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Understanding experience design

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A lecture that explores the notion of designing experiences from a graphic design perspective. Useful for anyone who is keen to investigate this theme.

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Understanding experience design

  1. 1. GRD2100GrafiskDesigniRom 1 ØKT 1.1 Understanding Graphic Design in Spaces An Introduction Lecture Through Theory and Practice
  2. 2. GRD2100GrafiskDesigniRom 2 PREFACE Before We Begin Our Journey CONUNDRUM OF THE PRACTICE When Graphic Design in Spaces is mentioned, it is often met with confusion. It suggests that the Graphic Designer is some form of a spatial designer or the association of applying text, image and graphics in spaces. Both are simultaneously right and wrong. On the other hand, if a graphic designer attempts to explain it, like when I say I am an experience designer, nobody in the room gets it… Sentiments gathered from practitioners
  3. 3. GRD2100GrafiskDesigniRom 3 PREFACE Before We Begin Our Journey INTERSECTIONS This practice sits at the intersection of several disciplines namely architecture, communication design (graphic design), interaction design, motion design but also art and technology. It is a difficult practice to define much less to describe to others. Fig1. A map of the current experience design practice shown in HDD2100.
  4. 4. GRD2100GrafiskDesigniRom 4 PREFACE Before We Begin Our Journey SOME OF THE DESCRIPTIONS USED BY DESIGNERS/COMPANIES • Experience and interaction design • Media + space • Immersive experiences • Immersive spaces • Narrative Environments • Media installation and spaces • Experiential activation • Interactive spaces • New Media Art • Art, design and technology • Design stuff…
  5. 5. GRD2100GrafiskDesigniRom 5 OVERVIEW Aims and Objects of Lecture Primary Aim 1. What is Graphic Design in spaces? 2. How do we locate the practice within the larger scope of Graphic Design? 3. What are the scopes of this practice? Secondary Aim 1. Expand your understanding of what Graphic Design means. 2. How theory can be used to inform practice.
  6. 6. GRD2100GrafiskDesigniRom 6 1. Understanding The Practice History as discourse 2. Four Orders of Design Understanding The State of Graphic Design 3. Case Studies Examining Contemporary Practice OVERVIEW Lecture Content
  7. 7. GRD2100GrafiskDesigniRom 7 PART 1 Understanding the Practice History as Discourse
  8. 8. GRD2100GrafiskDesigniRom 8 UNDERSTANDING THE PRACTICE The History of The Term Applied Arts/Commercial Artist to Graphic Design: The term Graphic Design first came to use in 1922 Boston newspaper article by W.A. Digging to describe the wide range of jobs he personally tackled and to distinguish himself from the commercial artist. He was a jack-of-many-graphic-trades: illustrating books; composing pages; designing typefaces (among them, Metro and Caledonia); producing calligraphic hand lettering and stencil ornament; designing books and jackets; devising advertising and journal formats, along with handbills, stationery, labels and signs; as well as writing critical essays, short stories and marionette plays. (Heller, S. 2007) ‘ ’
  9. 9. GRD2100GrafiskDesigniRom 9 Fig2 Influential designers of the 20th century: (Top to Bottom Left to Right) Jan Tschichold, Josef Müller-Brockmann, Paul Rand, Milton Glaser, Saul Bass, Adrian Frutiger, Alan Fletcher, Herb Lubalin, Massimo Vignelli, Wim Crouwell, Armin Hoffman, Chip Kidd, Paula Scher, Barbara Kruger, David Carson, Neville Brody, Katherine McCoy, Steven Heller, Michael Beirut, Stefan Sagmeister Designers that established the nature of the practice UNDERSTANDING THE PRACTICE
  10. 10. GRD2100GrafiskDesigniRom 10 Established Scopes of Practice Fig3. (clockwise) Visual identities by Paul Rand; Napoleon’s 1812 March by Charles Joseph Minard; Fira Sans by Erik Spiekermann; Unknown Pleasures by Peter Saville; Ein Tag Mit Ronchamp by Emil Ruder; Atelier 12 by Wim Crowed Scopes of Graphic Design: Visual Identities, Information Graphics, Type Design, Posters, Publications, Packaging UNDERSTANDING THE PRACTICE
  11. 11. GRD2100GrafiskDesigniRom 11 Fig4 (clockwise) Anatomy of a Murder by Saul Bass; Bob Dylan by Milton Glaser; Pirelli by Armando Testa, Gumby by Art Clokey; Film Noir Series by Annie Leibovitz Scopes of Graphic Design: Title Sequences, Illustration, Image-making, Animation, Photography Established Scopes of Practice UNDERSTANDING THE PRACTICE
  12. 12. GRD2100GrafiskDesigniRom 12 Established Scopes of Practice Scopes of Graphic Design: TVCs, Copywriting, Script Writing (Radio Ads), Branding, Messaging, Art Direction Fig5. (clockwise) Nike Ad by Weiden and Kennedy; BMW Ad (1965) Unknown; Grundig Radio; Impossible is Nothing Campaign by TBWA; Just Do It by Dan Weiden; Mitsubishi - Rhino by Africa Sao Paulo; UNDERSTANDING THE PRACTICE
  13. 13. GRD2100GrafiskDesigniRom 13 Established Scopes of Practice Fig6. (clockwise) New Mexico History Museum by Gallagher & Associates, Santa Fe; Star Wars by Nippon Airways; British Motorways Signage System by Jock Kinneir and Margaret Kalvert; Storehagen Wayfinding by SEGD, Førde; Natural Springs by Shepard Fairey. Scopes of Graphic Design: Exhibition Graphics, Surface Design, Signages, Wayfinding, Murals. UNDERSTANDING THE PRACTICE
  14. 14. GRD2100GrafiskDesigniRom 14 Established Scopes of Practice Scopes of Graphic Design: Interactive CDs (late 1990s early 2000s), Website Design, App Design, Interactive Screens and interfaces, User experience ’ UNDERSTANDING THE PRACTICE
  15. 15. GRD2100GrafiskDesigniRom 15 Defining The Practice: Graphic design, also known as communication design, is the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms. The experience can take place in an instant or over a long period of time. The work can happen at any scale… It can also be for any purpose, whether commercial, educational, cultural, or political. (Cezzar, J. 2015) ‘ ’ The Nature of The Practice UNDERSTANDING THE PRACTICE
  16. 16. GRD2100GrafiskDesigniRom 16 Defining The Practice: Nonetheless, given the growing intersection of graphic design with time-based media, information design and associated disciplines such as writing and producing, as well as the blurring of boundaries between fine art and design, who and what we are (and ultimately want to be) is becoming more complicated to define and, therefore, to name… (Heller, 2007) ‘ ’ The Nature of The Practice UNDERSTANDING THE PRACTICE
  17. 17. GRD2100GrafiskDesigniRom 17 The Nature of The Practice Defining The Practice: The name [Graphic Design] has changed over the years… It has evolved from graphic design, to visual communication, to communication design. Initially named by the medium of print or graphical representation, the introduction of new media and tools, such as photography, film, television, sound motion and digital expression, has gradually helped us to recognise that communication is the essence of this branch of design, independent of the medium in which communication is presented (Buchanan, 2001) ‘ ’ UNDERSTANDING THE PRACTICE
  18. 18. FGD3101FordypningIGrafiskDesign 18 Beyond the Established Scopes Writing and authorship became a form of Design as designers explored the practice’s boundaries with intellectual inquiry and used authorship to communicate their ideas. Fig7. (clockwise) Steven Heller, Michael Beirut, Rick Poynor, Michael Rock, Ellen Lupton, Anne Burdick UNDERSTANDING THE PRACTICE
  19. 19. FGD3101FordypningIGrafiskDesign 19 Fig8. (clockwise) Haptic Design by Hara Kenya; Multi-touch Gestures by Gabriele Meldaikyte; Haptic Poster by Maqina; JuicePeel by Naoto Fukasawa; Gel Phone by Panasonic; Haptic Feedback by Masao Ave Haptic Design or Design of communication through touch became popularised in the early 2000s with the work of Hara Kenya and influential Japanese designers. Beyond the Established Scopes UNDERSTANDING THE PRACTICE
  20. 20. FGD3101FordypningIGrafiskDesign 20 Beyond the Established Scopes Graphic Designers are actively exploring and using the installation medium as a form of communication further blurring the boundaries between art and design. Fig9. (clockwise) C8 by Void; Crystal Universe by TeamLabs; Living Digital Space and Future Parks by TeamLabs; Volume by United Visual Artists; Spectra by Ryoji Ikeda UNDERSTANDING THE PRACTICE
  21. 21. FGD3101FordypningIGrafiskDesign 21 Beyond the Established Scopes Graphic Designers are actively exploring new ways to create meaningful work that defy genres such as participatory design, service design and creative placemaking.Fig10. (clockwise) Kapoor of Stories by Participate in Design; Service Design training at AHO; Campus Martius Park, Detroit by Southwest Airlines. UNDERSTANDING THE PRACTICE
  22. 22. FGD3101FordypningIGrafiskDesign 22 Converging of Disciplines CONTEMPORARY DESIGN PRACTICE Art and Design are increasingly becoming post-disciplinary where there are no longer neat categories but hybrids with few boundaries. We are ill-equipped to understand this because our way of thinking came from a period when disciplines were central. Previously, creativity occurred within a context of experimentation framed by a discipline and provided context, meaning and purpose. UNDERSTANDING THE PRACTICE
  23. 23. FGD3101FordypningIGrafiskDesign 23 What we know about Graphic Design: 1. Graphic Design is the art of communication. 2. It is not limited to text, image or graphics. 3. New emerging practices are changing and shaping the discipline. What we don’t know: 1. What does Graphic Design in spaces mean? 2. What are the scopes of this practice? Converging of Disciplines UNDERSTANDING THE PRACTICE
  24. 24. FGD3101FordypningIGrafiskDesign 24 PART 2 The Four Orders of Design Understanding The State of Graphic Design
  25. 25. GRD2100GrafiskDesigniRom 25 In 2001, Richard Buchanan postulates that there are four orders that characterise design in the 21st century. These orders evolved from the various areas of design practice and can be identified by many existing practices. THE FOUR ORDERS Understanding The Four Orders Symbols Text, images, graphics, pictograms, signs etc to communicate Central to the establishment of Graphic Design in the 20th century. Things Physical artefacts that exist around us to help us do something. Central to the establishment of industrial and product design in the 20th century. Action Experiences, services and activities to help human beings relate to one another. Central to emerging practices such as interaction design and service design. Thought Environments and systems that integrate information, physical artefacts and interactions in environments of living, working and playing based on a central thought or idea. Central to existing practices such as Architecture and Urban Planning, but also emerging practices such as organisational design, systems architecture.
  26. 26. GRD2100GrafiskDesigniRom 26 THE FOUR ORDERS Visualising The Four Orders SymbolsThings Action Thought Symbols exist all around us to communicate information such as graphic design Symbols and things are now overlapping and assigned new meaning especially with advances of technology such as the smart phone. Physical things that exist around us such as industrial design. Experiences, services and activities that connect people such as service design, user experience design etc. Environments or systems that contain everything such as architecture, systems design etc. Fig11. A visualisation of the four orders by their relationships and ability to contain others.
  27. 27. GRD2100GrafiskDesigniRom 27 Defining The Practice: The process of ordering, disordering, and reordering design is revolutionary, and I believe we are now in the midst of such a revolution. Instead of focusing on symbols and things, designers have turned to two quite different places to create new products and to reflect on the value of design in our lives. They have turned to action and environment. The argument for the reordering of design is simple and clear. It is certainly important that designers know how to create visual symbols for communication and how to construct physical artifacts, but unless these become part of the living experience of human beings, sustaining them in the performance of their own actions and experiences, visual symbols and things have no value or significant meaning. (Buchanan, 2001) ‘ ’ THE FOUR ORDERS Reordering The Four Orders
  28. 28. GRD2100GrafiskDesigniRom 28 THE FOUR ORDERS Using The Four Orders to Locate The Practice SymbolsThings Thought Action DEFINING GRAPHIC DESIGN IN SPACES Graphic Design in Spaces is the exploration of communication (the essence of our practice) across the three other orders of design. It is to consider how a message can be communicated in space, form, interaction, image, text, sound and light. GRD Graphic DesignProduct Design Environment Interaction Fig12. A visualisation of the practice of graphic design in spaces
  29. 29. FGD3101FordypningIGrafiskDesign 29 PART 3 Case Studies: Examining Contemporary Practice
  30. 30. GRD2100GrafiskDesigniRom 30 CASE STUDIES Examining Contemporary Practice Fig13. This kinetic Sculpture uses performance to tell the story and history of BMW through its slow and changing forms. KineticSculptureforBMWMuseumbyArt+Com Source:https://www.youtube.com/watch?v=6ZFHAZAkL2E [accessed05.03.18]
  31. 31. GRD2100GrafiskDesigniRom 31 CASE STUDIES Examining Contemporary Practice Fig14. This example uses projection as performance and changes how we experience a fashion show. 4DExperiencebyRalphLauren Source:https://www.youtube.com/watch?v=E7ryMzZQICA [accessed05.03.18]
  32. 32. GRD2100GrafiskDesigniRom 32 CASE STUDIES Examining Contemporary Practice Fig15. This example uses participation and performance to bring about the ideas of community and co-operation. OpenBurblebyUsmanHague Source:https://www.youtube.com/watch?v=QS3abtnnaHM [accessed05.03.18]
  33. 33. GRD2100GrafiskDesigniRom 33 Fig16. The work uses interaction, sound and visual to captivate the audience to learning about climate change. CASE STUDIES Examining Contemporary Practice HighArcticbyUnitedVisualArtists Source:hhttps://www.youtube.com/watch?v=3xjJR1U14zo [accessed05.03.18]
  34. 34. GRD2100GrafiskDesigniRom 34 CASE STUDIES Examining Contemporary Practice Fig16. The work uses emotive interpretation to communicate the concept of the collection. BloomSkinbyWOWforIsseyMiyake Source:hhttps://www.youtube.com/watch?v=oGTOq4RGMP4 [accessed05.03.18]
  35. 35. FGD3101FordypningIGrafiskDesign 35 SUMMARY Requirements of The Practice
  36. 36. GRD2100GrafiskDesigniRom 36 On the dynamism and fluidity of the practice: Graphic design is the most ubiquitous of all the arts. It responds to needs at once personal and public, embraces concerns both economic and ergonomic, and is informed by numerous disciplines including art and architecture, philosophy and ethics, literature and language, politics and performance. Graphic design is everywhere, touching everything we do, everything we see, everything we buy… Graphic design is a popular art, a practical art, an applied art and an ancient art. Simply put, it is the art of visualising ideas. (Helfand , 2001, p.137) ’ ‘ Graphic Design Without Boundaries SUMMARY
  37. 37. GRD2100GrafiskDesigniRom 37 SUMMARY The Skills Required For This Course This course will require you to use all the courses you have learnt so far. It will also require you to learn about other disciplines and apply their principles into your work. Note: You may wish to include Art into your approach* - many practitioners often include ‘the intersection of art, design and technology’ to help the public understand what they do. We will also find out why in the later half of the seminar.Image Motion User Experience Form Typography User Interface Interaction Light Sound Space Fig12. A visualisation of the skills required for graphic design in spaces
  38. 38. FGD3101FordypningIGrafiskDesign 38 SUMMARY Økt 1 Økt 2 Økt 3 Økt 4 Økt 5 Økt 6 Introduksjon til Emne Å désigne en opplevelse - - Konsept i Design 12.03.18 (plenum) 12.03.18 (plenum) 13.03.18 (plenum) 13.03.18 (plenum) 15.03.18 (plenum) 20.03.18 (plenum) Kevin Yeo Kevin Yeo Jeremy Williams Helge Hiram Jensen Kevin Yeo Jeremy Williams Introduksjon til Emne Hva er en opplevelse Fra historie, konsept til design Eksamensoppgave Revisjon om narrativ teori Konsept utviikling workshop Introduksjon til utstilling «Story matrix» workshop Hjemmearbeid presentasjon Økt 7 Økt 8 Økt 9 Økt 10 Økt 11 Økt 12 Design prinsipper for GRD Design utvikling Veiledning Veiledning Veiledning 22.03.18 (gruppe) 03.04.18 (gruppe) 05.04.18 (plenum) 09.04.18 (gruppe) 12.04.18 (gruppe) 18.04.18 (gruppe) Kevin Yeo Helge Hiram Jensen Kevin Yeo Kevin Yeo Kevin Yeo Kevin Yeo Aritektur og grafisk design prinsipper i utstilling design Arkitektoniske tegninger og skissemodellering Sketchup workshop Veiledning Veiledning Wayfinding/Wayshowing Arkitektoniske tegninger og skissemodellering øvelse Veiledning Veiledning Foredrag Workshop Veiledning Schedule of GRD2100
  39. 39. FGD3101FordypningIGrafiskDesign 39 BREAK TIME! Come back in 20 minutes.
  40. 40. FGD3101FordypningIGrafiskDesign 40 REFERENCE LIST 1. Buchanan, R. (2001). Design Research and The New Learning. Design Issues, Vol.17 No.4. 2. Cezzar, J. (2015). What is Graphic Design, [online] Available at: AIGA http://www.aiga.org/what-is-design/ [Accessed: 22/08/2015] 3. Helfand J, 2001. Screen - Essays on Graphic Design, New Media and Visual Culture, p.137 4. Heller, S. (2007). What Do We Call Ourselves Now, Eye Magazine Spring 2007.

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