1.
Blaize Community Arts ran a stop frame animation worshop last summer at Byron Primary School Bradford.
The pupils were at a transition phase, moving from primary to secondary school.
They were given the idea that they were going to make an animation about their hopes and fears about moving to secondary school, and Blaize facillitated the process of them choosing the theme which turned out to be bullying.
Blaize made DVD's as the final products.
2a.
Explore everything that Blaize has said about this project, conduct some research by calling appropriate people and having conversations with them. Teachers, School-based counsellors, Artists, (Liz Lempan who makes puppets and worked on the project before would be a good start.) Maybe ask a group of 10 / 11 year olds what they would think of the proposed project and how we could make it better.
2b.
Blaize want to promote this project using digital media to explore and develop an interest.
Research on how this can be done by talking to people who do it already - Jack Drum Arts are good with digital media.
2c.
Blaize now want to run the project on a regular basis which schools as a starting point.
The possibility of taking family life as a theme, possibly forming a link with family therapy.
Then working with in house consellors if they are available.
Working with Evan Sanders who worked on the project last time.
Blaize will explore funding possibilities and a pricing structure for the project.
Equipment available:
5x HD Cameras + Tripods
5x iMac computers + software (Adobe Premiere, iStopmotion, Adobe Creative Suite)
Thursday, 24 November 2011
Tuesday, 22 November 2011
Design Council - How to write a brief
Make sure you agree a brief at the start of the project
A brief is a set of instructions that set out what you want
your designers to do, along with the objectives and parameters of the
design project.
Write it down and make a copy for you, your designers and anyone else involved
It should make clear what falls within – and outside – the scope of the work. This will help everybody refer back to where they started and make sure that the design work is developing according to your objectives. It will also help you determine how successful the project has been when you reach the end.
A well-considered brief can act as a general grounding document if the project appears to be heading in the wrong direction, so it’s well worth putting something in writing.
Change the brief as the project progresses if necessary, but do so by agreement and make a new document
It can be adapted as you go along, as long as it’s done in collaboration with everyone involved and the new version is also written down.
"We had a brief written down after a number of conversations and emails with (design consultancy) Thompson, so it was a collaborative process to create it. We had to pin down the core of what it was we wanted and Thompson understood the problem and essence of what we needed within a few minutes of coming to meet us." Kate Jones, Co-founder, Gillies Jones Glass
Ideally, the brief will contain all the information about your
business, its objectives and the rationale behind the design project
that you talked about when first meeting your designer.
The brief should also contain your investment expectations and timeframes.
Here’s a checklist of some of the things you might want to include in your brief:
The brief should also contain your investment expectations and timeframes.
Here’s a checklist of some of the things you might want to include in your brief:
- Business background
customers; strengths and weaknesses; strategic objectives; competitors and existing marketing - Project objectives
what you want to achieve and how the design will be used - Constraints on the design
to fit with any existing designs or parts; specific technical or legal requirements; manufacturing processes needed; what is inside and outside the project’s scope and any environmental issues - Creative direction
style; materials; tone; mood; communication and usability - Project management
budgets; schedule and deadlines; details of the team or person liaising with the designers and managing the project and how success will be measured at the end - Intellectual property (IP)
establishing who owns IP rights to the designs being produced – for more information, read our article on Intellectual Property by Iain Stansfield.
Once details like mood, tone, style e.t.c. are being discussed and written down you may start to refer to the document as a design specification. This is if the brief is for a piece of visual design.
It is extremely helpful if senior management can see the amount of work that goes into a well-run design project so they understand the value of their business’ investment and where it is being spent.
It’s also helpful to involve other people who will be directly affected by the new designs, maybe gathering feedback along the way. This includes employees, but may also extend to external partners, such as distributors or manufacturers. As with any changes affecting a business, it’s important to get a sense of involvement and ‘buy-in’ from the people involved, especially for branding projects.
Communicate effectively with your designer.
Designers will need
to work with you creatively to achieve the best results.
This is a collaborative process aiming to achieve what you have set out in your original design brief.
This is a collaborative process aiming to achieve what you have set out in your original design brief.
It is an iterative process – Ideas will be developed, tested, refined, then passed around for feedback and discussion a number of times. Ideas may also be dropped as part of this process.
Stages:
- Concepts – initial options and ideas
- Design development – refining a chosen concept
- Evaluation – testing and reviewing the design
- Implementation – production to launch
"It was quite a scary process and I found it hard to let go of control; it was well outside my comfort zone, but this is a really good thing and it was good process to go through. You need to give up some control to get some objectivity and see how others perceive you and your business. It’s a very valuable thing to do. We went through lots of iterations of the identity, so we could pick out elements we liked and didn’t like. The whole process took about a year. Kate Jones, Co-founder, Gillies Jones Glass"
Communication with Designers
Designers may use a set of terms that you would never normally come across. Such technical terms and shorthand phrases have been adopted to help them work more effectively, but you shouldn’t be expected to understand immediately.
The more literate you are, the better the work you’ll get out of it. Even if you’re only pointing at a painting or something in a book. The more you know about design the more confident you can be in speaking to your designer and pushing them. Simon Meek, Director, Okayso
Friday, 18 November 2011
Inkwell - Craft Cafe
Inkwell is part public sector funded and part funded by the Mind charity.
- They provide art classes for people who suffer from mental illness, these classes are over subscribed.
- They have just bought some new sound equipment and a new iMac with video resources and such which are currently under used.
- They complained that their website wasn't too great.
- No one has photoshop or illustrator skills to teach people.
- They have a large outdoor space fit for gardening with a tarmacced bit too. Plenty of scope for activities.
- They have a great clay and ceramics room with a kiln
INKWELL - PHOTOSHOP AND ILLUSTRATOR BRIEF
Context
Inkwell are an ethical art and education resource for sufferers of mental illness.
They have a new computer with the Adobe Creative Suite.
It has been requested by the service users who have been registered as having learning disabilities and / or mental health problems to learn Photoshop and Illustrator.
Inkwell is partly funded by the charity Mind, but also charge a small fee for some of their sessions as their outgoings include renting the building itself.
Brief
As a student in the visual arts, you are being asked to teach or facilitate the teaching of those of Inkwells services users who want to use Illustrator and Photoshop to use Illustrator and Photoshop.
Rationale
1. You will first need to identify which service users want to learn the programs. This could be done through email, a sign-sheet, posters e.t.c. Then you will need to deliver the sessions yourself or employ the help of someone who can teach the programs. There many of us across the college who could do this.
2. Deliver the sessions. You will need to consider the fact that you or your team will be teaching to people who have learning dissabilities and mental health problems so you will need to be CRB checked or have a member of staff who is CRB checked with you at all times. If a service user does have a learning dissability you will have to research on teaching methods for someone who's condition limits their learning abilities. The teaching could be delivered through taught sessions, drop-in sessions or simply by an experienced user of the above programs being present at their craft cafe's and drop-in days.
3. Measure the success of the sessions through feed-back forms or documented verbal feedback from users and staff. To prove the value of this project will need to present the outcome in a visual format, possibly including some of the work that is produced so this can be presented to the funders and organisers of Inkwell.
INKWELL - WEBSITE BRIEF
Context
Inkwell are an ethical art and education resource for people who suffer with mental illness and / or learning dissabilities. They have expressed the idea that their website is not at the standard they want it to be.
You as a volunteering web-designer, have the task of facillitating the process of bringing the website up to scratch.
Brief
Update or redesign, or facilitate the process of updating or redesigning the website.
"http://www.leedsmind.org.uk/view.aspx?id=91"
Rationale
1. Research and document exactly what it is the workers of Inkwell think is wrong with the website. Do they want a new one which is not a branch-off from Leeds Mind? Do they just want the page updating? If it is just the page that needs updating you will need to contact the administrators of the Leeds Mind website.
2. Rebuild the website using a process of trial and error. Experiment with your own skills in communication and get the website as close to what Inkwell want by asking their opinion whenever you make a significant change. You need to be aware that the website should be able to be viewed on low-end computers, as many of the websites users will be on a limited income.
3. Evaluate the website by getting feedback from the Inkwell staff and the users of the website and set out to prove that the new design is indeed effective in communicating what they need to communicate so that Inkwell can show that this was a valuable use of resources.
INKWELL - GARDEN BRIEF
Context
Inkwell are an ethical arts and education resource for people with learning disabilities or who suffer with mental illness. Inkwell does not currently have the money to pay its staff.
They have a large garden space that is used for sculpture, events, a small gardening project and general relaxation. It is currently in a state of disrepair. Inkwell have expressed an interest in making the garden nice for next summer and putting projects in place that will engage its service users in the upkeep of the garden.
I have just emailed requesting information on their funding.
Brief
Facilitate the redesign of their garden for next summer. This must include the above uses for the garden. It needs to be an improved relaxation space. It must keep the gardening / vegetable growing project. Also, through the ceramics workshop many of their service users have shown a keen interest in sculpture so developing a class / project for outdoor sculpture could be a positive thing to work into the project. As a student on Visual Communication you are expected to work ethically.
Rationale
You will be the coordinator for the project. You will need to find people who have a passion for Sculture and Gardening. Inkwell has many volunteers and is supported by Leeds Mind so by talking to them finding the volunteers shouldn't be too hard.
Research and document what it is the staff and service users of Inkwell would like to see in a positive redesign of the garden. Facilitate the design of a brief that allows those stake holders in that garden to recreate the garden as a creative and therapeutic project.
- They provide art classes for people who suffer from mental illness, these classes are over subscribed.
- They have just bought some new sound equipment and a new iMac with video resources and such which are currently under used.
- They complained that their website wasn't too great.
- No one has photoshop or illustrator skills to teach people.
- They have a large outdoor space fit for gardening with a tarmacced bit too. Plenty of scope for activities.
- They have a great clay and ceramics room with a kiln
INKWELL - PHOTOSHOP AND ILLUSTRATOR BRIEF
Context
Inkwell are an ethical art and education resource for sufferers of mental illness.
They have a new computer with the Adobe Creative Suite.
It has been requested by the service users who have been registered as having learning disabilities and / or mental health problems to learn Photoshop and Illustrator.
Inkwell is partly funded by the charity Mind, but also charge a small fee for some of their sessions as their outgoings include renting the building itself.
Brief
As a student in the visual arts, you are being asked to teach or facilitate the teaching of those of Inkwells services users who want to use Illustrator and Photoshop to use Illustrator and Photoshop.
Rationale
1. You will first need to identify which service users want to learn the programs. This could be done through email, a sign-sheet, posters e.t.c. Then you will need to deliver the sessions yourself or employ the help of someone who can teach the programs. There many of us across the college who could do this.
2. Deliver the sessions. You will need to consider the fact that you or your team will be teaching to people who have learning dissabilities and mental health problems so you will need to be CRB checked or have a member of staff who is CRB checked with you at all times. If a service user does have a learning dissability you will have to research on teaching methods for someone who's condition limits their learning abilities. The teaching could be delivered through taught sessions, drop-in sessions or simply by an experienced user of the above programs being present at their craft cafe's and drop-in days.
3. Measure the success of the sessions through feed-back forms or documented verbal feedback from users and staff. To prove the value of this project will need to present the outcome in a visual format, possibly including some of the work that is produced so this can be presented to the funders and organisers of Inkwell.
INKWELL - WEBSITE BRIEF
Context
Inkwell are an ethical art and education resource for people who suffer with mental illness and / or learning dissabilities. They have expressed the idea that their website is not at the standard they want it to be.
You as a volunteering web-designer, have the task of facillitating the process of bringing the website up to scratch.
Brief
Update or redesign, or facilitate the process of updating or redesigning the website.
"http://www.leedsmind.org.uk/view.aspx?id=91"
Rationale
1. Research and document exactly what it is the workers of Inkwell think is wrong with the website. Do they want a new one which is not a branch-off from Leeds Mind? Do they just want the page updating? If it is just the page that needs updating you will need to contact the administrators of the Leeds Mind website.
2. Rebuild the website using a process of trial and error. Experiment with your own skills in communication and get the website as close to what Inkwell want by asking their opinion whenever you make a significant change. You need to be aware that the website should be able to be viewed on low-end computers, as many of the websites users will be on a limited income.
3. Evaluate the website by getting feedback from the Inkwell staff and the users of the website and set out to prove that the new design is indeed effective in communicating what they need to communicate so that Inkwell can show that this was a valuable use of resources.
INKWELL - GARDEN BRIEF
Context
Inkwell are an ethical arts and education resource for people with learning disabilities or who suffer with mental illness. Inkwell does not currently have the money to pay its staff.
They have a large garden space that is used for sculpture, events, a small gardening project and general relaxation. It is currently in a state of disrepair. Inkwell have expressed an interest in making the garden nice for next summer and putting projects in place that will engage its service users in the upkeep of the garden.
I have just emailed requesting information on their funding.
Brief
Facilitate the redesign of their garden for next summer. This must include the above uses for the garden. It needs to be an improved relaxation space. It must keep the gardening / vegetable growing project. Also, through the ceramics workshop many of their service users have shown a keen interest in sculpture so developing a class / project for outdoor sculpture could be a positive thing to work into the project. As a student on Visual Communication you are expected to work ethically.
Rationale
You will be the coordinator for the project. You will need to find people who have a passion for Sculture and Gardening. Inkwell has many volunteers and is supported by Leeds Mind so by talking to them finding the volunteers shouldn't be too hard.
Research and document what it is the staff and service users of Inkwell would like to see in a positive redesign of the garden. Facilitate the design of a brief that allows those stake holders in that garden to recreate the garden as a creative and therapeutic project.
Tuesday, 15 November 2011
Just Say No... Quietly - Monika Parrinder, First Things Next - Rick Poyner. First Things First, Now More Than Ever - Matt Soar. (notes)
"Just Say No... Quietly"
Michael Foucaults investigations of the ways in which power operates in society tell us that power does not flow in one direction and simply oppress its subjects in a negative way. Power, which can be positive or negative, is everywhere, and if power is everywhere it can be addressed and disrupted everywhere.
The fact that we are involved in the power structures we oppose does not negate opposition - it refocuses it. In each ecenario the individual needs to understand how power acts and through which methods. Draw upon your knowledge and intervene on your own terms, on your own ground.
The essay argues that socially responsible work can take place in the corporate field, it opposes FTF manifesto's idea that the two are seperate.
By operating from within you are able to say no. Or to affect the designs you produces to some extent. "Sometimes silence is shhhh..."
I'm not sure I agree whole-heartedley with this essay. Becuase no matter what you do, if you work for a advertising agency you are still promoting the products they assign to you. You can refuse, but that can have immediate detrimental effects on your career. It might be better to build different foundations to support yourself. Although "just say no" might provide a method for conciencious designers who feel like they need the stability of working for a design company.
First Things Next - Rick Poyner
Hand in hand with the 'neutral designer' argument comes the claim that visual communicators need not worry about the value of the messages they convey becuase consumers are more than capable of deciding for themselves. To think anything else is to reveal yourself to be a 'sneering and puritanical' elitist, with a lamentably low opinion of the public's intelligence, according to Design Agenda. The gross generalisation in this piece of sophistry masks a more complicated reality. First, designers are consumers, too. If, as a consumer, you disagree with something, why shouldn't you apply this awareness to your choices and practice as a designer? Second, people vary enourmously. Some are extremely sceptical and hard to persuade, some are pushovers and most of us fall somewhere in between. Advertisers and marketers know this and devise their strategies accordingly. It is often repeated that western consumers are exposed to something like 3,000 advertising messages a day - we can safely conclude that the number is huge. It belittles nobody's intelligence to say that, deluged with commercial messages day after day, most of us are simply not in a position to decode each one rationally on its merits and undertake the time - consuming research required to discover the truth about a particular company, product, or claim.
First Things First, Now More Than Ever - Matt Soar
Matt Soar inititally makes the connection between the FTF manifesto and other anti-capitalist manifesto's.
He then goes onto dividing designers into economic classes.
The "usual suspects" that Matt Soar talks about in FTF,NMTE are the 33 who signed the FTF manifesto.
Matt makes the observation that all of these are well established, well paid designers, falling into the upper echelons of economic class.
Then the middle classes who make up most of AIGA's members (professional association for design) and then the proletariat. So, the important of this manifesto should be directly related to the resonance it has within the proletariat class of designers.
Adbusters - Hijacking the language of advertising itsself. "Culture Jamming" "taking the piss out of consumer capitalism"
or..
Mark Crispin Miller (New York Uni) "The system is the ultimate ironist. - in the great contest of ironies, the idealist will always lose out to the nihilist."
"Milton Glazer maintains that it is exceedingly difficult to spend a lifetime in the business "without having sinned" : "the question is how to balance the reality of professional life with ones desire not to cause harm." Firest Things First, at its core, simply asks that we check in with out ethical and moral selves before making new decision - rather than going ahead anyway, in the hope that our cosciences wont connect up the dots. (it may also alleviate the resigned thought that goes something like: "I might as well work with this client becuase I dont someone else will." at the wlimit, whether through culture jamming or some other falvour of social activism, the manifesto could offer some of us that final prod we needed to begin thinking outisde the biggest box of them all."
Michael Foucaults investigations of the ways in which power operates in society tell us that power does not flow in one direction and simply oppress its subjects in a negative way. Power, which can be positive or negative, is everywhere, and if power is everywhere it can be addressed and disrupted everywhere.
The fact that we are involved in the power structures we oppose does not negate opposition - it refocuses it. In each ecenario the individual needs to understand how power acts and through which methods. Draw upon your knowledge and intervene on your own terms, on your own ground.
The essay argues that socially responsible work can take place in the corporate field, it opposes FTF manifesto's idea that the two are seperate.
By operating from within you are able to say no. Or to affect the designs you produces to some extent. "Sometimes silence is shhhh..."
I'm not sure I agree whole-heartedley with this essay. Becuase no matter what you do, if you work for a advertising agency you are still promoting the products they assign to you. You can refuse, but that can have immediate detrimental effects on your career. It might be better to build different foundations to support yourself. Although "just say no" might provide a method for conciencious designers who feel like they need the stability of working for a design company.
First Things Next - Rick Poyner
Hand in hand with the 'neutral designer' argument comes the claim that visual communicators need not worry about the value of the messages they convey becuase consumers are more than capable of deciding for themselves. To think anything else is to reveal yourself to be a 'sneering and puritanical' elitist, with a lamentably low opinion of the public's intelligence, according to Design Agenda. The gross generalisation in this piece of sophistry masks a more complicated reality. First, designers are consumers, too. If, as a consumer, you disagree with something, why shouldn't you apply this awareness to your choices and practice as a designer? Second, people vary enourmously. Some are extremely sceptical and hard to persuade, some are pushovers and most of us fall somewhere in between. Advertisers and marketers know this and devise their strategies accordingly. It is often repeated that western consumers are exposed to something like 3,000 advertising messages a day - we can safely conclude that the number is huge. It belittles nobody's intelligence to say that, deluged with commercial messages day after day, most of us are simply not in a position to decode each one rationally on its merits and undertake the time - consuming research required to discover the truth about a particular company, product, or claim.
First Things First, Now More Than Ever - Matt Soar
Matt Soar inititally makes the connection between the FTF manifesto and other anti-capitalist manifesto's.
He then goes onto dividing designers into economic classes.
The "usual suspects" that Matt Soar talks about in FTF,NMTE are the 33 who signed the FTF manifesto.
Matt makes the observation that all of these are well established, well paid designers, falling into the upper echelons of economic class.
Then the middle classes who make up most of AIGA's members (professional association for design) and then the proletariat. So, the important of this manifesto should be directly related to the resonance it has within the proletariat class of designers.
Adbusters - Hijacking the language of advertising itsself. "Culture Jamming" "taking the piss out of consumer capitalism"
or..
Mark Crispin Miller (New York Uni) "The system is the ultimate ironist. - in the great contest of ironies, the idealist will always lose out to the nihilist."
"Milton Glazer maintains that it is exceedingly difficult to spend a lifetime in the business "without having sinned" : "the question is how to balance the reality of professional life with ones desire not to cause harm." Firest Things First, at its core, simply asks that we check in with out ethical and moral selves before making new decision - rather than going ahead anyway, in the hope that our cosciences wont connect up the dots. (it may also alleviate the resigned thought that goes something like: "I might as well work with this client becuase I dont someone else will." at the wlimit, whether through culture jamming or some other falvour of social activism, the manifesto could offer some of us that final prod we needed to begin thinking outisde the biggest box of them all."
Can Designers save the World? - Nico MacDonald
The self conciousness of designers mirrors the increasing depoliticization of society, although it is driven by many of the same forces: primarily the end of ideology and rise of individual politics.
"Ethical design in some sense is a response to a sense of political powerlessness: designers are urged to get off the fence and act." - Alex Cameron - Becoming Designers
Design Awareness: politics, economics, sociology, technology, (pest analysis)
Ethical Design = over-estimates the power of design and advertising to influence people (?) most of whom can deconstruct an ad.
I dont think this is true. In "First Things Next" Rick Poyner says that in America people are subject to 3000 ads a day. We do not have enough time to think about, let alone deconstruct all them. Thats without taking into account having had some sort of education about adverts.
In concetrating on its message rather than th ebest way to get it across, it doesnt treat the craft of design seriously enough.
effective political discussion is a battle of ideas, not tactics; it is underpinned by theory and rhetoric, which is informed by and contextualizes, facts.
as designers we can make a great difference to the world by building on what we know how to do already.
Key Skills in the design process:
- being able to conceptualise and weigh up a multi dimensional problem, consider scenarios of use (context), think laterally and creatively, evaluate ideas and communicate effectively.
1. As society needs become more sophisticated and as a larger population has access to more of societies resources, designerly thinking will become even more important as a skill for anticipating and working through problems and oppertunities.
2. nothing in the external world is a given and the problems we experience (sometimes unknowingly) and oppertunities we see are often design challenges. this is a key concept missing from social life and one that designers effectively propagate in their work.
3. designers need to understand better the world around us. design orientates itself around the experience of the user. it is uniquely positioned to mediate between all the parties in product development and bringing a wider understanding of the world. designers can help other designers understand the interests of each group in this process more acutely.
Superhumanism = going over board on the moral / ethical design and engaging with theoretical battles in ideals and rhetorics. Humanistic approach should be more about engaging with the theory and then doing. rather than going round in circles arguing. <-- my basic understanding based on my undertanding on "humanism" and the "superhumanism" sculptures
could it be to do with oversimplifying things though?
"Ethical design in some sense is a response to a sense of political powerlessness: designers are urged to get off the fence and act." - Alex Cameron - Becoming Designers
Design Awareness: politics, economics, sociology, technology, (pest analysis)
Ethical Design = over-estimates the power of design and advertising to influence people (?) most of whom can deconstruct an ad.
I dont think this is true. In "First Things Next" Rick Poyner says that in America people are subject to 3000 ads a day. We do not have enough time to think about, let alone deconstruct all them. Thats without taking into account having had some sort of education about adverts.
In concetrating on its message rather than th ebest way to get it across, it doesnt treat the craft of design seriously enough.
effective political discussion is a battle of ideas, not tactics; it is underpinned by theory and rhetoric, which is informed by and contextualizes, facts.
as designers we can make a great difference to the world by building on what we know how to do already.
Key Skills in the design process:
- being able to conceptualise and weigh up a multi dimensional problem, consider scenarios of use (context), think laterally and creatively, evaluate ideas and communicate effectively.
1. As society needs become more sophisticated and as a larger population has access to more of societies resources, designerly thinking will become even more important as a skill for anticipating and working through problems and oppertunities.
2. nothing in the external world is a given and the problems we experience (sometimes unknowingly) and oppertunities we see are often design challenges. this is a key concept missing from social life and one that designers effectively propagate in their work.
3. designers need to understand better the world around us. design orientates itself around the experience of the user. it is uniquely positioned to mediate between all the parties in product development and bringing a wider understanding of the world. designers can help other designers understand the interests of each group in this process more acutely.
Superhumanism = going over board on the moral / ethical design and engaging with theoretical battles in ideals and rhetorics. Humanistic approach should be more about engaging with the theory and then doing. rather than going round in circles arguing. <-- my basic understanding based on my undertanding on "humanism" and the "superhumanism" sculptures
could it be to do with oversimplifying things though?
Critical Discourse and Authorship
Inputter > Processor > Outputter
"The intentional fallacy" (1946) a scientist never owns a theory
Artists as fascillitators
- people directly affected write the brief, fascillitate the process
- like our tutored sessions
1. Brief
2. Outline of research
3. Evaluation
- Identify and deal with assumptions
- Is there a problem "problem?"
- Is naming a problem a problem in itself?
- What do other industries call problems? ???
Imputter = creates content and ideas
Processor = edits / develops
Outputter = visualises / makes
Does the brief need to be open or closed?
"The intentional fallacy" (1946) a scientist never owns a theory
Artists as fascillitators
- people directly affected write the brief, fascillitate the process
- like our tutored sessions
1. Brief
2. Outline of research
3. Evaluation
- Identify and deal with assumptions
- Is there a problem "problem?"
- Is naming a problem a problem in itself?
- What do other industries call problems? ???
Imputter = creates content and ideas
Processor = edits / develops
Outputter = visualises / makes
Does the brief need to be open or closed?
Brief
"Design must be a way in which young people can participate in changing society. As socially and morally involved designers, we must address ourselves to the needs of a world with its back to the wall" - Victor Papanek. Design for the Real World 1971
Introducing necessary communication skills to effectively interact with others within the boundaries of professional and community collaboration, negotiation and dialgue and will help you appreciate the role of the viewer in creating meaning in your work.
- Identify potential communication issues and develop an understanding of the processes involved in design thinking and communication.
- Talk about working with people on a professional level, how to approach reseaerching and contextualisation, and begin to engage into wider critical debates around visual communication.
I am working at Inkwell with Leeds Mind. The focus in communication within Mental Health.
For Interim Presentation: Present your critical and contextual thinking about the process of interacting with your group and your approaches to researching the writing of your brief.
Brief: Sum up issues identified and provide a contextualisation.
Produce an outline of your research, describe methods, reading or discussion points. (critical discourse)
How did you go about it?
Reflect on your experience of working with your group and thoughts on how you view your own practice as a result
Introducing necessary communication skills to effectively interact with others within the boundaries of professional and community collaboration, negotiation and dialgue and will help you appreciate the role of the viewer in creating meaning in your work.
- Identify potential communication issues and develop an understanding of the processes involved in design thinking and communication.
- Talk about working with people on a professional level, how to approach reseaerching and contextualisation, and begin to engage into wider critical debates around visual communication.
I am working at Inkwell with Leeds Mind. The focus in communication within Mental Health.
For Interim Presentation: Present your critical and contextual thinking about the process of interacting with your group and your approaches to researching the writing of your brief.
Brief: Sum up issues identified and provide a contextualisation.
Produce an outline of your research, describe methods, reading or discussion points. (critical discourse)
How did you go about it?
Reflect on your experience of working with your group and thoughts on how you view your own practice as a result
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