... . 149 Berlin University of the Arts, Berlin, Germany; University
State University of New York, Purchase College, School of of the Applied Arts, Institute of Design, Vienna, Austria
Art and Design, Purchase, New York, USA
50. The One . .. . . ........ . . .. ..... . .... . . .. .... . 210
34. Horsepower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 152 Hongik University, Department of Visual Communication
School of Visual Arts, New York, New York, USA Design, Seoul, Korea
35. What Happened? . . ....... . . . ... . ... . .. .. . . . 156 51. Stop Global Warming ..... . . .. .. . ....... . . . . 213
School of Visual Arts, MFA Designer as Author, Kookmin University, College of Design, Seoul, Korea
New York, New York, USA
52. Ways of Seeing (Sequential Image Making) .. 216
36. Think: The Credibility of Information in the University of Nicosia, Nicosia, Cyprus
Digital Age . . ..... .. .... . ....... .. .... .. .... 162
Swinburne University of Technology, Faculty of Design, 53. Beatrice Warde and You . . .... .. . .. . .. . . ..... 219
Prahran, Victoria, Australia School of Visual Arts, New York, New York, USA
Introduction - - - - - - - - - - - - - - - - - - - - - -
EXTRAORDINARY CLASS PROJECTS are worth knowledge, understanding, and perhaps even
their weight in gold (assuming one can actually wisdom. Occasionally, a unique class project
weigh a class project). Those projects that, for can trigger a sea change in overall style or tech-
years after they are done, students discuss and mque.
teachers imitate are essential to a successful One such shift occurred with the "Vernacu-
design education. Truly challenging projects sep- lar Message Sequence," an annual project that
arate the wheat from the chaff, weak from strong, Katherine McCoy assigned to Cranbrook Acad-
competent from genius. They can be both fright- emy of Art graduate students from 1975 to 1995
ening and tantalizing-and are known to cause when she was co-chairperson. The proposition
sleepless nights and stressful days. Projects was simple: It began with basic typographic grid
are, of course, conceived in various ways to suit exercises (highly rational and analytical, based
different needs: Some are offered just once, on exercises by Emil Ruder and Dan Friedman)
while others are assigned year after year until and progressed sequentially toward interpretive
their educational usefulness comes to an end. steps using imagery and vernacular elements.
In the annals of de sign pedagogy, a few One of the most memorable solutions came
seminal projects stand out, usually associated in 1984 when Robert Nakata transformed the
with preeminent teachers. Some of the most well Heinz Ketchup label by reinterpreting and
known are Edward Fella's found object collage reconfiguring the common graphic elements
project, Dan Friedman's weather report project, that comprise the ubiquitous commercial label.
Emil Ruder's Basel typography exercise, Wolf- Nakata retained the most identifiable charac-
gang Weingart's nonfunctional design elements teristic-the keystone shape-but deconstructed
project, and Stefan Sag meister's "Touch Some- the rest of the typography, resulting in an
one's Heart" project. Many of these "branded" array of virtually abstract forms. In reconceiv-
projects evolved over time and belong to their ing something so familiar, the students learned
creators much as their individual styles or man- what was essential to the identity of the design,
ners are key to their design personas. Yet the what could not be tampered with lest it be for-
most successful projects are not just ego trips ever altered, and what was expendable. It was
for the teachers; they are intensive challenges also a lesson in how mutable even the most
that force students to go beyond perfunctory well-known designs can be and still retain some
solutions to find a catharsis that offers greater shred of identity. But, more significant, in do-
7
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ing this class project, Nakata inadvertently pro- While testing the mettle of the student, the best
duced an icon of the new wave or postmodern briefs lay the foundation for solid professional
design era that has been reproduced in vari- behavior. Even the most eclectic ones should
ous design history books as exemplary of that impart lessons that can be used in future prac-
period, "Nakata's project definitely broke more tice. Therefore, a project should not be seen as
new ground than most," recalls McCoy, who an end in itself, but as a steppingstone leading
continued to assign the project sequence for to a larger experiential goal. In the long and
another decade. short run, it is not enough to solve the prob-
McCoy found that this project was the lem simply to receive a passing grade. The out-
perfect opportunity for student participation come of a project has more value; communally
because each year they introduced new speaking, it enables everyone in a class to learn
demands on it: "The really big standout from the successes and the failures. School
sequence in those last years at Cranbrook projects are integral to the growth process. So
was by Andrew Blauvelt for his Tide deter- understanding how and why design schools
gent package. Andrew pointed out that the and programs, both undergraduate and gradu-
sequence was ending in expressive abstraction. ate, develop their projects is critical.
He wanted to add imagery's symbolic content Design School Confidential surveys over
and narrative. I found this was a great per- fifty astute and eclectic projects emanating
ception, and so we included some steps that from as many international schools. While the
added imagery in the place of the abstract customs and languages of these schools vary,
forms to build a story. Andrew did it the best. the design languages and often the educational
His perception prompted me to develop an goals are extremely similar. Different countries
additional section to the project sequence that may have their own cultural or commercial
focused on narrative, and it became much more reasons for how graphic design is used, but
meaningful with that addition. The moral to this the fundamentals are the same the world over.
story-it's important to listen to great students, However distinctive the project, it has the poten-
respond to their ideas, and build on them. In the tial to bridge cultural differences.
end, the teacher always learns the most." A well- The projects in this book were selected
conceived project is packed with opportunities carefully to fulfill this mission; yet had more
for growth on both sides of the bifurcated brain. projects been sampled, the majority would
-
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........,
,,
,
likely be fairly similar. The primary mission of straight highway-it is safe and boring, and the
every design degree program is to teach design driver learns very little. Conversely, a good class
literacy. So class projects are usually intended to project is like dealing with all the hazards of the
exercise typographic or conceptual muscles, and road in an automobile simulator-safe, but chal-
these do not diverge too widely from a particu- lenging-while a truly great class project is like
lar standard approach. No matter where in the navigating a really treacherous road in a real car
world a school is located, most type classes teach without airbags. Although the student is pro-
the same fundamental skills and knowledge-it tected to some extent by the walls of academe,
would be foolish to do otherwise. Owing to the when given a real-world project with variables,
widespread dissemination of design trends and limitations, and consequences, the results are
styles through trade journals and websites, the decidedly less rarifIed. Many of these projects
world is a smaller place when it comes to type were selected because the teachers removed the
and typography. At a certain point in every airbags, and the students showed courage and
student's education, however, it is essential to ingenuity.
break from conventional methodologies, if only The goal of this book is not merely
to emphasize that for creativity to prosper, rules to exhibit interesting work, although it is all
must be broken. Too much rule-bashing can, of indeed exemplary; surveying class projects
course, be overkill; projects that at once teach from around the world reveals the common as
effective techniques and encourage unconven- well as the distinctive characteristics that will
tional thinking are needed to instill in students contribute to a greater understanding of design
the reality that graphic design is a balance and how to educate its practitioners. But these
between old and new, conservative and eccen- lofty pursuits aside, just the sheer level of cre-
tric, safe and dangerous. ativity by these students is pretty extraordinary.
The class projects chosen in Design School Doubtless all teachers look forward to the
Confidential, therefore, do not conform to one presentation of class projects because that's
specifIc dominant style or method, but the when the great ideas percolate-and when they
majority do have one thing in common: social learn which students are, in fact, worth their
context. Many educators agree that teaching weight in gold .•
type and image without providing a real-world
context is like driving a car on a long stretch of
11
Section 1
r
The Teacher's Perspective on the part of the student. A good, or great, class
WHEN ASKED TO ASSESS THE GOALS and expec- project can make the educative experience real.
tations of their respective class projects, a dozen Yet from a teacher's perspective, there is a
design teachers all agreed (regardless of grade further outcome: a uniquely absorbing project
or experience level) on three desired outcomes. that is talked about and anticipated over time,
First, challenge the student: A project must of- becoming legendary among students and teach-
fer sufncient variables and serendipity that ers alike, and a veritable signature for that teacher.
students can test their skills and talents and, Legendary class projects are perennial (they
in the nnal analysis, surprise both their teacher never seem to become dated) because the pro-
and themselves. Second, inform the student: A cess and results are so enlightening. More than
project must also provide enough unanswered a few storied projects from some well-known
questions that students are learning something design instructors have garnered such status. In
new by doing something new. Third, elevate the 1960s, for example, Milton Glaser and Henry
the student: A project can propel students in Wolf had students in their School of Visual Arts
two opposing directions-either through suc- publication class produce an entire magazine
cess or failure. While the former is obvious, the of their choosing, and while this may seem de
latter way might seem perplexing. Often, how- rigueur today, then it was a novel approach to
ever, only through failure can a student get the teaching publication design by making the
best critique and truly absorb the right lessons. students editors as well. The project fostered
Although failure will not produce a great port- community while highlighting the strengths (and,
folio piece, it can have a longer-term influence. of course, the weaknesses) of the participants.
Challenge, inform, and elevate are the building A project of this kind becomes celebrated
blocks of a solid education, and to achieve this because, like any essential resource of knowl-
mix requires a selfless devotion on the part of edge or experience, it triggers expectations in
the teacher and an intense willingness to learn the student and in the teacher. It is as though
12 DESIGN SCHOOL CONFIDENTIAL
doing this one special assignment will alter sophomore project needs to be more pedes-
the course of a student's career-for the better trian than a senior one. The teacher's respon-
and forever. This should not suggest, however, sibility at every level is to engage the students
that only legendary projects can achieve such with problems (and then add twists to those
a goal, for even the most routine assignments problems).
can indelibly affect a student's understanding
or appreciation of design. And these projects, DESIGNING A GREAT CLASS PROJECT
although not storied, are just as important. ONE OF THE MOST DIFFICULT JOBS a teacher
All teachers assign focused projects that faces-in addition to imparting knowledge,
address key facets of their particular classes. which is no small feat-is to design an inspiring
Des igning a book cover series makes sense for class project. Although anyone can devise a
a typography class; designing music videos quiz on the spur of the moment, a well-consid-
is appropriate for a motion design class, and ered project is akin to writing a scenario with a
so on. But increasingly, even introductory and beginning, middle, and end. The teacher must
intermediate design teachers are introducing anticipate the response while allowing license
less predictable, more customized projects to so that students can interpret or reinterpret
both challenge the student and prompt them to the brief. The veteran teacher may have seen
adapt to real-world problems. all the answers at one time or another, but
What ultimately determines whether a if the project is nuanced enough, surprise is
project is highly effective is how it best shapes built into the end product.
the collective design experience. Ideally, it So how is a project conceived? After
should follow the equation: a. skill or talent + b. discussing the process with various teach-
conceptual acuity = c. increased level of perfor- ers, consensus emerges. The most important
mance. A superb customized project does all of questions are How will the project encour-
the above yet also enlightens. If well planned, age learning? and What lessons are essential
a project will also encourage interaction and to learn? If the class is about packaging, for
collaboration so that students learn not just from instance, the project must allow the students
the demands of the project (or the dictates of the to tap into the theoretical knowledge they have
teacher), but from each other. A teacher must acquired over the course of a semester and trans-
provide the parameters and then critique the form that into practical action. Some packaging
result, yet working with one's peers to shape a projects emphasize labeling while others focus
unique conclusion is at least 50 percent of the on sustainable materials; some are concerned
problem solving. with new forms others are limited to existing
A good class project is combustible, it is the ones. The intended outcome dictates the de-
fuel that powers the creative engine; or put less mands of the project.
metaphorically, it is the beginning, not the end, Basic projects-including ones devoted to
of an experience. It must lead to other results typographic fluency, image manipulation, or
beyond the scope of a particular class; it must color theory-have fairly obvious rationales. But
lead to the next educative level. Of course, con- more venturesome projects that involve a num-
text is everything. Presumably, projects aimed ber of variables-the kinds that students wonder
at freshmen or sophomores will be more basic why they must do-are less overt. Here, a few
than those for juniors or seniors, while those teachers from the School of Visual Arts in New
for graduate students will be more complex York speak to how and why they designed their
and nuanced. This does not mean that a unique projects:
ANATOMY OF A SUCCESSFUL PROJECT 13
Allan Chochinov
The Pooper Scooper Project
MFA DESIGN, SCHOOL OF VISUAL ARTS, NEW YORK, NEW YORK, USA
Briefly describe your class project. designers to solve a relatively unsolvable prob-
Designing a pooper scooper is a great project lem-it's very hard to beat a plastic bag-and
to assign as an icebreaker at the start of the very quickly moves them into strategy, sys-
semester. It's silly and irreverent, and appears tems thinking, ethnography, anthropology, and
to be easily solvable. Very quickly though, stu- sustainability.
dents discover that there's much more to the
problem than they originally thought: Beyond What are the surprises that emerge from the
the ergonomic and mechanical issues is a world project?
of discovery around public health, community, I'd have to say that I am forever stunned at the
compliance, personal hang-ups, convenience, solutions that come out of this problem. The
and caregiving. It's a dumb little problem with diversity is amazing, and many of the solutions
huge possibilities. have become iconic for me in terms of design
thinking and pedagogical payoff.
What inspired this project?
Truth be told, I actually worked on a pooper You've assigned the project for some time;
scooper project early in my professional career. how has it changed?
At the studio we decided that for the project to Well, I'm not sure the problem has changed,
be deemed a success, we'd shoot for getting it but I have changed. It's important never to pi-
into the MoMA store. Alas, it was no-go: They geonhole a student's work, of course, even if
refused to have any pet products in the line in it's something you've seen before. The project
those days. eN
ow there are plenty.) serves as a reminder to me to always honor their
efforts and individual approach. The problem is
What do you hope to get from the students always new to them.
who do this project?
I've found a lot of design students to be Has it met your expectations?
function obsessed, seldom considering issues My expectations are consistently surpassed by
larger than the mechanics of an object itself. students, regardless of the assignment. That's
This project is a real Trojan horse; it challenges one of the best things about teaching.
From left to right: pooper scooper process sketches; poop replicas; investigating the current scoop options on the market
14 DESIGN SCHOOL CONFIDENTIAL
'" Stencil
Student: Krzysztof Piatowski
ANATOMY OF A SUCCESSFUL PROJECT 15
Richard Poulin
Visual Storytelling and Narrative Form
ADVERTISING AND DESIGN, SCHOOL OF VISUAL ARTS, NEW YORK, NEW YORK, USA
What inspired these projects? connect with the narrative, as well as with a very
In both situations (that is, when I first saw the personal part of themselves, and inevitably re-
playas well as read the poem), they immedi- sponds with a very unique solution. It is very ful-
ately influenced the way in which I related to, filling as an educator to be constantly surprised by
and valued, the written word as a designer. Both your student's response to a class assignment.
narrative forms rely upon the reader's imagina-
tion. They allow the reader to arrive at a very You've given the project for some time, how
personal point of view in response to the writer's has it changed?
words. I knew that at some point I would be us- The assignment has not changed over time,
ing these narratives for class assignments, hop- only my students' interpretations, approaches,
ing my students would have a similar response and ultimate solutions.
and be inspired in a similar way.
Has it met your expectations?
What do you hope to get from the students I am extremely fortunate that most of the time
who do this project? this assignment (and more so, my students) have
My main objective with this project, as well as with exceeded my expectations, mainly because time
the majority of my class assignments, is for each and time again they have challenged themselves
student to develop a deeper appreciation and set with developing new ways of seeing, interpreting,
of values for the written word. With this under- and ultimately communicating the themes and
standing, they will ultimately see how theirs is a messages of these narratives in unique and excit-
direct relationship to narrative form, visual inter- ing ways that I had not considered previously.
pretation, and effective, meaningful, and timeless
solutions in visual communications.
GETTING RESULTS FROM A GREAT CLASS tine assignment, they will also rise to the occa-
PROJECT sion of a special event. The trick is to make the
IT IS ONE THING TO DESIGN A GREAT PROJECT, class assignment into something so special that
another altogether to elicit meaningful results. the students will have missed out on a unique
One might assume that anything a teacher as- experience by failing to perform at their most
signs to a student is going to be tackled with energetic level. If the presentation of the proj-
vigor and intelligence. Think again! Often a ect is vigorous, it doesn't matter how routine (or
project will not be approached the way the teach- even mundane) the problem is.
er wants to see it done. After all, most students The result of any class project is to elicit
with full class loads are given so many projects class critiques that will stimulate and educate. If
they sometimes have to exercise triage-focus- the project is presented in a convincing manner,
ing on one or two at the expense of the others. the hoped-for end product-a valuable experi-
So, another challenge for the teacher is to make ence for student and teacher-will emerge.
certain that the student commits to the project.
How this is accomplished may be as difficult as WHAT TEACHERS WANT
the riddle of the Sphinx or as easy as throwing a STUDENTS WANT KNOWLEDGE, wisdom, experi-
dog a bone. It comes down to presentation. ence, and ultimately jobs. Teachers want serious
Of course, getting good grades-or the students who, in addition to absorbing all of the
consequence of not getting them-is the single above and getting good jobs, will push design
most compelling motivation for any student. But to its next level. How students respond to class
it is the teacher's job to promote the project with projects often indicates exactly how successful
fervency and passion. As much as students will they will be .•
pick up on any hint that the project is just a rou-
critical response exerts a huge influence on how success and sometimes it's a huge disaster. But
students feel about and progress with their proj- projects that force you to think strategically,
ects. Students consider the "crit" an essential creatively, and rapidly are the ones that help you
part of the process. (Some students actually see prepare for the future."
being "ripped apart" in a crit as integral to their Great class projects keep students on
growth.) It is of immense help, especially early course and provide structure-and this is key.
on, and enables the students to keep on track. But they also encourage students to develop
They benefi.t from the experience and knowledge numerous skills that will serve them over time.
of the faculty, and when teachers understand Class projects are often cut and dry, but the best
what students are attempting to accomplish the demand a modicum of individual interpreta-
end product improves. Students who want their tion. While being open ended has its drawbacks,
work acknowledged by professionals especially problems that encourage divergence from the
understanding and adjusting to obstacles is of us has ever done," said a student, "but I think
part of accepting structure. Students are also the important thing about the project was all the
unhappy with a class project when they feel ill steps we had to go through along the way." For
equipped to complete it-but what better reason some students, the word "nightmare" precedes
to engage a project than to find the right path? success: "It was a total nightmare, which is why I
Still, students often equate a failed project with loved it. I had never work in the assigned medium
a lack of passion for the assignment in question. before and I had nothing but problems. However,
While there are always excuses for not doing the end product turned out well, and since then I
well (and disinterest is not to be ignored), every have used the process for other projects."
project can be perceived as either an obstacle The answer to what makes for an interest-
or an opportunity. Frequently, students say that ing class project will always vary because every
good projects give them the confidence to come teacher and every student addresses a different
up with solutions to seemingly unsolvable prob- set of agendas and priorities. Interesting and
lems or to leave their comfort zones and execute boring are two sides of the spectrum, but even
design in realms where the absence of total con- in a single class they may overlap, depending
trol is a requisite. on the students' needs. Students in the School of
The measure of a successful project is not Visual Arts' MFA Designer as Author program
necessarily about the grade or the end result. weigh in with their perspectives.
"I'm not sure our end products were the best any
Distancing yourself from a project can be an ef- Document Setup ... \:XP
fective method to understanding the message that Document Color ode ~
What was your most interesting class project? What is the most significant aspect of a
Designing a pooper scooper. class project?
All you can learn from the various stages-not
Explain why this was the most interesting? necessarily the fmal result itself, but the whole
It was interesting to me to discover that the project process that leads to it.
was not about the object itself-there is no design
problem there, people just use plastic or biodegrad- How would you measure the success of a class
able bags to pick it up, no other product is neces- project?
sary. The project was about the whole system, of Success is when you see all students really get-
scooping poop, and everything that it involves. Of ting what the project is about and nnding out
course, we had to ngure that out for ourselves, so how to get the most out of it.
the nrst week was a disaster-we all came to class
with these terrible gadgets. Eventually we under- Have any class projects changed the way you
stood, and the results were very interesting. think and work?
Absolutely. In another class, we were told
What do you want to derive from a class to draw our "design process." It was hard at
project? nrst to think about it, and realizing that I do
In this case, I really learned how to see the prob- have a step-by-step process that I follow when
lem as a system, not as an object. I work on a project. Then, we were shown
alternatives to our processes. This is something
that I am already incorporating in my process. -
ANATOMY OF A SUCCESSFUL PROJECT 23
What was your most interesting class How would you measure the success of a
project? class project?
Street Signs for an Urban Design class. The When the project takes on a life of its own and
teacher assigned the class to design street becomes bigger than you, you realize that you
signs that were to be installed in public for owe it to the project to keep working on it. You
real people to see. I created a real sign that realize that it's no longer about going through
urged moms to schedule mammograms. Thus the motions and completing the project. Instead,
the "My Mom / Your Mom" project was born. it becomes your obligation to keep going and to
keep pushing the limits. That's what I think de-
Explain why this was the most interesting? nnes ultimate success.
This project had a personal connection with
something that meant a lot to me. My mom Have any class projects changed the way you
found out she had breast cancer that could think and work?
have been detected early. Despite being a Every project I completed for Urban Design
five-year-old tumor, she was fortunate that taught me how to unlearn everything I ever
the cancer was Stage 1. My mom wasn't get- thought about design. Prior to taking this class,
ting annual mammograms. Had I known that, I was so focused on "design" and being spiffy.
I would have urged her to get one and perhaps Looking back, I think I was just scared. My
the tumor would have been found sooner. teacher taught me to see that design is empty
My hope was to educate other sons and if it's not personal. He taught me how to be fear-
daughters that getting involved in their moth- less and how to take huge risks. If your work
er's health is easy and can make a real difference. doesn't resonate or grab something from your
Equally as interesting was what I learned about inside, then what's the point? Before, I was really
myself. I was taught how to overcome fear. My concerned with the creative brief, the client's or
teacher taught me that great work will only teacher's opinion, the project parameters and
come from your greatest loves and the great- everything else except what was in my heart.
est fears. He taught me how to grow balls and When you can honestly be happy with your
design from the heart, and not think-how work, nothing else matters. Everything I do now
to "just do what's in your heart and keep is for myself, for my mom, for the people that I
smiling." It's amazing how much power and love the most. I will now do what's in my heart
meaning this project accumulated the less I and keep smiling. -
feared and learned how to get out of my own way.
:SOON
26'" N
27
Section 2
r
WE ASKED OVER FIFTY TEACHERS from art and design schools and pro-
grams around the world to present their most interesting or challeng-
ing class projects. The results are varied, though social consciousness
is a common yet not exclusive thread.
We asked the teachers to provide a project goal, objective, and
outcome. While most offered the first two, sometimes the objective and
outcome were one and the same. We asked the students to provide a ti-
tle and a statement of purpose. Here, consistency falls short. Most stu-
dents could articulate their goal, but some could not. Many had titles,
but some projects were not individual enough to merit a separate title.
Ultimately, the work speaks for itself in the context of the fundamental
problem, but some are distinct because they transcend the problem.
What can we learn from these projects? Aside from seeking flu-
ency and expertise, the teachers are attempting to instill a sense of
wonder in their students, and the students are trying to use their de-
sign talents to convey narratives as well as to explore forms that they
will use later in their careers.
28 DESIGN SCHOOL CONFIDENTIAL
Helvetica Nation - - - - - - - - - - - - - - - - - - - -
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THE PROJECTS 29
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l' Student: Colin Ford
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l' Student: Christine Ricks l' Student: Allie Kanik
Class: Graphic Design II their goal and vision enabling the students to
Level: Sophomore develop an understanding of the project through
Faculty Service
. •
.,. Student: Sahar Mari; Junior designer: Zeina Said Hamady; Interns: Rana Selo, Fatma Al Mansouri; Photographer: Markus Elblaus
The group I was a part of felt that the idea of ally inscribed on the pages of this publication by
leaving a mark successfully embodied a decade featuring an original piece or work followed by
of design, not only in VCUQatar but also in its impact-depicted as a shadow traced on the
the surrounding communities and regions in- subsequent pages. This technique allowed the
fluenced by its progress. As a double major in work to leave its own, unique impression while
graphic design and fashion design, I decided to still retaining parts of its original features. The
apply the basic tools that link my two areas of inspiration for this technique evolved out of the
study throughout the publication: carbon trac- structure of our own VCUQatar education; sten-
ing paper and stencils. By experimenting with cils symbolize our education in design theory
these tools, it soon became clear that the nature while the notion of leaving a mark represents
of the guiding concept suggested an interactive our instruction in practical application.
design. The principle of "leaving a mark" is liter-
32 DESIGN SCHOOL CONFIDENTIAL
We chose active, bright colors to grab the atten- same time attention getting. My main goal was
tion of the reader and step away from the col- to find a sans serif typeface to make the publi-
ors that are traditionally used in publications cation easy to read. I was also looking for one
issued by VCUQatar: yellow for warmth and that has a variety of styles and weights so it can
hope, but also as it relates to our traditions and be used as display, title, or running text. Myriad
culture; blue to symbolize water, but our re- met the qualifications because it is a classic
search showed that it also implies a feeling of typeface with rounded counter forms that give
youth and energy; green for a classic color that a feeling of a handwritten script. On the other
is also zestful, luscious, juicy, and plentiful and hand, I choose Boutros Ads Pro for the Arabic
gives a feeling of nature; and, lastly, pink as a typeface. It has sharper edges-something we
passionate color that is full of energy and at the intended, to create a contrast between the Ara-
bic and English typefaces. I included patterns as
design elements to show the cultural influence
this area of the world has on the publication.
I placed these patterns on transparent paper
~ ..... 'I . ' IIJ .. 1~ ... t
.;:,WI ~-J.o.W'" to illustrate the idea that culture and design
-
""'_II
.... _01 ..
- .. -
----
influence each other. I chose a collection of
images that suggest spontaneous, cheerful, and
active life, all the while combining them with the
culture they represent, the Middle East. Most
images document the process of students' work,
including each major and the freshmen founda-
tion year. Cropping and odd angles emphasize
different cultures and different points of view.
".,,'e
•
--~1 -
~~~!D~s!gn
- . . ~#'_~ , - - , .
THE PROJECTS 33
I used Helvetica Neue in different sizes in the to show how VCUQatar leaves indelible marks
publication. It is a clean and static typeface, in the lives of its students. This was the equation
which gave me the freedom to play with it us- I used: knowledge + culture = many possibilities.
ing different techniques. The bright colors are I developed this concept by representing knowl-
to catch the attention of the audience. These edge and culture through simple shapes, which
colors were taken from elements in the environ- change according to the impact knowledge and
ment such as dunes, water, sunsets, and trees culture have on each other, creating endless
(yellow, blue, purple, and green). These colors possibilities. I used diecuts to represent the im-
let the audience experience the history of Qatar pact the past has on our future. These cuts left
and VCUQatar. Each chapter owned one color to shadows on the next page, and when the page is
help the viewer distinguish between topics. Our flipped, part of the past page is emerging with
main concept is that of "leaving a mark." I tried the next page, similar to reality.
34 DESIGN SCHOOL CONFIDENTIAL
Cradle to Grave
London College of Communication
LONDON, UK
Eo Environmental Labeling
Student: Laura Harvey
+- Tree/Chair:
How Comfortably Do
You Sit on This Issue?
Student: Neil Coward
• ••••••
•
• • • •• • • • • • • • •
•• •
•
••
•
t-=- ~ ----t
+- Green Gaming
Student: Himali Patel
... -
The biro pen is small and generic, but not really considered to cause an
environmental impact. I came up with my concept experimenting with
inks as material, inspired by ink stains on pockets when a biro bleeds,.
I nlled thirty-six cups with ink and color-coded the life cycles of raw
material (black ink), production (blue), usage (green), and end of life
(red). The level of ink in each cup was then equivalent to the hierarchy
"
of information printed on it. I created an extremely long pull-out book ,
for the consumer. •
...
-
-
-
THE PROJECTS 37
g
o
N
X
c
)(
!!
•
D
'"
....o
til
l' Washing Line Installation
~
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::::l Student: Seral Mustafa
oen
Q)
rr. 'tt:
PROJECT GOAL
Students should focus on the use of the letter
and text as the fundamental visual and com-
- =="'"'
. ..,.,-
... , 0 . r • ••••••••• JIQ•• R . . .• •. . .• . . . •
• c:
". . . .". JI .
•
On Trial
The Arts Institute at Bournemouth
POOLE, DORSET, UK
l' Lucy Bywater and Rob Wilson, 2008 judges l' 2006 prosecution team
Student: Simon Burch (witness), 2007 solution; if this were the case, we'd be rich and
The trial based on the "First Things First" be able to sleep soundly at night. It engages
manifesto was a great insight into a side of all participants and is a catalyzing, beneficial
graphics that large companies and lower edu- debate. My entire final year was devoted to proj-
cation courses don't teach. There were strong ects and assignments concerning the nature of
arguments from each side. design, the designer's responsibility in terms of
output, and how a designer might follow a ca-
Student: Harry Smith (judge), 2008 reer path that would allow later reflection with-
As a judge in the proceedings, it was fascinating out horrible guilt at the negative impact made
to watch the battle between the two sides ar- on society, culture, or the environment.
guing the feasibility of the manifesto. Hearing
evidence for and against the manifesto from key Student: Carla Hicks, 2008
witnesses, like original author Ken Garland, not It was an inspirational experience to work with
only placed the manifesto into context, but also the creator of the original "First Things First"
allowed us, as the next generation of designers, manifesto, Ken Garland, gaining an insight into
to question and understand our role in the mani- his knowledge and experience.
festo's future.
Student: Jonathan Oldaker, 2008
Student: Keir Cooper (defense), 2006 It was great to see individuals' passions coming
This was a great intellectual exercise, and drain- out in the court case scenario. It put people on
ing in a satisfying way. the spot and created elements of seriousness
and tension. It also made it fun, enjoyable, and,
. .
Student: Lindsay Noble (prosecution), 2006 m some cases, amusIng.
The three-hour trial was pretty intense. It was a
mix of hard work and big fun. Taking part in such Student: Dan Rowland, 2008
an event should be mandatory. I learned a lot. Having the opportunity to role-playa court case
not only drew us closer together as a group, it
Student: Ashley May (defense), 2005 also encouraged us to research the notion of
The purpose of the debate scenario is not to quotation in a degree of detail that pushed us
indoctrinate students toward a career of anti- to excel in order to succeed. Never before have I
consumerism, nor to be the route to a definitive left a room with so much knowledge.
44 DESIGN SCHOOL CONFIDENTIAL
Product Identity
Alberta College of Art and Design
CALGARY, ALBERTA, CANADA
Class: Advanced Graphic Design 1- to come up with irresistible offers and messages,
Product Identity and whether or not you can even get their atten-
Level: Fourth Year tion in the first place. Techniques and tactics are
Faculty: Rik Zak not the heart of great marketing.
Duration of Project: One Semester Translate the core product idea into a
powerful and memorable product identity by
developing and executing the key product
PROJECT BRIEF identity elements such as product name, logo,
Create an identity for a hypothetical product. If and packaging.
your product is based on an existing consumer
product, target a new market segment and make PROJECT GOAL
appropriate modifications to the product. • Demonstrate advanced research skills.
Identify your audience and develop an un- • Demonstrate the ability to compile,
derstanding of their needs. Use these insights to organize, and edit data.
shape your design decisions. • Explore the relationship of brand
Analyze and evaluate the product and its development to product.
competitive context. • Develop an understanding of a target
Identify the target consumer, their needs, audience.
and their relationship to the product in a man- • Develop an effective design strategy
ner that will allow you to find them. If you can related to consumer needs.
find them, you can reach them easily: This • Demonstrate the ability to develop a
means that your audience has already estab- design strategy and create an integrated
lished high-quality hubs, communication net- product-identity program.
works, etc. (If members of your target audience
are dog owners, for example, then you can find PROJECT OUTCOME
them through vets, pet stores, dog parks, dog • Produce an identity program that includes
magazines, groomers, kennels, web zines, dog a minimum of the following components:
shows, and dog trainers.) • Logo/word mark
Define the core idea behind your product. • Package design
(A target + a problem = the core idea or product • Promotion material and/or point-of-
niche.) purchase environment
Identify the key problem(s) your product • Booklet that documents your process
addresses: Understanding your consumers' • The presentation must include a design
problem is how you reach them emotionally. brief that outlines product evaluation,
Your ability to articulate the pain, needs, prob- consumer evaluation, and objectives
lems, and desires of your prospects is the center- and strategy.
piece to how much they will trust you, your ability
THE PROJECTS 45
LiffLe BO
3CD
('D '
xc.n l' Little Boy Identity
n
o Student: Justin Tan
CD
CD
-+ Apostle Identity
Student: Rachel Rivera
Illustrations: Brennan Kelly
...
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~
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.
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THE PROJECTS 47
•
of' Fizz Logo
Student: Josh Smith
• •
·1 :< -
•
-
•
Eo Pinkeye Identity
Student: Katherine Kinasewich
Locale-----------------------------------------------
American University of Sharjah, School of
Architecture and Design
SHARJAH, EMIRATE OF SHARJAH, UNITED ARAB EMIRATES
Class: Senior Design Studio ied as the students participating in the studio;
Level: Fourth Year however, certain central themes and motivations
Faculty: Amir Berbic, Roderick Grant, and became clear across both print- and time-based
Shoaib Nabi work. The inconsistency of each site in Sharjah
Duration of Project: Six Weeks and neighboring Dubai's constantly evolving
infrastructure gave students the challenge of at-
tempting to nx their sites in time. The process of
PROJECT BRIEF rennement involved the identincation of behav-
In this project, students responded to a specinc iors and activities within a location. In place of
outdoor site. It began as a process of experienc- trying to nx a static identity, students embraced
ing, through as many senses as possible, an as- constant change as an aspect of identity itself.
signed location. Encouraged to employ a vari- While the possible range of forms seemed inn-
ety of methods and media for documenting and nite, the interaction of specinc forms and spe-
generating form, students were expected to both cinc behaviors allowed students to assess their
engage the site and allow it to affect them by progress through nnite strategies.
their participation in, or observation of, its form.
The studio critique was a visual and verbal re-
view of their experienced environment through
images, footage, recordings, and found objects.
The processes that evolved out of such discus-
sion began to reflect each student's unique in-
terpretation of what is important to the develop-
ment of an identity of place.
PROJECT GOAL
The idea of local identity has become ubiquitous;
it has been reduced, simplined, and, in some re-
spects, made obsolete by the reach of consistent
global marketing. What might it mean to begin
the process of identity design without the need to
compete on a global scale? The primary objective
of this project is to develop strategies, processes,
and forms that avoid convention and embrace a
more responsive and expressive notion of what
an identity could be in today's visual culture.
PROJECT OUTCOME
The outcomes of this project are denned by
three distinct formats: an AS book, an Al poster,
and a time-based short. The results were as var- of' Student: Maria Al Daoudi
THE PROJECTS 51
My project is a journey
through Dubai's Al Diyafah
Road, witnessed through
form and color-a rhythmic
expenence that reflects
the site's varied personal-
ity. I attempt to record the
dynamic interplay of ele-
ments in the space.
THE P R OJE C T S 53
-, .
. 'IJl
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54 DESIGN SCHOOL CONFIDENTIAL
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II
f
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~
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~
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PROJECT GOAL
In an effort to move students away from produc-
ing work based on their preconceptions of what ~ AGlobal~arning
information design is-the result of which is too Student: Gavin Alaoen
often a student mastering how to craft formats Models: Pei-Jeane Chen, Daniel Chang, and Ken Quemuel
and not communication-the class rejects format-
based assignment-control devices. Instead, the These images link the causes of skin cancer
class places emphasis on qualities of content and with the steady increase of global warming.
THE PROJECTS 57
-+ You Stink!
Student: Aaron Bjork
Each year, the United States exports billions of expensive way to construct this very short-lived
dollars in arms to developing countries around installation. Many of the design decisions were
the world, many of which are undemocratic informed by this constraint and by the strong
with poor human rights records. My goal was to grid created by the building windows and frame-
present this comparative data in a manner that work. Throughout the entire class, I was intro-
conveyed the immense scale of this spending. duced to methods of research that deepened
After being cleared to use a portion of the cam- my understanding of the subject and greatly
pus building fac;ade, I had to fmd a relatively in- influenced the final form of the project. It was
ARM D
IN G C
I
THE PROJECTS 59
EIVIO
RAT
C
60 DESIGN SCHOOL CONFIDENTIAL
Sacral Design
Berlin University of the Arts
BERLIN, GERMANY
PROJECT BRIEF
Sacral objects have extremely varied uses and
meanings in world religions. They have evolved
over time to their strictly den ned present-day
forms. The development of sacral objects has
been largely left to craftsmen, with little critical
exposition by designers. Hence, the results are
often ornamental adaptations of legacy objects
that reflect a period of time. A more critical eye
on the function of different religious objects is a
timely topic for media designers to engage with
beyond a pure artisanship.
PROJECT GOAL
In teaching digital media, technology can often
take the upper hand in dictating what gets de-
signed and with what means. The project goal
was to start from the other extreme, to focus on
meaning, history, and societal perspectives. The
goal was to employ principles of digital media
in rethinking religious objects, to try to distill
the essence of what digitality means-especially
today, where technology has yielded almost reli-
gious proportions.
-+iRauch
Student: Felix Hardmood Beck
The cross has become an abstract symbol, A reactive membrane is the communicating el-
while the events at the place of the cruci- ement between the Torah scroll and its reader.
flxion tend to be forgotten. The installation Between the readings, the membrane's orna-
intended for the side altar of a church, tells ments spread dynamically over the Torah and
these stories. separates the holy from the profane.
62 DESIGN SCHOOL CONFIDENTIAL
Class: Graphic Design munication arts, and so on. The logo has to main-
o
\ I
and Computer Graphics
Level: Second Year
Faculty: Maurizio Osti and Danilo Danisi
tain the institutional icon: the academy's Fama,
a very important masterpiece by Marcantonio
Franceschini; so the whole project must respect
Duration of Project: Two Semesters this particular element. Three groups of students
are to design the institutional part of the entire
communication system: logo, stationery, signage
PROJECT BRIEF systems, posters, and merchandising.
Students are charged with developing a new
identity system for the academy to reflect chang- PROJECT OUTCOME
es in the organizational structure and enhanced The projects will be examined by a jury com-
communication courses initiated m 2004, posed of the Academy's president, director, and
according to the reforms proposed by the Italian academic board. The best project will become
Ministry of Education. Three departments have the official identity system for the institute and
been launched; new courses are now offered not will be used for both internal communications
only in the fine arts but also in graphic design, and external operations.
product design, scenography, restoration, com-
The class redesigned the classic logo, playing l' Student: Diana Blankson
with different styles. Photograph: Francesca Coppola
THE PROJECTS 63
•
.-
•
l' Students: Andrea Vernucci, Serena Muratori, Nadia Pantaleoni, and Laura Gruppuso
t,
I
w
-
-
o
......... ~.--
-f1s~--
-Ib'\'-
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PROJECT BRIEF
Study the materials I've brought from Boston, in- Class: A Cultural Concept Book Workshop \
cluding postcards of Boston landmarks, stamps, Level: Junior and Senior
newspapers, assorted Red Sox paraphernalia, Faculty: Richard B. Doubleday \
and Boston Marathon bib numbers and medals. Duration of Project: One Week
Scan and photocopy the Boston material and
combine it with your own photographic images
and illustrations from Suzhou, including hand convey the mood and temperament of the sub-
drawings, painting, and digital photography. ject matter and your experiences in Suzhou and,
Use the text from Henry Wadsworth Longfel- conversely, your impressions of Boston.
low's "Paul Revere's Ride" and Ralph Waldo Em-
erson's "Boston," to explore alternate methods PROJECT OUTCOME
of visualizing narration: continuous text, typo- The final designs comprised a variety of cultural
graphic expression, diagrams, timelines, map concept books, depicting famous Chinese water
construction, and text/image combinations. townships, expressive typography, postcard im-
You may use either English text or Chinese ages, statues, Boston architecture, and Chinese
calligraphy or a combination of the two. Focus "stamp" motifs. The students spent the first two
on the cinematic aspects of multipage design, days working through preliminary ideas and
unity, pacing, contrast, and rhythm. The cultural drafting rough sketches. The second half of the
concept book should be small and intimate in week was spent creating the books and complet-
nature and should not exceed 8 x 10 inches (20.5 ing the project. The results combined Eastern
x 25.5 cm). The book should be a minimum of and Western imagery with English text and Chi-
eight pages in length, including the front and nese calligraphy to form a unique and unusual
back covers. juxtaposition of design elements. The two class
critiques enabled the students to get instanta-
PROJECT GOAL neous feedback, critique their classmates' de-
The objective of the workshop is to compare and sign solutions, and articulate the ideas behind
contrast the Western and Eastern cities of Bos- their own projects.
ton and Suzhou by taking a closer look at these
two cities' personalities. Although Suzhou, lo-
cated thirty two miles northwest of Shanghai, is
a large modern city, one can fmd a network of
sixteenth-century canals, bridges, and classical
gardens. Students are challenged to think about
how living in or visiting a city influences the
way we think and see. Create short, multipage
books integrating images from both Boston and
Suzhou that would visually communicate the
similarities and differences in the visual culture
of the two cities. Think about how you'll visually
66 DESIGN SCHOOL CONFIDENTIAL
The stamp motifs are ancient Chinese folk designs that have been in use for many centuries. The
symbols comprise hua yang patterns and represent long life, riches, etc. I cut freehand forms from
paper with scissors and overlaid the stamp motifs for each page within the book.
BOST8 N
SUZH U
".a.-..- · ......-." ••
~
"
I created a colorful and vibrant collage effect, l' Student: Mengjing Cao
documenting each day of the week.
68 DESIGN SCHOOL CONFIDENTIAL
+- Refraction
Student: Jon Troutman
+- Come Again
Another Day
Student: Jeremy Bowen
The Koran says, "By means household, water also sustains When people are denied ac-
of water we give life to every- ecological systems and pro- cess to clean water at home or
thing." This simple teaching vides an input into the pro- when they lack access to water
captures a deeper wisdom. duction systems that main- as a productive resource, their
People need water as surely as tain livelihoods. Ultimately, choices and freedoms are con-
they need oxygen: without it, human development is about strained by ill health, poverty,
life could not exist. But water the realization of potential. It and vulnerability. Water gives
also gives life in a far broader is about what people can do life to everything, including
sense. People need clean wa- and what they can become- human development and hu-
ter and sanitation to sustain their capabilities-and about man freedom.
their health and maintain the freedom they have to exer-
their dignity. But beyond the cise real choices in their lives.
1'Rita
Student: Tyler Smart
No child should have to make the choice between having clean water to drink and getting an educa-
tion. Unfortunately, many children in Africa face this decision daily. Their education suffers both
from the time they are forced to spend acquiring water and from the poor facilities in schools due to
a lack of water. We can help put an end to these terrible circumstances.
72 DESIGN SCHOOL CONFIDENTIAL
-+ The Tributary
Student: Arlo Vance
l' Umbrellas
Student: J enny Willardson
• ,
•
•
•
•
•
• • •
•
•
• -.
•
•
• •
•
•
• •
•
•
•
•
• • •
•
•
• •
~
•
• • ." •
•
• •
-+ Africa Is Evaporating
Student: Kevin Cantrell
+- Split's Way
Student: Marko Svraka
+- Siti se Siti
(Remember, Remember)
Student: Matea Pavkovic
+- Diocletian's Recipes
Student: Klementina Tadin
-+ Impulse
Student: Ante Klai
Eo Split's Way
Student: Nikola Radovani
_ 1 I~
Contrary to the usual practice of putting the
most beautiful images on calendars, this calen-
dar depicts the problems in the town center. It
features photographs of garbage on city streets,
I
•
,
I I
lO
JI
}-. .....
•
inappropriately installed air-conditioners, stone .. II
PROJECT GOAL
•••
• ..-•
••
..••••••
••• • •
••
••••• •
••••
Following the New York event, like many peo-
ple, I had to express my empathy, but I was too
• •
•••••
•• ••••
shocked to do so right after. I did it one year
c
later, for its fi.rst commemoration: As a de-
signer, I made a poster. But as a person forty
years of age, I thought of Chile on September
11, 1973, when president Salvador Allende was
overthrown by the military and democracy, as
we knew it, died. I was too young at the time
to remember it. Today, I am interested to see
how younger people who were not born then
respond to and visually depict this part of his-
tory and what links they may fi.nd to that time. I •
want to know what our memory gets or forgets.
What do we commemorate or lose? To create
a sharp and smart image, the students have
THE PROJECTS 79
l' Student: Violette De Fleurian l' Student: Tina Bourade l' Student: Timothee Silie
n
~
->
-0
-...J
W
~
I
"J
i8
l' Student: Mirabelle Pezier l' Student: Morgan Serre l' Student: Noelie Briey
----
c/J.lb(l1lf(Ji t~ urI;
mJtfl~ f!I'f'-,¥t'lillfirl ad
(OIiJfj. .~ l'il ltllhv{ j;Vl.ftll;lJJ a
ell till If/, 'Ji'4ITI9t (IS. "
l' Student: Johannes Naan l' Student: Juha Juvonen l' Student: Michael Muyanja
THE PROJECTS 81
TUESDAY
PTM
l' Student: Pablo Ferreiro l' Student: Sima Utku l' Student: Anton Yarkin
=~:~~{) •••
To Die For - - - - - - - - - - - - - - - - - - - - - -
.,. Student: Michael Ciancio. Photograph: Piero Martinello .,. Student: Priyadarshini Khatri. Photograph: Piero Martinello
.,. Student: Namyoung Ann .,. Student: Michael Ciancio. Photograph: Piero Martinello
86 DESIGN SCHOOL CONFIDENTIAL
• Design a book cover with commercial he keeps clipping the piece with the scissors
appeal. until he finds the size to fit. When he has found
the right size, he makes folds with the pliers and
clips the side onto your tooth with the pliers.
iGolide When you have to eat you unclip the crown
Student: Siftso Taleni and take it out of your mouth, so that you don't
have to damage your crown-or even worse-
Who said that a dentist could be only some- swallow your crown with the food.
one with dental qualifications? Here in Mzansi The crowns are cleaned with brass metal
(South Africa), in the black townships and sk- cleaner to keep them shiny, but the more you
watta, we have unqualified dentists who perform use it, the more it will permanently lose its color.
dental operations just like qualified dentists! The cost of the operation is R70, while a quali-
In the township of KwaMakhuta where I live, I fied dentist with the "real" crown will charge
met an umjita (fellow), Simphiwe Khoza, who calls you between R1000 and R2000. In Mzansi, some
himself the Crown Dentist of the neighborhood people find a way to make almost anything that
and probably even the whole of KwaMakhuta is considered popular and expensive accessible
township, which is close to Amanzimtoti. to those with a low income!
THE PROJECTS 87
-+ Everything Typeface
Student: Helgi Pall Einarsson
-+ SEXKANT Typeface
•
Student: Daniel Claus Reuter
.
F 1 rJJJ~ UllJl
DP'[l ~ S ·11
.
-+ Morthens Typeface
Student: J onas Valtysson
-+ Grindavik Typeface
Student: Sveinn Davidsson
QUICK~ JAI7 MY
Grindavfk is a monospaced
typeface that comes in three
weights. It was inspired by
FAl>ING PINK ZIT~
Wim Crouwel's type design,
Futhark runes, and older co-
mae forms .
EVIL TEX IxJHORE!
THE PROJECTS 91
Snidagrind IS inspired by
Stephan Muller's Gateway.
It mimics the modular grid
of the typeface, while being
much more complex and or-
ganic. It comes in two types,
A and B, and within each type
is a version for both small and
large sizes. Kogra was inspired
by fractals and is intended for
use in large sizes.
•
I)
1" Dingleballs Typeface
Student: Birna Geirfmnsdottir 1" Veekend, Father,
and Abkur Typefaces
I created this font after researching Paul Renner's Futura. Student: Geir Helgi Birgisson
92 DESIGN SCHOOL CONFIDENTIAL
PROJECT BRIEF
Communication often occurs in multiple formats.
The purpose of this project is to have students
convey complex information in several distinct
formats. In this class, students are required to
be researchers, authors, editors, and designers.
A good amount of class time is spent on content
development where the students explore the es-
sence of the story to determine its inherent struc-
ture. From there, they represent this structure in 13 HUMAN VITAMINS
visual form, allowing the viewer to engage with
the content in a way that is accessible at first
...... _ + .........,.....- - .... ....
~ ~.
glance and easy to comprehend. Students are re- •••••• ClIlW . .... ••
~ Scoliosis
Student: Phillip LaFargue II
- --
- .,. Biotechnology versus
By demonstrating comparative
information of two opposing
types of food production and
distribution, this poster at-
tempts to educate on various
levels. In what is essentially
an annotated and illustrated
.,. Childhood Obesity matrix, the viewer sees compar-
Student: Jessica Gatto isons at each step (indicated
in the middle column in gray)
My poster compares daily activities of families in the u.s. with from production to market.
obese parents and those with nonobese parents in the u.s. Activi- The introductory paragraphs
ties include eating together, being active as a family, and television on top under the "Biotechnol-
viewing. Contrasting the body mass index of the two groups from ogy" and "Organic" headings,
toddler age to young adulthood is also revealing. Comparisons are along with the text between
done in a nonjudgmental fashion, allowing viewers to arrive at the two faces, synthesize the
conclusions on their own. My booklet provides a more sequential big story that sets up the
narrative. It outlines societal factors that contribute to obesity-a remammg content m the
steeper increase in carbohydrate consumption versus protein con- poster. A comparative timeline
sumption, a more rapid rise in the price index of produce versus appears at the bottom to
soft drinks and sweets, and a decrease in walking and biking-and indicate major milestones of
offers solution areas, calling on parents, schools, and the media. each production method.
94 DESIGN SCHOOL CONFIDENTIAL
X Box------------------------------------------------
Istanbul Bilgi University, Department of
Visual Communication Design
ISTANBUL, TURKEY
...
-
- •
--
Ways of S eing I
based on e BBC television
- se with JOhn Berger I
Pet19uin Books
, _ , _ _ - ! ! . -_ _-=---:J
- '. •
, 1
• i Ili!l! ijii!i'I':II!h i!!-I!I ii
/. '.
i~ :dim • '11" i i!Ilhii
lit li:"I: 1 i'l !u
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THE PROJECTS 97
Eo ImprovBox
Student: Okay Karadayilar
Eo HalluBox
Student: Ceren Atalay
Eo Peripteral
Student: Refi.k Anadol
I - ---
I
"""'"
un·e-x-
oe-c-uLd~--~---
.ri"tenft-
Portfolio Book is about my per- CameoBox, a monthly f1lm Street Box is a street art and
sonal work. The book includes culture magazine, refers to a graff1ti magazine for practitio-
a series of portraits that were cameo appearance. Since f1lms ners. I tried to keep the design
taken with a medium-format try to illustrate reality on the as tidy as possible by using
camera. For this reason, the screen, I u sed illustrations in- a three-column grid system.
book has the shape of as quare. stead of photography. By do- The works of the artists are
Since it is a personal project, ing so, I think I've managed to presented as bleeding images.
I've preferred to use my own illustrate the reality of the f1lm White space is avoided.
handwriting instead of an ex- on the printed page and to cap-
isting typeface. ture the soul of the content.
THE PROJECTS 99
+- The Process
Student: Akin Gulseven
Additional Credit: Text by Mark Nelson,
Carolyn G. Quertin, Hasso Krull, John Deere, and Ray Pride
-----------'..
---
--- ----
,\, l
lIo. y" I
, f •
+- Psychedelic Box
Student: Barbaros Kayan
+- Glossy Interface
FIELD A FIELD B FIELD C Student: Ahmet Borutecene
r
-, •
.
.. .. •
.
81 B2 IQ
'" -.. .... " u
.. .. • .. ~-
1!9 .. 11 12
.. • .. ..
I U 14 15 lJ " . •• 0
... - .......... .. I 17 18
:: A :~ ! 19 2t Z1 22
: :
..............."
I 23 24 25 26
I Z7 2t 29 3e
0111
";'X
1'T-Order
Student: Harun Yucesoy
The purpose of this project is to design an in- hand. I analyzed the particular circumstances
terface that is accessible for users with various of the targeted users and experienced how to
disabilities caused by environmental condi- develop a navigation system and design layout
tions. Healthy two-handed persons may be in that considers the specinc conditions and natu-
a situation that prevents them from using one ral obstacles of an environment.
Eo Touch by Wrist
Student: Ozalp Eriiz
"
.••"'.••
~ •
•
i
• •
..
..,
OJ
•
•• "• .
• •
This project is designed for the waiter who has It is hard to Dnd creative sound solutions for
to take an order using the right-hand thumb be- navigating a two-dimensional interface. There
cause his left hand is full. The main philosophy are Dve dots on the screen that the user should
of the interface layout is based on the Dnger use be moving to the right place, which is hidden.
located on the bottom-left corner. Interaction is I employed a musical piece to express that the
made possible by multitouch drags and clicks. user is getting closer to the correct position. As
In the beginning, I struggled to set up the design the user drags a point nearer to the correct spot,
solutions because I was accustomed to website the number of the instruments in the musical
creation following the usual rules. In this proj- loop increases, so in the end, there is the whole
ect, the condition of the user is unusual. After I band playing. In another study, I used sonar
rethought the usability rules based on the limi- pulses. These studies made me think of sound
tations, I tested myself to ensure that I used the as a guiding element of the interface for naviga-
rule for the interface consciously, depending on tion and resulted in several different solutions
different user requirements. for navigational sound without using metaphor-
ical presentations.
THE PROJECTS 103
PROJECT BRIEF
Class: Master in Medical Design/
This project is connected to the activities of a
Information Design
research unit in medical design, located inside
Level: Masters
the Venice hospital. It involves private business \
Faculty: Medardo Chiapponi
firms and research centers giving students first-
Duration of Project: One Semester plus Thesis
hand information about the most pressing prob-
lems, in order to devise experimental, innovative
solutions and to test them under real conditions.
The projects presented here deal with different
• I
topics in the field of medical information design.
One concerns the orientation and information
systems within hospital structures, a second
concerns the communicative interface of medi-
cal products and equipment. Another important
subject relates to the distribution and intake of
drugs in hospitals and at home. The significance
of the communicative aspects in all these cases is
heightened by the widespread diffusion of digital l' MyKey, Universal Remote Control
technologies and by the changing cultural profile for Vending Machines
of the users of such information systems. Student: Erika eunico
''''QOUOP·· ,ndOI.c:op.a
d,t l'1l10 d t,dU\IIO d.' trillo dll.'UvO
• .,pertorR ",r.,l ore
-.- - - -
l' Fashion?
Student: Kaitlin O'Donnell l' Hidden Child Soldiers
Student: Serena Williams
In a world that is becoming increasingly focused on political
correctness, I wanted to bring attention to gender issues. In this This poster was designed to
poster I have tried to raise questions of true equality between males raIse awareness about child
and females in relation to their roles in sexuality in the media. soldiers. As you look closer
at the army camouflage print,
you can see silhouettes of chil-
dren at play. The message of
the camouflage print is that
-+ Ride to Save Your Ass these children might look like
Student: Gabriela Crinigan soldiers but are in fact still
children. Playing is what they
I wanted to create a poster pro- should be doing.
moting bicycle use from a health
and/or environmental point of
view. I chose to combine both
and created an image of clutter
and angst to represent our way
OBESITY? of life. We are in trouble as the
ill effects of technology invade
us. Growing pollution calls for
l' Obesity physical action over mechani-
Student: Stacie Thompson cal assistance, and what's better
than using, as a way of self-pres-
Here we see that "ah- ervation, a man-made object that
han moment when two serves as a proponent of clean
completely separate things air? I chose acrylic on canvas as
relate to each other visu- opposed to digital work since it's
ally and meaningfully and pertinent to this nature versus
make complete sense. technology battle.
110 DESIGN SCHOOL CONFIDENTIAL
...,.." .....
the story to be illustrated more than once; think ItA' to
,., ..
what could be the most important message it
..
communicates. Be aware that writers often use
symbols and metaphors. While reading, write
notes, make sketches. Create a large selection of
sketches that suggest (not depict) the content
of the written text and evoke its mood. Try to
nnd your inspirations through broad research
about the time and the place where the story is
situated. At a certain point, start thinking about
the role of typography in your design solutions.
Look at all your sketches, compare them and '" Passion
analyze them critically; select only the ones that Student: Sherri Brown
THE PROJECTS 111
The Dahlia
pnlt'la ,,/ M.tnw",... tho Il<Jrup.u1'
_ t , wert >.IIftdy aquf\lUDn wu
......... --
By Myrna Davis
.,. Sophisticated
Student: Tomlinson Jared
.,. Optimism
Student: Annie DeGraff
112 DESIGN SCHOOL CONFIDENTIAL
of' Consolation
Student: Sarah Jemes
.............................
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.........•-
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..... k . . _
....................
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- -
-
,: o l:l.ol.,(op
The
Poppy
b,
m1r"a
Cit ....
.'''-''--''-~
........ ....
....w~ ".dWt . . . •••
~. .
••
(wisdom I
th lotus
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----_.
.
_ _ _0 _ _ _ -
---.. ----
-
----
--------
--
- -
Cf.RITY
-
Ia.
Prague Souvenirs
North Carolina State University, College of Design
RALEIGH, NORTH CAROLINA, USA
This hand-held device captures the distinctive sounds of Prague, such as approaching trams.
THE PROJECTS 115
••• -
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-
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FACES:
•
TOE
1'EI.VET t::;:/f
-- ---_ ........
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l-J<--.j
User-Centered Communication - - - - - - - - - - - - -
The University of the Arts
PHILADELPHIA, PENNSYLVANIA, USA
---
Advil'
-.-
CokI .. Shtu.
-
~
........ ...........
.........
........
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.......
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Doo_ .... ~ ...... 'J
.......... 111
....................
..... ....,.,'-'.......
...... "
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\ \ \. I"' .....
........
_ ........ _~ ...... t .... . "'l'ftWnI [ .... c--'-._
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--,..,.,..- .......-
.......................
....... J . . . . - . , ......... .........
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•. . . rt
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pt '--,.. .... ......
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............. .... ~._....-u Wt
This prototype attempts to emphasize the The information was reorganized into clearer
cautions and warnings by adding a symbol and groups compared to the design in use. The titles
using a yellow background for the warnings. were emphasized by increasing the size and in-
tensifying the color.
120 DESIGN SCHOOL CONFIDENTIAL
--
HABITS
The problems we faced were not
restricted to creating a user-friendly
interface. As designers, we had to
imagine how such a program would
be set up, especially since none of
us had any basic knowledge of pro-
gramming or databasing. What things
could a program do? How complex
..,. Diagram Design for Comprehending the Interaction could you design something that was
of Trafnc-Safety Factors still understandable? These are the
Students: Nichole Bartholomew, Lucia de Sousa, and Milosz Wachowiak main questions we had to ask at every
step. Because we were unfamiliar with
Originally, we were given a terribly confusing chart of programs (and therefore assumed our
twelve categories, all pointing to a circle in the middle user might also be unfamiliar), we de-
that meant all these categories affected driving behavior. cided to simplify the entire website to
Each theme had a few words in bubbles floating around basic terms. The response we got from
it. There were too many floating bubbles, and it was dif- our users also reaffirmed this belief:
ficult to figure out where to begin. So the question then all three of our interviewees stressed
became, Should it begin somewhere? The circular shape legibility, simplicity, and clarity of the
with all themes pointing to the center obviously did not method of communication. Using the
lead to a starting point. We decided that steps are easier specific feedback we received from our
to read. The existing chart had no hierarchy whatsoever, interviews, we created a layout that was
only themes and subthemes. Traffic-safety factors can be quick and to the point. Minimal use of
narrowed down to two categories: the road user and the colors helps to illustrate key areas of
environment. The road user refers to the behavior of the interest, and additional icons help to
users, things that they are in control of and have the pow- stress accessibility at a glance. We took
er to decide on. The environment refers to the external out functions that seemed irrelevant
world, things not within the control of the road user, but or redundant and kept those that were
elements to be aware of. We removed much of the infor- crucial to navigation and notification.
mation from the original chart and added our own. The By doing all this, we tried to create a
best way to evaluate the usability of this chart is to ask layout that fit our users-a program
people if they can read the information and if they want that was simple and clear in its
to use it. functionality.
THE PROJECTS 121
..""W....... .....
_...- .. lot , . . .....
_n ....... _ •
1M . , '"
__ ' W t~ '
Our first imperative was choosing a u ser-friendly font so that the
aphasia patients wouldn't confuse letters such as band d, and a lower-
case I and an uppercase I. We selected Century, a serif font, instead of
, ... _, -_ ..",...
_ w _ _ _, . _
I_ _ u
""....... ...
~u.
_ word by word. The spaces between words and lines were important
~
-- as well, so that readers could see where the words began and ended,
and so that enough space existed between the lines for the text not to
overwhelm them. We definitely preferred color over black and white since it is more pleasing and still
provides contrast. For our prototypes, we considered a poster and a pamphlet. The pamphlet could be
read one paragraph at a time. Yet, with our original pamphlet, the horizontal format of the paper and
text was a bit of a problem, since text is usually in a vertical format; this is what we used on the poster
and it was favored by our interviewees. To satisfy this problem, we combined the two formats.
122 DESIGN SCHOOL CONFIDENTIAL
ArIJeptal150 9
150 g
Oxcaroazeplnum
50 ablete
'---g- - - 150 g
THE PROJECTS 123
A KP e0 1lQ~
~ \3 ® ~~Q~
a
a.
~ @ Q~~1l~~~
IL
•• •• ... •
;1
Z
<l>
...
......
1...- -.-
....
_,-.. _1_
""-
~
H
l t Visualizing Statistical Data
Student: Monika Bielak
...
...... Visualization of statistical
data is a large and significant
aspect of visual communica-
tion, but it is often neglected
by Polish designers. This
chart illustrates the number of
people in prison and the dura-
tion of their sentences.
-
.... _.-
Student: Monika Mlynarczyk·Pacewicz
• •I •
-_ ....---_._--
··_.,_·....,.t-··_..
-------,-
--
-
-- .- --
-- - ---
--
• • -
-.-
-
- --
--
--....- --
~
-
- .-
_._-
......
• •
their taxes are not embezzled
but spent in ways benefiting
the common good. Finally, the
trust mentioned should be en-
hanced by the form's design.
+- Family Relationships
Make a Chair
Portfolio Center
ATLANTA, GEORGIA, USA
Class: Modernism: History, Criticism and chair within the style and context of the design
Theory movement. Most essential to this assignment is
Level: Third to Seventh Quarter that the chair integrates your own unique his-
Faculty: Hank Richardson tory and values, thus becoming a metaphor for
Duration of Project: Nine Weeks you as an individual in the world. This involves
drawing from private experience and handling
subject matter outside your comfort zone. You
PROJECT BRIEF will discover exactly what you're made of as in-
"The primary focus of a chair is you can sit dividuals, as artists, and as revolutionaries, be-
in it, while its secondary function is to em- cause before these nine weeks are up, you must
body a set of aesthetics or values, or to com- design, research, and choose materials, create
municatea message or opinion. The sec- models, and deliver your designs to be built.
ondary functionof design is the primary
function of art: this is where the two cross over." PROJECT GOAL
-Angus Hyland, Pentagram, London Students are charged with combining the inspi-
Portfolio Center's "Modernism: History, ration from a randomly selected artistic move-
Criticism, and Theory" class explores design ment and a personal experience to create a
history and criticism as a catalyst for new ideas. piece of furniture. Students must see the project
You will be assigned a particular art movement through, from conception to fabrication, work-
to research. You will then teach that period to ing closely with the craftsmen who build their
your classmates via lively presentations. There chairs. Not only are the resulting chairs beau-
is a long tradition of superlative theater in this tiful metaphors, but they stand as testament to
class; you're expected to carryon that tradi- the passion, commitment, and perseverance of
tion. Next, you will consider how to design a their designers.
-+ Impermanence/Futurism
Student: Christy Errico
Builder: Doug Turner
The chair embodies a time in my life that was riddled with self-
doubt. Sheer boldness and unbridled confi.dence, symbolized by
the orange-threaded plank, have been charred and torn away from
the body of the chair, leaving only a remnant of my former self.
The rest of the chair takes on a rib like structure with threadbare
beige cushioning that indicates a lackluster complacency. The
structure as a whole alludes to the remaining shell of a person,
with the charred plank serving only as a mocking reminder of the
person that once was.
THE PROJECTS 129
-+ Impact/Atomic Style
Student: Dave Werner
Builder: Andrew Crawford
PROJECT GOAL
I designed a series of books with texts on travel. Geographic images are placed throughout the text,
noting every city in its national context. Each book is accompanied by a DVD, allowing viewers to
watch the film version on a laptop. Book and DVD are packaged together in a slipcase.
THE PROJECTS 131
__ .........-M
~~~~~ ~ .. __.w-__
---'
.... .....---.::-
---- --
-_--..
............ c.-. __ ............ _ _
The collages that inspired this poster were less about purely
formal qualities than about the pairing of images with text (particu-
larly captions) in print and web media. A poster-a public form of
information itself-as simply a compilation of other sources of
publicity on a certain subject was an approach I hadn't seen before.
A viewer might take interest in the poster's content based purely
on the fact that its subject (in this case, photographer Tim Davis) is
talked about and published elsewhere. Davis's photographs seemed
appropriate given his "out of the corner of the eye" aesthetic.
136 DESIGN SCHOOL CONFIDENTIAL
_ .............
ua.J........ . c,'"
gesture. Film strips were rep-
resented by the large black
bars to create a cinematic,
monumental gesture. Tracing
paper was scanned to create
the gradients that I hoped
would allude to movie screens.
Colors came from the French
flag. The entire process was
a fluid motion of simplifying
and abstracting the initial
ideas found in the collage.
1" Student: Alexandra Mooney 1" Student: Jay Biethan 1" Student: Mary-Jo Valentino
THE PROJECTS 137
SOCiety
In March, the community IS
What was different about this project is that we had to fi.nd the topic of our poster from within the
collage. To me, the collage resembled many different media-pen marks, calligraphy, paint, charcoal,
and photography-contained within a collection of framelike shapes. I decided to make the topic of
my poster a gallery. From there, I searched for gallery openings around Providence and found Gallery
Night Providence, an event that takes place in many different galleries all over the city and that in-
corporates all different kinds of artwork. For the poster, I wanted to emphasize the city of Providence
as the gallery space instead of highlighting the work of any particular artist. To create the poster, I
replicated what I considered to be the most recognizable building on the Providence skyline, building
it out of museum board so that it would reflect the white space of the gallery. I incorporated the frames
both to reference the collage and to make it feel like a gallery space.
138 DESIGN SCHOOL CONFIDENTIAL
Research Project
RMIT University, The Works, Communication Design
MELBOURNE, VICTORIA, AUSTRALIA
Music is introduced to us in the womb as a heartbeat. It is the first experience we have of life on Earth.
This rhythm is soon accompanied by visuals as we enter the world. From this point on, sound and
visuals are intertwined. Can one exist without the other? My explorations into the importance of visu-
ally representing sound led me to create my own clip on music creating order.
THE PROJECTS 139
-+ Monstrosity
Student: Beck Haskins
I uncovered a correlation
between design, madness,
and genius that I dubbed
the Madesignius trinity.
Monstrosity is a shameless
showcase of nonsensical
madness that aims to turn
the idea of madness into
a delightful read rather
than a daunting, socially
monstrous trait to fmd in
oneself. These traits materi-
alize as forty soft embrace-
able parts of one's life.
l' Karasel
Student: David Czech
Ephemeral graphic design for print has always inspired and influ-
enced my approach to visual communication. Karasel is the visual
manifestation of printed matter and design thinking.
140 DESIGN SCHOOL CONFIDENTIAL
Undaunted Courage
School of the Art Institute of Chicago
CHICAGO, ILLINOIS, USA
,i t . dl~ \\ \lr
hllihnll.
- -
_e
-
-
__
-
I did a visual retelling of Jorge Luis Borges's story The Garden of The London Times, Late War Edition,
Forking Paths, as a means to understand narrative structure, char- November 13, 1916 (Z007), 19.Z5" x 14"
acter development, tone, and typographic nuances rooted within (49 by 35.5 cm)
the historical context of world War 1. The process began with a
critical reading and collage interpretation of Borges's text, set on Passport of Dr. Yu Tsun, 1914,
the eve of the Battle of the Somme when an agent of the German (Z007) Photograph of Captain
empire assassinates a famou s Sinologist to convey the name of Richard Madden, London, 1915 (Z007)
a city to be attacked. A visual and typographic breakdown of the
story resulted in tangible hand-rendered pieces of "evidence," Photograph of entrance to the
including aged photographs, passports, teaching certificates, train home of Dr. Stephen Albert
schedules, and newspapers from the early 1900s, which would
become visual examples to accompany the final text. The com- Handmade book, The Garden of
pleted book was case bound, part short story and part exhibition Forking Paths, by Jorge Luis Borges,
catalog with artifacts. 8.Z5" x 5.Z5" (Zl by 13.5 cm)
142 DESIGN SCHOOL CONFIDENTIAL
- ....
I WAS SITTING ON SEAT
MOMCHEM 683. CARLOS WAS NOT IN
TIME, FORTUNATELY.
~ Undaunted Courage,
The Secret Life of 008
Student: K. J. Kim
This project originated during my exchange se- ously experienced. In the end, it was amazing to
mester at the School of the Art Institute of Chi- bring all the prepared artifacts together to cre-
cago. I came from Switzerland, and this was my ate a handmade book about a Cold War spy. I
most memorable school experience in Chicago. laid it out with four parallel stories told simul-
The project followed a very different path of taneously.
conception and construction than I had previ-
This book was written in Chinese and English creating a fIctional immigrant character. I could
about an immigrant, Mei Lin. The story began relate to my own complex history of coming from
at the outbreak of the American Civil War in Taiwan and having to adjust to a new land. My
1861. I studied historical documents of the late aim was to explore these issues through the life
nineteenth century in the United States and of a Chinese woman at a specifIc time and place.
China. My goal was to fmd a personal connec- This particular research project shed new light on
tion to the lives of early Chinese immigrants the unique power of design, in that I might be able
in America and to study the issues of a cultural to help others by giving voice to the major issues
diaspora as well as gender and identity in the in- of a society. By exploring the methodology of this
creasingly globalized world of the late nineteenth project, I could consider this as an approach for
century. As a foreign student from Taiwan, I could investigating the role of China in the evolution of
connect to the issues surrounding identity by Taiwan's complex historical background.
144 DESIGN SCHOOL CONFIDENTIAL
PROJECT BRIEF
Faculty will choose up to nve different real
Brazilian magazines (for instance, one sports
magazine, one children's magazine, one music
magazine, etc). Students will be organized into
groups of eight to ten members, with each group
assigned one magazine. Teams must analyze the
typography adopted by their assigned magazine
and propose new type families to be adopted in
specinc parts or sections (for instance, sections
titles, article titles, tables, text, captions). Small-
er teams will be formed, according to the group
overall proposal. Each student in a team is to
be responsible for a style (for instance, roman,
italic, or bold) within a type family that is the
team's responsibility (for instance, a text type-
face). The nnal project presentation will include
the design magazine spreads (following the
original magazine grid, text, and images), show-
ing the combined use of all typefaces developed
by the group.
PROJECT GOAL
Develop typefaces that are not only original, but
also technically and aesthetically sound, as well
as coherent with the editorial aspects of a given
magazine. These typefaces must work well in
the context of a type family, and all type families
must work well in the context of the magazine
spreads.
36 pl
a more organic curve. The n-
nal result is not very readable
feliz Wanderley teue ouerdo5e for long texts, and it seems to
be more appropriate for titles.
The typeface is being used for
academic and personal appli-
l' Rinozeronta Regular cations.
Student: Caroline Ohashi
Rinozeronta Italic designed by Frederico Zarnauskas
+ Caramella Regular
ABCDEVXYZ Student: R6mulo Castilho de Freitas
Vazari was developed as a display face to be used italic and bold versions were developed for use
in the titles of articles in Quatro Rodas, a Bra- in text boxes with technical information. Letters
zilian magazine about cars. It is masculine and in the italic version have traditional structures
dynamic, employing a reduced number of curves and prolonged terminals.
and inclined lines that suggest movement. The
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Student: Bruno Okada Student: Ciro da Cunha Jarjura
/
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developed for the Brazilian
version of Scientinc American
developed for a section of
Revista MTV titled "Sub," that
fllQphont
fiOLD
Type as Metaphor
State University of New York, Purchase College,
School of Art and Design
PURCHASE, NEW YORK, USA
PROJECT BRIEF
Each student is asked to research a subject of
their choosing. Working with one to three prima-
Class: Advanced Typography
Level: Junior w
ry texts, they develop four printed panels of any
dimension that approach typography as meta-
phor. The fust panel is composed of paragraphs,
Faculty: Warren Lehrer and Robin Lynch
Duration of Project: Four Weeks w
sentences, phrases. The second panel is individu-
al words. The third panel contains syllables. The technology, we discourage the use of £llters and
last panel has individual letters. Employing re- other instantaneous computer bells and whistles,
search and writing skills, critical thinking, mind- and encourage combining handwork with the
mapping, and experimentation, students give computer, as well venturing into the physical
form to metaphoric connotations they discover worlds of the subject matter.
within their text, through compositional arrange-
ment, juxtaposition, and typographic manipula- PROJECT GOAL
tion. Placing particular emphasis on the research This project can help design students see type as
process and text analysis, students use a lateral image, bridge meaning with form, and go beyond
approach, trying many possibilities before refm- utilitarian, overliteral, or preordained approaches
ing their four-panel solutions. While we embrace to typography.
+ Dementia
Student: Hidetoshi Takahashi
+- Selacaphobia
Student: Chaya Herman
-
• -
The copy in panel one describes the gruesome ed into a contained space. The suffix "ing' is
conditions of egg farms. The type is stacked and repeated, representing a constant flow of eggs
distressed, representing the claustrophobic na- below the caged hens. Panel four zooms out,
ture of the hen cages. In panel two, a "debeaked" revealing a graveyard of disfigured letterforms.
K illustrates the process of beak removal in fac- The dying forms rest atop mounds of their prod-
tory farms. Using only syllables in panel three, uct, the way a mother hen tends to her nest.
the letterforms are further mutilated and crowd-
THE PROJECTS 151
o
z
Dyslexia is a condition that is far more complex than the ste- For my panels, I needed to
reotypical notion of reading backward. In my panels, I wanted convey a sense of panic and
to portray the emotion as well as the learning process that a fear. I tried to portray the way
person with dyslexia struggles with on a day-to-day basis. In it spreads and grows and be-
panel one, parts of words pop, rotate, and split, portraying how comes something like an infec-
a person with dyslexia reads. Panel two connotes how language tion. The color scheme was very
can bombard the senses causing confusion. In panel three, in- important, as it had to evoke a
dividual letters and parts of words remain silent. In the last sense of uneasiness without
panel, I tried to convey the loneliness of feeling like something actually turning people off. I
is wrong with you, and then a prideful confidence in knowing tried to keep the colors simple,
that so many others have done well and thrived with the same reminiscent of old propaganda
learning disability. posters from Word War II.
152 DESIGN SCHOOL CONFIDENTIAL
Horsepo~er---------------------------------------------
PROJECT BRIEF
Imagine if the world ran out of oil and we were
forced to go "full circle" and reinvent existing
horse-drawn vehicles to nt into today's environ-
ment. Fourteen antique carriages and sleighs
were found in barns and nelds and transported
to a workshop for the students to work on. The
vehicles, all in unrestorable condition, were
randomly given to the students to make func-
tional for contemporary use.
PROJECT GOAL
An exhibition that creates a satirical answer to
today's oil crisis
PROJECT OUTCOME
The traveling exhibition has already been on
dis play at three venues in less than a year, in-
cluding a Smithsonian-afnliated museum, and
has been featured in several national publica-
tions. It will continue to grow and tour as new
pieces are created and more venues become
interested. The exhibition declares, "Imagine
a world without oil as a source of power!" Well
before the twentieth century, the world de-
pended on another source of power, the horse.
The avenues of New York and Main Streets
across America were once crowded with horse- '" Hot Rod Sleigh
drawn vehicles. SVA students have reinvented Teacher: Kevin O'Callaghan
these vehicles to take on today's energy-chal- Photography by MYKO
lenged world.
This was the original starting point for the
exhibition.
THE PROJECTS 153
I wanted to re-create the iconic New York City taxicab as a horse-drawn vehicle.
I transformed a disheveled,
broken-down sleigh into a
sleek, functional New York
City bagel and coffee cart.
What Happened?
School of Visual Arts, MFA Designer as Author
NEW YORK, NEW YORK, USA
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"The Blue Period" is what my mother calls my words. Each word is scaled according to the fre-
first postcollegiate year, in which I moved to quency of use in a given month. Blog comments
New York City with two friends who promptly from friends and strangers provide a hint of the
became sworn enemies, tried and failed to se- support network that helped pull me out of my
cure dignified employment, and nurtured my sea of self-loathing. I struggled to find an appro-
inner Holden Caulfield. Over the course of few priate subject matter for this assignment. While
highs and myriad lows, I wrote at length in a I had a lot of rich, detailed data, I don't think my
blog. Above, my temperament is plotted via solution was particularly original and I'm not
negative words, positive words, and neutral pleased with the result.
THE PROJECTS 157
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Relative ngiturunal oorrunate
and Teav led Di. mnce of Brooklyn
irl's loar}' Pen 011 etion
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I waste time for all kinds of reasons. I also buy Tattoo Revelations graphically depicts the un-
many books and fail to fmd enough time to read veiling of my tattoos to my immediate family
them. I decided that if I could measure how and their emotional responses. I chose the topic
much time I wasted in a form that was important because my family is generally conservative
to me, then I would could more easily compre- and especially toward tattoos.
hend the amount of time I waste.
THE PROJECTS 159
I
IJ
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11
JI I I
II I•
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iN
-
I
This chart is a documentation of message and wall-post interactions between me and my Facebook
friends. Each bar on the chart represents a message or a wall post, and the thickness determines the
number of words exchanged within them. From this chart, I realized that I interact with my school
friends, past and present, more than with any other group of friends.
-+ A Peculiar Relationship -- .- -
.- ----
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---- -_
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o..:.. ' _ _ .Ke
with Water
Student: Jason Bishop I . ,I
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,I
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I set out to establish a better
knowledge of my hydration
• - - ~
Since I moved to the United States in August 2007, I have kept every single receipt. This information
graphic reflects my expenses by month as well as by category.
",
,",
"
",
'I:t!
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'I~:~
-,
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ONTWE ROAD
+My Study Abroad
Student: Kristina Critchlow l' By Your Own Eyes
Student: Nicole Marinake
This graphic explains my
relationships with the people I I wanted to illustrate all the strange things I discovered from
met during my study abroad. leanng through the journal I kept while in China.
162 DESIGN SCHOOL CONFIDENTIAL
Class: Design Research Studio: will occur in week ten so that modincations can
PROJECT GOAL
PROJECT BRIEF At the completion, students will better under-
User-centered design turns the master/appren- stand the fundamental philosophy and principles
tice model on its head and argues that if a design of user-centered design. They will be able to ref-
doesn't work for the user, it has no communica- erence literature or design content and construct
tive value. We have chosen four main research a user pronle from research nndings, observation,
areas, which students will be asked to investigate focus groups, and the experience that informs the
from a gendered viewpoint. The research areas development of the proposal. Students will fur-
are safe sex, drugs, work, and corporatization. ther develop user-centered methods to test and
The research should start from a gendered point evaluate process and outcomes and employ user
of view but may change to incorporate both gen- research methods to clarify the user's needs, con-
ders in the application of research to a specinc sidering issues such as aesthetics, legibility, and
project. The whole semester will be conducted in usability. Lastly, students will apply information
mixed communication and multimedia design design principles to a practical design outcome
teams. The brief will evolve over the semester in media appropriate to the research problem.
through a number of stages:
Research phase, 20 percent: Students will PROJECT OUTCOME
be allocated to a group and be given a general Technology has fundamentally changed the na-
topic to research and develop into a poster to be ture of our communication and information seek-
presented to the class in week three. ing. It is the age of blogs, wikis, social network-
Proposal/user pronle and research phase, ing sites, podcasting, message boards, email,
30 percent: After week three, groups will re-form and whatever communication technologies may
and explore their research topics using at least emerge tomorrow. The basis of this project, un-
three of the following research methods: litera- dertaken as part of an honors research class with
ture review, statistical gathering, observation, an emphasis on user-centered design, is a simple
focus groups, questionnaires, visual analysis, question: Are we really more informed? The is-
and interviews. These nndings will be summa- sue focuses on the relationship between the large
rized and used as an argument to support the amount of information available and the level to
writing of a proposal brief for each group. which we are actually informed. Some questions:
Production and user testing phase, 50 per- How do we determine fact from nction, right
cent: This phase is about applying knowledge from wrong, good from bad, up from down? In
and research to produce a multifaceted cam- an online environment where information is pre-
paign addressing any special aspect, or issue sented seamlessly, the convergence of informa-
isolated in a particular topic area. User testing tion genres can leave it difncult to know what to
THE PROJECTS 163
take as fact or fiction. This project was a unique turn, provide a skill set with which to achieve a
opportunity to examine how this age of informa- higher level of processing information. The aim
tion benefits and detracts from society. Through is to get people to think, to consider, and to ques-
the development of an online blog, and a series of tion the information that is presented to them so
posters, advertisements, stickers, and postcards, they become better informed.
we aimed to generate thought and dialogue
about the credibility of online information and, in
Think
Students: Meg Phillips, Mary Nelson-Parker, and Emma Woods
Ga ble --
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Posters directing how and where to blog were A blog site was developed as a central part of the
placed in key positions around computers and project, aimed to promote a discourse of informa-
technology, within universities and libraries. tion credibility online. The blog itself represents
Based on creating awareness and a thought pat- the core of our project, the space in which the dia-
tern when processing information, the aim is to logue we hoped to create takes place. The posts are
get people to consider and question everything. generating thought and prompting a discourse.
.... "..........
PROJECT BRIEF
Students will investigate the effects of making
personal (private) messages public and explore
the way environmental typography can establish
new channels of communication.
PROJECT GOAL
By conducting extensive research, including a lit-
erature review of cultural and media theory and This installation comments on existing forms of
a series of visual experiments focusing on the media by taking a private message and placing
interpretation of visual/typographic messages it in public. The stencil cutaway reveals layers of
(both private and public), students will set about texture, color, and tone, and invites you to look
collecting fragments of overheard conversations, closer. It reflects the density of visual communi-
with a view to assessing potential interpretations cation in our urban environment and the multi-
of these messages. Drawing into question the plicity of meaning found beneath.
role of the designer in controlling the perception
of messages, this project explores the notion of
design as a mechanism for cultural change. It
examines how the recontextualization of over-
heard dialogue into new forms of media alters
the meaning of its message and affects those that
view/interact with it.
PROJECT OUTCOME
The project was achieved through a series of pub-
lic installations in urban areas in Australia, based
on the reinterpretation and repositioning of over-
heard dialogue. A continuation of the project in
the form of a blog, www.listencarefully.net. invites This installation focuses on an inherent conver-
further interpretation of the messages, allows for sation. Handcrafted and personal, this media
comment on the project, and provides an oppor- and context creates a sense of voyeurism-that
tunity for ongoing discussion. you have overheard something most private.
THE PROJECTS 165
Adjacent to a car park and To confound expectation in a rapidly changing media environ-
surrounded by buildings ap- ment, where work is painted over frequently, we opted for a return
proximately six stories high, to the traditional. It's a play on preexisting visual media in a lo-
this location receives regular cation often classifIed as an artist space. The message is framed,
high-density traffIc. This mes- which offers alternate meanings and questions whether the mes-
sage is made visible to those at sage is or is not art. The positioning of this statement also calls
ground level as well as in the into question the meaning of "reading," transposing it from a liter-
surrounding area, referencing ary to a visual context.
road markings and challeng-
ing the audience to question
the regulatory nature of our
daily commute.
PROJECT GOAL
The website must integrate your initial
concept(s) through the convergence of images,
typography, motion, sound, and, most important,
narrative. Your time during this semester will be
spent between learning how to design and plan
for the interactive medium and learning and ex-
panding your knowledge of existing software;
namely, Flash and After Effects. You will also
place yourself in your target user's world and '" Voices of Protest
consider issues such as navigation, interactiv- Student: Lena Cardell
ity, and storytelling in a digital medium. The
primary technology focus will be on advanced This site relates the countercultural movements
methods of ActionScripting, with some addi- from the Vietnam War era to those occurring
tional After Effects for the video component. In today surrounding the war in Iraq by drawing
each case, the content can be illustrative, photo- comparisons between protest music from each
graphic, typographic, or QuickTime (video) and decade. I selected songs that touch on three dif-
will obviously contain audio for some kind of ferent themes: patriotism, war, and protest, and
narration. Each of your designs must be innova- paired these themes with photography. My goal
tive and functional and at the same time allow was to inform the user of the parallels between
the viewer to interact with your work. All sites the two time periods by providing visual, tex-
must be complete. tual, and aural context.
THE PROJECTS 167
.ua _lin_
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"VI f
l' The Man Who Couldn't Cry
Student: Scotty Reifsynder
+- Lithography
r Questionnaire
Student: Lottie Crumbleholme
+- Television Screens
Student: Sebastian White
I decided to work with a visually impaired per- mental images he forms of the current affairs
son, James Ridson, to discover how he sees and news that he hears. I used exactly the same
this world. I was keen to contrast the sighted pencil and paper as James did. Neither of us
imagination versus the nonsighted one, using used any model or picture for our drawings .
drawing as a tool. The different ways that the In my drawings, I attempted to focus more on
physical eye sees compared to the inner eye has the inner spirit of the subjects rather than the
always intrigued me. outward look or physical shape-to u s e the in-
The whole aim was to explore the ner eye rather than the outer physical eye. I
perception of a visually impaired person of his believe that this is important to get a better
natural and man-made surroundings and the correlation.
Eo Alter Ego
Student: Verena Hanschke
Additional Credit: Collaboration with Floriana Gavriel,
University of the Arts, Bremen, Germany
,- • • •
1'Skinned
Student: Rasha Kahil
Additional credit: Collaboration with Floriana Gavriel, University of the Arts, Bremen, Germany
What is my color? My surface consists of various colors, textures, and tones. Using a sample of each
as a color in its own right, I have painted my face by numbers. I am the sum of my parts.
174 DESIGN SCHOOL CONFIDENTIAL
Pattern Magazine------------------~
University of New South Wales, College of Fine Arts
SYDNEY, NEW SOUTH WALES, AUSTRALIA
PROJECT BRIEF
Publications are increasingly published for online
access and distribution. Usually, a publication re-
lies on writers, editors, designers, image editors, -
project managers/expediters, prepress checkers,
advertising sales people, and a publisher. This
project requires you to work as a design studio
for the development of a downloadable online
publication. Each of you will undertake a role
within a team to develop, design, and publish an
online publication. Discussion about individual
design strengths and interests will assist each of
you in nominating roles and developing a set of
tasks you regard as appropriate for each role. The
objective is to get the publication ready for online
distribution in seven weeks. The focus of the pub-
lication content is up to the group to decide.
PROJECT GOAL
A downloadable screen-based publication that
demonstrates appropriate typographic conven-
tions for delivery and consumption on screen; in-
cludes promotional information and advertising Pattern Magazine
in a logical sequence; and uses original photo- VOL. 1
_ .,attlrulapzlot.cell
graphs, montages, and illustrations The publica-
tion will conform to a set format, established by
the whole group, and should be able to be output l' Pattern Magazine cover
for print and screen. Student: Jenny Kong
Eo Under Surveillance
Student: Max Lochhead
- - --
---- -
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+- Back Cover
Student: David Ing
Following the lead of an ear- My work is often character- I constructed this image
lier exercise in this elective ized by an iterative method- from a hand-generated type-
where students were asked to ology. In this case, I experi- face featuring nine variants
photograph type in the urban mented with the capabilities of each character. When as-
environment, I have applied of Illustrator in developing sembled in various combi-
the same idea to the project seemingly random, but actu- nations, the wavelike effect
and arrived at this interpreta- ally well-considered, pattern- seen here is created.
tion of the theme. generating approaches.
THE PROJECTS 177
.,. Untitled
Student: John Holloway
.,. Untitled
Student: Greta Stevens .,. Untitled
Student: Rena Phuah
I have a deep interest in lan-
guage, so I created a pattern "Untitled" explores notions
from descriptions and inter- of femininity and sexuality
pretations of the term pattern through a floral motif-like
gleaned from dictionaries and much of my work.
the thesaurus.
178 DESIGN SCHOOL CONFIDENTIAL
Color y Carnaval
University of Bogota Jorge Tadeo Lozano
BOGOTA. D.C., COLOMBIA
The structure demonstrates the results of the This poster objectively expresses by means of
analysis of the carnival text. It is the funda- dynamic forms and primary colors (present in
mental element from which comes the diverse the Colombian flag) the magnincence and au-
possibilities, in terms of form and color, for the thenticity of the Great Congo-one of the most
poster of King Momo. important dances of the carnival.
THE PROJECTS 179
The Torito represents the tra- The Marimonda is known The carnival is an example
dition and strength of the car- for gratitude and overflow- of joy and diversion through
nival, shown in the bull-faced ing joy, elements that are movement and spontaneity,
mask and the handling of the expressed with complemen- which the poster reveals in its
colors of the national flag. tary and warm colors. warm trowel of color and de-
fined curvilinear forms .
The image of a half-full sack in which the har- This flame is awesome and devastating, and the
vest is deposited is evidence of the insuffIciency text is placed in the space allowed by the photo.
of the production of an arid land. The glare is as- I have not reduced the size of the typography of
sociated to a certain extent with a blaze and the the author's name because I consider it to be as
text has a suitable contrast for readability. important as the book's title.
THE PROJECTS 181
JUAN RUlFO
El
LLANO
EN
llAMAS
.,. Student: Christian Alvarez .,. Student: Luis Baltazar .,. Student: Liliana Linares
I wanted to reflect the meta- I opted for an enflamed scene I decided to use a photograph
phor of the principal story and of rural workers to describe a of a peasant for my work, since
accentuate a dramatic scene. situation that continues to I consider them to be the main
The heavy letters are compat- exist in Mexico. subject of these stories. The red-
ible with the rest of the scene. dish tones evoke the fIre of the
Mexican Revolution .
.,. Student: Elizabeth Mandujano .,. Student: Miryam Cervantes .,. Student: Gabriela Maciel
I decided to make the blaze I tried to make the background I wanted to reflect the condi-
more evident than that of black to accentuate the dra- tions of the countryside de-
other proposals. The peas- matic quality of the flames. scribed in the stories using a
ants appearing in one corner The typography is condensed; photograph of the peasants
are defenseless before the im- I now believe it could have emerging from the blaze.
mense flames. been a little bolder.
182 DESIGN SCHOOL CONFIDENTIAL
l' Student: Jose Lopez l' Student: Gilda Garcia l' Student: Hugo Alvarez
I consider the three main de- I have tried to make the flame For me, more than reflecting a
nning elements of this work to gloomy so that it will be more sudden blaze, it was important
be the countryside, the peas- consistent with the conditions for the scene to be a metaphor
ant, and the blaze. For this rea- in which the peasants live. The for the arid, even terrible, con-
son, I decided to work these author's name is at the top to ditions of the Mexican coun-
three elements into a collage make it easy to read and the tryside. The typography had
by which I was able to transmit book's title is below to relate it to stand out to help the public
the full concept of the book. more to that blaze growing out read it among competition
the arid land. from other books.
",'LLAMAS
- .. ~
allows suitable contrast for reading.
THE PROJECTS 183
PROJECT BRIEF
Senior students are assigned sites to research in Class: Typography III
the Honolulu area. These sites encompass a range Level: Fourth Year
of areas, including Chinatown, Manoa (a residen- Faculty: Anne Bush
tial district), and Mapunapuna (an industrial park). Duration of Project: Sixteen weeks
Students are asked to research their sites and any
typography that they fmd there. They then design
two books (11 x 16 inches [30 x 40.5 cm]; twelve Thus space is composed of intersections of mo-
pages each-including cover) that consider the bile elements. It is in a sense actuated by the en-
site as both a "place" and a "space" (as defmed by semble of movements deployed within it. Space
the French literary theorist Michel de Certeau in occurs as the effect produced by the operations
the quotes below). The books need to work in tan- that orient it, situate it, temporalize it, and make
dem, and students are responsible for the actual it function in a polyvalent unity of conflictual
content of the text as well as any images. After the programs or contractual proximities. On this
books are designed, the students work together view, in the relation to place, space is like the
to design an exhibitionary map of the combined word when it is spoken, that is, when it is caught
sites in a small student gallery. Students are asked in the ambiguity of an actualization, transformed
to explore the notion of the map in its widest pos- into a term dependent upon many different con-
sible terms (conceptually and physically) as well ventions, situated as the act of a present (or of
as the unique qualities of exhibition and display. a time), and modified by the transformations
Readings on the nature of display and mapping caused by successive contexts. In contradistinc-
are assigned and discussed to help students imag- tion to the place, it has thus none of the univoc-
ine possibilities. Students are responsible for the ity or stability of a 'proper.'" - Michel de Certeau
development, design, and production of the books
as well as the concept, design, and implementa- PROJECT GOAL
tion of the gallery installation. The goal of this project is multifaceted. Students
"A place (lieu) is the order (of whatever learn to document, analyze, and interpret ty-
kind) in accord with which elements are dis- pography in the landscape, particularly as such
tributed in relationships of coexistence. It thus typography signifies the unique identity of an
excludes the possibility of two things being in urban site. They then explore the book as a typo-
the same location (place). The law of the 'proper' graphic "site" in its own right, and in its relation-
rules in the place: the elements taken into con- ship with the actual site. Extending the notion
sideration are beside one another, each situated of site to a gallery space, students imagine an
in its own 'proper' and distinct location, a loca- exhibition space as its own landscape-one that
tion it defmes. A place is thus an instantaneous maps the relationships between all urban sites
configuration of positions. It implies an indica- assigned in the projects and incorporates all the
tion of stability." -Michel de Certeau books. Students learn to see the urban environ-
ment and its texts as a dynamic dialogue-one
"A space exists when one takes into consideration that integrates public and private messages and
vectors of direction, velocities, and time variables. readings.
184 DESIGN SCHOOL CONFIDENTIAL
-
./
..I.IUHA
ly, people who live and work in the area respond
to the site by "withdrawing"-by actively pulling
back, imposing barriers and typographic signs
that prohibit further encroachment. The site it-
self was an area outside of my own comfort zone.
Visiting the site at various times of the day and
I
I
• re .~ .
--------
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H •
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t .....oes
""'1 configurabon 01 positioos.!lola' ...
indication 01 stilbility.
-Midlel de Certeau • •
I lhl III
JlIJlli ----,----
~.
Comic Sequence
University of Technology, Sydney
SYDNEY, NEW SOUTH WALES, AUSTRALIA
I am trying to say no to that last glass of wine. The ubiquitous iPod. Conducive to meditation?
6 5 4 ~Sigh
Student: Kinal Ladha
A hall of mirrors sequence elicited strong responses in user testing. The sequence served as a catalyst
for more general conversations about body image.
+-TheLook
Student: Chris Cooper
r- - lN hi _
.. _
-+ WeAre You
Student: Johnathan Pish
-
_
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l' Times Square: A Conversation about Progress, Loss, Nostalgia, and Urban Vitality
Student: Kathryn Mangano
In the past twenty years, Times Square has un- top visuals became the main inspiration for the
dergone dramatic urban remodeling, which was book's design. Page numbers jump across the
largely fueled by corporate investment. As pub- spreads and break all rules by changing in scale,
lic spaces are steadily shrinking, I found myself placement, and color. Sweeping photographic
questioning if a cleaner Times Square was actu- imagery imparts the dizzy frenzy felt when
ally a better Times Square. I was not the only standing at the epicenter of Times Square. Con-
person questioning the effects of the "Disney- temporary images were created by layering the
ncation" of Times Square. As I began my re- photographs that I shot. The historical images
search, I realized that this debate would never were manipulated to evoke tangible environ-
be properly represented by a single voice, so I ments. The book's pacing was designed to lead
assembled the book's text by weaving together readers swiftly though the square's history be-
nve op-ed articles from outspoken and iconic fore confronting them with today's commercial
New York writers. Each voice is set in its own embodiment. The conversation eventually ends
typeface. A flexible grid was developed to allow in a calm ambivalence. As the voices and graph-
the voices to change in volume and urgency de- ics soften to trail off, the reader is left with only
pending on the page. Times Square's over-the- the promise of Times Square's transient nature.
Eo Life in Overdrive
Student: Billy Mitchell
"Don't
bea -_
-_ _-
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...
bitchl" ---
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,... _ w .......
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. . . . till . . . • ..
THROW OUT
AN ESTlllAnD
II.LION -
;;;;;::=
LBS. 01' FOOD
EACtlYUA.
I'm cheap. I'm so cheap, I'm free. That's the mes- more valuable use of text and image than to turn
sage of this book (and its unof£lcial secondary the prevailing myopic view of frugality on its
subtitle): Liberty through Thrift. Charged with head; to convey (with limited means, of course)
creating an independent capstone project for an audaciously inspiring narrative, not discon-
my graphic design degree, I couldn't think of a nected at all, but cohesive, radical, and fun.
196 DESIGN SCHOOL CONFIDENTIAL
Modular Type--------------------------------------
University of Ulster, School of Art and Design
BELFAST, UK
PROJECT BRIEF
This project is designed to help students cre-
ate work based on a systematic and modular
approach. Students will gain improved control
over composition and visual language through
the systematic investigation of shape, pattern,
scale, contrast, repetition, and alignment using
a limited range of graphic shapes. Students were
given hve graphic primitives to work with.
The hrst part of the assignment requires
researching design work that is relevant to
the project, but not limited to graphic design.
Then students generate letterforms using the of' Student: Peter Irvine
shapes supplied in vector format using Adobe
Illustrator.
PROJECT GOAL
Letters are a code for interpreting spoken
language. We develop the ability to decipher
this code as we grow up in our own culture. Indi-
vidual typefaces are distinctive representations
of this standard code and are designed in rela-
tion to centuries of custom and practice. If we
wander too far from the conventions, then our
ability to quickly decipher the visual code de-
grades. For this project, use the given graphic
primitives to generate letterforms that investi-
gate the link between shape, code, and legibility.
You may scale, repeat, overlay, subtract, and add
the shapes, but you must not otherwise make
distortions that alter the essential proportions. of' Student: John Wynne
THE P R OJE C T S 197
".'.0
..,. Student: Seamus Fegan
This conference explores a hope for water conservation in domestic life. Although
municipal water usage is dwarfed by agricultural and industrial usage, we must be
reminded that, as individuals, we can change simple things at home to preserve our
future water supply.
200 DESIGN SCHOOL CONFIDENTIAL
I !
: j
-+ Choose
Student: Mia Pizzuto
~ -- An international conference
devoted to recognizing water
for its original purpose, as our
source of life, not death. In-
fectious, waterborne diseases
are killing millions across the
world each year. This pressing
global issue must be prevent-
ed before even more innocent
people become victim to this
great detriment. To eliminate
the risk of bacterial waterborne
disease, we need to come to-
l' Natural Resource gether as a well-informed com-
Depletion munity ready to combat the
Student: Katrina Mendoza problem.
=-
~ Wastewater
Student: Allyson Tong v...... ....
-
-
Land-based waste as a result
=- =- =-
of human activity is the larg-
est contributor to ocean con-
tamination. Wastewater is a l' Macrowave: A Conference on Global Warming
conference that examines the Student: Owen Irianto
causes of marine pollution and
measures the consequences it I created a poster for a hypothetical conference on global warming.
has on ecosystems. The de- The functionality of the poster is based on the Swiss rationalism
sign of the program visually in which a poster should function from a distance and invite the
reflects the process of how oil audience to come closer, to discover what is in the details, in this
runoff and other contaminants case, by optical illusion. As the name of the conference suggests,
slowly trickle from the land Macrowave is a pun for global warming and how the greenhouse
and pollute the oceans. gases might affect climate changes throughout the world.
202 DESIGN SCHOOL CONFIDENTIAL
::.::'-=-
-----
- .. ---- ~.
+ Keep Your Minds Busy
, Student: David Keane
(EEPDU
~MIND5
3USY
" l~
Student: Dianne Cervantes
Eo Valiant
Student: David Wallin
..........
.. .. .. .. tot
I experiment with how designers communicate with and engage I explored how my own skills
an audience. I am also exploring the reader's ability to actively and sensibilities as a graphic
engage in the decoding of advertising messages, to see how little designer could enhance the
information can be provided, or pushed to the edges, before the visual approach of fIlm title se-
message is unreadable. The project relies upon the reader en- quences. The research included
countering more than one of a series of images, in the city en- a survey of fIlm titles produced
vironment, in order to combine the various fragmented signifI- by prominent graphic design-
ers into a coherent whole. Visual and typographic elements give ers such as Saul Bass and Kyle
s ubtle clues to the reading. Cooper, among others.
THE PROJECTS 205
--_.-
E( Eo Is Design Emotional?
-+ Cultural Branding
Student: Lisa Hawkins
The 2006 Sydney New Year's event was the focal point for my explo-
ration of cultural branding as a tool to open up interaction between
participants and the event. It draws on an amusement park theme
to engage audiences of all ages. The design style has adopted the
already established identity of the Sydney Olympics 2000 branding
and draws inspiration from Australian painters Brett Whitely and
Ken Done. My design response aims to be flexible and extend into
individual logos that branch off the primary logo, thus maintaining
the same style in a contrasting manner. Presented here are the pri-
mary logo and secondary logo examples, applied across A2 posters
and magazine advertisements.
206 DESIGN SCHOOL CONFIDENTIAL
.. .
=--- -:
Hydrosohiif8
-- ........- . -
-
...Sio ohare
IIIUIIl
_a..-.__ _-----
:-.!.- ......-------
l' The New Class for Graphic Design l' A Fistful of Lead
Student: J an Wirth Student: Miriam Waszelewski
Poster for the Berlin University of the Arts' walk- Reacting to "Sounding Lead," a contribution by
through exhibition, Summer 2007. When it comes Austrian psychoanalyst Elisabeth Schlebrugge
to group dynamics, networking and interaction on the work of artist and fellow countrywoman
among different actors playa specifIc role as part Eva Schlegel in the Tyrolean cultural magazine
of relationships. The interdependencies, interac- Quart, I take up the heaviness of the material on
tions, and reactions of the new class for graphic the pages facing the text by replacing graveness
design are being typographically visualized. with a lighter passion for quotation.
beyond
gruphic
....•
- Eo Beyond Graphic Design
eleslgn Student: Christof Nardin
Idosse
fons
hlckmonn Beyond Graphic Design is everything but a col-
lection of dinky little examples we're all tired of.
Fons Hickmann reveals his concept of teaching
and puts it up for discussion, gives impulses that
provoke thoughts or even stir. He carries on ask-
ing where others would be content. The projects
are not only presented, but also illustrated in the
context of their intellectual background.
THE PROJECTS 209
TheOne
Hongik University, Department of Visual
Communication Design
SEOUL, KOREA
This logo communicates single life in a fun way, These coupons from various retail outlets offer
using an animated numeral. special services catering to single people.
OfFUNE .. po ...... -
rr" rNg.UN
PIodua Altnltlltt
clKOIUlOft
.091-'
tiC.
+- Movie Trailer
+- Retail Shop
Photographer: Sae Youn Koh
THE PROJECTS 213
PROJECT BRIEF
Class: Advertising Design
The idea presented to the students is to pair to-
tally different ideas to create a poster or exhibit
on how to stop global warming.
Level: Third Year
Faculty: Hoseob Yoon
Ul
I \
Duration of Project: One Semester
PROJECT GOAL
Create a concept using different objects and
ideas and convey the concept of the urgency of
global warming.
PROJECT OUTCOME
Create posters and an exhibition to travel through
Korea, Japan, Thailand, and the United States.
l' Crucinxion
Student: Beomseok Kang
l' Claustrophobia
Student: Panayiotis Papanicolaou
The aim was to delve into a The purpose of this project was to explore the
personal phobia. viewpoint of an ant in an urban setting.
THE PROJECTS 219
PROJECT BRIEF
Part 1: Read The Crystal Goblet or Printing Should
Be Invisible by Beatrice Warde. Think about it.
Class: Designing with Type
Level: Junior Ul
Formulate an opinion on the text. Faculty: Paul Sahre
Duration of Project: Four Weeks W
Part 2: Find an additional text that responds to/
reacts against/supports your beliefs in/has some
relation to the The Crystal Goblet.
PROJECT GOAL
This assignment was developed for an advanced
typography class and it involved each student
putting themselves in the role of editor. It also
gave each of them the challenge of designing
with a lot of text.
PROJECT OUTCOME
Each student took their cue from the editorial
decisions they made and took the books in very
different directions; the end results were quite di-
verse from project to project.
by exammmg how readers can rewrite lan-
guage/text. This double-sided fold-out poster
visualizes these opposing texts on each side:
-+ Clear Communication On one side, The Crystal Goblet demonstrates
Student: Sun Park that the process of book publishing (or the
process of making a text sellable, from the
Crystal Goblet dennes the role of a designer as author's initial sketch to the nnal format of a
that of enabling clear communication. But is physical book) involves other voices such as
clear communication actually possible? Does publisher, editor, proofreader, designer, and
an author alone have the power to decipher the printer. On the reverse side, I ask whether
meaning of a text? Roland Barthes disputed the designer, through design, doesn't also be-
the myth or the blind belief in the author-god come the author of the text.
220 DESIGN SCHOOL CONFIDENTIAL
-
.,.-
_.-_ .. ---
...... --
-+ High Jinks
Student: Alex Merta
l' Manifesto for Growth
Student: Eric Ku The idea for this book involves rewriting and re-
constructing Beatrice Warde's article in the style
My idea for this project was to combine Beatrice of e.e. cummings, and vice versa. It also includes
Warde's essay with Bruce Mall's An Incomplete poems that I wrote taken from Warde's essay. I
Manifesto for Growth. I divided Warde's text into liked the style of her writing, not just what she
each of Mau's forty-three manifestos, in the form wrote about. It questions everything about writ-
of forty-three pamphlets. And although each ten language, how it should be read and how it
pamphlet presents only Warde's essay, each one should be written. The result was approximately
has its own attitude followed by the manifesto. 35,000 words typeset completely on a Royal
My intent was to see the relations between those typewriter. Fitting for the styles both of Warde
two essays. and e.e. cummings.
THE PROJECTS 221
-+ Flash
Student: Kyi Sun
If
62. Academy of Fine Arts of Bologna 40. The Arts Institute at
Via Belle Arti 54 Bournemouth 82. Fabrica, the Benetton Group
40100 Bologna Wallisdown Communications Research Center
Italy Poole, Dorset BH12 5HH Villa Pastega, Via Ferrarezza
p: 39.051.4226411 UK Catena di Villorba
e : [email protected] p: 44.1202.363.305 31020 Treviso
www.accademiabelleartibologna.it e: [email protected] Italy
www.aib.ac.uk p: 39.422.516111
44. Alberta College of Art and e: [email protected]
Design 180. Autonomous Metropolitan www.fabrica.it
1407 14th Avenue NW University, Azcapotzako Campus
Calgary, Alberta T2N 4R3 Avenida San Pablo 180 130. Folkwang University Essen
Canada Mexico, D.F. 02200 Universitatsstrasse 12
p: 403.284.7600 Mexico 45117 Essen
e: [email protected] p: 52.55.53189175 Germany
www.acad.ca e: [email protected] p: 49.201.183.3607
www.azc.uam .mx e: [email protected]
50. American University of Sharjah, www.folkwang-hochschule.de
School of Architecture and Design 60, 206. Berlin University of the Arts
PO Box 26666 PO Box 120544 210. Hongik University, Department
Sharjah, Emirate of Sharjah 26666 10595 Berlin of Visual Communication Design
United Arab Emirates Germany 72-1 Sangsu-dong, Mapo-gu
p: 971.6.515.2807 p: 49.30.2450 Seoul 121-791
e : [email protected] e : [email protected] Korea
www.aus.edu www.udk-berlin.de p: 82.2.320.1114
www.hongik.ac.kr/english_neo
56. Art Center College of Design 65. Boston University,
1700 Lida Street School of Visual Arts 88. Iceland Academy of the Arts
Pasadena, CA 91103 855 Commonwealth Avenue Skipholt 1
USA Boston, MA 02215 105 Reykjavik
p: 626.396.2200 USA Iceland
e : [email protected] p: 617.353.3371 p: 354.699.0580
www.artcenter.edu/gpk e: [email protected] e: [email protected]
www.bu.edu/cfa/visual-arts www.lhi.is
74. Arts Academy of Split, Depart-
ment of Visual Communications 68. Brigham Young University 92. Illinois Institute of Technology,
Glagoljaska bb Provo, UT 84602 Institute of Design
21000 Split USA 350 North LaSalle Drive
Croatia p: 801.422.4266 Chicago, IL 60654
p: 385.21.348.622 www.visualarts.byu.edu USA
e: [email protected] p: 312·595.4900
www.umas.hr/dvklO e: [email protected]
www.id.iit.edu
THE P R OJE C T S 223
94. Istanbul Bilgi University, 106. Massachusetts College of Art 138. RMIT University, The Works,
Department of Visual and Design Communication Design
Communication Design 621 Huntington Avenue GPO Box 2476V
Eski Silahtaraga Elektrik Santrali Boston, MA 02115 Melbourne, Victoria 3001
Kazim Karabekir Caddesi 1, Silahtar USA Australia
Mahallesi Siitliice, Eyiip p: 617.879.7000 p: 61.3.9925.1243
34060 Istanbul e : [email protected] e : [email protected]
Turkey www.massart.edu www.theworksdesign.com.au
p: 90.212·311.5000
e: [email protected] 110. Missouri State University, 168. Royal College of Art
vcd.bilgi.edu.tr Department of Art and Design Kensington Gore
901 South National Avenue London SW7 2EU
122. Jan Matejka Academy of Fine Springneld, MO 65897 UK
Arts, Faculty of Industrial Design, USA p: 44·20·7590.4304
Department of Visual Communication p: 417.836.5110 e : [email protected]
Plac Matejki 13 e: [email protected] www.rca.ac.uk
31-157 Krakow art.missouristate.edu
Poland 140. School of the Art Institute of
p: 48.12.299.2000 114. North Carolina State University, Chicago
e: [email protected] College of Design 37 South Wabash Avenue
www.asp.krakow.pl PO Box 7701 Chicago, IL 60603
Brooks Hall USA .
213. Kookmin University, Raleigh, North Carolina 27695 p: 312.629.6100
College of Design USA. p: [email protected]
861-1 Jeongneung-dong Seongbuk-gu p: 919.515.8322 www.saic.edu
136-702 Seoul e: [email protected]
Korea ncsudesign.org/content 152, 219. School of Visual Arts
p: 82.2.910.4583 209 East 23rd Street
e: english.kookmin.ac.kr/ 126. Portfolio Center New York, NY 10010
125 Bennett Street U.S.A.
34. London College of Communica- Atlanta, GA 30309 p: 212.592.2600
tion USA e: [email protected]
Elephant and Castle p: 404·351.5055 www.design.sva.edu
London SEI 6SB e : [email protected]
UK www.portfoliocenter.com 144. Senac University Center, Santo
p: 44.20.7.514.6569 Amaro Campus
e: [email protected] 86. Red and Yellow School of Avenida Eng. Eusebio Stevaux 823
www.lcc.arts.ac.uk Logic and Magic Sao Paulo 04696-000
40 Sir Lowry Road Central Brazil
28. Maryland Institute College of Art Cape Town, Western Cape 8001 p: 55.11.5682.7300
1300 Mt. Royal Avenue South Africa e: [email protected]
Baltimore, MD 21210 p: 27.21.462.1946 www.sp.senac.br/cas
USA e: [email protected]
p: 410.225.2222 www.redandyellow.co.za 149. State University of New York,
www.mica.edu Purchase College, School of Art
134. Rhode Island School of Design and Design
78. Maryse Eloy School of Art Two College Street Visual Arts Building, 735 Anderson
Rue Bouvier 1 Providence, RI 02903 Hill Road
75011 Paris USA Purchase, NY 10577
France p: 401.454.6100 USA
p: +33 158 39 36 60 e : [email protected] p: 914.251.6750
e: [email protected] www.risdgd.com www.purchase.edu
www.ecole-maryse-eloy.com
224 DESIGN S CH OO L C O NFIDENTIAL
86. Stellenbosch University 103. University IUAV of Venice, 118, 192. The University of the Arts
Private Bag Xl Department of Art & Industrial Design 320 South Broad Street
Matieland, Western Cape 7602 Ex-Convento delle Terese Philadelphia, PA 19102
South Africa Dorsoduro 2206 USA
p: 27.21.808.9111 30123 Venice p: 800.616.ARTS
e : [email protected] Italy e: [email protected]
www.sun.ac.za p: 39.42.2415882 www.uarts.edu
e: [email protected]
65. Suzhou Art and Design www.iuav.it/medicaldesign 196. University of Ulster, School of
Technology Institute Art and Design
Wuzhong Building 183. University of Hawai'i at Manoa, Belfast Campus, York Street
189 Zhineng Road North Graphic Design Program Belfast BT15 l ED
Suzhou International Park 2535 McCarthy Mall UK
Suzhou, Soochow H onolulu, H I 96822 p: 44.28.90267265
China USA e: [email protected]
p: 512.6650.0118 p: 808.956.8251 www.ulster.ac.uk
www.sgmart.com e: [email protected]
www.hawaii.edu/art 198. University of Washington,
162, 164. Swinburne University of School of Art, Division of Design
Technology, Faculty of Design 38. University of Ljubljana, 102 Stevens Way
Building PA, 144 H igh Street Academy of Fine Arts and Design Seattle, W A 98195
Prahran, Victoria 3181 Erjavceva 23 USA
Australia 1000 Ljubljana, Slovenia p: 206.543.0970
p: 61.3·9214.6880 p: 386.1.427.21.26 e: [email protected]
e : [email protected] e: [email protected] www.art.washington.edu
www.swinburne.edu.au/design www.alu.uni-lj.si/
202. University of Wallongong.
166. Temple University, Tyler School 174. University of New South Wales, Faculty of Creative Arts,
of Art College of Fine Arts School of Art & Design
7725 Penrose Avenue Greens Road, Paddington Northftelds Avenue
Philadelphia, PA 19122 Sydney, New South Wales 2021 Wollongong, New South Wales 2522
USA Australia Australia
p: 215·777·9000 p: 61.2 .9385.0684 p: 61.2.4221.5853
e: [email protected] e : [email protected] e: [email protected]
www.temple.edu/tyler www.co fa.unsw.edu.au www.uow.edu.au/crearts/sad/
78. University of Art and Design 216. University of Nicosia 30. Virginia Commonwealth
Helsinki PO Box 24005 University, School of the Arts
H ameentie 135 C 1700 Nicosia in Qatar
00560 H elsinki Cyprus PO Box 8095
Finland p: 357.2.2841500 Doha, Qatar
p: 358·9.75631 e: [email protected] .cy p: 974·551.9747
e : info@taikft www.umc.ac.cy e: [email protected]
www.taikft www.qatar.vcu.edu
188. University of Technology, Sydney
178. University of Bogota Jorge PO Box 123 100. Yildiz Technical University,
Tadeo Lozano Broadway, New South Wales 2007 Department of Communication
Carrera 422-61 p: 61.2.9514.2000 Design
Bogota D.C. 11001 e: [email protected] Besiktas Central Campus, Barbaros
Colombia www.dab.uts.edu.au Bulvari
p: 571.3341777 34349 Istanbul
e : [email protected] 206. University of the Applied Arts, Turkey
www.utadeo.edu.co Institute of Design p: 90.212.383.2731
Oskar Kokoschka Platz 2 e: [email protected]
1010 Vienna www.ilet.yildiz.edu.tr
Austria
p: 43·1.71133·2411
e: p r@uni-akac .at
www.dleangewandte.at/design