Research Thesis
the
working Title project A collaborative project revolving around designers and their design process.
Rianne van de Rijt
Rianne van de Rijt © 2015
Major Design Research Project written study for ‘The Working Title Project’ University of Lincoln
Master of Arts in Graphic Design Module code:
GRA-9005M
Word count:
9.934
Student number: 11339365
Research Thesis
the
working Title project A collaborative project revolving around designers and their design process.
Rianne van de Rijt
Abstract
The creative design process possesses something mysterious. Through brainstorming, hand-eye coordination and the use
of technology designers are equipped to respond to design
briefs and solve problems. Knowledge can be gained through
education, work experience, research through design practice and making mistakes. The creative process holds a different
meaning for all designers. They adapt their working method to their own individual preference, which makes each action
unique. There are however similarities and overlaps between some creative stages. This research is trying to find out what makes the design processes special and why designers feel
the urge to share their work. Designers use multiple formats to
spread their work, design books (‘New Graphic Design: The 100 Best Contemporary Graphic Designers’), monographs (‘Made
You Look’ from Stefan Sagmeister and ‘Make Your Own Luck’ by Kate Moross) and online portfolio sites (Behance). What is the
importance of sharing how a design is created? Is it of interest to the designer and their clients and target audiences?
‘The Working Title Project’ is a self produced publication about the working processes of several designers. It
brings insight into the creative process by exploring and
documenting their creative practice. The author also kept a
diary [The Diary] to record and reflect on the design process of creating this publication. Both books explore the creative thinking, processes and techniques that designers use.
Information from designers is gathered through extensive
interviews and collaboration. This research aims to give the book context within design industry, discussing elements of the design process from different perspectives and
relationships from designers, their clients and audiences.
Keywords:
Design process / creative thinking / graphic authorship / self-promotion / design practitioners / portfolio’s / collaboration
» 6 «
Contents
6
Introduction
Part 1: The Working Title Project Publication 10
Exploring the Industry Context
16
The Interesting Side of Collaboration
19
Responsibility of the Graphic Designer
21
Challenges in client and audience expectations
24
Designers, creativity and the creative process
24
The Creative Environment
Part 2: The Working Title Project Diary
8
30
32
Designers, Diaries, Monographs, Self-promotion
36
Self-initiated Projects & The Creative Process
39
Existing and new skills & Future Endeavours
& Industry Context
Conclusion
44 46
References
50
Figure List
54
Additional Bibliography
56
Appendix 1: Unstructured interview questions
60
Appendix 2: Structured interview questions
62
Appendix 3: List of possible participants
Âť 7 ÂŤ
Introduction
A designer’s design process is a curious thing, something that
starts with an idea. Each individual takes this idea into different directions and has different perspectives. Throughout the
development of a project the idea will evolve. ‘The Working Title Project’ has captured “the hard work, the grind, the
inertia, the momentum, the inspirations, the moments of clarity and creativity” of several postgraduate designers and their
projects to give a glimpse of what goes on behind the creation of a final design (Van de Rijt, 2015a, 6).
The first part of this thesis will discuss the subjects that
are related to the creation of the publication, for example, collaboration, content driven design and challenges in
client and audience expectations. Design is a big part of a
designer’s job, but not the only one. Presenting work to clients, communicating online, empathizing with audiences and convincing colleagues are also important roles.
The second part discusses how the diary presents and unravels the creative process and design thinking, to make the creative process clearer for designers and non-designers. Here topics like self-promotion and contextualizing work within the industry are discussed.
The conclusion considers answers found throughout the
chapters and aims to answer the main question: What is the
importance of sharing the design process or how a design is created? Should it be of interest to the designer and/or their clients and audiences?
» 8 «
The Working Title Project Diary
The Working Title Project Publication
About
The Working Title Project is about exploring and
documenting the creative process. It explores the creative thinking, processes and techniques that designers use in their design process to come to
their final ideas and designs, within a published book, through interviews and collaboration.
A second book, the diary explores and documents the design process of the creation of the publication, through personal notes, sketches and realisations from me as the designer.
Âť 9 ÂŤ
Part 1: The Working Title Project Publication
The project started from the personal urge to pursue a live graphic design brief. After careful consideration and past
collaborative experience, I settled with the design brief to
create a publication that follows the development of projects of peer designers.
The result is a book focusing on the creative process, whereas normally audiences only encounter the final form of a design.
This is to show that the creative process is not a mysterious
thing, showing what it really means to work as a designer. This
project gave me the opportunity to organize a project with a real purpose and gain experience in different design roles.
Through this process I learned about the relevance of the project within the existing industry, collaboration with
interviewees, environments that nurture design, which will be
discussed in this part of the study. The Working Title Project
publication is also a vehicle to create my own content, the diary
part. Topics such as design diaries, monographs and my existing
and expanding skill-set are discussed in part two of this study.
Keywords:
Live brief / collaboration / creative process / designers responsibility / client relationships / creative environments
Âť 11 ÂŤ
Exploring the Industry Context To determine the scope of ‘The Working Title Project’
publication within the design industry a comparison with
existing publications needs to be made. In the coming
paragraphs I will discuss examples that are closely related to the subject areas that occur within the publication.
There is an abundance of well-designed portfolios and
opportunities for designers to show off their work. Through (student) competitions designers are tested on their idea
generation and ability to respond to a brief set by a committee.
At the end of most competitions a well-designed annual book is published, containing all participant entries and finalists
and short-listed designers (FIGURE 1 & 2). It is supposed
to be a celebration of design. In my opinion it is more a
beauty pageant to generate internship candidates and work
opportunities, than a true celebration of the creative process.
Figure 1. D&AD Annual ‘13
Figure 2. YCN Annual 13/14
(D&AD, 2013).
(Hunting, 2013).
» 12 «
The most important thing to remember is that “creativity is not a competition”, it is an honour to win awards but it should not
be your ultimate goal (FIGURE 3). Winning an award shows that
you as a designer can adapt your creative process to a certain
standard. YCN for example clearly specifies, “the YCN Student
Awards uniquely shine an annual light on emerging creative excellence” (You Can Now, 2015). From this I conclude that
the awards focus on singling out students that are fit to work
within design agencies. The focus lies on ‘visibility’ and
‘employability’, and not on fulfilling a design brief through an Figure 3. Creativity is not a competition - Autumn Sky Hall (Creating Your Own Path, 2014).
autonomous design process.
D&AD made a recent shift with their Awards Annual, they are
now organized according to Pencil level, wood/graphite/yellow bronze/silver/gold, rather than by category. The annual of 2015
also included “10 feature-length case studies chosen on the
merit of their story rather than their level of success” (Design &
Art Direction, 2015). This shows that the emphasis is shifting from
success stories to realizing creative concepts. Different disciplines
are displayed side-by-side now that the book is organized on Pencil level, providing a more interdisciplinary angle.
The RSA Student Design Awards focus to “empower a
generation of savvy, employable designers who understand the potential of design to benefit society” (Royal Society of
Arts, 2015). The focus on ‘real world problems’ makes the
awards more centred towards an audience, than just showing
Figure 4. Judging criteria infographic (RSA Student Design Awards, 2015).
off work to appeal to a jury. Their briefs state how the award entry is judged, 20% of the project is judged on Design
Thinking, 15% on Research, 15% on Execution and 20% on
Magic (FIGURE 4). This is proof that the RSA Student Design
Awards pay a great deal of attention to the submissions creative process.
Instead of only showing the final design of a project ‘The
Working Title Project’ shows the whole design process
of featured designers. This resulted in a well-designed
publication that contains the full story of their work. This way it
could be used to present their work in progress in interviews, showing work that is normally not contained in a traditional
portfolio (FIGURE 5). Figure 5. Sketching stage of Natalie Houtioudi. The Working Title Project pages 66-67 (Van de Rijt, 2015a).
» 13 «
This & That Collective ‘The Magazine’ is a student led magazine. Its main selling point is branded
towards students, hence the cover design (FIGURE 6)
and it’s slogan: ‘The Student Art Magazine’. The
magazines format is a standard A5 size. Using
a standard size is unusual for a magazine about
the Arts. It is handy to carry around and read, but
since it is a highly visual magazine a bigger size would have complemented the designers work
and creativity more.
On a graphic design note, the way the content
is set could have benefited from a closer eye for
detail (FIGURE 7). Text runs too close to images and the use of more white space would have made
Figure 6. Cover image (This & That Collective The Magazine, 2014).
the layout look more sophisticated (McMahon,
2014, 25). Student’s names, courses, university and websites are set in a transparent white bar placed over the student’s work, which in some cases
makes the text illegible (McMahon, 2014, 14, 15).
For a magazine about and for designers this, in my
opinion, is unacceptable. Although the initiative and purpose of this magazine is very ambitious, the execution and result is mediocre. This is a
valuable example that if one person takes the
initiative, you have to realise that you cannot fulfil
all aspects of a project to it’s best potential. Help from others is always welcome, and one must be willing to direct work to other people.
In comparison, ‘The Working Title Project’ is
aimed towards a broader audience, than just
students, and has a longer-lasting impact than
a magazine. Books potentially have more pages and are not so much linked to a date. Figure 7. Spread images (This & That Collective The Magazine, 2014).
The ‘This & That Magazine’ also consists of an online blog, which is a more suitable format for the content. The website and blog
support the constant flowing stream of graduating design
students, to provide them with a springboard into the industry (McMahon, 2015). This is in contrast to ‘The Great Discontent’
that transitioned from an online blog publishing interviews
online to a print magazine, mainly due to readers’ requests.
» 14 «
‘The Great Discontent’ is a magazine that consists of long-form interviews and short features with
practitioners that create and push the boundaries
of their profession, for example in music,
photography, design and fashion (FIGURE 8).
“Focusing on beginnings, creativity, and risk, TGD provides a memorable
look into the lives of its subjects via long-form interviews, short features,
and film-based projects (Essmaker and Essmaker, 2015).”
Excerpts of all the interviews can be found online.
The aim of the stories is to encourage, inspire
and explore one’s own interest and overcome
fears to discover your true capabilities. ‘The Great
Discontent’ story began as a digital magazine,
publishing conversations and interviews online.
In 2014, after three years of publishing online and
gathering a worldwide reader base the web-only magazine transformed into an online and print
publication. The main reason was that there was still an on-going fascination with print, among
designers and readers alike. This reaffirmed my choice to create a book. Figure 8. Cover and spread images of Issue 3 (The Great Discontent, 2015)
The main aim of ‘The Great Discontent’ brand stays the same: to spread high quality content that resonates with its audience, no matter the format. Their ‘original vision remains paramount: to
» 15 «
build a timeless archive of content that provides an unforgettable look into the lives of those who create, and to awaken readers
to possibility’ (Essmaker and Essmaker, 2015). The magazine
approaches interviews through a short introductions, then it
continues as a question/answer principle interspersed with quotes and images. The questions adapt according to the
previous answers given. This causes the writing style to be very
engaging, which is within the tone of voice of the magazine
and how it celebrates creativity, focussing on the practitioner
and their work. The magazine is able to focus on many different participants in each issue, however the print version of ‘The
Great Discontent only features eleven interviews (Essmaker,
2015), in comparison to the online website, which holds over 130
interviews. This affirms its focus on quality of the content, which is
also the main goal of ‘The Working Title Project’ publication.
I intended to focus on the quality of the creative process, rather than it’s quantity. The focus lies on empathizing the underlying
relationship between designers and their projects, the moments
of frustration, hate, anger, joy, pride and inspiration caught in
the narrative of their interview. Juxtaposing practitioners show the differences and similarities in multiple disciplines and
between individuals, this becomes apparent in the content of
‘The Working Title Project’ (Figure 9).
Keywords:
Design industry / student design awards / art magazines / content & quality driven / format / impact
» 16 «
Figure 9. The publication gives you the chance to view completely different design disciplines side by side (Van de Rijt, 2015a).
Âť 17 ÂŤ
The Interesting Side of Collaboration It was partly because of the collaboration with Danielle
Bastiaens and her project The Purdah Press that I became
interested in more projects revolving around collaboration (FIGURE 10).
It made me realise that through collaboration, and
combining skills, a project can take unexpected courses that can end up with great results. This realisation is validated by Illustrator and Graphic Designer Kate Moross, who states: “learning how to work with people is a crucial part of becoming a creative practitioner”
(Moross, 2014, 63).
Previously I have worked with the Sint Lucas student magazine
Zine and the Yearbook. Zine is an in-house magazine created Figure 10. The Purdah Press, pp.1, 10-11 (Bastiaens, 2015).
by / for students. Each edition was driven by a concept, and
features stories and work of students, important developments within the school and industry and interviews with students
and staff (Sint Lucas, 2015). Both Zine and the Yearbook were
large collaborative projects. It was after realizing I had previous
experience with a large collaboration that I was confident
enough to take on this project. Kate Moross shares some of her experience on collaboration:
“Sometimes you will have an idea that you don’t
think you can realize on your own, and this is when you need to collaborate with other people
to make it work… These days, I would rather hire people to take great pictures than hire myself
to take mediocre ones” (Moross, 2014, 67).
I realized that it is difficult to make a complete book on your
own, but this is something that I wanted to achieve. Working
together and allowing others to create the content of the book,
have made it possible to create a substantial book.
Through close interrogation I was able to unfold the designers’ unique work and thinking method. In general I experienced
the collaboration with people as pleasant yet daunting. The
project was so heavily dependent on the quality of work from
others, that the result of my own work was dependent on
them. Content “frames a project for the designer” and gives the designer work to design with (Shorr, 2011). That is why I
» 18 «
planned the interviews first, to create the content that I am
going to work with. After making the plan, and collaborating with the featured designers I communicated the results with them, following the steps in FIGURE 11. Each step is of equal
importance for the project, slight changes in the plan have
impacted on how you collaborate and communicate. Receiving
Figure 11. The process of gathering content (Vandelay Design, 2013).
mediocre answers within interviews was challenging to deal
with, especially since the creative process is such a major part
of the project. I had to deal with different levels of motivation
with featured designers. In face-to-face interviews I had more
influence in participants responses, and could direct people in the direction I would find interesting. When the deadline was approaching I, in some cases, did not have time to do
interviews. I just had to ‘stick to what I got’ and work around the content that I gathered (FIGURE 12).
Chauncey Wilson states some interesting thoughts about
conducting interviews. During my interviews I tried to adhere Figure 12. Realisation from ‘The Working Title Project’ Diary (Van de Rijt, 2015b).
to Wilson’s ten criteria for successful interviewers (Wilson,
2014, vii). As I am already a practicing designer, it was the
journalistic side of preparing for and conducting the interviews, that was an unknown practice to me. In the diploma level stage,
I created a system of conducting interviews and processing them, in the most logical sense that occurred to me. In the
back of my mind I would already start to design the interview
on the pages of the book. Through my communication I
aimed to make it as clear as possible what the purpose was
of the interview, and how the gathered content would be
used. I would steer the interview towards interesting angles
that participants told within the questions I asked, to dig a bit
deeper and get the most interesting content.
The first interview I conducted was with Autumn Anderson, product designer and founder of start-up company VuSu (FIGURE 13, nEXt PaGE).
The only thing I prepared was a list of
questions that I printed (Appendix 1). I used this more as a
checklist to see if I covered everything than actually writing the answers down. I noticed that people spoke fast and changed topic swiftly so my writing couldn’t keep up. It was useful
recording and replaying interviews. This method however
meant that I had to transcribe most of the recorded material to transform it into a text format. I found my first two interviews
lacked structure, which I amended in subsequent interviews.
The unstructured interviews were flexible and provided
interesting insights but it was time-consuming to process them.
» 19 «
For example, it took five hours to transcribe and edit a forty
five minute interview. Also the participants were not prepared for the questions that I asked (Wilson, 2014, 47-48).
I expanded on the list of questions I wanted to ask (Appendix
2). By emailing the participants the questions first they could fill them in beforehand. Then they would send me their filled
in questions and we would have a face-to-face interview about their answers. There I could expand on interesting topics and
get more interesting and varied answers. In the beginning I would ask open and more general questions like: ‘Why did
you choose this project?’ and ‘Where do you find inspiration?’
Towards the end of the interview as sort of a ‘cool-off’ period I
asked concluding questions, which were quite straightforward to answer (Wilson, 2014, 56). For example: ‘What are 5 books
/ journals that you recently read?’ ‘How will you develop
the project in the next stage?’ and ‘Do you have anything to add that might be interesting about your project? The
interviews changed from unstructured to semi-structured.
With predefined questions moving to open-ended exploration in the face-to-face interviews (Wilson, 2014, 24). A positive
thing was that it took considerably less time to plan, conduct
and edit interviews and I would still get the in-depth answers I
wanted. One disadvantage was that I was more dependent on the participant’s initiative to answer the questions in their own time and send them back to me via email.
I completed most interviews in the semi-structured manner, but when the deadline came near other designers showed
interest in participating. I solved the problem of having little time for face-to-face interviews with conducting email-only
interviews. An advantage of setting deadlines resulted in quick
responses from most people (FIGURE 14). Communicating
via online medium seemed to be difficult, because you are
dependent on the reply speed of others. Some participants rarely checked their mail or forget to respond. Online
interviews were the most concise and straightforward. The
participant would receive the questions, answer them and
email them back alongside with the images they wanted to see published. After a general editorial check the text would be
placed in the layout. The strength of this method was that I got
Figure 13. Autumn Anderson’s Spreads in ‘The Working Title Project’ pages 10-19 (Van de
quick answers and I could edit the content quickly. However
some answers would be short, generic and sounded unnatural.
Rijt, 2015a).
» 20 «
By comparing the first interview with the one of the last (FIGURE 13 & 15)
you can see that you get different content and results
through different forms of interviewing.
Responsibility of the Graphic Designer Figure 14. Realisation from ‘The Working Title Project’ Diary. (Van de Rijt, 2015b)
Besides the various roles I took on for this project that of
graphic designer stayed one of the most important. The
project could rise or fall because of the design aspect. I had to distribute my time well and transform the content into a
well-designed appealing result that would do the content
justice. Aspects like format, typeface, size, layout, pace, grid
systems are chosen through my own experiences, knowledge, inspiration and research. It is through those aspects that my
graphic design voice emerges (FIGURE 16, nEXt PaGE).
Among being a graphic designer at heart my goal was to
learn other skills as well. For this project I have tried on many
different roles and responsibilities; for example, that of
editor in chief, managing director, photo editor, art director, interviewer, copy editor, outsourcing tasks, scouting for
copywriters, bookkeeper, planner initiating the whole project (Apfelbaum and Cezzar, 2014, 11). I am also partly working as
an ethnographer*. I formed the questions that are part of the
interviews, I have ‘defined and found the best types of people
to study’ and started conducting the research by defining and
limiting the area I will work in (AIGA, 2012, 25). I have designed
a specific system of asking questions. An ethnographer “uses a trained eye to probe, ask questions and observe small details
and nuances. I chose to study a select group of people, peer students from five different design disciplines (Appendix 3).
Through the process of gathering information I needed to Figure 15. Emma Clarke’s Spreads in ‘The Working Title Project’ pages 138-143 (Van de Rijt, 2015a).
translate large forms of content to a concise compelling story
narrative in a book format, telling the story of these designers instead of just naming facts (AIGA, 2012, 30).
By fulfilling this project I hope to intrigue, inspire
*Ethnography Definition: The scientific description of peoples and cultures with their customs, habits, and mutual differences (Oxford Dictionaries, 2015).
and engage people more with the design process. I see it as one of my personal responsibilities to
make graphic design that holds some kind of
longevity. Ideally, this project holds great potential
to live on beyond my MA.
» 21 «
A collaborational project revolving around designers and their design process.
CONTENTS
Figure 16.
6
Foreword
8
Introduction
10
Various spreads
22
from ‘The Working
Dawn Frobisher
Project: The Working Title Project - Publication & Diary
Felicity Shum
Essay: The Logic of the Creative Process
project
First published 2015
Project: H93 Musuem Hotel Sarah Barrowcliff
Project: A Conscious Deconstruction
Images copyright of the respective designers unless otherwise
Lucia Lopez Garci-Crespo
stated. Every effort has been made to trace and contact the
Project: My Journey
copyright holders of the images reproduced in this book.
However, if informed, to correct any errors or omissions in
Alethea Sandercock
subsequent editions.
Project: Creating Ghibli Shiliu (Lewis) Fu
distributed, or transmitted in any form or by any means, including
Project: Animal Chair AJ Philp
Publication is part of the Masters of Arts Graphic Design
Project: Baby Boo Hood - Educational toy for babies
Edited by:
programme at the University of Lincoln.
Rianne van de Rijt
AUTUMN ANDERSON
Throughout this book we gain a glimpse of insight in how some designers reach a visual solutions and solves the
problems that arise within their projects. Uncovering the explorations, realizations and anticipations of various
design projects and designers within multiple disciplines.
Showing that there are certain stages and questions every designer goes through in their own way.
Surprisingly there are few male designers featured in this
length of the interview and how it was designed.
themselves or a select small group, like tutors through
assessment. In my opinion they hold much more value,
they show the development and journey the project, and designer, took. I set out to uncover the design process to
free to reach out, and contact them about their endeavors,
user testing groups’ experiences and
market. By designing products that can
my own. From having the condition I
be used by people with disablements
and without I hope to reduce prejudices
understand how difficult daily tasks can
communication about the conditions.
helpful during the whole process of design.
be however my user groups were greatly
around disability design and increase
WHERE DO YOU FIND INSPIRATION?
“There weren’t any products throughout my design journey. The Chef’n out there that were useful, Potato Peeler was the first product I found functional and styled to fit that worked well for my friends and me. It me as a person. Just because looked fun, was affordable and enabled someone has a disability me to prepare food with dislocations whilst does not mean they don’t also being useful for want and need aesthetically More information about the Palm my flat mates. positive products.” Peeler™ on: www.chefn.com Many objects and people have inspired me
Negative inspiration is something I
WHERE DO YOU WORK BEST?
have also embraced during this study.
I prefer to work in my home office as I can
Some ‘disability’ products are so badly
spread my work out and do experiments
designed it motivates me to change the
the time to fully develop three products,
market. Another inspiration for me has
whilst not having to travel far. Due to
and were expensive. Due to not using aids
a business. This journey has taught me many
disability products. The whole experience
university studio once a day so I plan my
packaging and branding to launch VuSu as new processes and methods from design
or helpful products I have unfortunately
challenges, which has motivated me to start
had great damage to my joints so when
daily journeys. Although I use the library
of shopping for them was depressing. VuSu
regularly for reading I prefer to take the
products will be sold online from the launch
The electric toothbrush is another inspiring
and discuss my work with other people.
of their work. I find that sometimes the actual process
an accessible, socially excepted item that
time in the workshops physically testing
VuSu as a viable business.
I got the opportunity to write my own
grow and evolve into something else that, I think, is the
has been a useful place to have tutorials When at the university I spend a lot of
object for me as a designer and user. It is
featured designers and a work-in-progress snap shot
Autumn’s desk in her office. All the test molds are stored away in boxes and piles throughout the little place.
my joints I am only able to walk into the
been my memory of originally trying to buy
So this is a true look into the design process of the
of design is more intriguing than the final piece. The
the interviews, images and explanation curated within 200
My main inspirations have been from my
unit costs and therefore make the range
books back home. The university studio
then to take and create into a book. This is the result of all pages worth of valuable insights in design processes.
certain people with mobility disablements.
more accessible to the potential user
through a modern, simple and fun website.
their projects and decisions, ways of working and reading lists, telling me the information about their work for me
testing, product marketing, the logistics of design and more. This study has given me
developed for mass production to reduce
on the market to help; they were designed for the elderly, were branded medically
because some projects were not finalized before this book
design, tailored for a presentation and curated for their
eyes. Now, I asked them to curate their design process to
design. I have explored manufacturing, user
Autumn: When I was diagnosed I was
shocked at the range of products available
If you would like to know more about a designer or a
project please refer to the directory later in this book. Feel
was finished.
fit in a few spreads, through text and images they explain
I have been exposed to many aspects of
WHY DID YOU CHOOSE THIS PROJECT?
need more or less explanation. The content drives the
reveal the ‘hidden’ thoughts and decisions in their projects. A client, visitor or reader most of the time only sees a final
be positively branded. During this course
pure coincidence. You may also notice that some projects are substantially longer, this because every project has different characteristics and key elements, that might
everything related to their creative practice, their
for disabled and non-disabled people and
book. This I realized over the course of the project, but is
brainstorms, sketches, lists, drawings, tests, early renders and designs that normally would only be seen by
although is practical for most, is essential for
The VuSu product range has been
The VuSu Designed for you project “My masters in design has given started during Autumn’s product me the opportunity to fully design degree course when she was explore disability design and given an open brief to design. From user centred design.” being diagnosed with Ehlers-Danlos Syndrome (EDS) in her first year of her degree she tried to find suitable products that could aid with the brief I chose to design a range of home condition. Ehlers-Danlos Syndrome ware products that would be practical for means that you are hyper flexible people with mobility disablements whilst in your joints the condition causes being positive items to own. damages by over stretching and dislocating joints. Ehlers-Danlos My Masters in Design has given me the Syndrome is part of a family of opportunity to fully explore disability design conditions that range in severity and user centred design. I have found that and are predominantly ‘invisible’. the products could be made to be useful
VUSU: Designed For You
RIANNE VAN DE RIJT
revolving around the creative design process. Throughout
Acknowledgments
Bukola Olabisi Bankole
photocopying, recording, or other electronic or mechanical
the project I have been talking to designers, almost
Jim Shorthose
Directory
Natalie Houtoudi
© 2015 Rianne van de Rijt
interrogating them, about their projects. I asked for
Rianne van de Rijt
Project: Adaptable and Adjustable Bariatric Garments
Project: Sheffield Culture Route
methods, without the prior written permission of the author.
This book is the result of a substantial investigation
Project: Data Pattern Design
Project: Making
All rights reserved. No part of this publication may be reproduced,
The Working Title Project is about exploring and documenting the creative process. Showing creative thinking, processes and techniques that designers use in their design process to come to their final ideas and designs. It is about documenting the design process of designers through interviews and collaboration.
Kamsin Mirchandani
Project: Middleport Farms - Stoke on Trent
working Title
40
Editor: Rianne van de Rijt
PROJECT:
Kat Downs
Project: Away With Words
Yiping (Helena) Yang
© 2015 Images to respective indiviual designers
Introduction
Project: Wearable Architecture
32
Design: Rianne van de Rijt
de Rijt, 2015a).
Project: Monika Emma Clarke
Yudan (Yuna) Ding
Project: The Design Student Abroad
the
The Working Title Project
Title Project’ (Van
Lucy Patterson
Autumn Anderson
Project: Vusu: Designed For You
unfinished work holds more potential and anticipation to
After a reflectional period I realised I that
materials and designs or in the enterprise
my designs were too personal and would
building completing extra workshops on
potentially be difficult for mass production.
design business.
This changed my process to user centred
WHAT STEPS DO YOU FOLLOW IN YOUR
design, where contact with others with
DESIGN PROCESS?
the condition and without has been
integral to the whole process. I started the
User centred design process has been
designs again from the users point of view,
a constant theme throughout the VuSu
collecting their opinions and experiences
project and has changed the way I work
to design for them.
as a designer. From my original brief
beauty of an unrefined design.
during my degree, I made myself the
During the project I have ran meetings and
user and tested products around my
focus groups where a selection of users
own capabilities. These tests involved
have tested the functionality, branding,
everyday movements within the home
functional forms using a 3D printer,
The Chef’n Potato Peeler (© Chef’n, Palm
for the Scrubbie, a hand-held
Peeler™) was a source of inspiration for
The development of the designs started as sketches, rough models and rapid prototypes. Once I had a range of
Sketching for me is the initial idea
generation, working and playing with
programs gives me more practical sense
whereas working through physical medias
and sketching is more creative and free.
within this project. Its purpose was to experiment with reusable packaging.
the material react with different chemicals?
As all the products are designed to solve
best in 3D, whether making rough models
the business industry and taught me many
the many new skills Autumn learned
important users are to the design process
Photo taken at a focus group meeting, to test the VuSu products.
and that they have many experiences that
can be influential to a design.
a daily task I had to go back to basics and
To conclude my project I organised a large
design the simplest method of holding,
ARE YOU COLLABORATING WITH
squeezing, pulling etc. These design
This meeting was very useful for me as
gaining feedback throughout the project.
succeeded and failed. The users surprised
During this project I knew I would need
my project and designs.
MA Graphic Design student’s client as
which has been inspiring and educational.
branding process. As I had only prototyped
contact base for testing my products and
Networking became hugely important
As well as being functional the range also
needed to be beautiful to the user group.
help from other students. I became the
throughout the project. From this course
Although I collected many opinions on
styling from my users I, as the designer had make them attractive the majority. It was
essential that the products communicated
packaging before I collaborated with
another Postgraduate Student, Lucia
My main collaboration has been with the
durability, elegance, usefulness and quality,
and conferences I was able to launch a
influenced by the branding of VuSu as this
conditions. This information became my
pulled them together.
Through sketching ideas for a logo I found out that I know too little
to form a design business. I continued with
Design and MA International Design
about branding to do it myself. This is why I got in-touch with MA Graphic
user centred design throughout the whole
Enterprise, to help me out.
process and saw the products as prototypes
design, Lucia being the creative and me
inspiration for the products and gave me
other subjects at the University I met a
testing materials. Through working with
professional injection moulder. This contact was very useful and became essential to
and what they needed and wanted.
my first batch of product.
contact with thousands of others with the
conditions, enabling me to ask them direct questions about my design choices and
Through my industry link I was able to
From using online support groups I was
enthusiasts. This group has taught me about
join HackSpace Lincoln, a social group
of professionals, entrepreneurs and
machinery and how to make stuff work!
able to go to a local meeting for people
Throughout the MA Design I have found
with the conditions. These meetings
Sketchbook with inspiration about useful functional existing products.
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“I have explored many new skills during this project, including silicone moulding, ceramic casting, digital fabric printing, sublimation, paper making and injection moulding. These new skills, although not perfected, have inspired me to explore further into industry processes.
the success of VuSu. This contact taught me
about the industry and also manufactured
Through using Social Media I have had
stay motivated.
until my users were satisfied.
a indispensable collaboration.
We worked together on the packaging
nationwide survey to people with the
an understanding of the lives of my users
I hit many design hurdles along my journey
and found that by working with others in the
design field I could bring all aspects together
Working at Hackspace learning how machinery works and how products are getting manufactured, resulted in
3D printed, scilicon moulded and cly prototypes and tests for the VuSu branding and product range.
from MA International Design Enterprise.
users themselves. Through going to events
whilst also being fun and accessible. The
aesthetics of the products were greatly
the designer as it showed me where I had
me at the meeting with their enthusiasm to
they re-designed my logo and started the
many other people in the subject area,
to form the products into a collection and
focus-testing group with a range of people.
became my focus groups and were a great
MORE INDIVIDUAL?
in the making of VuSu and motivated me
I have met, worked and collaborated with
OTHER PEOPLE OR IS THE PROJECT
aspects made the overall product simple to produce and use.
Initial sketches for the Tippie product. A product that helps you drain pans.
WHAT NEW SKILLS DID YOU ACQUIRE WHILE DOING THIS PROJECT?
I have learned many new skills whilst also
understanding how naïve I was when I first
started this project. I now appreciate how
Is it easy to clean? Is it simple to put on and
or C.A.D visuals. I find that working in 3D
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DO YOU REFER BACK TO YOUR
I started with A3 prints initially, but when
RESEARCH?
PROJECT:
Half way into the major project I went back
I printed A2 prints I found it difficult to
The Design Student Abroad
control the pressure and therefore the inks
to my brief and found it very motivating.
that flow through the screen. To get clean
It has been useful to revisit my plans and
solid colours you need to put even pressure
clarify what I needed to pursue.
This whole project has been about research, using processes and others experiences
to design right. Material research has been
especially important to me, as I wanted to
explore their applications. Silicone moulding
YUDAN (YUNA) DING
was a challenge however by researching
different methods and mixes I could explore
“Here I am able to travel through Europe, you don’t get that opportunity when you live in China.”
throughout VuSu as there was so much to
Various test pieces of fabric which is digitally printed with the VuSu pattern, to be used as a packaging and branding solution for the Scrubbie.
WHAT HAVE YOU LEARNED OVER
ALL OF THE PRODUCT DESIGN AND BUSINESS SIDE OF VUSU?
I have learned that although good product
design may be extremely difficult to
achieve, the journey is the most important.
I have explored many new skills during
I feel that the branding of VuSu still needs
this project, including silicone moulding,
more development, as there was confusion to
sublimation, papermaking and injection
design. The packaging concepts were made
perfected, have inspired me to explore
cleaning cloth or an accessory to the actual
ceramic casting, digital fabric printing,
moulding. These new skills, although not further into industry processes.
Through exploring different materials,
processes and people I have found that no matter what the end result knowledge is
the environmental aspect from the packaging
gathered and learned for the next product.
to have an after use, such as being used as a
designer cannot do all aspects of design
product. Due to this and the colours chosen
to bring a whole set of skills together.
most of the users thought the whole range
from the user testing meeting there are
option to make the branding based on two
before they are launched into market.
with eco-design.
provides me with lots of ideas.
WHERE DO YOU WORK BEST?
I spend my time between living in London and Lincoln. Sometimes I live in Lincoln
and sometimes I live in London. When I
am in London I often visit exhibitions such
“Screen printing was a precious experience and an interesting new way to develop illustrations.”
delicious chocolate and tea. I got the idea
WHAT STEPS DO YOU FOLLOW IN YOUR
why I collected the chocolate packaging.
I learned a great deal about screen-printing during those few weeks but I still lack some
my use of colour. I like to travel through
confidence with the process. This is mainly
favourite artists show their work, because
larger than A3 sized because of the scale.
Europe to visit locations where my
“Product design is trying to find the a balance between high quality, design, materials and manufacturing.”
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express app, and turn them into posters.
and up to 10 hours there each day!
Additionally, I went to Amsterdam to visit
with your hand digitally. I draw with the Sketchbook Express app. I don’t use a
Travel Diary Log I collect and develop my
to completely finish my work. In one week
the Van Gogh Museum which inspired
DRAWING / MAKING NOTES?
For sketching I use my iPad most of the
time, because it is a very easy way to draw
laptop, a tablet is easier to carry and I use
I’d typically spend four days in the workshop
went to Milan for three days to visit The Expo.
HOW DO YOU USE SKETCHBOOKS /
the workshop in order to make my first print and had to book 3 weeks in the workshop
travelling from place-to-place are where I
gain most of my inspiration. For example,
I have visited the Saatchi gallery, and also
The three products that will be the start
with 17 prints where only 7 prints came out
I learned how to screen print a few weeks
ago. During the first week, I spent 40 hours in
Yudan: Galleries and exhibitions as well as
of the VuSu product range.
mixed extra colours during the process to get the exact colour that I wanted. This is
a long process to go through. I ended up
study in the library where I reflect upon my
inspiration. When I return to Lincoln, I often
WHERE DO YOU FIND INSPIRATION?
and business, but can network with others
This is hard to do on a bigger scale. I made all the colours for the prints. Sometimes I
mistakes and with others the separate layers were slightly misplaced. Those are things that are hard to control.
as the Tate Modern and Tate Britain for
visits to the galleries and exhibitions.
tones of colour to become less associated
still a few more developments to be done
China. I also find that visiting gallery shops
I have overall learned that a product
was environmentally conscious. There is the
Although the products got positive feedback
I don’t have that chance whilst living in
This project is a combination of illustration, product design and graphic design. Due to Yudan’s background in graphic design, Yudan chose to focus specifically on illustration that enabled her to take her work in new directions and approach graphic design with a different perspective. A diary is at the heart of Yudan’s project, which is used to record the transitions of a student in China to overseas life in the UK.
explore and now so much to prefect.
on the squeegee while screen-printing, you need to have power to get even results.
the way I wanted. Some prints had colour
the material. My research has been constant
“I have learned how people are different. I will never be able to design for everyone, but by designing for a particular user group the range will be useful and accessible for them.”
level as someone with the condition.
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transferrable skills. Making your own seed-paper is one of
for the product to reduce costs? How can
I make the product durable with the least
remove? Is it affordable to manufacture?
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Enterprise Course, which exposed me to
scourer to that shape to complete the task
disposable parts as possible? How does
ideas that may form into concepts. I work
feedback has been greatly useful to me
my MA Design I also completed the
wrap around your hand and still be
adjustable? How can it fit different shapes and sizes of hands? How can you attach a of washing up? Can I use standard parts
to check I am including what is needed.
as the designer and for me on a personal
great contacts within the university. During
during the first stages: How can something
mass manufacture.
further develop and make suitable for
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These are some of the questions that arose
developed concepts I selected three to
I firstly write out lists of specifications
10
differed from those without the condition and so designed to suit all.
Autumn’s initial design work.
washing-up product.
9
aesthetics and packaging of VuSu. Their
washing up. I found that my movements
These are tests for prototyping
8
from squeezing bottles, turning taps and
because it is quite difficult to make a print
it to develop my initial sketches. In the
I travelled to Amsterdam and while I was there I met my landlady, she was really
inspiration. I sketch and make notes in it.
nice. The first day she treated me on very
Then I draw the sketches in the Sketchbook
and inspiration to make this illustration, that’s
DESIGN PROCESS?
When I am traveling I don’t take my iPad
so then I sketch by hand. And when I come
I make notes about my everyday life,
back I use my iPad to sketch and draw again.
gallery visits and travels in my Travel Diary Log. That is my main source of
inspiration. I take ideas and sketches out of that book, and draw them on my iPad
in the Sketchbook Express app and create a digital illustration of it. I draw digitally because it is easy to store my drawing,
change colour and brush sizes. The iPad is small to take with you, and not heavy as a laptop. The look of the illustration
almost looks like they are hand drawn with
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25
“Here I am able to travel through Europe, you don’t get that opportunity when you live in China.”
markers, but they are actually digital. The inspiration and research for my
drawings come from my Travel Diary Log. The style I use is bright colours, cut out letters, pieces of paper and drawing to
make collages. My collages and illustrations are inspired by my everyday life in the UK,
that is why I draw myself in my illustrations. In France I ate this famous ice cream and
took a picture of it, as a reference. I created an illustration to capture the moment while I was traveling. The cherries are in the
illustration because cherry ice cream was
I noticed a lot of differences between the UK
their most famous flavour. In my illustration
and China, more things than just weather
I try to create little hints to link to the place
and transport. This also influences my work
of the illustration. One of my final prints is
for this project. In China I cook a traditional
not popular for young people. Karaoke is
is very different, so I created an illustration
meal for breakfast. But the English breakfast
the picnic illustration. In China picnicking is
about that difference. I cook food everyday
more popular for young people. I like to go
for myself, and go shopping. You even
to the park and sit at the river to picnic. The
see different vegetables here in the UK
prints and posters will be framed and the aim
Yudan’s workspace in her house. With
than in China. I started to like some British
is for them to become gallery shop products.
work on the wall as a mini exhibition.
This is one of the final prints that
traditional dishes like fish and chips. In my
Yudan made for her collection.
Travel Diary Log I collect various things form events that happen to me like holidays, places and restaurants that I visit. I take
pictures as a form of inspiration to create illustrations and patterns with.
UNO ART: Gallery products and prints of
Page photographed from Yudan’s
‘the design student abroad’ project.
logbook, showing her inspiration and design development.
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YIPING (HELENA) YANG PROJECT:
Data pattern design
Yiping’s project is about creating patterns from data. It is brings new methods and applications to Yipings work and it is a new unexplored path within Yiping’s practice to explore and develop new forms of design.
Yiping: This project took me into a new
These two patterns are based on cancer data.
path in my design practice. First I focussed on hand drawn decorative illustration,
Yiping’s previous patterns were hand drawn and had a decorative purpose.
because that is something I like doing. Then because of this project I moved
This pattern is based on wind, the circles represent the
This cup is an initial idea for the application of the design,
strongness of the wind the further out of the centre the
towards data pattern design, because I
looking at data around weather.
idea. Now, I focus on data visualization
to show that it will have a decorative purpuse. But I want to go more into the direction of decorative fabrics.
and white so that I can easily scan them in and trace them over in Illustrator, which
and maybe even every minute so it is a big
infographic has, because an infographic is
At first, I was a bit hesitant to use extreme
floods. Focused on the treatment system of time and repetition.
In the final stage of my master degree,
by the data, but not directly visible in the
source of information. Weather is also fixed
makes digitizing the illustration a lot easier.
weather data because people that went
there to only convey information. I want to
I started to use extreme weather data,
patterns is mostly decorative meant to
it turned out that the data is easily accessed.
illustrations are easier to edit in size and
strong feeling about them. So I need to be
art, to create an emotional experience. The
hurricanes. The three patterns (on this
pattern anymore. The purpose of the data
Then scan them in to digitize them. Digital
on a location, on a certain date and time, and I use the Weather Underground website to
evoke emotion and recognition.
(Source www.wunderground.com)
First I used graphs and diagrams of obesity and cancer research to create patterns.
colour, this gives you more freedom to change things.
access up to date
data numbers, such
visualizations of the true data, which is
of ticking ‘YES / NO’ instructions. Choosing
their relatives feel uncomfortable seeing
Geometric data patterns will have a
changeable weather conditions result in the
example. Through the different answers
use this as a positive thing, if I apply this
I like the work of Casey Reas because his
I had the idea to develop the project further
different look and appeal than hand drawn
patterns with. In the design I use time order,
patterns, so their purpose can be different.
scale, colour, density and sometimes three dimensions instead of two. One pattern
Laser cutting patterns on wood to explore
reliable source to gather the data from,
hand drawn mark and shape represents a
something I will try as well, but right now I
the application of the patterns further is
is about rain and humidity, where each
it needs to be true, based on facts and
will focus on fabric.
different range of data. Inspiration for this
this was a big part of the research that I
First attempts of data visualization
conveyed. Sometimes I got stuck because
were with obesity data, based on the
the data that I needed was not accessible.
numbers of fat cells.
piece came from the patterns that raindrops
(Source www.reas.com)
design patterns and it gives and extra
for shapes and colour, sometimes I pick a
of ‘YES / NO’ patterns is an interpretation
at weather photo’s and type of weather,
images of weather disasters can evoke
are created by complicated software. He
actually experienced. For inspiration I look
organize the data in different time ranges
disasters as a source of inspiration. Visual strong feelings. The strong emotional
creates changeable patterns by using
a design like an infographic, that is why I
and create a design where every mark will
using extreme weather data and weather
work looks simple but
most of his pattern series
his understanding of coding and making
other places I have visited, from weather I
you get different kind of sequence patterns.
most interesting patterns.
The weather data is mainly from Lincoln and
and I don’t want to just copy it and create
‘yes’ creates a ‘/’ and ‘no’ will create ‘\’ for
to represent in the pattern. Days with
leave in water. Weather data is complicated
33
feeling will give a new dimension to the pattern and its application.
software. This is a different process to
“The purpose of this project is to design patterns that extreme weather data pattern to suitable evoke emotions and feelings products the money that is raised could be from non-emotional data and donated to help people that suffer from numbers.” this kind of pattern on products. I could
extreme weather conditions.
and turn it into a routine. These are the
struggles that these people deal with without
have. And from looking at trends and what is
then there is no acceptance and change
and fabric fairs, which are really important in
are fashionable and fit properly.
rather than positive process.
exhibitions to keep myself up-to-date.
and fashionable clothing. That is where my clothing for people with this condition that
“A change in your life can be good but if it doesn’t happen slowly it is hard to turn it into a routine.”
for their weight to stabilize so they can buy suitable clothing. There is no guarantee
they have difficulty reaching their sides and back. Dawn tested various
more choice and attention. Then my project
surgery, everyone’s body reacts differently
to these procedures. An intense surgery like
There are a lot of reasons that someone
time to adjust, so you need to give it that.
can be genetic as well. One of the big
this happens so rapidly that your body needs
is obese, its not just through fast food but
A change in your life can be good but if it
issues is the psychology behind it and I
doesn’t happen slowly it is hard to maintain
shifted more towards clothing and obesity.
believe that if somebody feels bad about
Bariatric: the branch of medicine that deals with the study and
portion of the small intestine so as
severe obesity. Gastric sleeve surgery: A bariatric surgical treatment in which a large portion of the stomach is removed (2/3), leaving a 60–80-ml gastric tube. The greater curvature of
a small amount of time your body starts to
the stomach is removed during the procedure. The small residual
rapidly change. The loss of weight is really
stomach tube prevents overeating
rapid, so in terms of clothing what would you
by creating a feeling that the
wear, that is what I am looking into. As well
stomach is full after a small meal.
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out how to achieve something the clients
containing sketches, notes about assembling the garment, inspirational textures, fabric samples and photographs of sown garments.
to restrict food intake and reduce
times, you can’t eat and drink at the same
time and for the first few months your body can only take fluids. This also means that in
40
wants within the restrictions of their needs.
start of the acceptance of your own body.
Pages from Dawn’s sketchbook
caloric absorption in cases of
The stomach becomes very small, that means
39
preferred colours are mostly dark so that
the clothes don’t look too exposing. So for
Ultimately, I want them to take interest and
involves reducing the size of the
that you can only eat small portions at certain
digital printing.
because of their specific needs in terms of fastenings, fabrics and colours. The
At the moment I work with a group of obese people to look at what their needs are and
stomach and reconnecting the
sleeve surgery, they severely decrease the
of the solid shapes. The bright colours
suit the pattern and makes the bags look
fashionable. The fabrics were printed using
give me their thoughts, of me producing something slightly different than clothes from a magazine for example. And also
is a very sad thing.
smaller stomach to bypass the first
size of the stomach to trigger weight loss.
solutions with the data pattern printed on
it. The bags have a geometric feel because
There is still, for me, the issue to be able to
design what the client wants. The client will
are still a bit ashamed of their body, even if
they had a massive weight loss, which I think
me the design process becomes,to figure
really help give someone a boost and
surgery, like a stomach bypass or gastric
Here you see a few bags and packaging
and have today’s fabrics and patterns. So
size too big’ or ‘I wouldn’t want to wear tight clothes’ that accentuates any body shape.
become part of the design process.
a positive self-image, which can be the
Gastric stomach bypass: a surgical bypass operation that typically
When someone goes through weight loss
there is a need to keep up-to-date.
body should, in their eyes, look. Talking to
is not a good influence on trying to lose
that affects not only the body, but also
how that affects the person and looking at clothing for this group of people.
those who had had the surgery they were
saying things like: ‘I still only wear clothes a
yourself, and have a low self-esteem, then
weight. Well-cut and fitted clothing can
weight loss surgery. I am looking at how
“The patterns will be printed on fabric as their final purpose, because they are mostly decorative.”
The group of people I am looking at, like
everyone else still wants to be fashionable
so they can look at some of my designs.
psychological you don’t function and that
treatment of obesity.
as clinically obese and who might need
finding out what is out there. I have been to
up to their own expectation of how their
himself or herself then that’s not going
to help lose weight. If you feel bad about
Bariatric is a different name for obesity. It is a term used for those who are classed
available in fashion. I visit fashion trade shows
becomes harder and it becomes a battle
They still have those old habits. Inside they
that their body will stay slim only through a
fashionable solutions.
want to lose any weight, no matter what,
The issue is that some people never will live
So they end up with clothes that hang off
Bariatric people benefit from front
Inspiration comes from the conversations I
against your own body that does not
project comes in, I want to make accessible
they envision that through surgery they will though, but they don’t think it is worthy
fastenings in clothing, because
WHERE DO YOU FIND INSPIRATION?
With that acceptance comes the ability
to change. If you are constantly fighting
even worrying about nice fabric, colours
Most people suffering from obesity are
them and that don’t fit properly, waiting
products.
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body shape and size.
buying clothes that are fit for them.
isn’t a lot of plus size fashion out there and
visualization as an art form.”
and the background (red), breaking up
the time flow. I turned the data patterns
looking at cheap clothing, initially, because
the final part I decided to focus on design
The red/blue pattern and green pattern on this page are also derived from data numbers that came from floods.
continuos pattern. With the green pattern I
In the blue and red pattern I used a
become slimmer. This process takes time
Dawn: Previously I have studied on a
into digitally printed fabrics and screen
In the blue pattern I mirrored the marks that represent the data, so that the marks seem to blend in the background. Creating a
destinction between the data shapes (blue) “Data art is data
as how could clothing become adaptable
WHY DID YOU CHOOSE THE PROJECT?
printed prints to turn them into fashionable
shapes represent the data.
a changable look. It looks like the pattern,
for people that go through rapid changes of
A work in progress project that, is still very much in development, revolves around developing and creating adjustable and adaptable wear for people with unique body shapes. Who would need special garments to fit their needs. Specially considering fashion combined with a perfect fit.
in my opinion this is a group that needs
the same system of time order, scale, colour and density. In these three the main focus
was on time. The colour and direction of the
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DAWN FROBISHER
for plus size women. Mainly because there
page, and the next) are created by data from floods. Extreme data brings more
inspiration to me. They are designed with
and therefore the time, repeats itself.
numbers. The emotions are linked to the data, but the data is not strongly visible ability to convey emotions than that an
Fashion design Bachelor degree where on
from disaster like tsunamis, storms and
used the same method. The marks constitue
The purpose of this project has been to design patterns which evoke emotions
and feelings from non-emotional data and
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Adaptable and Adjustable Bariatric Garments
visual appeal of the design.
in the pattern. Visuals have a stronger
dimension to the final design. Reas series
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PROJECT:
visible and less distraction to the actual
The question is if someone who suffered
from a weather disaster, would he or she or
contrasting colour or more abstract shape
be quite difficult, choosing the right kind of data was also important. You need a
way so the information becomes less
and what the final design will look like.
are mostly decorative. I am still exploring
other forms of application for the patterns.
So I started to create a system around
the theme and weather data to generate
Working with only numbers turned out to
data can be designed in a more abstract
very careful with how I design the patterns
Data pattern about rain and humidity, each mark represents a different range of data.
their final purpose, because the patterns
humidity, wind and wind speed.
essentially only numbers.
make the hidden data visible through data
through an experience like that can have
The patterns will be printed on fabric as
as time, location, temperature, dew point,
This did not work well because of the
complexity and the graphs are already
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Data pattern derived from data from
I sketch on loose sheets of paper in black
Weather changes every day, every hour
as art, so the pattern is inspired and led
zones of a clock to show what time the wind was strong.
becomes only visual.
patterns around, that is when I started
more intricate patterns and patterns with meaning. This sounded as an interesting
stronger the wind. The data is then arranged in the time
represent a specific range and the data
I also wanted a theme for to create data
got the suggestion to use data to create
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Challenges in client and audience expectations The brief, clear communication, respect, empathy, discussion
and collaboration are important facets to every client / designer relationship. One important aspect to remember is:
“In the process of communication, the graphic
designer and the client together constitute the
transmitter. The message will be the result of their collaboration” (Backspace, 2009).
You are working towards the same goal, but it is not uncommon that the designer and client have different expectations, wishes
and personalities. Designers are looking for communication
solutions that fit the message and the audience. The client is more
concerned with finding a solution to the problem, in a competitive context (Backspace, 2009).
“Unlike the written word or a work of art, graphic design operates exclusively in the context in which it is seen, and mediates between the
wishes of the client and the expectations of the public” (Terragni et al., 2012, 4).
Within ‘The Working Title Project’ publication I viewed the
collaborating designers, the ‘content providers’, partly as
clients and audience. I tried my best to translate their projects into a narrative that presents itself in the best way on the
design of a page. Design students, university postgraduate courses and design enthusiasts of all disciplines are the
audience of the publication. I felt that I could not view myself as the client, because of the close proximity I had with the
project. The university would maybe end up using this book for promotion purposes, but they did not have a direct influence
in the appearance of the result. In that sense it was more a self-
directed project.
It is hard to find out clearly what is expected. I experienced this
when I was interviewing designers. Initially they were hesitant to
tell the story of their projects, because it is so personal and close to them. The design process is normally not widely discussed. I
Figure 17. Several spreads from the Feasibility Report (Van de Rijt, 2015c).
had to pitch my idea and convince them that I would make their
work stand out. I would bring the feasibility report of the project to
interviews for persuasive purposes (FIGURE 17). The interviewees
» 23 «
liked seeing a concrete designed example, having a visual image
of how their content could look was a positive trigger. There is something more final and ‘presentable’ about the work of the
designers once it is placed in the layout of a page.
Most designers provided me with much more content than I
expected. Initially I envisioned the book to be around 150-180 pages long, but since I took on a content-driven approach I
exceeded this page count. I view this as a positive because it
shows that the designers were enthusiastic about the project
and willing to share their creative process.
The project benefited from an open approach. I discussed layout options, art directed content with the participants
and ensured them that I wouldn’t publish anything that they
disagreed with. This statement from Adrian Shaughnessy holds close resemblance within my project:
“…We [graphic designers] need to explain every step we take; that we need to involve our clients [and
the people you collaborate with] at all stages of
the project; that we need to check and double-check all project details; and that we need to produce a rationale for our work that is comprehensible,
accurate and inspirational” (Shaughnessy, 2010, 92)
During projects designers need to convince their clients,
but also the people that they work with. The clearer you can
present the work the better and more convincing your solution will seem. Safeguarding the project plan to stay on track is
almost always important for the client. No matter how well
prepared or well-articulated one is, communication can be
misinterpreted. Vigilance and experience when dealing with
clients will help to safeguard the development of the project. “Sometimes we [designers] will push too hard and come into conflict with our clients”
(Shaughnessy, 2010, 115).
Client and designer expectations don’t always match, so it is a
matter of balancing your needs and wants as a designer. Make your intentions clear from the start, and use tools that help
you such as presentations, mock-ups and dummy versions. By
printing the first draft of the interviews I was able to give the
designers a clear view of how their work looked on the page.
» 24 «
This was an excellent method to convince them of my capabilities. Aim to keep a rationalized mind. Ask if it is reasonable what the client expects from you? Or would it need a bit more careful persuasion to convince them of your professional stance?
Sometimes explaining your rationale is enough for a client to
realize that what you are proposing is what the project needs, but they never considered it from their perspective.
“Designers often expect instant responses to their work when clients really need time to absorb and
reflect upon it” (Shaughnessy, 2010, 117).
Within ‘The Working Title Project’ I gave participants room to
give feedback on the design of their spreads, I asked what
they are expecting to get out from this project and how they
experienced the interview. I gave them ample the time to review their spreads and provide feedback.
Collaborating with designers meant that they would care about the design of their work. Therefore, I paid close attention to
their feedback deciding whether they were satisfied with the
design or not. Luckily I got a great amount of positive feedback (FIGURE 18).
I measured the success of my work according to
the comments I got via showing ‘The Working Title Project’
book to participants, peer designers and non-designers. I can
empathize with the statement of Stefan Sagmeister:
“My ultimate judgement of a project we’ve done is dependent on how it was received. I don’t
think that’s a bad stance to have as a designer… We [designers] are in a very audience-related
profession” (Essmaker, 2015, 90).
The success of a project is often measured by how it’s received by the audience. The main purpose
I paid attention to is: What does the reader take
away from reading about designers and their
projects? I noticed that the book I have created
provides a complete and contemporary overview
of designers and their design practices. Valuable
information can be gained from individual design
approaches, processes and learning curves. Figure 18. Page from ‘The Working Title Project Diary’, page 57 (Van de Rijt, 2015b).
» 25 «
Designers, creativity and the creative process The creative process for the publication took a different course than I normally take. The collaborative side of the project
made sure that I had to work with content that I received from
designers. Big question marks were raised how I could best
plan my design process, when I decided to let the content drive the design. I had to take some risk in trusting that the content
I would receive would be of high standard and suitable to
publish. Like Adrian Shaughnessy states, I also had to go out of my comfort zone of trying to control the creative process and
leave some elements open. Because of this element it took a lot
of ‘sweat and hard work’ to compile all content and form it into one coherent story.
“Creativity is about risk taking, it’s about the rejection of comfort, and it’s about sweat… the sweat of hard work” (Shaughnessy, 2010, 112).
Working with received content caused for some self-doubt, at first
I was not very confident if I was able to live up to the high standard that I set myself. I wondered if I could pull it off. During most
projects I encounter times of worrying. It keeps me motivated to
do my best, but you have to be aware not to take it too far. “The creative condition is a near-permanent
state of self-scrutiny, self-discovery and selfdoubt” (Shaughnessy, 2010, 113).
The Creative Environment Your workplace has a great influence on your design work. For the modern graphic designer a studio is an essential part of
the profession. A studio provides for an optimal environment to gain specialist skills and enable collaboration and group
work, which became an obligatory part of the graphic design
profession (Brook and Shaughnessy, 2009, 13). Throughout the Masters course I realized the importance of our studio,
not only as a place to work in but also as a place to discuss ideas, have lectures and surround yourself with relevant
» 26 «
resources (Figure 19). I realize that in a professional studio
setting there would usually be more people involved, but that is not necessarily true completely.
Recently I came in contact with what I call a ‘one-man-show’
magazines like Offscreen and Uppercase (FIGURE 20 & 21). These magazines are run, produced and initiated by one person. Their
content is created around their passion and collaboration.
Uppercase magazine is an initiative of Janine Vangool, which started publishing in 2009. The magazine is dependent on
contributions from writers, photographers, illustrators and readers.
Justifying why the magazine is published in print; Janine states: “The physical format of Uppercase magazine is part of its appeal—it is something that you
hold, carry, collect and keep” (Vangool, 2015b).
Printed objects require a special attention to detail in their
considerations of paper stock, special print processes and Figure 19. Photo of our studio taken from a time lapse photo sequence (Van de Rijt, 2015)
formats. The experience of reading a book is more intimate and less fleeting than reading an online blog. What most design
books and magazines have in common is that they all value
informed, inspiring content. Within the publication I also needed
‘good content in order to be a good designer’ (Vangool, 2015b). Offscreen magazine ironically gives a look into the life and
work of “people that use the internet to be creative and build
successful businesses” (Brach, 2015). It brands itself, as ‘A
Print Magazine about Pixel People’ with the goal of giving the
Figure 20. Cover Offscreen Magazine Issue 7 (Offscreen Magazine, 2015).
online matter a real face through print. It is in-fact a print-
only magazine that explores what happens behind the online
appearance of websites and businesses. Offscreen here shares it’s views with Uppercase magazine that:
“A physical product that can be touched,
collected, and read anywhere is a logical way to present this type of content” (Brach, 2015).
Offscreen besides that advocates ‘The Slow Web Movement’, the idea that not everything that is instant and fast is good
for us. Kai Brach started Offscreen in 2012, from the urge to
‘create something more tangible’ (Brach, 2015). Figure 21. Cover Uppercase Magazine Issue 24 (Uppercase Magazine, 2015).
» 27 «
Doing this project has nurtured my curiosity with discovering how other designers work.
Through the interviews I wanted to find out
what environments designers like to work in.
For example Uppercase Magazine has its own
studio complete with archive and collection of
design samples that can lead to new theme’s and directions for future issues (Figure 22). According Figure 22. The Uppercase Studio (Uppercase, 2015b).
to Adrian Shaughnessy this “deep-running
fascination with how other designers organize their space and
run their work” is not uncommon (Brook and Shaughnessy,
2009, 15). Among the design industry “the ‘studio visit’ is an
established feature of design life, and most designers are happy to show a visiting designer their secret domains...” If this also
applies to participants of the project, I will have no trouble
getting the full picture of how their work is created.
‘The Working Title Project’ explores individual ways of working. The environment you work
in has a big impact on the designer’s creative
process and working methods. A product
designer thrives better in a workshop, compared to a graphic designer who could possibly work
everywhere where you can put your laptop (FIGURE 23 & 24).
Figure 23. Autumn Anderson’s [product designer] workplace at Hackspace (Van de Rijt, 2015a).
“The greatest advantage of ‘smallness’ is that… everyone gets to know what’s going on” (Brook and Shaughnessy, 2009, 16)
This statement applies to my approach for
completing this project. Being in charge of every
aspect can both be a positive and negative thing. I am in charge of all aspects so in full control of
the direction the project is taking, but needing to
fit so many different roles can be an exhausting
and overwhelming part of independent study. Figure 24. Sarah Barrowcliff’s [graphic designer] workplace at her home (Van de Rijt, 2015a).
An organised desk makes an organised mind. No matter how
clichéd that sounds it does apply to my work. This project took a
great amount of planning, and to be able to plan ahead I needed an organized mind. I had to look after the space I was working in,
or clutter and chaos could creep into the project (FIGURE 25).
» 28 «
“If we care about our work then we have to also care about the space our work
is done in” (Brook and
Shaughnessy, 2009, 17).
This reminds me of that the state of your physical environment has an
effect on your mental abilities to
cope with your work. I altered my
workspace to enhance creativity and
Figure 25. My own crowded desk space at home (Van de Rijt, 2015a).
idea generation. I installed a persnoal
version of the ‘analogue memory desk’, which consists of a paper
roll that works as a “tool to record all the small items you write
down once, but intend to forget tomorrow” (Camara, 2015). By
doing this the environment of my workspace will directly link in with the work that I create (FIGURE 26).
The disadvantage of this enhancement was that it is fixed in
one place. The paper roll installation was not a portable thing, instead I used to carry around two smaller paper rolls (FIGURE 27, nEXt PaGE).
The result was that at one point the paper roll
got so full of drawings that it was not easy to use anymore. I
tended to draw more on loose sheets of paper, which I found
easier to organize my mind with. Especially since I don’t always work at my desk [where the paper roll installation is]. I mainly
Figure 26. Paper roll installation and design experiment (Van de Rijt, 2015b).
used it as an archive for my thoughts, making lists, writing
down thoughts that caught my attention. Most time I forgot
the words I wrote down, because I did not look at it again, the
» 29 «
day after. These words would slip into the back of my mind and be resurrected when I would look at the paper roll again and
‘scroll’ through it. So one could say it acted as an ‘analogue short-memory desk’.
I am most productive behind my desk surrounded by all my
notes and books that are piling up next to me. For interviews I visited participants at their home or met them in the studio.
Figure 27. Mini paper roll version (Van de Rijt, 2015).
I really noticed how important your environment, desk in
specific, is when I moved to a new flat half way during the MA. My new room contained a much smaller desk than I was used to (FIGURE 28 old dEsk, & 25 nEW dEsk).
In this part of the thesis, literature
of the design process, design
industry, collaboration, responsibility,
client and designer relationships and creative environments has been reviewed in relationship
to ‘The Working Title Project’. The
publication formed a realistic design brief, to form a book that adds to the current debate within design
focussing on the creative process. Figure 28. My desk pace in my old house (Van de Rijt, 2015).
The wide array of designers ensures that there is a broad
notion of the creative process. In general the creative process is defined as the steps that the designer goes through before
the project reaches its final design. Each individual discipline,
designer, studio, collective and agency has their own preferred way of working. Creative associations like the D&AD awards
focus on ideas and creative concepts, whereas RSA student
awards focus on finding new talent that can design to benefit society. Individuals can hone their own specialist creative
process, without having to consider a supervisor or studio
manager by setting-up their own studio and do freelance work. For example, initiators of Uppercase magazine, Offscreen
magazine, the This & That collective and ‘The Working Title
Project’ all are set-up by one person. These initiatives bring in
a fresh balance between big advertising agencies and small studios. Because they seem to value the person that stands behind the work.
» 30 «
Client and designers are constantly exploring each others
expectations, changing opinions and stances to come closer to their mutual goal. The overarching theme is that every
practitioner adheres the value of the audience; achieving the
goal of reaching their intended audience using their creativity. Every designer feels commitment and attachment to their
project, even if it is a love / hate relationship.
No two designers work the same, but motivation, commitment
and hard work is what brings all designers closer to their goal.
The ‘blood, sweat and tears’ is what makes a project interesting, the hard-work, the risk, and emotions that one goes through
during the project. Working together brings an even more
interesting layer of combined forces to a project. It can produce
more responsibility and challenges for you and your client, but it
sure will take you into new unexplored directions.
The creative environment doesn’t need to contain a desk and
laptop. The most creative environments might not even contain
any of those. Anywhere where one can take a pencil and a sketchbook has potential to be a creative environment.
Keywords:
Collaboration / interviews / responsibility / challenges / expectations / planning / deadlines / environments / workplaces / asking questions
» 31 «
Part 2: The Working Title Project Diary
The purpose of the design diary is that it contains personal and honest notes and thoughts surrounding the design process.
Readers can read, not only the actual publication, but also
have a look into what happened behind the design of the book.
How I experienced the collaboration, through narratives and
visuals. This way I explore what aspects of the design process I
enjoy the most or need to work on in my future career.
This part revolves around the visualization and presentation of my thoughts through a series of personal diaries (FIGURE 29).
This part covers topics including design diaries, monographs, the creation of the publication, my existing and expanding
skill-set and vision for the future.
Figure 29. Series of diaries and notebooks that are part of ‘The Working Title Project Diary’ (Van de Rijt, 2015).
KEYWORDS:
Diaries / monographs / self-promotion / personal content / self-initiated projects / new & old skills / future endeavours / purposes & benefits
» 33 «
Designers, Diaries, Monographs, Self-promotion & Industry Context Writing about, and displaying, your work to the public holds something endearing. Only the most well known designers seem to pull it off well enough to sustain their practice and
publish a monograph. Stefan Sagmeister being the most
prominent designer I know keeps a personal and business diary. He expresses plenty ordeals of the design process and personal
mantras throughout the book. Reading about Sagmeister’s
Figure 30. Spread from Made You Look - Sagmeister (Hall, Sagmeister and Pearlman, 2001).
design successes and failures is refreshing, which gave me the inspiration to start a document about the design process of
‘The Working Title Project’ publication. This document became ‘The Diary’. I imagined that the document would contain
narrative of how I created the publication, including thinking
and design process on collaboration, design, procrastination
and productivity. Sagmeister enhanced his book with multiple
perspectives, in the form of personal comments and comments
of his clients and editor. For example Sagmeister shares his thoughts on starting this own studio:
“Quickly thought about what I actually want to do with the studio: design good CD covers, earn a
little money, do not grow and of course have much fun (Hall et al 2001, 114)”
Throughout the book Sagmeister’s quirks
become apparent. From his eccentric style of
writing to the illustration at the top right of the
page that along with other pages, create an
animated flip book, up to the apparent ease
that ideas are generated by Sagmeister and his
studio. Using objects that wander around the
studio in projects like this hairbrush, using it as a metaphor “that lost hair illustrates the agony of
the creative process” (Hall et al 2001, 187) can be
Figure 31. Spread from ‘The Working Title Project’ diary (Van de Rijt, 2015b).
called pretty creative (FIGURE 30). Sagmeister also
keeps a list of extraordinary pieces of design that ‘touched his
heart’. A piece of design has to give ‘new perspectives, trigger
memories, show passion and commitment’ (Hall, Sagmeister
and Pearlman, 2001, 276-279). The goal I had in mind for the
diary is that it would also follow my thoughts that lie outside
of my profession. Explain how I stay creative and balance work with play (FIGURE 31).
» 34 «
Making the diary was a personal quest to find balance in my
creative process and throughout the project. It arose from a desire to not only show the process of other designers, but
also show the design process of the book itself, generating my own content. This would give a complete vision of the
design process. The two documents would complement each
other. The diary is not a monograph to present my work, it is a specific document about “The Working Title Project’. It gives
insight on my methods, approaches and decisions. Related to
Kate Moross’ book, where she reveals parts of her DIY, design
it yourself, ethos (Moross, 2014, 9). Her tips are valuable for any
starting designer:
“...to pass on some of those lessons [that she learned herself] and help people understand
that my success hasn’t just happened overnight“
(Moross, 2014, 10).
Moross gives tips about art school, networking, freelancing,
Figure 32. Spreads and close up image from Make Your Own Luck (Moross, 2014).
collaboration and other related topics (FIGURE 32). Alongside that she explains how she grew throughout her career, and
moved from project to project. “Moross’ voice carries the
reader through the myriad projects that make up her vibrant
portfolio” (Formfiftyfive, 2014). The attitude of the book is
open and sparks your curiosity. The insights in subjects like copyright, money and selling designs elevates the purpose
of the book to become more than a mere design monograph, only showing off work. It gives readers guidelines to actually
‘do it yourself’. A major pitfall in writing about your own work is coming across as too “self-indulgent and self-absorbed” (Shaughnessy, 2010, 118).
I started looking for that extra edge or layer that would make the diary more valuable to read. I achieved this by literally
adding an extra layer in the form of yellow circles placed in the Figure 33. Spread from diary, pages 58-59 (Van de Rijt, 2015b).
layout, containing major realisations discovered during the
project (FIGURE 33). I wrote a traditional diary featuring each
day, to map out the process of the project in detail, adding in reviews and extra topics for variety. The diary became a
personal and professional journey, illustrations and quotes
transformed the text to a more informative piece of writing. The
document gives a clear view of the scope of a graphic design
project, where ‘tutorial recaps can be compared with subjective
client meetings and presentations are group feedback
sessions. The tutorial and interview recaps are accompanied
» 35 «
with illustrations. The illustrations summarize the main point
that I learned from speaking to that person. Aiming to visualise turning points in their project’s development (FIGURE 34).
The series of notebooks and diaries that I kept (FIGURE 29) are compiled within the final version of the diary. All the
documents combined form the complete journey of ‘The Working Title Project’ - the archive of the project.
The Phaidon Archive of graphic design is a well-designed
example of celebrating the history of graphic design, like ‘The Working Title Project’ diary celebrates the design process of the project (FIGURE 35). The Phaidon Archive, which is mainly
read by designers and design students, creates a source of
historical information and beautiful inspirational image gallery
of each project. Collecting beautiful work and prints is an
oddity that many designers fall for. That is probably why design Figure 35. The Phaidon archive of graphic design (Terragni et al., 2012).
monographs and The Phaidon Archive of Graphic Design are
doing so well, secretly designers are all curious about each
others work and the evolution of design, luckily I am not the
only one. My design quirk for example is collecting postcards.
The ‘good or bad’ graphic design savviness that can be
contained, onto two sides of a small A6 size, holds something endearing (FIGURE 36).
It is not even necessary to write your own monograph. There is
an urge within designers, writers and critics to review work of
past well-known designers, such as American graphic designer
and art director Paul Rand. Rand is considered ‘a pioneering figure in American graphic design’. Adopting a ‘problem
solving approach and philosophy of responsibility’ (Heller
et al, 1999, 7). There is a deep longing to try to understand
how graphic design developed as a discipline, industry and
individual. The main aim of most monographs is to answer:
What is it like to be a ‘pioneer in graphic design?’ Designers
are interested in the evolution of their trade, sharing work to
revel at each others achievements and learn from them. Work
Figure 36. The crazy card collection, ‘The Working Title Project’ diary page 60 (Van de Rijt, 2015b).
that holds importance never seems to get out dated and is
worth referring back to.
“The work of the heroic Paul Rand is an
extraordinary legacy for all who delight in
talented, emotional and intellectually driven
communications...“ (Heller et al, 1999, 9).
» 36 «
get on with it
g! n i t n i r p n e go scre
Figure 34. Recap illustration of Felicity’s Interview (Van de Rijt, 2015b).
» 37 «
The insights, thinking and reasoning that designers often provide in their monograph might resemble those within
your own work. I can relate to the statement of Paula Scher,
that “boredom is anger” (Scher, 2005, 258). Being bored with
a project, means you are not satisfied with the direction the project, your client or the research is going, and it results in hidden frustrations. I tried to adopt Scher’s advice to “write
Figure 37. Spread from ‘The Working Title Project’ diary page 66-67 (Van de Rijt, 2015b).
as it is meant to be read” (Scher, 2005). Since I am more of a
designer than a writer I had difficulty with directing the narrative.
That is why I adopted an honest writing approach, to me it
seemed like an ambitious approach to go with. This directed
the tone-of-voice of the diary. The diary resulted in a very text
heavy book, due to the traditional dairy writing style. Reflecting
on the process it would have benefited from more short text
paragraphs and more visual images. Due to the nature of the
diary and overwhelming content of the publication, I had to
leave out work that I had planned to include. For example the
gradient posters, which would result in a time line infographic of the development of the project (FIGURE 37).
Self-initiated Projects & The Creative Process Self-initiated briefs and self-promotion or as it is sometimes
called: graphic authorship, is currently a prominent element in the design field (Shaughnessy, 2010,117).
“If graphic design is to become a more valued profession, it needs designers who can think
and write, and generate their own ideas“
(Shaughnessy, 2010, 118).
I recognize this statement within my own work. It has been the
purpose of my Masters degree to discover how I value graphic
design. I asked myself questions like: What am I doing this project Figure 38. ‘The Working Title Project’ publication and diary (Van de Rijt, 2015).
for? I found answers in generating a brief where I simultaneously
collaborate, write and create my own content (FIGURE 38).
“Being a graphic designer does not mean that you are disconnected from what goes on around you. It is
possible to put your anger, frustrations emotions
into your work in quite a direct way.” (Barnbrook and Lasn, 2007)
» 38 «
I need space to work...
Design Dilemma’s
I can’t work this small without needing my glasses and extra magnifying set. My eye for detail is good... But not this good...
... this is not it
Frustrations and anger are motivators to create better design
within my practice. When people took too long in responding
back to me I would chase them up. Within the design I would keep changing elements around until I was satisfied. Hidden
frustrations keep me on-edge and result in mini side project that boost my creativity. For example, the frustration I faced when I
moved into a new house with a much smaller desk (FIGURE 39). Practitioners from other disciplines working with creativity
are also expanding their skill-set. Writer Jennifer Snyder
for example set up the ‘Creating Your Own Path’ initiative.
The idea originated from her interest: she calls herself
a ‘creative path enthusiast’. Through ‘Creating Your Own
Path’ she creates podcasts of her interviews with featured
creative practitioners in design, media, music and film (FIGURE 40) .
Her perspective on creative people is:
“I’ve found that we creatives often veer
off course, forge our own paths and don’t
Figure 39. Key chain featuring a diary realisation (Van de Rijt, 2015).
always fit a particular mold. We tend to
be a multifaceted bunch and this interview
series seeks to find common ground amongst us all. Prepare to be challenged, inspired and motivated” (Snyder, 2013).
Creative practitioners tend to go their own way, create their
own paths and finding and defining their own success. What I
admire about Snyder’s work is that she connects with creative people and aims to get to know them in person. She uses
this as a way to work less solitarily as a writer and “reach out to people I admire and ask them the questions I have about
their work.” Through this way of working she transitioned from
email interviews to publishing a podcast, as she found audio
was the best medium for her (Snyder, 2013). I directed my own
path into the field that interests me the most: collaboration
combined with books, layouts, images and text. I knew while
planning both parts of the project that it would be a challenge.
Completing any project successfully requires hard work and motivation. Like Thierry Somers states:
“Making a magazine [or book in this matter] on
your own is a labour of love that requires a lot
Figure 40. CYOP #35 - Interview with Joanna Waterfall (Creating Your Own Path, 2015).
of discipline, perseverance, and unconditional
devotion. It can be frustrating – and it can also be a lonely process” (Klanten et al., 2011, 132).
» 39 «
Figure 41. The Creative Process infographic (Visually, 2011).
I avoided the aspect of loneliness by working with others. The
reward of completing a book is enormous: the amount of
enthusiasm I encountered was so satisfying, it made me want to start a new collaborative project right away.
Before you get this far you have to manoeuvre yourself through the metaphorical roadmap of the creative journey (Figure
41).
It shows which routes you can take during the creative
process, but not all designers have a metaphorical ‘navigation system’. Creativity is not a linear process and the road to
creative brilliance has many different routes, stops, loops, and warning signs. Every designer starts with an idea, from there
it is one bumpy road. Take the “scenic route, maybe zooming
past laziness, stopping over in the details shop, then heading
down the gauntlet of editing, reconsidering, reworking,
revising, rewriting, and redoing, before eventually landing on the presentation stage” (Labarre, 2012). Your idea will only
survive the ‘express route’ if it is a damn good one, otherwise
you might face the danger of smashing into a brick wall. Most
dangerous is the route of self-doubt, a thing every designer has to learn to deal with. There is one important thing to
realise about self-doubt: your biggest roadblock is your own insecurity. Maybe this is why each design process is highly
personal and unique, because each designer faces different insecurities and setbacks.
» 40 «
This made me realise the wide variety in characteristics
between graphic designers. If you describe yourself as a
graphic designer, you’re still different than the next person
who calls himself a graphic designer. I wanted to present how
no two graphic designers are the same. I did this by creating
statements how one could describe oneself as a graphic
Figure 42. End pages showing diversity between graphic designers, of ‘The Working Title Project’ diary (Van de Rijt, 2015b).
designer, the design is featured on the end pages of the diary (Figure 42).
There is no right or wrong answer, it is about
‘how’ you describe yourself towards others that differentiates yourself from others.
Existing and new skills & Future Endeavours Embarking on this project gave me the chance to develop skills
in more areas than just graphic design. Kristy Cater, from studio
‘A Practice For Everyday Life’, explains how taking graphic
design as a part time job while still studying can have a positive effect on the development of your skills and design process: “… it was a great way to gain practical
experience of print and project management… it was about keeping a balance of both live and
personal work… to develop a process of working”
(Brook and Shaughnessy, 2009, 28).
This is something I also noticed in my freelance and course
work. When you work on freelance projects combined with
your study your process slowly changes to meet ‘client
standards’, this was how working on ‘The Purdah Press’ influenced my design process.
I learned to be more inventive creating a makeshift photo
Figure 43. Makeshift photo studio (Van de Rijt, 2015).
studio in the living room using daylight (figure 43). I have
grown to recognize when [self-initiated] projects are not
working. I am less afraid to discard it completely and start
over again. I mastered more skills in communicating with the
people I collaborate with, via on- and offline communication. I know what it means to be a text editor and copywriter. I
realised I can take matters into my own hands when it comes to learning new skills.
» 41 «
“Today, the modern designer can be anything...
entrepreneurs... publishers, moviemakers, vendors
of designer artefacts, typefaces and apps.“
(Shaughnessy, 2010, 118).
I was still able to work on and develop my main interest which
is book design. I learned a lot about the rhythm and pace of the
pages of a book and how this influences its overall content. By
making a book I felt I have established my creative practice and
specialism in print design. A positive thing is that the publication will never be erased like an online blog, it is a real tactile object. “Designing a book is a badge of honour, and
although it is usually poorly paid it is one of
the most satisfying things a designer can do.“
(Shaughnessy, 2009, 35).
Creating a book where everything is in harmony, images, text, format, tone-of-voice and it also delivers the information in a
satisfying manner was my aim. I chose the format because of my interest and the longevity it holds. Print is still an integral part of
what graphic design is (Smith and Cooke, 2015). Indirectly we are
also designers of experiences, in the form of a book. Danielle Pender compares print with online format
and raises the question:
“What will remain of your blog in
thirty years? Digital archiving is yet to be fully addressed, and more young
people are choosing to create small-run publications and zines to communicate
ideas.“ (Smith and Cooke, 2015, 19).
However I did publish an online ISSUU version
so the publication can be accessed by online
readers throughout the world thus reaching a wider audience (Figure 44).
Figure 44. The ISSUU version of ‘The Working Title Project’ (Van de Rijt, 2015).
In an ideal work setting I would only like to use the web to
connect and collaborate with other people. A constant stream of online information can be overwhelming and has become omnipresent. A book is the perfect medium to give you a
break from that. I realise now, that digital techniques even have
enforced the value of printed magazines, books and art for now and in the future (Smith and Cooke, 2015, 18-21).
» 42 «
“...It is because of those who believed in a
world where silk screen could exist alongside
touchscreen... that we [are] keeping the
creative industries alive with just the right balance of analogue and digital, for now at
least“ (Smith and Cooke, 2015, 29)
The attempt to find a balance between digital and analogue ways of working is something I strive towards within my
practice. This way I personally stay the most creative, by paying
attention to my interests (FIGURE 45). Throughout this project I learned a lot about design, myself as a designer and how I cope with development and changes within a project by
constantly consciously reflecting on myself and my practice (Van de Rijt, 2015b, 76).
Figure 45. Balance work and labour with play. Spread from the diary (Van de Rijt, 2015b).
» 43 «
This part of the thesis reviewed literature relating to personal design monographs, graphic authorship and personal
design process that links in with the diary of ‘The Working
Title Project’. With the aim to provide a broader background
perspective of these subjects within the contemporary graphic
design field.
Self-publishing and graphic authorship have established a
platform where designers can freely share their practice and work with peer-designers. Designers and students alike are
able to quickly learn from the current design field through
reading monographs of key figures in design, which are highly informative with current knowledge.
Tone-of-voice in monographs often resemble the designer’s personal perspective and vision on their projects,
accompanied by writing of an editor. To be able to add to
the current debate a monograph has the most impact when
it is created by a designer with an established practice. ‘The
Working Title Project’ diary holds a different meaning because its content is linked to the publication instead of needing to
rely on a designer with an established practice.
The design industry keeps evolving, key figures in design keep rising and adopting new design processes and
publishing new monographs. These monographs sustain
the contemporary graphic design field with new knowledge.
Reading about designers situations provides young designers with a recognizable scope of experiences that they can face in the future.
Creative practitioners, like writer Jennifer Snyder, keep
looking for entrepreneurial ways to expand their profession,
directing it towards their own preferences instead of
adhering to a set industry standard. Balancing work and play to form an environment where one is able to provide a living
and do what one loves.
» 44 «
Education and design studios need to keep up to date with
current technologies and ‘trends’ in the creative process. The amount of books, monographs and contemporary online
platforms provide a wide variety to sustain this need. The need
of designers to collect work from peer-designers and surround themselves with beautiful design, is in fact a need to keep
sustaining creativity levels and up-dating their knowledge
in current design. No two designers are the same, they need
different forms of inspiration to ‘feed’ their practice with.
This might explain the massive amount of different books on
design, they all ‘feed’ a different interest. A book will sure be of interest to at least one designer within the huge design domain. Even if ‘The Working Title Project’ gives that one
designer a great amount of enjoyment and interesting new insights I have achieved a great goal.
Keywords:
Diaries / archives / background information / publicity / notoriety / development process / initiatives / individual journeys / interests & curiosities
» 45 «
Conclusion
This research thesis has investigated how the creative process is valued in the contemporary design industry, within books, magazines and individual practitioners. Comparing these findings with the major design research project, placing
‘The Working Title Project’ within the industry context. I have achieved turning my research and curiosity of the creative process into a valuable public source of information and
inspiration for others. Providing a handle to learn about the illusiveness of the creative process.
The view on the creative process has been influenced by major institutions, studios, design award shows, magazines and
design monographs. Where each individual values a different
aspect of the design process. Some focus the idea generation and final result, like the student award shows. Others pay
attention to creative development within a project and try to uncover that like the magazines: Uppercase, Offscreen and
The Great Discontent. An interesting viewpoint is: if everyone comes in contact with design, then everyone should have
the right to know the background story of how something is designed and with what intentions. That instantly raises the
question: Is it feasible to bring audiences of design work closer to the design process? And if yes, how should that be done?
Are audiences [other than peer-designers] even interested in
the background story of a design piece? These topics requires more in-depth research.
In attempt to answer the main question of this thesis: What is
the importance of sharing the design process or how a design is created? By sharing work designers keep evolving the graphic design industry, spreading major historical influences and
contemporary knowledge and views. This results in a domain that makes room for personal opinions and graphic authorship, which have been a big part of creating ‘The Working Title Project’. We
learn from the work of other designers, and key pioneers in the industry. Collecting work of other designers is therefore often
something designers do, satisfying a need to understand how
designers work. Monographs often explain the development of
an individual in the domain, with an emphasis on pioneering and outstanding work. Even sharing work with peer designers holds importance because the creative process ultimately is a highly
» 46 «
personal and unique asset that designer possess. Exploring work methods of peer-designers can result in new inspiration and directions for ones work.
Answering the second main question: Should sharing the
creative process be of interest to the designer and/or their clients and audiences? Designer and client share different interests surrounding the creative process, it is therefore
important to communicate both expectations. The creative
process is of most interest to the designer and client, because they follow the complete journey, start to finish. The designer
is the key figure in sharing the parts of the design process that seem relevant with clients and audiences.
The changes in technology will ensure that designers, studios and other creative initiatives keep reconsidering their design process to match new goals. The overwhelming use of
technology, however did not cause in a fatigue of print media
but seemed to have resurrected it. Print, magazines and books, are more valued today by designers and readers.
This study ensured that I realized the possibilities of being
the sole initiator of a project. It takes self-reflection to realise
your limitations and the limitations of your work. For example, the material discussed in this research will not be in depth
enough to give a complete picture of how designers and nondesigners view the design process [there are just too many
people], but hopefully will give it enough food for thought. I faced obstacles, overcame them and the result gives the creative process an outlet to become more public. It is
unquestionable that in all its different uses, opinions and
definitions, the creative process remains the most important facet of the designer’s tool-kit and work method.
Keywords:
Contemporary design field / public / emphasize & share / creative development / graphic authorship / asking questions / raising questions / designer tool-kit
Âť 47 ÂŤ
References
Main sources
Van de Rijt, R. (ed.) (2015a) The Working Title Project
Publication: A collaborative project revolving around designers and their design process. Lincoln (UK).
Van de Rijt, R. (2015b) The Working Title Diary: A journey into
the design process of ‘The Working Title Project’ publication. Lincoln (UK). Books
Apfelbaum, S. and Cezzar, J. (2014). Designing the editorial experience - a primer for print, web, and mobile. USA: Rockport Publishers.
Barnbrook, J. and Lasn, K. (2007). Barnbrook Bible: The Graphic Design of Jonathan Barnbrook. Booth-Clibborn Editions.
Brook, T. and Shaughnessy, A. (2009). Studio culture. London: Unit Editions.
Hall, P., Sagmeister, S. and Pearlman, C. (2001). Made You Look - Sagmeister. New York: Booth-Clibborn Editions.
Heller, S., Rand, P. and Helfand, J. (1999). Paul Rand. London: Phaidon.
Klanten, R., Mollard, A., Hübner, M. and Commentz, S. (2011).
Behind the zines: self-publishing culture. Berlin: Die Gestalten Verlag.
Moross, K. (2014). Make your own luck. Prestel. Shaughnessy, A. (2009). Graphic design: A user’s manual. London, U.K.: Laurence King.
Shaughnessy, A. (2010). How to be a graphic designer, without losing your soul. 2nd ed. New York: Laurence King.
Smith, M. and Cooke, A. (2015). People of print. New York, New York: Thames & Hudson.
» 48 «
Terragni, E., Fitzpatrick, A., Roff, A. and Thackara, D. (2012). The Phaidon archive of graphic design. London: Phaidon Press.
Wilson, C. (2014). Interview Techniques for UX Practitioners - A
User-Centred Design Method. Waltham, MA: Morgan Kaufmann. Journals / Magazines
Essmaker, T. (2015). The Great Discontent - The Possibility Issue, (3). McMahon, H. (2014). This & That Collective The Magazine, (1). Vangool, J. (2015a). Uppercase Magazine, (24). Websites
AIGA, (2012). An ethnography primer. [online] AIGA | the
professional association for design. Available at: http://www. aiga.org/ethnography-primer/ [Accessed 20 Sep. 2015].
Backspace, (2009). The Social Role of the Graphic Designer Social Design Notes. [online] Available at: http://backspace.
com/notes/2009/09/the-social-role-of-the-graphic-designer. php [Accessed 23 Sep. 2015].
Brach, K. (2015). About — Offscreen Magazine. [online]
Offscreenmag.com. Available at: http://www.offscreenmag. com/about/ [Accessed 21 Sep. 2015].
Camara, K. (2015). ANALOG MEMORY DESK - Kirsten Camara. [online] Kcamara.com. Available at: http://kcamara.com/ ANALOG-MEMORY-DESK [Accessed 27 Jul. 2015].
Design & Art Direction, (2015). The D&AD Annual 2015.
[online] D&AD. Available at: http://www.dandad.org/en/dadannual-2015/ [Accessed 19 Sep. 2015].
Essmaker, T. and Essmaker, R. (2015). The Great Discontent. [online] Thegreatdiscontent.com. Available at: https:// thegreatdiscontent.com [Accessed 18 Sep. 2015].
Formfiftyfive, (2014). Review: Kate Moross / Make Your Own
Luck | FormFiftyFive – Design inspiration from around the world.
» 49 «
[online] Available at: http://formfiftyfive.com/2014/07/reviewkate-moross-make-your-own-luck/ [Accessed 28 Sep. 2015]. Labarre, S. (2012). Infographic Of The Day: The Magic And
Madness Of The Creative Process. [online] Fast Co Design. Available at: http://www.fastcodesign.com/1665802/
infographic-of-the-day-the-magic-and-madness-of-thecreative-process [Accessed 16 Sep. 2015].
McMahon, H. (2015). This & That Collective. [online] Thisandthatcollective.co.uk. Available at: http://
thisandthatcollective.co.uk [Accessed 18 Sep. 2015]. Oxford Dictionaries, (2015). Ethnography - definition
of ethnography in English from the Oxford dictionary.
[online] Oxforddictionaries.com. Available at: http://www. oxforddictionaries.com/definition/english/ethnography [Accessed 23 Sep. 2015].
Rand, P. (2014). The 11 Types of Trendy Graphic Design Paul
Rand Hated | AIGA Eye on Design. [online] Eyeondesign.aiga.
org. Available at: https://eyeondesign.aiga.org/the-11-types-of-
trendy-graphic-design-paul-rand-hated/ [Accessed 25 Jul. 2015]. Royal Society of Arts, (2015). RSA Student Design Awards.
[online] RSA Student Design Awards. Available at: http://sda. thersa.org/en/page/about-en [Accessed 19 Sep. 2015]. Scher, P. (2005). Make it bigger. New York: Princeton Architectural Press.
Shorr, B. (2011). Content Strategy Within The Design Process –
Smashing Magazine. [online] Smashing Magazine. Available at:
http://www.smashingmagazine.com/2011/12/content-strategywithin-design-process/ [Accessed 30 Sep. 2015].
Sint Lucas, (2015). Lancering Zine editie januari 2015. [online] SintLucas. Available at: http://www.sintlucas.nl/actueel/
nieuws/2491/lancering-zine-editie-januari-2015.html [Accessed 20 Sep. 2015].
» 50 «
Snyder, J. (2013). CREATING YOUR OWN PATH. [online]
jenniferesnyder.com. Available at: http://www.jenniferesnyder. com/creatingyourownpath [Accessed 27 Sep. 2015].
Vangool, J. (2015b). About. [online] UPPERCASE. Available
at: http://uppercasemagazine.com/about/ [Accessed 21 Sep. 2015].
You Can Now, (2015). YCN | Awards | YCN Student Awards |
2014-15 YCN Student Awards | About the Programme. [online] YCN. Available at: http://www.ycn.org/awards/ycn-student-
awards/2014-15-ycn-student-awards/about-the-programme [Accessed 19 Sep. 2015].
» 51 «
Figure List
Figure 1. D&AD,
(2013). D&AD Annual ‘13. [image] Available
at: http://www.digitalartsonline.co.uk/news/creative-business/ dad13-annual-showcases-best-advertising-work-from-pastyear/#1 [Accessed 27 Sep. 2015].
Firgure 2. Hunting,
A. (2013). YCN Annual 13/14. [image]
Available at: http://alexhunting.co.uk/YCN-Annual-13-14 [Accessed 27 Sep. 2015]. Figure 3.
Creating Your Own Path, (2014). Creativity is not a
competition - Autumn Sky Hall. [image] Available at: http://
www.jenniferesnyder.com/blog/2014/11/13/creating-your-ownpath-episode-17-autumn-sky-hall [Accessed 17 Sep. 2015]. Figure 4. RSA
Student Design Awards, (2015). Judging criteria
infographic. [image] Available at: http://sda.thersa.org/en/
challenge/rsa-student-design-awards-2016/phase/rsa-studentdesign-awards-2016/track/creative-conditions-en-1 [Accessed 27 Sep. 2015]. Figure 5. Van
de Rijt, R. (ed.) (2015a). Sketching stage of Natalie
Houtioudi. The Working Title Project pages 66-67. The Working Title Project Publication: A collaborative project revolving around designers and their design process. Figure 6. This
& That Collective The Magazine, (2014). Cover
image. In: This & That Collective The Magazine (1) p. 1
Figure 7. This & That Collective The Magazine, (2014). Spread
images. In: This & That Collective The Magazine (1) p. 14-15, 24-25.
Figure 8. The
Great Discontent, (2015). Cover and Spread images
of Issue 3. [image] Available at: https://thegreatdiscontent.com/ magazine/issue-03 [Accessed 18 Sep. 2015].
Figure 9. Van
de Rijt, R. (ed.) (2015a). The publication gives you
the chance to view completely different design disciplines side by side. Spreads of Lucy Patterson (p. 136-137) and Bukola Bankole (p.80-81).
Figure 10. Bastiaens, D. (ed.) (2015). The Purdah Press, pp.1, 10-11.
» 52 «
Figure 11. Vandelay Design, (2013). The process of
gathering
content. [image] Available at: http://www.vandelaydesign.com/wpcontent/uploads/content-process.jpg [Accessed 30 Sep. 2015]. Figure 12. Van
de Rijt, R. (2015b) Realisation from ‘The Working
Figure 13. Van
de Rijt, R. (ed.) (2015a). Autumn Anderson’s
Title Project’ Diary - page 59.
Spreads in ‘The Working Title Project’ pages 10-19. Figure 14.
Van de Rijt, R. (2015b) Realisation from ‘The Working
Title Project’ Diary - page 56. The Working Title Diary: A
journey into the design process of ‘The Working Title Project’ publication. Lincoln (UK). Figure 15.
Van de Rijt, R. (ed.) (2015a). Emma Clarke’s Spreads
Figure 16.
Van de Rijt, R. (ed.) (2015a). Various spreads from
in ‘The Working Title Project’ pages 138-143.
‘The Working Title Project’.
Figure 17. Van
de Rijt, R. (2015c). Several spreads from the
Feasibility Report. ‘The Working Title Project’ A feasibility study, diploma level work.
Figure 18. Van
de Rijt, R. (2015b). Page from ‘The Working Title
Project Diary’, page 57. Figure 19.
Van de Rijt, R. (2015). Photo of our studio taken from
a time lapse photo sequence [Photograph] (Taken from ‘The Working Title Project’ submission)
Figure 20. Offscreen Magazine, (2015). Cover Offscreen Magazine
Issue 7. [image] Available at: http://files.idnworld.com/imprints/ files/Offscreen-Issue7/600w.jpg [Accessed 28 Sep. 2015]. Figure 21.
Uppercase Magazine, (2015). Cover Uppercase
Magazine Issue 24. [image] Available at: http://www.
theworkroom.ca/store/images/product/u/uppercase-
magazine-:-issue-24-534px-534px.jpg [Accessed 28 Sep. 2015].
» 53 «
Figure 22.
Uppercase, (2015b). The Uppercase Studio.
[image] Available at: http://static1.squarespace.com/
static/4fd35f74e4b0ad380c071b90/t/4fefe5e324acf37cb3 7c05d2/1341121924126/_13party-04052012+%28202%29. jpg?format=500w [Accessed 21 Sep. 2015]. Figure 23.
Van de Rijt, R. (ed.) (2015a). Autumn Anderson’s
Figure 24.
Van de Rijt, R (ed.) (2015a). Sarah Barrowcliff’s
[product designer] workplace at Hackspace, p 15.
[graphic designer] workplace at her home, p 89.
Figure 25. Van
de Rijt, R (ed.) (2015a). My own crowded desk
Figure 26. Van
de Rijt, R. (2015b). ‘The Working Title Project
Figure 27. Van
de Rijt, R. (2015). Mini paper roll version.
Figure 28. Van
de Rijt, R. (2015). My desk pace in my old house.
Figure 29. Van
de Rijt, R. (2015). Series of diaries and notebooks
space at home, p 164.
Diary’. Paper roll installation and design experiment, p 34-35.
[Photograph] (Taken from private collection).
[Photograph] (Taken from private collection).
that are part of ‘The Working Title Project Diary’ [Photograph] (Taken from private collection). Figure 30. Hall,
P., Sagmeister, S. and Pearlman, C. (2001).
Spread from Made You Look - Sagmeister, p 186-187.
Figure 31.
Van de Rijt, R. (2015b). Spread from ‘The Working
Title Project’ diary, pages 12-13.
Figure 32. Moross,
K. (2014). Spreads and close up image from
Make Your Own Luck. [image] Available at: http://formfiftyfive. com/2014/07/review-kate-moross-make-your-own-luck/ [Accessed 28 Sep. 2015]. Figure 33. Van
de Rijt, R. (2015b). Spread from the diary, pages
58-59. ‘The Working Title Project’.
Figure 34. Van de Rijt, R. (2015b). Recap illustration of Felicity’s
Interview. Page 39.
» 54 «
Figure 35. Terragni,
E., Fitzpatrick, A., Roff, A. and Thackara,
D. (2012). The Phaidon archive of graphic design. London:
Phaidon Press. [Photograph] (Taken from private collection). Figure 36. Van
de Rijt, R. (2015b). The crazy card collection,
Figure 37. Van
de Rijt, R. (2015b). Spread from ‘The Working
Figure 38. Van
de Rijt, R. (2015).‘The Working Title Project’
‘The Working Title Project’ diary page 60.
Title Project’ diary page 66-67.
publication and diary. [Photograph] (Taken from private collection). Figure 39.
Van de Rijt, R. (2015). Key chain featuring a diary
realisation.[Photograph] (Taken from private collection).
Figure 40. Creating Your Own Path, (2015). CYOP #35 - Interview
with Joanna Waterfall. [image] Available at: http://www.
jenniferesnyder.com/blog/?tag=Podcast [Accessed 27 Sep. 2015]. Figure 41. Visually,
(2011). The Creative Process Infographic.
[image] Available at: http://visual.ly/creative-process-0 [Accessed 16 Sep. 2015].
Figure 42. Van
de Rijt, R. (2015b). End pages showing diversity
Figure 43. Van
de Rijt, R. (2015). Makeshift photo studio, using
between graphic designers, of ‘The Working Title Project’ diary.
a piece of foam board and daylight. [Photograph] (Taken from private collection).
Figure 44. Van
de Rijt, R. (2015). The ISSUU version of ‘The
Working Title Project’. [image] Available at: http://issuu.com/ riannevanderijt [Accessed 4 Oct. 2015].
Figure 45.
Van de Rijt, R. (2015b). Balance work and labour with
play. Spread from the diary. Pages 64-65.
» 55 «
Additional Bibliography
Books
Aspelund, K. (2015). The Design Process. 3rd ed. Fairchild Books. Brawne, M. (2003). Architectural thought: The design process
Some books / journals / videos / websites that provided interesting topics for further future reading. All are interesting to read/watch, but
and the expectant eye. Oxford: Architectural Press.
Brereton, R. (2009). Sketchbooks: The Hidden Art of Designers, Illustrators & Creatives. London: Laurence King.
you can’t include everything you find into a written study. This list also contains books that helped me develop this project and have influenced me throughout the whole of my Master of Arts.
De Soto, D. (2011). Know your onions. Amsterdam: BIS Publishers. Fiell, C. and Fiell, P. (2013). New graphic design - The 100 best contemporary graphic designers. London: Goodman Fiell Carlton Publishing Group.
Heller, S. and Talarico, L. (2010). Graphic. Inside the
sketchbooks of the worlds great graphic designers. London: Thames & Hudson.
Korn, P. (2014). Why we make things and why it matters. Mau, B., Testa, B. and Maclear, K. (2000). Life style. [London]: Phaidon.
Philippin, F. and Klosoglou, B. (2013). I used to be a design student. London: Laurence King Pub.
Poynor, R. (2008). Jan van Toorn, critical practice. Rotterdam: 010 Publishers.
Roberts, L. and Wright, R. (2010). Design diaries. London: Laurence King.
Sagmeister, S., Heller, S., Nettle, D. and Spector, N. (2007). Things I have learned in my life so far. New York: Abrams. Someguy, (2007). 1000 journals project. San Francisco: Chronicle Books.
Stobart, J. (2011). Extraordinary sketchbooks. London: A. & C. Black.
» 56 «
Vago-Laurer, V. and Busse, P. (2003). Area: 100 graphic
designers, 10 curators, 10 design classics. London: Phaidon. Video
BBC Documentary, (2013). Horizon: The Creative Brain How
Insights Works. [video] Available at: http://www.designlearning. us/the-design-learning-process [Accessed 24 Sep. 2015]. Journals / Magazines
Smith Journal, (2013). Smith Journal: Australian Magazine, (6). Websites
Phillips, N. (2014). Blog. [online] Typograph.Her. Available at: http://www.typographher.com [Accessed 29 Sep. 2015]. Print All Over Me, (2015). PRINT ALL OVER ME. [online]
Available at: https://paom.com [Accessed 29 Sep. 2015]. Rand, Paul. ‘The 11 Types Of Trendy Graphic Design Paul Rand Hated | AIGA Eye On Design’. Eyeondesign.aiga.org. N.p., 2014. Web. 23 July 2015.
Vinh, K. (2015). Subtraction.com Design Tools Survey. [online] tools.subtraction.com. Available at: http://tools.subtraction. com [Accessed 3 Oct. 2015].
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Appendix 1:
Unstructured interview questions. First set of questions, generated for the first two face-to-face
interviews with Autumn Anderson and Yudan Ding. That I would manually fill in while interviewing. After this I generated a document that was easy to send and fill in via email.
Name:
THE WORKING TITLE PROJECT INTERVIEW NO. 1
Project Title:
Why did you choose this project?
Where do you find inspiration?
Where do you work best?
Studio / Library / Home ........% / ........% / ........%
Âť 58 ÂŤ
How do you use sketching / drawing / notes
Drawing / List making ..........% / ..........%
For this project did you do research first or drawing first?
How often do you use the studio? How many hours a week do you spend in the studio?
PHOTOGRAPH:
How often do you use the library?
What steps do you follow in your design process
Workspace Sketchbook Drawings Tools Methods Initial designs Finished designs Notes
Âť 59 ÂŤ
How often do you refer back to your research / audience?
Tell me how you went throught the stages of your project...
5 recently read books:
What is your favorite designer / quote?
1. 2. 3. 4. 5.
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Open-ended questions
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Appendix 2:
Structured interview questions. Questionnaire of first interview with participants. Send via email, filled in by the participant and discussed through a personal
conversation or via emails. Afterwards some questions/answers are edited or removed to be used in the book. The Working Title Project Interview no. 1 Interview Questions Name: Project title: Why did you choose this project? Where do you find inspiration? Where (in what place) do you work best? (please enclose some photos of your workplace)
What tools and techniques do you use to practice your practice? Do you work in the MA studio? What steps do you usually follow in your design process? Is your design process more analogue or digital? How do you use sketchbooks / drawing / making notes?
(please enclose a scan or photo of your sketch/notebook, if possible, or bring it to the interview so I could take photo’s of it)
Are you more of a list maker of do you draw more? Drawing / List making When you started the project, did you first start out researching, drawing or brainstorming? In short how did you start? Do you refer back to your research? If yes how often? / if not is your design process more based on your intuition? Looking back on this stage, what went well in the project? What elements went different than expected? How will you develop the project in the next stage? What is the purpose of the project? (for yourself or your audience)
» 62 «
What other activities / interest do you have outside the MA that are part of your practice? Are you collaborating with other people on or is the project more individual? What new skills did you acquire while doing this project? (screen printing) What are 5 books / journals that you recently read? 1. 2. 3. 4. 5. What is your favourite designer / quote or style? Do you have anything to add that might be interesting about your project? * If the interview will be in person then bring as much work that you want to show me. I might want to photograph parts of it. It is all about design process so I would like to see sketchbooks scribbles and notes even workplaces / offices and tools that you use as well if possible. Any digital files and photo’s you could send me in advance or I’ll bring a usb to put them on. ** If the interview will be mostly through email, please send me as much written information, so I have a good base to write the narrative around because I will edit the interview questions and make a nice flowing story out of it. Send photo’s and digital files with some explanation so I know what it means. *** Images should be high resolution – 300 dpi and in .jpg /.psd / .tff / .png – ready for print. **** The interview will be published in a book. That I aim to launch at the final show this year. The deadline for receiving content is 28th of august. And you will get some time to check the design before it goes to print, but that will be a 24 hour window, if I don’t hear back from you I assume that the design and text is OK.
» 63 «
List of possible participants
Appendix 3:
List of possible participants to be interviewed for ‘The Working
Title Project’. Names highlighted in yellow are designers who are featured in the final publication.
Stud Campus Code
Session
Occur- Student ID Surname rence stUdEnts BY coURsE
Forenames
College: 1AA - College Of Arts
Inits
23/09/2015
Course: DESIGNMA - MA Design L
1FT
1
AND09200179
Anderson
Autumn
A
L
1FT
1
DIN15517483
Ding
Yudan
L
1PT
1
CAP13490822
Capp
Darren John
DJ
L
1PT
1
FRO11231785
Frobisher
Dawn
D
L
1PT
1
NEE11213924
Neenan
Colette
C
L
1PT
1
SHU13488381
Shum
Felicity
F
L
2PT
1
CLA10185646
Clarke
Emma Louise
EL
L
2PT
1
DOW09146093
Downs
Katherine Gina Elizabeth
Y
KGE
Course: GRADESMA - MA Graphic Design L
1FT
1
BAR09200343
Barrowcliff
Sarah
L
1FT
1
VAN11339365
Van De Rijt
Rianne A H M
L
1FT
1
YAN13471763
Yang
Yiping
S
RAHM Y
Course: INARDSMA - MA Interior Architecture and Design L
1FT
2
ALN12432224
ALNAJEM
MAJD
L
1FT
1
BAN12398034
Bankole
Olabisi Olubukola Ibidunni
M
L
1FT
1
FIE09193480
Field
Lewis
L
L
1FT
1
MIR13474455
Mirchandani
Kamsin
K
L
1FT
1
NAI12432863
NAIM
OSAMA
O
L
1FT
1
WAN13477866
Wang
Yuejiao
Y
OOI
Course: INTDESMA - MA International Design Enterprise L
1FT
1
FUS13466259
Fu
Shiliu
S
L
1FT
1
LIU15517467
Liu
Yangzi
Y
L
1FT
1
LOP13480797
Lopez Garci-Crespo
Lucia
L
L
1FT
1
PAT11214498
Patterson
Lucy
L
L
1FT
1
WOO06094921
Philp
AJ
A
L
1FT
1
YUE14480915
Yue
Kelai
K
N
Course: XMDXMDMA - MA Design for Exhibition & Museums L
1FT
1
HOU13481776
Houtioudi
Natalie
L
1FT
1
MAT13476735
Matthews
Dana Breanne
DB
L
1FT
1
MCC13488277
McCraw
Sarah Anne
SA
L
1FT
1
SAN13490816
Sandercock
Alethea
http://reporting.lincoln.ac.uk/ReportServer//Colleges/0067a_QLS_Students_By_Course
» 64 «
A
CONFIDEN
Unstructured interview (interview only)
Semi-structured interview (email questions + face-to-face interview) Structured interview (via email only)
dents By Course
s.
E
M
I
Sex
Birth Date
F
17/11/1992
HESA COMDATE
End Date
Stage
Date Stage Achieved
Qual. Aim
Student Status
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
H
F
25/12/1990
22/09/2014
05/06/2015
ENRZ
01/10/2014
051
O
M
13/03/1974
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
H
F
24/09/1956
22/09/2014
05/06/2015
ENRT
20/10/2014
051
H
F
02/09/1991
22/09/2014
05/06/2015
ENRZ
29/09/2014
051
H
F
07/05/1988
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
H
F
06/10/1990
30/09/2013
05/06/2015
ENRZ
16/09/2014
051
H
F
29/11/1984
30/09/2013
05/06/2015
ENRZ
06/10/2014
051
H
F
20/11/1992
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
H
F
12/03/1992
22/09/2014
05/06/2015
ENRZ
22/09/2014
051
E
F
27/03/1991
22/09/2014
05/06/2015
ENRZ
19/09/2014
051
O
F
06/08/1985
22/09/2014
05/06/2015
ENRZ
15/09/2014
051
O
F
03/12/1990
22/09/2014
05/06/2015
ENRZ
29/09/2014
051
O
M
15/12/1992
22/09/2014
05/06/2015
ENRZ
22/09/2014
051
H
F
01/11/1990
22/09/2014
05/06/2015
ENRZ
12/09/2014
051
O
M
30/09/1983
22/09/2014
05/06/2015
ENRZ
15/09/2014
051
O
F
20/06/1991
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
O
M
27/08/1992
22/09/2014
05/06/2015
ENRZ
19/09/2014
051
O
F
28/11/1990
22/09/2014
05/06/2015
ENRT
01/11/2014
051
O
F
24/06/1989
22/09/2014
05/06/2015
ENRZ
18/09/2014
051
O
F
24/02/1992
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
H
F
21/03/1962
24/09/2007
05/06/2015
ENRZ
11/03/2015
051
H
M
23/11/1988
22/09/2014
05/06/2015
ENRZ
26/09/2014
051
O
F
15/10/1991
22/09/2014
05/06/2015
ENRZ
17/09/2014
051
E
F
05/11/1992
22/09/2014
05/06/2015
ENRZ
18/09/2014
051
O
F
30/03/1989
22/09/2014
05/06/2015
ENRZ
16/09/2014
051
O
F
17/12/1992
22/09/2014
05/06/2015
ENRZ
26/09/2014
051
H
NTIAL
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