Meryem Metin
20042929 Graphic and Media Design Do you find yourself more interesting when talking about lots of statistics? Based on a study published in Applied Cognitive Psychology, the answer is no. I'm Meryem Metin, a student studying Graphic and Media Design. Today, I'll be talking about how my SIP has completely changed the way I explore design and given me a fresh sense of self-determination. During my SIP, one of the most interesting experiences I had was looking into the important question: Does art heal wounds? The forceful "tool" of art therapy, which I practiced guided by the Japanese traditional artwork known as Kintsugi. The theory in this case is completely essential since it unites psychology and art. Repaired broken objects are explored in a fascinating way to show how psychological and mental destruction can be healed. I was much helped by the writings of notable academics Alain De Botton, author of Art As A Therapy, and Cathy Malchiodi, author of The Art Therapy Sourcebook, while I got lost in my subject. Their views and ideas really inspired me, and their work has made it clear to me how effective art can be for personal development or creative way of self-expression. According to the book Malchiodi, I personally found the book being very helpful because of its interesting concept about the curative influences of arts and the possibility of the arts to develop self-expression and enhance healing. De Botton's study of art as a therapeutic tool demonstrated how producing artwork can benefit people psychologically, which helped restore my confidence that art can help to create a balance in the mental health. The hands-on experience that I gained from the SIP has improved my work on the design to its finest and greatly improved my field. According to my study on the therapeutic potential of art, there is a unique and rich field of creative work that makes an important impact to the community overall. My desire aims to participate into the current discussion on personal wellbeing and mental health. I think that using design as a tool for self-exploration and wellness has a great potential to affect quality of change. As my time at LCC draws to a finish, I am excited to improve on everything that I gained while working on my SIP. It excites me to combine current events into my claim study and creations. Whatever the result of this project, I will learn a great deal that will not only profoundly impact the way I perform my design work but also how I view it as a career path. My design approach is to use art therapy ideas so that I may create artwork that is not only beautiful but also has the power to change and influence people. With the opportunity to look deeper into what drives me, strengthen my abilities, and discover the incredible healing power of art in design, I am excited to continue on this journey and create a meaningful impact through my work as a designer. Art holds a remarkable capacity to bring about healing, inspiration, and deep change. I believe that art will help us to swipe away the dust that we carry on ourselves in this insane world, just like Picasso said : “Art washes away from the soul the dust of everyday life.” – Pablo Picasso
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Zhiqing Tian Graphic and Media Design After nearly 8 months of internship, I realized that when we do design for clients, we usually can't fully utilize our ideas, we need to do the design according to the client's preference, and there are a lot of limitations in between. But SIP gives me such an opportunity to decide on projects, especially after having a deeper understanding of design, to build what I want, to use my unique insights, as well as my knowledge and skills, to create a new vibrant “life” for a new-born brand.
Brand identity is like human identity; most of us are visual creatures. In many cases, people often form opinions and perceptions about brands before they even know who they are and what they do (Ramya Jain, 2017). For example, when we meet a stranger for the first time, we guess the identity of the person by the way they are dressed and then follow up with a conversation from which we get to know their character and moral. The same goes for brands, we tend to be attracted to the visual and brand image on their packaging first, and then we learn what the product is, what its efficacy is, and what its value is through the labelling of the product. A large percentage of people enter a store with a purpose, knowing exactly what they need, but end up buying something they don't even need because of the packaging, which shows that the packaging of a product plays a very important role when it comes to marketing. (Mohebbi,2014) My SIP is to design a brand identity for Tequila, I want to give this brand a different emotion, during the research process I learned a lot about the history and culture of Tequila, even mythological stories, from which I converted these elements into visual ways to be reflected in the design, and during the process I was constantly thinking about how to make these simple visual symbols more storytelling? Tequila is full of legends and even myths, and its brewing process is also very elaborate. In these processes, I feel that I am not just doing a simple design for a brand, but I want to tell the audience about its rich connotations and cultures through the design, and in the fusion of history, myths, and visualizations, so you can feel its unique charm. I also refer to the design projects of other studios, especially those related to beverage brands, or some websites, such as Onda Tequila, Drink818, etc. I asked my studio for feedback and suggestions, from which I reflect on the direction of my senior year or after graduation, what kind of foundation I can lay with my existing knowledge and skills, and in what areas I am not capable of. What aspects of my ability are insufficient? These provide me with clear direction and goals, especially in exploring my favourite fields and disciplines. Mohebbi, B. (2014) The art of packaging: An investigation into the role of color in packaging, marketing, and branding. dissertation. Ramya Jain, R.J. (2017) ‘Basic Branding Concepts: Brand identity, Brand Image and brand equity’, International Journal of Sales & Marketing Management Research and Development, 7(4), pp. 1–8. doi:10.24247/ijsmmrdaug20171. Nian(Nia) Xu BA Graphic and Media Design As a Graphic Media Design student, I have always been committed to exploring different media and methods of expression for my creative work. My Self-Initiated Project started with a simple idea: "learn a new professional skill and explore a new narrative in content". This is why I chose to learn and design a hidden and secretive script called Nüshu, which was used by women in Jiangyong, Hunan Province, China. Throughout the year of my DPS journey, I experienced diverse working environments and saw in different art fairs. These experiences transformed my understanding and thinking about the wholeness of my project. With this "new agency", although I have acquired new professional skills and a deeper understanding of a new field, as I had initially wished, what I appreciate and cherish most is the realisation of the need to get my work noticed and to allow my work to influence public perception, thereby realising its value. The aim of my project was always clear — to use Nüshu, a symbol of secret communication between women, to reveal the suppressed and overlooked voices and stories of women throughout history, and to encourage more women and the wider public to pay attention to women's narratives. However, as someone who had only ever been good at completing school assignments, my projects always ended with the completion of the design itself. However, as Nelson and Stolterman (2012, p. 5) argue, Design is constituted of reflective and critical thinking, productive action, and responsible follow through. Therefore, a single concept, such as creativity, does not capture the full richness of the design tradition. Artist Yulu Chen and writer Yiyan Liang have dedicated themselves to promoting Nüshu and its underlying cultural contexts. Yulu has produced documentary films and art books on Nüshu and held exhibitions in various cities. Yiyan's published project, "Why Aren't You Angry?" uses Nüshu as a medium to empower marginalised people through producing knowledge. In her project, Nüshu is not only part of her content; it becomes a visual symbol of the feminist concept in her work, acting as a "signifier" (Langer, 1953). BiBy analysing the works of these two artists, I have gained much knowledge and a clearer understanding of what I wanted to express through Nüshu, as well as an aspect of artistic creation that I had never considered before: exhibition and promotion. In the past, while I certainly strived to express my thoughts and feelings through my work, I never considered the visibility and legibility of my work, my potential audience, what I wanted them to get out of my work, or the kind of impact I wanted my work to have.
Originally, my SIP was supposed to end when I finished designing the new Nushu typeface and some visual designs such as posters, zines, and related products. However, seeing the work of these artists inspired and motivated me. Their work planted a seed in my heart—to become a creator who influences others as they have influenced me. As I conceived of this idea, I also felt a part of the concept I wanted to express in my SIP, which is the constant yet secretive connection and support among women. Bibliography: Nelson, HG, & Stolterman, E 2012, The Design Way : Intentional Change in an Unpredictable World, MIT Press, Cambridge. Available from: ProQuest Ebook Central. Chen, Y. n.d., Nüshu is crying stars in the sky, documentary film Liang, Y., 2020. Why Don't You Show Your Anger?, Artist Publishing Project. Langer, S.K., 1953. Feeling and Form: A Theory of Art Developed from Philosophy in a New Key. New York: Charles Scribner’s Sons. Scarlett O´Sullivan BA Graphic and Media Design As a passionate graphic and media design student, currently immersing myself in the vibrant creative scene of Berlin, I'm embarking on an exciting internship journey at Universal Music for Brands, delving into the dynamic intersection of design and music culture. Joining me on this journey is Alexandra, a BA Graphic Media Design student from Porto, equally enthusiastic and driven by our shared passion for exploration and storytelling. Together, our collaboration brings two distinct and exciting lenses to urban narratives, enriching our project with diverse perspectives and creative insights. Our self-initiated project (SIP), inspired by our long-distance friendship and shared passion for photography, goes beyond mere creativity – it's a validation of our shared belief in design's ability to unveil the hidden narratives that shape our cities. Drawing from our diverse backgrounds and experiences, we delve deep into the socio-political complexities underlying the fabric of Porto and Berlin, from Porto's rich cultural heritage to Berlin's ever-evolving urban landscape. Our SIP project, named "Urban Snap," explores the contrasting urban landscapes of Berlin and Porto, integrating analog photography into an interactive travel guide. ![]() Inspired by graphic designer Paula Sher's approach of 'mapping for expression and emotion rather than accuracy,' our project seeks to capture the essence of Berlin and Porto not just as geographical entities but as vibrant tapestries of culture, history, and human experience. By embracing the fluidity and subjectivity of visual storytelling, we aim to evoke a sense of connection and emotion within our audience, inviting them to explore and engage with these cities on a deeper level. De Waal's (2013) study on urban public spheres provides crucial insights for our project, Urban Snap, as it highlights the dynamic nature of cities as hubs for diverse communities. Drawing from Losowsky's (2011) exploration of visual storytelling, we understand the importance of capturing the essence of urban life through compelling imagery. Even a decade ago, De Waal's reference reflects the rapidly changing landscape of cities and mediums. Now, with advancements in technology and the ever-evolving urban environment, the need to adapt and innovate becomes even more pressing. By integrating these perspectives, our project seeks to reimagine urban public spheres as fluid networks of interaction, where digital platforms serve as bridges between virtual and physical realms. In conclusion, the journey through Urban Snap embodies the essence of 'New Agency' as we navigate the world of self-initiated projects with passion, purpose, and perseverance. By undertaking this project, we've exercised our agency by acting independently but also collaboratively and making decisions in accordance with our beliefs. Looking ahead, I see boundless potential for Urban Snap to evolve into a dynamic platform for urban exploration and community engagement. With Urban Snap, we're not just exploring urban narratives – we're crafting them, one image at a time, while redefining our understanding of 'New Agency' within the context of our degree course at LCC.
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Victoria Schlienkamp BA Graphic and Media Design We are currently facing a lot of new problems on a global scale. The advance of AI offers new ways to innovate but raises concerns about its impact in the creative process. At the same time, climate change and its effect on the planet becomes more urgent to resolve with each day. These issues are not just affecting broad fields such as the economy but also minority groups in society, (through rising aggression caused by uncertainty and fear.) These cultural and political changes are currently prevalent in craft and design processes as well. There is a lot of uncertainty around the future and the current needs. Considering the influence of climate change, cultural change and digital impact, it feels like standing at a crossroad to pave new directions not just in the design world. There seems to be a search for reforming current system and a struggle to adjust to constant and fast-paced change. Over the past few months, I have been working on my SIP with the ambition to provide solutions for the future, focusing on the renaissance of marquetry (creating decorative elements by assembling pieces of wood to a picture) as an ancient craft. Inspired by Artists like Neri Oxman who seem to offer solutions emerging from a thrive to bring back balance between nature and technology. Focusing on seemingly simple things to create highly impactful concepts for future design. Oxman’s focus is on a material basis influenced by biology and architecture, merging two fields that at first glance seem too different to be connected. Her drive to innovate made a new way of working possible, revolutionising the process by focusing on and drawing inspiration (and techniques) from something that has existed since the Dawn of time: nature. The SIP has been a work in progress developed alongside my internships in the past few months. There has been a lot of change and action from my ambition to innovating the design practice to a refined outcome. Taking inspiration from Oxman’s approach to innovate, it started quite broad with an idea of merging craft and technology. Even though it’s far from finished, it now offers a clear direction for my future practice through months of refinement. Another example would be the fashion designer Iris van Herpen. Her atelier produces garments combining traditional craft with advanced technologies to create one-of-a-kind pieces. This proves again that innovation doesn’t have to be futuristic technology. Ancient crafts can elevate and innovate everyday practice and bring balance to the process. Advanced Technologies can improve a practice but they should not replace humans in the process. Human workforce allows a unique human-centric perspective on culture and experience that machines cannot replicate. It is important to note that a safe and fair work environment for human employees should be kept in mind. Van Herpen’s work proves that crafts are not outdated and could provide relevant solutions in the current shift happening in the design world. The discovery of craft as innovation helped to shape my progress on the SIP. Observing the different approaches in disruptive design made me consider the impact of my project and allowed me to really center my work around humans aiming to implement technology only to elevate not to replace. Embracing a new approach helped to shape the project in a non-linear path that eventually gave it its direction. Oxman’s and van Herpen’s approach prove that future design can’t be an isolated craft confined to a studio anymore. Designers need to reach outside and connect with different fields. Disruptive design processes provide a new way of thinking that should be explored further to rethink design and adjust it to future generations and their needs. The process during the past months shaped the direction of my work and provided a structure for my future. Images: https://www.ubm-development.com/magazin/contemporary-vision-award-fuer-3-d-pionierin-neri-oxman/ https://3dprintingindustry.com/news/iris-van-herpens-couture-3d-printing-stars-paris-fashion-week-2018-127822/ Resources: https://research.tue.nl/en/publications/new-craftsmanship-in-industrial-design-towards-a-transformation-e https://link.springer.com/chapter/10.1007/978-981-16-0041-8_73 https://www.taylorfrancis.com/chapters/edit/10.1201/9781003046103-21/brink-dissipation-reactivation-narrative-heritage-material-craftsmanship-design-research-alvelos-barreto-chatterjee-penedos-santiago-penedos-santiago Lucy Johnston. Digital Handmade: Craftsmanship in the New Industrial Revolution. Thames & Hudson, 2017. Xiyan (Annie) Chen BA Graphic and Media Design In the context of contemporary creative industry, the term ‘new agency’ refers to the increasingly autonomous role designers are becoming embodied in. This shift granted more creative freedom to shape and amplify design outcomes as visual participation in social discourses, which also brings extended responsibility and challenge. To discuss this matter in relation to the context of graphic design, I will be looking at the conventional recognition of this discipline in the past and how it has evolved after the birth of ‘new agency’. Graphic design is an integrative practice where problem and opportunities involving the human condition serve as primary communication challenges. It positions design as the interface between problems and solutions, needs and markets, messages and audience. (McCarthy and de Almeida, 2002) It has been notoriously perceived as a service-oriented practice, where designer are mainly neutral mediators between client and audience. However, waves of avant-garde designers have urged new anticipations for the creative possibilities of design to expand beyond its conventions. In Ken Garland’s 1960s manifesto, First Things First, he claimed that the design industry has reached a saturation point in the consumer advertising sector, which contributes trivial significance to cultural prosperity. That is not to put an end to the high demanding market of commercial design, but to encourage the manifestation of creativity towards self-expression and social purpose. Garland suggested that it is time to propose “a reversal of priorities in favour of the more useful and more lasting forms of communication” (Garland, 1964), where we can present our culture and greater awareness of the world through other forms of visual media such as catalogues, photography, films, and television features. With ongoing change in the creative landscape, the canon of design ambitions in Garland’s 1960s manifesto continues to be redefined by waves of contemporary designers in the new millennium. The appeal to self-initiation had been closely related to “the urge for re-evaluating the social responsibility and ethical code of the profession.” (McCarthy and de Almeida, 2002) The revised First Things First manifesto in 2000 (The Evolving Legacy of Ken Garland’s First Things First Manifesto, 2021) asked designers to reconsider the power embedded in the language of design, and how this can be utilised as a weapon against the imperatives of social injustice and climate crisis. As a byproduct of proliferating digitalisation in the contemporary media, designers can now take on wider range of task and responsibilities in the creative process, from strategic development such as ideation and conceptualisation to more practical work like prototyping and production. Contemporary self-initiated projects such as magazines, experimental editorials, and visual essays have been an important form of creative exploration that sought to challenge the normalities of conventional graphic design. This marks the shift from traditional representation of designer as mediator of client needs towards a more independent and liberated position in driving creative initiatives. Design can now lean towards being an innovative and experimental medium for individualistic expressions. It is not only asking for new ways to capture our cultural prosperity, but also demanding for a way to change it for the better. MY SIP PROJECT As a graphic design student, the 'new agency' concept can be employed through self-initiated projects. Having interned at commercial agencies throughout my DPS experience, I have been working on projects that are targeted to satisfy the consumer needs. With the opportunity to lead a creative initiative that is non-partisan of market expectations, I proposed the challenge of producing an independent short film as my self-initiated project. It was a rather ambitious decision where I must take on multiple roles in navigating the film production process. At the same time, the autonomous power over the creative direction of this entire project allowed me to build my personal aesthetic and vision while carrying out visual study and concept formulation. Research shows that almost all studio-financed film passes through a script stage known as development, where harsher edges – the hallmarks of independent films, such as tone shifts, unsympathetic characters, and controversial subject matter – are often smoothed down to appeal to general audiences. (Marcks, 2008) Being an independent film producer in this case liberated me from the concern of market satisfaction. I came to recognise that it is through the process of visual editing, such as styling the costume, working with the mis-en-scene, and selecting the ideal shot based on one’s own agency, that “imparts the work with a level of design authorship.” (McCarthy and de Almeida, 2002) Nonetheless it was still a difficult process iterating on the script, testing out different camera setting, conducting research, editing the video and managing the shooting schedule all by myself. After self-learning the basics of film making, I gradually developed a more nuanced and realistic perspective, shedding the romanticized notions that had initially drawn me to this discipline. This project challenged me to explore a new medium without any preconceived pedagogy or expectations, but also made me understand the importance of mentorship and collaboration in the process of personal growth. CONCLUSION We are in a world where knowledge is increasingly dependent on the relationship between image and text, which places more significance on the power of graphic communication. Having worked both independently and collaboratively on creative initiatives, my DPS experience offered a glance into the spectrum of opportunities and challenges designers must navigate when embracing 'new agency'. I believe that graphic designers should continue to seek new ways of visual communication through various mediums and tools to embody a sense of design authorship over personal creative drives. It is important to reimagine the world through the lens of an independent creative practitioner, so to employ the technique and apparatus of design in a more meaningful manner. However, tension still exists between the necessity of maintaining a non-partisan idealism and the feasibility of this stance in relation to the realities of a market-driven economy. I hope to one day reconcile with this struggle as I progress further in my career. BIBLIOGRAPHY
![]() Aisha Khan GMD 21016804 As a graphic and media design student my practice is focused on typography, print and editorial design. The scope of my professional practice mostly covers topics of politics, community and food, with many projects focusing on a crossover of these topics. My SIP is an ode to the relationships built, strengthened, and made by cooking, sharing recipes and food. It centres community and focuses on showcasing new voices in the world of food. My project is called ‘Recipes from… friends, family and strangers’. It is a series of cookbooks with recipes from different people, encapsulating how sharing recipes changes relationships from strangers to friends and then to family. A cycle of relationships changing through food. The previous cookbook focused on friends and was recently on display at the Scottish storytelling centre as a part of the Word-of-Mouth exhibition. I thought that the project had potential to be explored further so decided to create the second volume. This would allow me to explore the topic of food, politics, culture and heritage further in addition to experimenting with editorial design and print. The project outcomes include 10 recipe cards alongside a publication featuring interviews. My research included finding other cookbooks, independent publications about food and looking for visual references with cultural and family ties. An aspect that was missing from the previous volume was giving a voice to the contributors. To try and solve this I created a publication with interviews from women in my family. The questions included: -How do you think passing down recipes preserves culture? - What is your relationship with cooking? (duty, responsibility, enjoyment) - How do you think recipes and food mimic changing cultural values? - Does your identity as a mother/woman affect your relationship with cooking? - How did immigrating change how you cooked? - How do you store recipes? - How do you share recipes? - How did you learn to cook? The purpose of the questions was to try and encourage conversation and explore the contributor's relationship to cooking which can be overlooked when just talking about their recipes. This project has enabled me to create independently but produce something that is built upon collaboration and centres community. This has helped thoroughly in finding my specialisation and encouraged me to develop my practice outside of individual projects. Additionally, I was able to explore different printing methods more thoroughly as I Riso printed the cards using multiple colours, something I haven’t previously done. Additionally, it gave me a vehicle to try and deconstruct a traditional cookbook and explore editorial design further, opting for cards and a small publication held in a box rather than a traditional cookbook. Throughout the project I was able to receive guidance from two practitioners, Claire Mason from Flush Left and Samantha Wetton from Design, print and bind. Both of their practices are very inspiring to me, and I was able to receive very valuable references and advice from them. I plan on developing my SIP in year four by creating the final volume of the series, recipes from strangers. I hope to try and cultivate a community from this project and continue to explore the print facilities and editorial design. Going forward I hope to improve on navigating multiple projects at the same time through better time management skills as it is something I struggled with during my SIP. Bibliography: BärnthalerT. (2015). Do it yourself : 50 projects by designers and artists. New York, Ny: Phaidon Press. Klanten, R., Matthias Hübner, Losowsky, A., Sinofzik, A. and Gestalten Verlag (2013). Fully booked : ink on paper : design & concepts for new publications. Berlin: Gestalten. Ratinon, C. (2022). Unearthed. Random House. Hubert Man Ho Cheng 20032189 The concept of "agency" in a sociological sense refers to the capacity to act independently and make choices. My SIP provided a platform for exercising this agency in a controlled academic setting, allowing me to integrate personal interest with professional practices. I choose to focus on the creation of graphic design posters for various museums, intersected with the cultural and educational dimensions of graphic design, enabling a deeper engagement with both historical and contemporary contexts. Through designing posters for different museums enabled me to tailor content and different aesthetics to varied themes and historical periods, which in turn refined my ability to communicate complex ideas visually and contextually. In order to analyse my Interests I decided that this project is not merely an artistic act but also aligns with my academic pursuits. Each poster created during the SIP serves as a precursor to the themes and challenges I aim to approach of graphic design and museology within my SIP has set a unique disciplinary trajectory that I plan to further develop in my final year. I explored the works of Miles Greenberg and Neville Brody, as they provide insightful contrasts and complements to my own graphic design approach, particularly in how these artists engage with space and audience. Miles Greenberg, a performer, artist, and sculptor recognised in Forbes 30 under 30 for 2023, excels in captivating audiences and masterfully using museum and gallery spaces. His performances and installations are not only visually striking but also serve as powerful mediums for advocacy, blending art with a strong message. This approach resonates with the emotional depth I aim to embed in my posters. While Greenberg physically occupies and transforms spaces, my graphic designs seek to mentally transport viewers into the thematic areas of the museums. His innovative use of space and narrative through performance art contrasts with my visuals but shares the goal of making profound impacts on the audience. Neville Brody, a successful graphic designer and a speaker at MagCulture Live, brings a different perspective, particularly in his ability to transform imagination into tangible designs that communicate ideas clearly and effectively. As a fellow graphic designer, his use of bold typography and experimental layouts has been influential. Brody's work and his presentation skills are particularly inspiring; his ability to convey design concepts has informed my approach to creating educational and engaging museum posters. His work exemplifies how graphical elements can be used to not just represent, but actively shape, viewer perceptions and experiences. Both Greenberg's and Brody's distinct methods provide valuable insights into the possibilities within graphic design and art, pushing the boundaries of traditional forms and interaction with viewers. Their practices highlight the importance of engaging art, values that are deeply integrated into my own work as I prepare for a professional career post-graduation. The individuality of this project not only showcases my ability to blend historical with contemporary but also positions my practice at the intersection of educational tools and aesthetic experience. This unique positioning is instrumental as I approach graduation, offering me a voice in a competitive field. The skills and insights gained through creating these museum posters; such as research proficiency, conceptual development, and specific graphic design techniques, have not only enhanced my portfolio but also my confidence in my design philosophy. Through my SIP, I have gained new agency by actively choosing project themes that resonate with both my personal interests and professional aspirations. This project has provided a framework for my future career in graphic design, particularly in how I approach visual storytelling and audience engagement. As I move towards completing my education and entering the professional world, the experiences and skills gained from this project ensure that I do so with a distinctive, well-articulated practice that is rooted in both history and innovation. Reference list
Hailun Xu
BA Graphic and Media Design 21000677 Throughout my journey as a Graphic and Media Design student, my professional experiences have been enriched by a commitment to challenging conventions and embracing disruption as a catalyst for growth. As I reflect on the knowledge I have accrued and the impact I have made within my discipline, I am reminded of the transformative power of self-initiated project and the pursuit of unconventional avenues of learning. One significant area where I have pushed the boundaries of traditional graphic design is in my exploration of creative coding. Recognizing the burgeoning intersection between design and technology, I seized the opportunity to delve into this dynamic field through self-directed study and experimentation. Inspired by the ethos of exploration and innovation, I embarked on a journey of discovery, immersing myself in YouTube tutorials, seminal texts such as "Generative Design: Visualize, Program, and Create with JavaScript in p5.js." and other practitioners like Tim Rodenbröker, Studio Yukiko, Nahuel Gerth. These resources served as invaluable guides, opening new horizons and expanding my understanding of the symbiotic relationship between code and creativity. I developed a curious and experimental perspective in addition to gaining technical skill via my SIP in creative coding. I was able to overcome the constraints of conventional design tools and take use of the endless potential of algorithmic production and interactive experiences by accepting coding as a medium of expression. The chance to question the established quo and upend popular ideas about visual design has been one of the most fulfilling parts of my creative coding experience. Through the use of novel techniques and cutting-edge technology, I have expanded the purview of my field and established fresh avenues for artistic expression. Moreover, my SIP provided a platform for me to embark on my first brand identity project, further expanding my skill set and deepening my understanding of strategic design principles. Drawing upon insights gleaned from my coursework and industry best practices, I embarked on a journey to create a cohesive brand identity that resonated with both clients and consumers alike. From crafting logos and typography to developing comprehensive brand guidelines, I navigated the complexities of brand strategy with confidence and creativity. I created an identity of an imaginary athleisure company "GEECO" for my SIP. Using open-source materials and my coding skills, I created an application that can dynamically change an image's pixel value according to its grayscale characteristics so that it matches the design of the brand's wordmark. Using this creative method, I was able to produce altered photos that served as the foundation for the main graphics of the brand identity. In addition, I created a wide range of motion graphics especially for GEECO using the motion design techniques I developed during my internship at Red Bee. I had a lot of productive conversations with Here Design's creative technologist and copywriter during this process. In addition to providing me with priceless advice for my SIP, these exchanges gave me insight into the complexities of the behind-the-scenes workings of creative endeavours, expanding my knowledge of previously uncharted territory in my practice. To sum up, my experience as a GMD student has been highlighted by a commitment to questioning norms and welcoming innovation. I've broadened my technical knowledge and outlook on design by dabbling in creative coding. I was able to liberate myself from conventional tools through my self-initiated endeavour, which created new opportunities for artistic expression. It also offered insightful explanations of the difficulties involved in creative projects and the fundamentals of strategic design. These encounters demonstrate the transforming potential of accepting non-traditional learning routes in the quest for creativity and professional development in the graphic design sector. Erika Gomez
As a Illustration and Visual Media student I have been able to explore and experiment with various topics and mediums. I have found my degree to be very broad at times which has led me to have a wide range of work. Animation has always been something I have been interested in learning and practising further than what my course teaches. I thought that using the SIP project and extra time I have within this DPS year would be the perfect opportunity to develop my animation skills. I knew from the start creating an animation would come with its challenges as it is a very time consuming and meticulous process. However, I knew from this process I would be able to learn new skills which I can then take further into future projects/jobs. I knew from the start of this DPS year I wanted to create an animation, this gave me focus and time to research what I wanted to create an animation on. I began to think on topics and interests of mine which I could expand. This made me think of football as it’s something I have been following since young and a sport I watch weekly. I wanted my animation to be motivational and inspirational for others showcasing the skills, support and joy the sport brings to many. Football is very male dominated from the squads, fans and club staff and in recent years the Lionesses have taken over football and brought a new audience for women's football. As I began to research women's football I noticed there was a huge lack in campaigns, artwork and videos in comparison to men's football and all visual examples of animations that I wanted to use for reference/ inspiration were for the men's tournaments. Not only is there a lack of visual examples, but there are also a lot of historical gaps with very little information of female football legends like Lily Parr who paved the way for many women and LGBTQ+ players. However, like Parr and many others' names are not mentioned nor celebrated enough. Learning about Parr showed me how little knowledge I actually have on the sport, which made me realise that this was the case for many others both within and out of the football scene. This impacted the direction of my project as it made me want to make an animation that inspires young women to get into the sport showing the strength, skills and abilities that women have just like mens football does. During the research stage I soon realised women's football was too large of a topic to cover in a short animation. I began to think of ways I could focus on a more specific target audience that I would be able to distribute my animation to. Crystal Palace is the local team of Croydon where I live. They are notoriously known for their passionate, dedicated and loyal support from their fans and the atmosphere is unlike any other club. Since I know a lot about Palace due to it being the local team, I thought it would work the best as I will be affecting my local community directly. This also worked out really well due Croydon having a huge art scene, which would allow me to distribute my animation directly to my target audience. I aim to distribute it using augmented reality using applications like Artivive to bring my animation to life using a poster. However, this will be something I need to work towards still during the summer. Currently I am still creating the animation which is taking a lot of time to create. However, from researching past animations made for football tournaments I was able to take elements from theirs to help create and design a story that would be impactful. This has really helped as I took certain elements which have allowed me to speed the process while maintaining the quality and impact of the story. This has made me work efficiently which has been key when working towards a deadline. I have done this by using different styles of drawing and focusing on sound and text to further enhance the story/animation. This project has pushed me to make independent decisions and push my ideas by creating project proposals and sending them to football clubs to try and create relationships that will get my work out there. New agency has given me this opportunity to explore this project, which has made me more passionate about women's football and is a subject I would like to continue to explore further in the future. New agency has given me this opportunity. Bibliography: -National Football Museum (2002) Lily Parr Available at: https://nationalfootballmuseum.com/halloffame/lily-parr/ (Accessed: 4th April 2024) -TNT Sports (2021) BT Sport Shorts: Jurgen Klopp Available at: https://youtu.be/TfTcPSM3veM?si=vv1DEGpNLksKXdfz (Accessed: 12th April 2024) -Artivive (2019) Artivive- The Augmented Reality Art Tool Available at: https://youtu.be/3yc3tjyAdv0?si=ZTuaFcq2HcVT4zB5 (Accessed: 10th April 2024) |
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