Professional Documents
Culture Documents
LCC MAGD 2015 Unit 1.1
LCC MAGD 2015 Unit 1.1
DESIGN LITERACY
UNIT 1.1
WERONIKA RAFA
TABLE
OF
CONTENT
XX XX XX XX
hyperlinks
PB - Workshop with Paul Bailey
TC - Workshop with Tony Credland
VP - Workshop with Vanessa Price
E - Creative Experiment
SR - Secondary Research
T - Table of Content
XX - Other Related Content
beginning secondary experimental secondary
interactive features the research: method: research:
- Slideshow exploration psychology visualisation installations
T SR all the information I had read about. must admit these representations
SECONDARY Looking at the areas correlated with
graphic design, I was interested
suggestive and their interpretation
depends on the viewer. With a
image of a kissing couple.
Reviewing what I had found,
RESEARCH: in the typographic installations subject so intimate as attraction I noticed that the strongest visual
INSTALLATIONS with emotionally charged content.
I chose to examine words instead
I believe it is better to relate it to
one’s personal experience rather than
statements were also the simplest.
I have a feeling that this reflection
T SR E of images because they are more attack people with a conventional will influence the future of my work.
Smith, S. (2007) Knotek, A. (2009/2012) Eades and Bergman (2013) Serviceplan (2011)
Osborne, J. (2009) Laurette, M. (2010) Lévêque, C. (1992)
EXPERIMENT: Meeting more than 30 people at
once made me think of the meaning
First Table Top Exhibition I decided
to make a layered, typographic
was right then when I started to
play with the concepts of meaning,
FIRST behind the first impression. I was installation inspired by these thoughts. layers and uncertainty. This was
IMPRESSIONS wondering how important it is and
when is the moment the impression
Although it was not understood,
I consider it an important part of
about to develop during the
latter phases of my research.
T SR1 SR2 XX changes into judgement. For MAGD my process. Strangely enough, it
1ST WORKSHOP: The workshop with Tony Credland
pushed me to become more involved
with. Manipulating the narrative
of a story focused my attention on
fact that we don’t question them.
With my work I would like to
DESIGN in the general state of affairs. I believe the way the media present their encourage the others to do just that:
AND MEDIA in socially conscious graphic design,
so the idea behind the workshop
content. I feel the problem here lies
not only in the messages we are
to question the familiar and reflect on
what we are being presented with.
T E was something I could identify given, as consumers, but also the
2ND WORKSHOP: The workshop with Vanessa Price
explored the values of connotation
investigation. What was important to
learn was that the meaning isn’t in
That piece of information makes
it worthy to choose an abstract
WRITERLY and denotation, through word and the image itself, but is brought to it by research question, because then
READERS image associations. Although I didn’t
realise it then, it was to become one
the reader. This means that everything,
from cultural codes to personality, is
you can’t control the influence you
make and it’s more of an adventure.
T SR1 SR2 XX of the key reference points of my own valid when interpreting the message.
SECONDARY Although both described workshops
involved visual material, I could
connotated vocabulary (VP). At
that point of the research I was
designers approach the issue proved
to me that there is much to explore
RESEARCH: relate them to typographic designs. experimenting with typographic within the meaning of the words
GRAPHIC DESIGN The examples here show the ways
to question and manipulate the
representations of culturally
coded expressions about love
and expressions we use everyday.
T TC VP E message (TC) while using emotionally and attraction. Seeing how other
Sourpuss (2015) Doloko, S. (2009) Evans, D. Yes Massa-Bidal, S. (2011) Swee Lim, H. (2012)
Wordboner (2011) Make misteaks Luffman, J. (2009) You are what you eat
SECONDARY Since my initial approach, centered
around psychology, the investigation
needed figurative expressions. The
criteria of selection were based on
exploration angle, I would say it was
a gradual progression. After all, if
RESEARCH: progressed into linguistic direction, my subjective interpretation of the I hadn’t learnt about the psychological
FIGURATIVITY with strong focus on semantics. I
used the knowledge of interpersonal
expressions and the psychological
data I had collected earlier. Having
theories, I wouldn’t have been able
to collect the relevant expressions.
T SR1 SR2 XX attraction to gather the body of the to critically review the change of the
: a branch of semiotic dealing with the relations between signs : a branch of linguistics that is concerned with the relationship
and what they refer to and including theories of denotation, of sentences to the environment in which they occur
extension, naming, and truth
GREY AREAS
AXIAL THINKING
[exploration of what is ambiguous
COGNITIVE OPENNESS and not clearly defined, conceptual, [exploration of different possibilities,creating the new content,
uncertain, in opposition to defined, searching in diverse directions, treating mistakes as part of
[acceptance for what is new and yet limited categorisation for black and the process, using new methods of the investigation]
different, having the courage and white]
willingness to explore, respect
for the other point of view]
made during the workshop: the process of merging a camera with a piece of aluminium lfoil
iof muinimula fo eceip a htiw aremac a gnigrem fo ssecorp eht :pohskrow eht gnirud edam
DEFINING
THE KEY
PROBLEMS
T PB XX
T E1 E2 E3
...
EXPERIMENTAL Addition refers to playing with
the expressions by introducing
to conversation. Different visual
contexts influenced the overall
serious side of the expressions. The
limitation of this method was the loss
METHOD: some new content, either visual meaning of the words, creating of ambiguity when adding the visual.
ADDITION or written. As a result some of the
outcomes exist as simple pictures with
alternative connotations. Humorous
way of playing with the subject
Although the meaning has changed,
it has not widen the possibilities
T SR1 SR2 XX captions, others – as introductions revealed more contemporary, less for individual interpretation.
time flies there’s more fish in the sea all is fair in love and war
multiplication
subtraction
substitution
addition
division
visualisation
description
form
survey
content
QUESTIONS, It wouldn’t be right to end this
document showing a sense of
what I am most afraid of is choosing
the right set of linguistic material
What would happen if I just kept
IT simple, without illustrations,
DOUBTS, clarity and order. Although, on the to work with and in consequence photos and diagrams? Would it be
AMBIGUITY previous page, the methods were
organised, the research produced a
– abandoning some of the ideas.
Another problem arises when
better then? Would it be enough?
Aronson, E., Wilson, T.D. and Doloko, S. (2009) Make misteaks. Swee Lim, H. (2012)
Akert, R.M. (2004) Social Just be you.
Available at: http://www.fondation- Available at: http://designspiration.
Psychology. 5th edn. New
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photostream ( Accessed: 5 April 2015
English Idioms & Eades & Bergman. Massa-Bidal, S. (2011)
Idiomatic Expressions. (2013) Neon heart. Following in love. Wordboner (2011) Heroin.
Available at: http://www. Available at: https://www.pinterest.
Available at: https://www.flickr. Available at: http://wrdbnr.com/
usingenglish.com/reference/ com/pin/121245414944282838 /
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( Accessed: 5 April 2015). a-tee-more-wordboner-store
( Accessed: 5 April 2015).
Glucksberg, S. (2014) ‘Idiom Evans, D. Wonder Jam. Osborne, J. (2009) Let
Meanings and Allusional
there be light. Yes L&VE.
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Nothing Lasts Forever.
Psychology Press.
Serviceplan (2011) You are what you eat.
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