Assistant Professor of Interactive Media + Design
School of Communications
: In graphic design, models are material prototypes that help synthesize research into testable forms. Through experimentation and testing, many rounds of revisions are made to culminate in a visual that can effectively speak to its audience. In an age of infinite information, data visualization, particularly in global health, is a critical arena for accurate and useful visual modeling. For example, the Center for Disease Control (CDC) has Zika Pregnancy Guidelines in the form of a flowchart (Figure A). While it is certainly a necessary model to share with the general public, it is often cumbersome and difficult to understand. Riddled with professional medical terminology, footnotes, and companion charts, the model fails to serve as an accessible form to the information most needed by its audience. In examining the CDC’s guidelines, it is unclear whether they intend to communicate with health professionals or women potentially infected with zika. Rather than using a “one size fits all” approach to the chart, I propose modeling different forms that the information can take as viewed through the lens of different people in different environments and scenarios. Each prototype will take on a persona and emphasize the most important information to a specific audience explaining what to do before, during, and after exposure to zika virus. As such, each persona also serves as a model of sorts to represent an audience segment. By prototyping multiple forms, my goal is to make critical health information engaging and clear to those who need it most. Additionally, these prototypes can serve as a model for other issues within public health communication.
Associate Creative Director, LiveAreaLabs
Faculty, Vermont College of Fine Arts
What is theory? How does theory relate to graphic design? In short, theories are frameworks for understanding and making sense of the world. Further, they allow us to ask specific kinds of questions and follow particular lines of reasoning. For designers, theory is a means to move beyond purely aesthetic concerns and address issues such as power, representation, and commodity culture.
This presentation will highlight a handful of theories that have influenced literature, art history and, more recently, design discourse over the last few decades. Examples from art, popular culture and graphic design will help facilitate an introductory understanding of several important ideas, including Marxism, Structuralism, Post-Structuralism and Feminism. Designers and educators will also gain insight into how to incorporate theory into their writing, research and design work.
Dave Peacock is a designer and educator based in Seattle, Washington. He is an Associate Creative Director at LiveArea (livearealabs.com), a creative, marketing and technology agency with a focus on interaction design and digital retail. Dave also serves as co-chair and faculty at Vermont College of Fine Arts, where he teaches in the Graphic Design MFA program. Dave has exhibited nationally and internationally, and his work has been recognized by Type Directors Club, Communication Arts, Graphic Design USA, AIGA, The ADDY Awards, Print Magazine, How Magazine, The Northwest Emmy Awards and The Seattle Show. A Colorado native, Dave holds an MFA in Visual Communication Design from the University of Washington and a BFA from the University of Utah.
Assistant Professor of Graphic Design
College of Arts and Architecture
Post-Doctoral Research Scholar
Stuckeman Center for Design Computing
Multi-modal visualization has long been considered important for design communication through representation and presentation, yet it has not been explored through an interface. In this presentation we discuss the outline for our test of use of a new interface designed to provide a multi-modal experience of design representations through the presentation and review processes. This interface is being developed for use in an immersive environments lab, a unique presentation space that allows for large-screen display and virtual reality. Before implementing a new interface, testing needs to be done to identify issues and perceptions of how well it works. We aim to test the feasibility of using a multi-modal interface with advanced-level undergraduate students in the design disciplines (architecture, landscape architecture, and graphic design) as a way for them to communicate design through presentation and review. In this presentation we talk about how usability testing allows for the results of actual use of an interface to feed back into improving the overall design. Specifically, we will provide an overview of our application of usability testing in design disciplines to address our hypothesis that being able to view different modalities of design representation at one time is more meaningful to communicate design both during presentation and in the review process. Success of the meaningfulness of the interface will be explored through the TAM model (Davis 1992) of usefulness, ease of use, and behavioral intention. We will also present the primary end point goals for this study, including our human factors study, and our self-report measurement of actual use of the multi-modal interface through questionnaires measuring usefulness, ease of use, and behavioral intention.
Read the interview with Thomas Jockin of Type Thursday, Liz Deluna and Mark Zurolo.
View story at Medium.com
Michael Graves College, Kean University
To help people master Canon’s capabilities, 360i in partnership with Canon “set out to create a classroom experience in the field.” With Canon Photo Coach, 360i helped photo enthusiasts take the kind of photos they hoped for. 360i “used social listening to find New York City’s most photographed areas and then placed billboards right where people were taking those photos.” They created smart billboards—digital screens and trucks equipped with giant monitors that tapped into API data such as light, weather, time, traffic, location and events—giving real-time tips to photographers right when they needed them. This solution is neither conventional advertising nor graphic design.
Interactive public screens. Mobile design. Social media design. Environmental experiences. From any consumer’s point of view, brand experiences have been converging. However some design courses remain in pre-digital era silos.
Moira Cullen, Coca-Cola’s former design director, once said our profession could no longer tolerate thinking in silos. Yet we’re still divided in departments, in the classroom, and in our own brains. Contemporary visual communication problems demand new types of pedagogy.
To effectively address dealing with this convergence, I have been abolishing graphic design and advertising categories (and some conventions) in the classroom. Getting my students to think of visual communication as value-added experiences is my approach. I do this by asking students to consider the following questions when critiquing their own concepts.
- What benefit does your concept offer people?
- Is there any social good you can promote while promoting a brand?
- Can a design or advertising solution be in the form of entertainment, a product, service, or utility?
As a result, my students have secured coveted internships and jobs with New York City agencies and studios. It’s time to embrace integrated ways to teach in the age of convergence.
Associate Professor Graphic Design, UConn Storrs
Associate Professor Graphic Design, St. John’s University
Motion design has evolved into a discipline that requires a complex skill set including, but not limited to, an expert command of typography and illustration, technical ability including expertise in software, understanding of narrative structures, an animator’s sense of motion, timing and sound, and formal design acumen. Whew! That’s a lot. Motion graphics emerged from graphic design with pioneers like Saul Bass, trained as a traditional graphic designers who saw graphic design not as static compositions, but kinetic orchestrations captured in a moment of stasis. New technologies have created not only the potential for new visual languages, but entirely new skill sets. Who is best equipped to wield these languages? What should they learn and how should they learn it? Taste or Technology? Software or gestalt? Is the horizon endless or ending? This presentation will explore techniques and briefs that investigate strategies for creating thoughtful and articulate skill sets driven by the principles of graphic design in the context of motion.
Deadline: January 15, 2015
The 2015 winter colloquium will be held at St. John’s University Manhattan Campus. We invite all Communication Design researchers to submit abstracts for consideration by our panel of peers.
For more details, see the Submission Process description.
Event Date: Thursday, January 15, 2015
Manhattan campus of St. John’s University
51 Astor Place
New York, NY 10003
Please RSVP if you plan on attending.