Identifying differences by exploring the effects of emotional impact on an audience.
Violet Luczak Associate Professor McHenry County College
Many practicing designers create traditional graphic design for corporate work and art for personal expression. Little has been done to measure the difference in user engagement between Graphic Design and Art Design. Does an audience’s emotional engagement differ when experiencing traditional graphic design compared to art design?
The key objective of this research is to identify differences between traditional graphic design work and art design work by exploring their effect of emotional impact on the audience.
The methodology used in this study was surveys given to undergraduate graphic design students. Six Graphic Design and six Art Design pieces were shown to students using a projector. After viewing both sets of pieces, students were asked to fill out a user engagement survey to analyze the emotional impact of both sets of work.
To control for technique and skill the examples of Graphic Design and Art Design used in this study were pulled from the same subset of artists. Traditionally, Graphic Design is message-driven and Art Design is open to interpretation. Art Design typically aims for a stronger emotional response while Graphic Design focuses on clarity and functionality.
The designers used in this study are well-noted in the design field. Designers include Stephen Sagmeister, who designed for clients including the Rolling Stones, HBO, and the Guggenheim Museum. Paula Scher, who designed for clients including Bloomberg, Microsoft, Adobe, Bausch + Lomb, and Coca-Cola (Bucher, S. 2004). April Greiman, whose notable projects include a 1979 poster for the California Institute of the Arts, the 1980 China Club Restaurant and Lounge advertisements, and a poster, designed in 1982, for the 1984 Olympics (Heller, S 1998). Clay Hickson designed for clients including American Express, the Chicago Reader, Bloomberg Businessweek, Lucky Peach, and Refinery 29 (Johalla Projects, 2016). Mike Perry has worked for clients including Apple, Nike, Urban Outfitters, Channel 4, PlayStation (Anderson, R. n.d.), and Paul Rand who designed corporate logos, including IBM, UPS, ABC, and Westinghouse (Heller, S.1999).
The surveys given in this study have been modified from the user engagement scale based on the research of O’Brien, H. Cairns, P. and Hall, M. The scale items include cognitive and emotional engagement measured using a 5- 5-point Likert scale. Emotional engagement is measured through a framework with multiple dimensions to assess emotional impact based on valence, intensity, and specificity.
Presentations and discussion in Research and Scholarship in Communication Design at the 110th Annual CAA Conference 2022
Recent research in Communication Design. Presentations of unique, significant creative work, design education, practice of design, case studies, contemporary practice, new technologies, methods, and design research. A moderated discussion will follow the series of presentations.
Research in Communication Design. Presentation of unique, significant creative work, design education, practice of design, case studies, contemporary practice, new technologies, methods, and design research. A moderated discussion will follow the series of presentations.
The colloquium session is open to all conference attendees.
Design Intervention and Engagement: Design Incubation Colloquium 6.2
There is a presumed canon of visual communication design, one that includes its history, theory, practice, and even the interpretation of its global impact. While it is convenient to take this canon at face value, there are alternative lenses through which we can view the field. In order to continue advancing the discipline in equitable ways, to be inclusive and engage with a variety of practitioners and users, it is important to consider a multitude of alternative viewpoints. Interventions in our attitudes happen in many ways—from envisioning how design alters the world, to methods we use to interpret design in new contexts. This panel will explore such critical interventions, uncovering new ways to re-engage with design education, design practice, and design communities.
Friday, February 14, 2020 8:30 AM – 10:00 AM Hilton Chicago – Lower Level – Salon C-1
Co-Chairs
Heather Quinn Assistant Professor DePaul University
Nathan Matteson Assistant Professor DePaul University
Recent advances in technology and improvements of accessibility allow designers to deliver meaningful experiences to broad populations of ages, cultures, abilities, etc.—those who have previously been isolated from the discourse. These rapid changes in technology have also changed the landscape of design practice (for both better and worse) creating the conditions for more collaborative and multi-disciplinary teams who leverage these new or improved tools. This panel will address research projects working at the edge of contemporary technology, across disciplines, and within emerging disciplines. They leverage technological innovation to address issues of representation and access.
Friday, February 14, 2020 4:00 PM – 5:30 PM Hilton Chicago – Lower Level – Salon C-1
Co-Chairs
Alex Girard Assistant Professor Southern Connecticut State University
Dan Wong Associate Professor New York City College of Technology, CUNY
Sharon Oiga, Associate Professor, University of Illinois at Chicago Guy Villa Jr, Assistant Professor, Columbia College Chicago and Daria Tsoupikova, Associate Professor University of Illinois at Chicago
Other Chicago Design Milestones team members: Jack Weiss, Chicago Design Archive; Cheri Gearhart, Chicago Design Archive; Wayne Stuetzer, Chicago Design Archive; Krystofer Kim, Lead Animator, NASA; Ali Khan, Animator, University of Illinois at Chicago
Chicago Design Milestones is a new media public installation that took place throughout July, 2019, at 150 Media Stream in Chicago. It brought to life the evolution of Chicago design by examining and showcasing the historic characteristics of design works from the 1920s to the present. Project material was researched and culled directly from the vast collection of the Chicago Design Archive (CDA), which holds over 3,200 works from over 1,100 designers and 400 firms. Members of the CDA, the UIC School of Design & Electronic Visualization Laboratory, and Columbia College Chicago collaborated together on this project as a team, as their underlying and ongoing quest is to spotlight the role of Chicago as a major national design center through the use of innovative technologies, including 150 Media Stream’s unique display structure, the largest media screen (3,000+ square feet) in Chicago.
The team consists of design educators, animators, and members of the CDA. It is worthy to note that the Milestones project was initiated by the design educators of the team. With knowledge of the holdings of the CDA, it was the design educators that conceived of the opportunity to collaborate, to develop initial concepts, and to lead the project. It is their belief and practice to author and generate projects of personal interest in order to help advance the field of design with designers’ own concerns.
The Chicago Design Archive is a singular organization in that there is no other like it doing this type of documentation and presentation of Chicago design work—locating, procuring, organizing, and showcasing Chicago-related design in the form of images as well as articles, essays, interviews, and videos. This includes works from the pre-digital era, with the population of works beginning in the 1920s. This is over 100 hundred years of Chicago design work gathered up and organized in one place.
A significant challenge of the Milestones project was to figure out how to represent the thousands of archived works from the past 10 decades. The process of curating the works was scientific in that observation was key—untold hours of patient looking. Year by year, decade by decade, each image was scoured until 100 years of images passed in front of the eyes of the team. There wasn’t an agenda when the team first started looking, no plan of what to find, no expectations. The team wanted the images to speak to them, to tell them what was significant—and they did. In each decade, the images showed what colors they liked, what shapes they preferred, and very interestingly, what stories they held. Some of the images spoke more than others. They were the ones that were singled out as possibilities. From this pool, images were selected based on their potential for animation and their inherent magnetism to engage, inform, and spark the curiosity of any passerby.
Another challenge was to figure out how to best employ the distinctive installation structure of 150 Media Stream, which comprises of 89 LED vertical blades that reach varying heights up to 22 feet high and span 150 feet wide. This configuration forms a vertical pattern that is combined with extreme horizontality—interesting but opposing dynamics built into the structure. These are constructs the team intentionally utilized, by ensuring that particular images animate to traverse the unusual terrain.
The Milestones project is out of the ordinary in that Chicago design history is rarely brought to the attention of the general public. Bringing awareness to historically-relevant creative work was central to the project’s intent and importance. The project afforded design history outside of the confines and prompting of a book, classroom or school, and it was instead framed in the context and excitement of an immersive technological experience. The completion and success of this experiential design project has lead to ideas and invitations for further work at other public venues for new media at the international scale.
In advance of the debut of Chicago Design Milestones at 150 Media Stream, a preview gala and exhibition was held at Archeworks—a Chicago-based design lab and media outlet dedicated to using design as an agent of change in the public interest. The preview exhibition (lead by Lauren Meranda of CDA) featured the static images of the works selected for animation in Chicago Design Milestones.
For the opening of Chicago Design Milestones, a catalog was produced. It contained images of all of the design works included in the project as well as related examples of work from the Archive. It was an opportunity to not only celebrate the works selected for the project but to also highlight additional CDA holdings. The catalog further documented the team’s research by including the lists of descriptive terms that were generated and used to characterize the design and themes for each of the decades. Considered to be a valuable component of the project, the Chicago History Museum is presently acquiring the catalog for their collection.
In the end, the team hoped to engage onlookers and inspire them with the city’s creative history. Perhaps viewers delighted and marveled in what they saw. Perhaps they felt a sense of nostalgia, a feeling of pride for the city, or gained a stronger appreciation for Chicago history and design. Additionally, by example, the team hoped to have widened the conceptual space for designers, to explore, research and play.
Holding an MFA in Graphic Design from Yale University and BFA degrees in Graphic Design and Photography from the University of Illinois at Chicago (UIC), Sharon Oiga’s work investigates the process of design — the ways in which ideas are expressed and disseminated, ranging from the micro level of experimental typographic form to the macro level of self-authoring and publishing. At UIC, she is an Associate Professor and Chair of Graphic Design. Previously, Sharon partnered with design firms where she specialized in identity, branding, publication design, and packaging. Her work is consistently recognized through awards, publications, exhibitions, and funding. A two-time recipient of the Sappi Ideas That Matter grant, Sharon was also honored to receive the UIC Silver Circle Teaching Award. She has written about her teaching in UCDA’s Designer Magazine.
Sharon serves as Chair of the Society of Typographic Aficionados, and she is a Director of the Chicago Design Archive.
Guy Villa Jr Columbia College Chicago
Holding a BFA in Graphic Design from the University of Illinois at Chicago, Guy Villa Jr
is an Assistant Professor at Columbia College Chicago. His research interests include procedural image-making and photography, and experimental design processes. He has professional experience in editorial and identity design for not-for-profit organizations, start-ups, and other businesses. In recognition for his work, he was named a Platinum Winner by Graphis, for which he was interviewed and featured in the Graphis Letterhead 7 book. He was also interviewed by Print magazine, and his work was published in the annual. Aside from teaching, Guy speaks regularly at regional, national and international confer- ences and events. He is also Chair of the STA Design Inspiration Weekend, an annual forum for designers held by The Society of Typographic Arts. Recently, he was a juror for the international TypeCon Typography Award and a proposal reviewer for the TypeCon Education Forum.
Daria Tsoupikova University of Illinois at Chicago
Holding an MFA in Computer Graphics from Syracuse University, Daria Tsoupikova is an Associate Professor of New Media Design at the University of Illinois at Chicago. Positioned at the crossroads of artistic and technological innovation, her research and artwork explores the potential of new media and inter- activity in relation to traditional arts. Through the development of virtual reality (VR) art projects and networked multi-user exhibitions for VR projection systems, her work applies computer graphics art to various research domains, including educational multimedia, cultural heritage and virtual rehabilitation for stroke survivors. Daria’s work has been exhibited and published by ACM SIGGRAPH, IEEE VR, ISEA, among many others. Past projects have received funding from NSF, National Institute on Disability and Rehabili- tation Research and the Department of Education. A former Fulbright Scholar, Daria is currently partnering with the Hand Rehabilitation Laboratory to develop a multi-user virtual environment to aid in hand rehabilitation.
Presentations and discussion in Research and Scholarship in Communication Design at the 107th Annual CAA Conference 2019 in NYC.
Hosted by CAA Affiliated Society, Design Incubation.
Research in Communication Design. Presentation of unique, significant creative work, design education, practice of design, case studies, contemporary practice, new technologies, methods, and design research. A moderated discussion will follow the series of presentations.
Design Incubation Colloquium 5.2: CAA 2019 New York City Thursday, February 14, 2019 10:30am–12:00pm New York Hilton Midtown, Second Floor Regent
Designers must delve beneath the obvious principles of Bauhaus purity and minimalism to comprehend how human memory and sense perception contribute to our experience
Min K. Pak Assistant Professor of Graphic Design Art & Design University of Southern Indiana
Photography reflects memory, allows us to ponder our past thinking and past experiences in our environments. At the boundaries between graphic design and photography, we can observe patterns in urban environments and associate these patterns with recalled sounds and human emotions.
In 1923, Lucia Moholy (1894-1989) sought to capture a futuristic vision in Bauhaus architecture. Her photographs balance the clarity, simplicity, and asymmetry that represent Bauhaus’s spirit of utopian zest and vitality and openness of spirit. Indeed, Moholy’s extreme verticals, tilted frames, and abstract forms emphasize the simple, clean, beautiful lines characterizing Bauhaus architecture.
Since each building employs its own architectural language, I identify the words for these urban shapes, for their forms and structures—freeing these buildings from their specific spatial contexts so that we observe them individually, seeing beauty even in marginal details of everyday city life.
Beyond merely documenting discoveries in Moholy’s photographs, I explicate her new ways of seeing this geometric, abstract architecture as a response to reading the world’s simplicity and organic autonomy. I contend that we designers must delve beneath the obvious principles of Bauhaus purity and minimalism to comprehend how human memory and sense perception contribute to our experience with both photography and Bauhaus.
Kareem Collie Lecturer Harvey Mudd
Stanford University
“In a 24/7 media environment that bombards us with all kinds of content and exposes us to all kinds of arguments, some of which don’t always rank that high on the truth meter…information becomes a distraction, a diversion, a form of entertainment, rather than a tool of empowerment, rather than the means of emancipation. So all of this is not only putting pressure on you; it’s putting new pressure on our country and on our democracy.” -Obama
President Obama made this statement in May 2010, during one of his most tumultuous years in office— healthcare reform, financial reform, the BP oil spill … the list continues. The notion of being bombarded by media is not a new one. This idea was discussed often during the last half of the 20th century, as television became ubiquitous in American life. The proliferation of media content, voices, and audiences (specifically in relationship to news content) continue to grow and reach into every aspect of our lives through 21st century media tools and channels. The discourse on media and its impact on society continue to call for scrutiny, and as Obama says, it continues to put “new pressure on our country and on our democracy.”
Using Obama as a prism, I examine the culture of American mass media, examining the fidelity of news content amongst the ever-growing, ever-fragmenting, modern media landscape. I investigate the audience’s active engagement in the construction of their relationship to reality, the flawed nature of news makers and their perceptions of the world, and offer an alternative narrative approach to the construction of the self.
I approach this essay through the convention of narrative and visual communication. I discuss narrative as a mechanism of our individual cognition and cultural engagement, allowing for personal and collective understanding of the world around us. The tools of visual communication design are used to reframe the discussion of today’s 24/7 media environment, hoping to step outside of the “wolf’s gullet,” using the tools that help coat its lining.
My hope here is three-fold: (1) Using President Obama as an example, I wish to examine and illuminate the current role of media in our lives, (2) reframe the discourse of media and the active nature of the audience through the use of visual communication design, to pose new questions and answers and (3) present an alternative means of finding our sense of self within the deluge of media today.
Kareem Collie is a lecturer at Harvey Mudd College and Stanford University. He is a design professional, with over fifteen years of experience designing, directing, and leading projects in branding, advertising, interactive, and creative strategy. His collaborative and leadership skills span across diverse areas of the industry, from the boardroom to the classroom.
Kareem is also a lifelong learner and educator, with a decade of experience teaching design and design thinking. His research interests are visual communications, design thinking, narrative, audience reception, and media theory.
As a deep thinker, visual storyteller, and maker, Kareem endeavors to inject more critical thinking and intentionality into the creative process, a notion that drives both his practice and pedagogy.
Gokhan Ersan Assistant Professor
Department of Art & Design SUNY Binghamton
The history of science embodies both a development of ideas as well as notations and images that report and represent those ideas. My research involves utilizing modern visual art’s visual notation to give voice to contemporary researchers across the domains of engineering, natural sciences, and the humanities.
Walking the audience through a few historical examples of knowledge representation (Kepler, Dalton, Faraday) and recent collaborations with natural scientists (“Image of Science,” “Material Matters” research grants) I want to demonstrate the ways in which chemistry and material science concepts can be made concrete for broad audiences by experimenting with the visual primitives of visual arts to encode complex physical phenomena in a humane manner.
This design research begins with establishing a healthy communication stream between content-providing scientists and knowledge-visualizing graphic designer, promising to open up a fruitful venue for contemporary designers.
