Saturday, September 15, 2018

Reading Questions

Where do you land in the argument of more activist methods of design research and imposing the designers (or client’s) values through the design, versus remaining a neutral party that supports the audience’s existing needs? Why?
[A] I think "good" design can happen on both levels and it all really depends on the context and factors involved in a case to case basis. That being said, while its important to take the existing needs and wants of the users/audience into consideration, I think it's more valuable to assess those needs and desires and address the underlying issues on a systemic level. Doing the research, collecting the data, and looking at things through an objective and subjective lens, allow artists/designers to make connections and find the patterns. Like the proverb,"Give a person a fish, they eat for a day. Teach a person to fish and they never  go hungry." it's ultimately about designing for solutions instead of problems.
What are a few methods from this toolkit that you could implement into your design research for this project? What information do you expect you would get?

[A]I found "The Three Lenses of Human-Centered Design" to be helpful as a general framing device for organizing my research. There were quite a few things in the reading to consider in regards to time management in longer projects, dedicating a space, approaches to process documentation, and data collection. A few things I've already started to implement is identifying people to speak with, conducting expert interviews, collecting data from the community with the goal of identifying patterns and finding new avenues of research where potential solutions may arise. 

Wednesday, March 1, 2017


(Compounded into my Logos and Pathos explorations)

-- I thought this hand gesture (nested/cradled hands folded one over the other) would be useful in conveying a sense of compassion since it is the shape our hands make when holding delicate things like baby puppies or when we are sharing or giving something precious like water, food, or a gift. So I borrowed from that, made it look better, and applied it to my topic.

The crease where the two hands meet transform into a small plant/sapling which blooms into three interlaced leaves or flower peddles meant to represent the agricultural, environmental, and humanitarian issues involved with my topic of produce waste and set the stage for potential solutions to arise through their intersectionality and public awareness.




These little guys became "mascots" in a few other of my Ethos iterations.

Like this one...
 (note: I crossed out the Andy Warhol in a later draft. Didn't want to attach a name of a celebrity as a false endorsement...however I'd like to think that Andy would be all about supporting oddly shaped tubers and freaky fruits.)



Stating the "facts" isn't always a good thing. Statistics and percentages have useful applications as a means of analysis and persuasion. Charts, graphs, percentages, and numbers are useful because they present the data in a simplified comprehendible way by allowing us to assign/create value relationships between things based on a numerical hierarchy.  However, numbers also have the potential to dehumanize/desensitize/diminish the complexity of the Truth and, historically, can be misleading and result in false conclusions to be made (fallacies).

Friday, February 24, 2017



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Misshapen Produce Discounts
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Question: What is the relevance of semiotics to graphic design? 

Answer:  Graphic design falls under the umbrella of visual communication – which is a significant in and of itself when studies have shown that 93% of human language is expressed non-verbally, 80% of the information we remember is based of what we see and experience, AND we process visual information SIXTY-THOUSAND TIMES faster than written text.  Semiotics is the study of how we read and interpret signs and is the linguistic component of visual language. As artist and designers semiotics is fundamental to our craft as visual communicators because it allows us not only to interpret the "text" imbued within an image, but also allows us to thoughtful consider and apply the language of signs to our work in order to effectively deliver a message/produce and image with the desired results.