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GRAPHIC GRAPHIC
GRAPHIC
THEORY
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Exemplified is the final front and back panel creations exploiting the overall form with the bleed lines. Overall dimensions are 45" x 7" The accordion booklet design will be exemplified on chipboard intertwined with wood veneer and an added POP of Eames textural paper to provide a pure exploration of materials that create a dynamic layered effect.
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VALUE of GRAPHIC DESIGN
Graphic designers have written about the ideas behind their work since the inception of the profession. Consider F. Marinetti, László Moholy-Nagy, Herbert Bayer, Josef Müller Brockman, Karl Gerstner, Katherine McCoy, Jan van Toorn and, more recently, Jessica Helfand, Dmitri Siegel and Kenya Hara.
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VALUE of GRAPHIC DESIGN
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This body of work is small compared to architecture fine arts, but it is passionate + smart.
VALUE of GRAPHIC DESIGN
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GRAPHIC DESIGN:
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fall ry.” heo g. de f “t n hic so aki rap orie of m gies ut g teg ss l abo dolo tiona nt ca proce exts a ere etho the diff lm tern r ry ta In ze e ly en of pora h.” und lla ana perim tem bre n me arc ex o m S tu d co rese ind haus nder , an gn eh le si u b Bau e ty ll S as gns d “d t fa ide phic desi ider tha bele the w ad” ogra s la ine “re to a Typ ration o xam thors ed lo m in se u the exp som to text ork. A nd put s me .A lw nd rse a So a xt s cou nte visu ion text l co l dis the ruct a gn ra st si tic n ltu de eco ny l/cu eore or nd a rica ide th g M to his desi dies. uts hic ly o lur stu rap app er e, b of g end cours field tics g of io s. xts, tion sem al te in oriza sem categ ch su n sig
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Design Increasingly Lives in the Actions of its Users
Think Flickr, Facebook, Etsy, Lulu, Threadless, and the multitude of blogs. Users approach software and the web with the expectation of filling in their own content
SOCIAL NETWORK
and shaping their own visual identities often
has put a spin on our aesthetics user experience
with guidance from prepackaged forms. Dmitri
+
Siegel calls this phenomenon “the templated mind.” Designers are grappling with their own
FOUR: FOUR: +
place in this DIY phenomenon. Creativity is no longer the sole territory of a separate “creative
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class.” Designers can lead this new participatory culture by developing frameworks that enable others to create; doing so, however, means
user experience
allowing our once-specialized skills to become more wide spread and accessible. That transfer
+ user experience
of knowledge is threatening to some,
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liberating to others.
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COLLABORATION
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We Should Encourage Collaboration + Communal Experience
SIX
We Should Encourage Collabora-
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online experiencing personal isolation
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FIVE 5FIVE
TECHNOLOGY
FIVE FIVE
W
hat’s the good of multi-touch technology we
don’t want to sit down together? Collaboration and community fuel world- changing design solutions. Despite our connections online, many people are experiencing a growing sense of personal isolation. How can we, as designers, combat the isolation with projects that foster community? Media activist Kalle Lasn has warned designers: “We have lost our plot. Our story line. We have lost our soul.” Producing work that fosters real connections may be one way of getting that soul back.
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all We te i wr re mo ay tod n we tha 15 go did ars a WRITING MORE NOW ye communicate via text instead of speech- blogs
can alter history
Jamie Turpin . Wood + Chipboard Design . Portfolio Design
GOOD DESIGN
front side:
The Central Metaphor of our Current Society is the Network
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Even if we don’t all understand the computer codes that run the back end of our digital age, we can comprehend networked structure of our day & design to meet it. Avant-garde artists at the very beginning of the last century, including Si Marinetti, László Moholy-Nagy and Alek Rodchenko, were adept at activating their own networks: newspapers, magazines, lectures and written correspondence. So recently, I heard lectures given by Emily of Project H and Cameron Sinclair of the Architecture for Humanity, two young designers who are creating opportunities, locally and around the world, for designers
to improve basic human living conditions. The connectivity of the web is critical to their success change and prosperity are already in place. Efficient networks for spreading Designers in the early 20th century rose to the challenges of their societies. We too can take on the complexities of our time, the rising millennium. Delving into our theoretical base equips us to address critical material problems in the world and our discipline.
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TECHNOLOGY has put a spin on our aesthetics
Tec to ve the stri ite ere desp and wh es very l voic phy tive rs e a gra a gne e visu photo e Cre esi u ck ob by , uniq f sto Ad ted f o te o o vich n a cre nce ano hold y, as s, sl v M uage hic vale g eou itic Le pre nolit lan ltan mo cr ted tic ia imu is the ola d g rt S me es, a y is ein ite. nd Su ousl are b re iqu vi na n s g wa pre ion soft ew desi fic tech ries ss fess n o ci ula ro e cr b his a lp sp ed as s. T voca ividua ort nd ion d a and xp ss in in and e profe dity sual ybri with vi h ed nd f st a rt o g s eo mo hin imp tion guag the nyt lica n gh ea app n la throu unlik has mo , com ability ork, is logy se w ix no sen rem now . Tech our ists re ged s both art befo chan u n g ivin see ibly s, g less. vers irre sthetic and e er of a pow re mo
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