Category Archives: Unit 2

On the dot (MPP)

Had forgotten to post this. Found it still saved as a draft..


In what way can braille and 3D shapes be used to form graphics and patterns that are intriguing to sighted people as well as blind or partially sighted?


The target audience will be blind or visually impaired also people in the gen- eral public who would enjoy my experiments and want to get a fuller under- standing of braille and its uses.


– To raise people’s awareness of braille, what it’s for and draw attention to its importance to the blind society. As many people are only ‘exposed’ to braille in only a few instances in everyday life – on buttons in lifts, buses and cash points – and thereby don’t get the full impact of how valuable it can be to people with this disability. (Even if people know of it, they don’t have any real knowledge about it.)

– How can we move toward inclusive design – to take the visually impaired into consideration when designing, instead of it only being added as an afterthought due to legal requirements.

– Investigate how graphics can be created in ways that appeals to a hybrid audience of sighted and blind/partially sighted people. Analyse which approach(es) can be best applied.


– Exploring ways of expressing braille in different formats – Differences in braille grade 1 and 2
Also investigate scaling of dots, spaces between dots and braille cells

– How is society accommodating or excluding blind people in everyday life?
Signage systems and guides for the visually impaired. How braille is being implemented in today’s society.

– Graphics/art intended for the blind
Tactile 3D shapes and patterns

– Embossed graphics, raised line drawings
Graphics to be ‘read’ with touch

– Comparison between situation in the UK and Sweden – Grades of blindness – Moon writing – Experiences with less senses
Other senses (mainly touch) heightened when loss of sight?

– How different concepts are percieved by blind
Such as ‘beauty’, colours, etc.


– Research existing graphic examples intended for blind and partially sighted

– Create an ‘how-to’ manual for sighted people to learn or understand braille

– Contact RNIB

– Find and talk to designers who have worked on projects in the same or similar field of study (f.ex. the design studio Imagination’s “Sense Garden”)

– Exhibitions about tactile graphics?
Find and attend exhibitions exploring tactile graphics/puts emphasis on art explored with other senses than sight

– Search for blind or partially sighted artists and photographers

– Create graphics with focus and extra value for the non-sighted (as in the ones with knowledge of braille)

– Surfaces of different textues and materials used for graphic work for the blind. Sounding when touching graphics?


– Holiday
– More primary research; create more visual experiments
Also more ‘playful’ approaches, not only problem solving (to be included in the ‘how-to’ manual?)
– More secondary research of graphics and installations
– Read books about blind and graphics from the bibliography
– Look up and visit exhibitions
‘Touch Tour’ for the visually impaired at the V&A for example

– More primary research
– More secondary research of graphic work and art for the blind
– Contact RNIB and blind/partially sighted people
Regarding what could be valuable factors to take into consideration when forming the research and ask what they would see as a welcome/’valuable’ addition to art and graphics, what they might feel is missing
– Think of formats for final output
– Speak to designers and others with experience of projects in the same/ similar fieldRNIB might have examples of projects or contacts
– Tutor meetings/feedback

– Trip to Sweden
During stay – find out differences between Sweden and the UK for the blind and braille’s uses
– Show target audience examples of work – Amends to work after feedback – Tutor meetings/feedback

– Design layout templates for MP and visual experiments
– Tutor meetings/feedback

– Use 3D workshop and Print Studio for production of material
– Photograph experiments
– Set material in layout template
– Tutor meetings/feedback

– Liaise with printers about production
– Print MP and other parts
– 9/11/11 HAND-IN Major Project


For Blind and Braille
– Crow, David (2010) Visible Signs, 2ed Lausanne: AVA Publishing SA

– Edman, Polly K (1992) Tactile Graphics New York: Library of Congress Cataloging-in-Publication Data
– Frascara, Jorge (1997) User-centred graphic design London: Taylor & Francis
– Holmes, David (2005) Empire of the Senses New York: Berg Publishers
– Kennedy, John M (1993) Drawing and the Blind: pictures to touch Yale University
– Pullin, Graham (2009) Design meets disability Cambridge, MA: Massachusetts Institute of Technology

– –

For Research Methodology
– Kress, Gunther & van Leeuwen, Theo (1996) Reading Images – The Grammar of Graphic Design London: Routledge
– Laurel, Brenda (2003) Design Research – Methods and Perspectives Cambridge, MA: Massachusetts Institute of Technology


Seminar 2

The idea for my project came from a trip I took with my father in South East Asia last October. We visited four countries over the course of forty days; Thailand, Laos, Cambodia and Myanmar. As I looked back at our journey, I noticed that what interested me most was what we had collected during this time; pictures, itineraries, diaries, maps, tickets, vouchers, objects, the people we had met, the cultures we had discovered, etc. I will work from these two different archives and perceptions; my fathers and my own. My research lead me to question how you could build one story with two narratives. I would like to find a graphic system that combines those two bodies of information. The aim is to find an innovative way to create a narrative structure playing with two points of views. The objective is to interrupt the expectation of the reader/viewer/spectator. For contextual research I looked at travelogues, mapping, diaries, study of culture, psychology, etc. For visual inspirations I looked at experimental design such as visual and typographic layouts. I need to do a rational of the form my project could take and look at all medium’s opportunities; book, screen, installations, etc. In my primary research I used different tools and techniques, to show different point of view, and tried to see where it operates the best. I did not use my archive yet, for the Unit 2 experimentations, to enable me to have more freedom. However, I know that I need to mind map my data by the end of Unit 2 to see exactly what I will work with in Unit 3.

article for Nadav

hey Nadav, I was trying to look online for the article I mentioned to you in today, instead I found this:

MPP, seminar 02

01. Research Question
“[Students] are not privy to process. They may have the illusion that these things really spring full-blown out of the head of some designer. This is a very unsettling perception for young people, because they struggle with their work.” SAUL BASS (1995) Essays on Design 1: AGI’s Designers of Influence. London: Booth-Clibborn.

What mysteries reside behind the Design Process?

02. Aims and Objectives
I aim to share the struggles, the moments of writer’s block, the tangents that went nowhere and those who led to an exciting new direction.
I intend to reveal the progression of an idea, the influences and methods, the errors, the crossed-out words and the unfinished drawings. The place where mistakes are allowed and experimentation encouraged.
I plan to show a detailed and personal point of view that can help others (students, clients, designers and/or non-designers) to understand and celebrate the design process.

03. Area of Study
[D&R Brief]
Design Process: Investigating practice, methods, media and
Centred on the notion of research into design, this project grouping is based on the exploration of graphic form, methods, materials and craft. Students may choose to work in two or three dimensional design, utilising traditional or cutting edge principles and practices, in order to develop new and innovative graphic methods of communication, tools and processes.

04. Research Methodology
The research will be conducted in four stages:
[stage 01 – preliminary research]
>Primary research:
Registration of my everyday life, as a design student and professional, in a consistent and obsessive way, in the sketchbook/diary/journal/notebook format [container].
Record, collect, document, track the design process from the most ordinary behaviour to the smallest peculiar decision, with written data, to do lists, drawings, time references, collage/clippings of ephemera/memorabilia, etc.
>Secondary research:
FEYNMAN, Richard P.(1992) Surely You’re Joking, Mr. Feynman! Adventures of a Curious Character as Told to Ralph Leighton. London: Vintage Books.
WILSON, Frank R. (1998) The Hand: How Its Use Shapes the Brain, Language, and Human Culture. New york: Pantheon Books.
BEIRUT, Michael (2006) This is My Process. Observatory: Design Observer [Internet] [Accessed 28 May 2001]
BEIRUT, Michael (2008) 26 Years, 85 Notebooks. Observatory: Design Observer [Internet] [Accessed 28 May 2001]
HELFAND, Jessica (2009) Open Letter to Design Students Everywhere. Observatory: Design Observer [Internet] [Accessed 28 May 2001]
MARTIN, Roger (2009) What is Design Thinking Anyway? Observatory: Design Observer [Internet] [Accessed 28 May 2001]
SOAR, Matt (2008) Fail Again, Fail Better. Observatory: Design Observer [Internet] [Accessed 28 May 2001]

[stage 02- intermediate research]
>Primary research:
Description, analysis and organization of findings/discoveries, interpretation and rationale. Use/make information graphics.
>Secondary research:
HERAUSGEBER (2003) Information Design: Source Book. Japan: IIDj Institute for Information Design.

[stage 03- final research]
>Primary research:
Evaluate findings, make a critical reflexion, take conclusions.
Define output, work on the output, conclude output.
Make a visual summary of the entire research undertaken.
Write the project report.
>Secondary research:
COLLINS, Hilary (2010) Creative Research, the Theory and the Practice for the Creative Industries. Lausanne: AVA Publishing.

[stage 04 – presentation]
Present/communicate results.
Postgraduate show.

05. Action Plan:
Weekly schedule/timetable, from June to December, stage 01-04.

06. Resources:
[Books and E-Journals mentioned before]

Seminar 2_Cristina

Research question 
Almost everyday you buy things and many of those purchases are recorded and tracked. My project will investigate how the receipts we get can tell a story about this surveillance.

Aims and Objectives
I have been researching ephemera and I also have an interest in paper. While researching the paper that surrounds us, such as business envelopes and receipts, I became interested in the issue of privacy.

Area of Study
My project will be about design and through design.
About design in a sense that I will use printing techniques to show the issue of permanence and impermanence
And it will be through design in a sense that it will tell a story, perhaps spooky, of how we are being  surveilled  even in the most trivial occasions such as in our supermarket shopping. (or day to day affairs, such as grocery shopping).

Research Methodology
My brief is to compose and generate a visual story, using receipts (and business envelopes?), that highlights the issue of privacy and surveillance of people in our society as well as to bring attention to permanence and impermanence since most of what is printed today is on heat sensitive paper and it disappears very quickly.

Research methods
Collect receipts and analyze all the information available on them in order to create a narrative which relates to the topic.

Action plan
I will experiment with printing techniques which alludes to the fading that occurs on heat sensitive paper. I will use different opacity paper as well as photography to convey the exposure of people’s lives.

For Candy – Meet mr-chicken

Hi Candy,

Link to the book about chicken places signage and the man who creates it that I told you about. The book was designed by LCC MAGD graduate Siaron Hughes.

Typography as a means of communication

I would like to focus my studies on typography as a means  of communication. There are many “do’s and dont’s” in typographic design and I would like to investigate these further. To avoid limiting my options too soon I hope to look at two areas. Firstly experimental type in perhaps music as I have chosen Sound and Vision: Music and Graphic Design for elective B. Secondly information display type with a view to perhaps focusing on museum exhibition graphics. I am interested in large display graphics and legibility and have begun to create a typology to compare how the pubic and designers associate typeface with products.

The idea often of experimental type is to grab attention, and for that in exhibitions is to be invisible so not to detract from the exhibits. This idea in reverse could be an interesting one. What if the information was displayed in the frames and the artwork across the walls? Removing the artwork altogether and focusing on the typography has been the subject of exhibitions and advertising campaigns in the past. I think there could potentially be a need to look at the display graphics in museums but would like to take a more general look at typography and display at this stage.

Book for Taro Unit 2 project

Here is a book that could help you with your project. I have seen it at the Whitechapel Gallery if your interest. Hope your research are going well.

Design Rhetoric

 For the project I am going to investigate on the Gestalt Theory, the idea of perception. As a human we have a tendency to look at things as a shape, organise and make sense of the things that we see. Firstly I will look at few areas of Gestalt Theory which involves similarity, proximity, closure, simplicity, repetition and figure/ground. For the beginning of the project I want to investigate in a broader sense of visuals and typography as the theory is applied in many aspect of graphic design.


The focus of this project will be the idea of ‘The whole is greater than the sum of the parts.’ And questioning the perception ‘Do you see what you want to see?’ I will carry out experiments with simple shapes and moving on to creating a form with everyday objects that will illustrate the idea of seeing ‘unified whole’ rather than the individual pieces that makes up the whole.



Alternatively, from starting this project I am also considering looking at Hangul (Korean Alphabet). As Hangul forms from combining consonants and vowels into a block and it only becomes a whole when the individual elements are combined together. However I am unsure if I want to focus on Hangul so for the time being I will continue with the experiments first focusing on the idea of ‘The whole is greater than the sum of the parts’ and looking into Hangul as a part of the research.

Hands on

I want to look at different ways people use their hands in communication, especially in the aspect of disabilities; how the deaf use sign language and blind or people with impaired vision use their hands not only to read braille but also ‘see’ images with their fingers by touching pictures that are embossed and layered.

I am tempted to go straight to sign language and create an introduction book an with more coherent illustrations that explains signs, how to shape and move your hands when signing. The courses I’ve attended in this subject have all had different teachers and all with their own hand drawn pictures, which was sometimes confusing as they drew the same word’s illustration very differently. I think they would benefit from a more unified look.

There are more deaf and hard of hearing people in the society than we realise and they face many difficulties in their everyday life, things hearing people take for granted. My idea was to maybe create a book which could work as a first glance at learning how to sign for schools.

But I would be limiting the field of research quite early in that case, so therefore want to broaden the theme and will include other things as well and see where it leads me.