Communication Project
Coordenation Andrew Howard

In this project you are asked to draw on the experience and knowledge gained in the previous projects, to research, edit, and design a work around the theme of ‘connections’
This work can take any form you believe is suited to the nature of your focus – a book, a website, a series of prints etc. It could even be an exhibition if it can be described in detail and visualised.
Connections can be researched and they can be discovered, by ‘researched’ is that you may investigate something that clearly has many connections.

My Social Connections

“Connection is the energy that exists between people when they feel seen, heard and valued; when they can give and receive without judgement; and when they derive sustenance and strength from the relationship.” —Brené Brown

Humans are a profoundly social species; our drive to connect with others is embedded in our biology and evolutionary history. It begins at birth, in our relationship with our caregiver and the effects of this relationship seem to reverberate throughout our lives. Social connections are the relationships you have with the people around you. They may be close, like family, friends, and co-workers, or more distant, like people you know casually. They can be as close as next door or so far away that you only connect with them by telephone or through the Internet.

For this project to explore social connections, I started making a list of all the people I managed to register that I have ever met

Categorizing

The idea of this investigation was to categorize the list of social connections and make different sequences with the same list. I categorized it into 3 parts: Alphabetical Order, Age, and Year I met them

Posters

Another possible perception to work with the list is in the form of a poster.

Tests and Ideas

Posters

Case Studys
Coordenation: Ana Rainha
Team Work: Bárbara Torres

this project aims to define a possible personal context regarding communication design, understanding design as a critical practice. Constituted by the identification of a particularity of the communication design evidenced in a set of pre-determined reflections, by selecting seven texts and five images that communicate it and by presenting these arguments in the space and, finally, for the delivery of a graphic object that materializes the options taken.

A Vision Through Fiction

Key Words: Fiction, Speculation, Illustration,

In the same way that Design Thinking became popular as an efficient creative resolution methodology, Design Fiction has grown as a method of exploring future scenarios from the logic of Science Fiction, the reading of objects, environments and messages affirms the narrative as the main function of Design. Through fiction, objects, systems and behaviors are created to build a story and a context to be analyzed as a future possibility. Science Fiction can be understood as a kind of writing in which, in its novels, prototypes of other worlds, other experiences and other contexts of life are created, based on the creative ideas of the author. Fiction is a way of inspiration, stories and methods but also a guide. With so many utopias and dystopias presented by countless authors, it is evident that in creating stories, the responsibility they carry also exists in the role of a designer. Design Fiction materializes ideas and speculates without the pragmatic constraint that generally informs Design procedures. We believe that you can approach some creative procedures of Design Thinking, as this allows designers to understand the effectiveness of their projects and discuss their possible flaws. By overcoming today’s sociological and economic trends and imagining other possibilities, they can examine the potential uses of their skills, giving them tools for the development of artifacts.

Articles

Science fiction -Literature and Performance – Bruce Sterling
https://www.britannica.com/art/science-fiction

The first essay contextualizes the history of Science Fiction, pointing out and commenting on the importance that is given in Great Britain, for example through the publication of magazines. Magazine publishing in the early 1880s began delivering stories to a mass audience. The stories distributed in these publications boasted elements of Science Fiction that appealed to the younger reader’s sense of admiration and adventure.

Design Fiction – Julian Beecker https://drbfw5wfjlxon.cloudfront.net/writing/DesignFiction_WebEdition.pdf
“Design Fiction – a short essay on design, science, fact and fiction” by Julian Bleecker March, an essay carried out in 2009, addresses the meaning of Design Fiction as a way to transform the imagination and reflect it into something material. He questions how Design is considered fact or fiction, in the creation of something that seems real and doable but that can also be speculative.

Critical Everything – Francisco Laranjo
https://www.grafik.net/category/feature/critical-everything
The editor of Modes of Criticism, Francisco Laranjo, questions the terms “Critical”, “Speculative Design” and “Design Fiction”, while proposing some critical challenges for Graphic Design. This article discusses the trends that control the use of terminology and discusses the interest and the need for a critical practice of Graphic Design.

Elements of Design in Science Fiction – Rick Liebling
https://medium.com/adjacent-possible/elements-of-design-in-science-fiction-8396a0c04dd8
Moving from the idea of ​​imagining a utopian and ideal world for the imagination of something that is dystopian, “Elements of Design in Science Fiction” by Rick Liebling refers to the presence of this dystopia over the years in literature. Following this idea, it is suggested to read the interview with Chris Noessel and Dave Addey who, as chroniclers of science fiction design in cinema and TV, emphasize the power and influence of Design in Science Fiction, especially the Interaction Design and Typography used in Science Fiction films.

Science-Fiction Magazine Illustration: A Semiotic Analysis https://www.jstor.org/stable/4239566?seq=1
Jan Baetens and Hugo Frey. The Graphic Novel: An Introduction. https://www.academia.edu/13152015/Jan_Baetens_and_Hugo_Frey._The_Graphic_Novel_An_Introduction
The last two articles presented in this reader, “Science-Fiction Magazines Illustration: a semiotic analysis” and “Jan Baetens and Hugo Frey. The Graphic Novel: An Introduction”, pay special attention to the connection between Design Fiction, Graphic Design and Illustration.

Editorial

Visual Research

Communication Project
Coordenation Andrew Howard

This project is about (forms of) representation and interpretation. In particular the focus of the project asks you to consider “interpretative” role of the designer. Another way of describing this would be to talk about the way in witch a sorty, or information or a menssage can be understood, and, how countent your choices. This might be described as a particular froem mediating intervention in the given content.

In this assignment is asked to explore how the same subject can viewed in different ways – how to perspetive that is adopted regarding a subject can produce different information and consequently a different understanding. Equally important, is asked to examine how forms of representation and forms of visual organisation affect communication, meaning and understanding. What is understood about any given topic depends on the analysis that is bought to bear upon it. Your objective is to demonstrate how each perpetive requires a different visual approach. To deppen Knowledge about the significance of form, techinique, and style in the constuction of meaning. To develop and strengthen and creative skills in image making and editing. To examine and explore narrative skills and techniques. To be able to interpret and communicate information and data.

Ocean

For this project I chose the theme “Ocean”, for its diversity and varied options of choice for subthemes. The two perspectives chosen were “Science” and “Myths”, both were represented with century XIX illustrations.

Science

In this perpetive “Scientific illustration” was used to represent visually aspects of science, particularly observations of the natural world.The emphasis in scientific illustration is on accuracy and utility, rather than on aesthetics, although scientific illustrators are skilled artists and often known for aesthetic values. Ernst Haeckel’s work was a inspiration for this project, and had a feature in this perspective.

Editorial

Final Results

Myths

To explore this perspective, I chose three myths “The Bermuda Triangle”, “Mermaids and Mermans” and “Sea Monsters”, illustrated with images from the XIX century and small captions or curiosities.

Editorial

Final Results

Covers

The covers of the two perspectives have a collection concept. Consequently I kept the same layout for both of them.

Visual Research

Communication Project
Coordenation Andrew Howard

This project ask you to consider and explore your role as a visual communicator in collecting, documenting and communicating information. An important function of this project is to focous on developing visual methods that are effective in gathering information and then commucatting understanding. In this project is asked to create a work the centre of which is a based on the process of mapping.

A Vegan Guide Though Porto

For this project I decided to invest in a research of the vegan diet in the city I live in, a map with the location of restaurants and establishments with vegan options. The “Porto Vegan Map” has emerged as guide with specific information about the most diverse places where you can find vegan options in the city of Porto. The investigation and selection of establishments and the area was defined through a survey of the best scores and feedback given in restaurant applications. For the division and better perception of the map, three categories were defined: Vegan Restaurants, Vegan Bakeries and Restaurants with Vegan option.

Editorial

Case studies
Coordination: Ana Rainha
Team Colleagues: Bárbara Torres ; Telma Salema

Visual language using the human body as a platform of communication has always been present, ever since the former age until this present time.
Presented in this project is a compilation of textual passages, as well as some visual references, in order to explore the association that there is between graphics and the human body through diverse cultures. There are set two parallel narratives, one about social issues and another one about culture. In this sense there will be presented some cases where the body and the graphics are addressed as a form of protest to gender and racial problems, as well as a concept of cultural heritage and cultural appropriation.

Articles present in the Reader:

1. Cultural Appropriation Within Illustration – David Park – published by Myth Busters https://bustingmythology.wordpress.com/2015/03/25/cultural-appropriation-within-illustration/  This article explores the historical lineage of appropriation and how that relates to technology and modern issues within illustration dealing with cultural appropriation of imagery, work and culture. “We are now beginning to see a generation that has grown up with this technology from birth where they do not see any boundaries separating cultures and become increasingly more difficult to understand and navigate what becomes cultural appropriation or just simply culture. “ <……………………………………………………………………………………………………………………………..> The African tribe that recycles garbage and turns it into accessories <………................................................................................
2. Our Body our Fonts – Jessica Helfand- published by Design Observer https://designobserver.com/feature/our-bodies-our-fonts/2937 Body markings — piercings, tattoos and so forth — have recently evolved into a kind of marginalized form of graphic expression, yet one that sheds an unusual light on some of the more mainstream ways in which design often reveals itself. It used to be that T-shirts and bumper stickers were the primary vehicles of choice for public displays of private opinion. Yet while the market for these printed artifacts still remains economically solvent (and commercially viable) the idea of writing on the body seems so much — so much what, exactly? More honest? More immediate? Less impersonal? Less mass-marketed? <……………………………………………………………………………………………………………………………..> <…………………………………………>>..Stefan Seigmeister - Physical Extremism // Zhang Huan - History of his family <…………………………………………………………………………………………………………………..>
3. Antrophology -Tattoo Cultural Heritage and Globalization https://www.academia.edu/8951566/Tattoo_cultural_heritage_and_globalization Tattooíng and body modification in general have to be also consídered in relation to the issue of intangible heritage. There are many cultures of the world which had a rich tradítion in tattooing and because of direct or indirect Westem influence they have lost this tradition or it is in the process of extinction. More and more, the body does not reflect any more particular worldviews of particular cultures or societies but uniformized attitudes coming from dominant paradigms. We know that globalization is changing our world and according to this, globalization is also changing the relationship people have with their own bodies. In this artide 1 will focus on two very concrete cases: the Li people in Hainan, in China, and the example of the population in Equatorial Guinea, in west central Africa.  <……………………….> <………………….. Li people in Hainan <……………………………………………………………………………..>
4. How the World love the swastika – until Hitler stole it – Mutki Jain – published by BBC https://www.bbc.com/news/magazine-29644591 In the Western world the swastika is synonymous with fascism, but it goes back thousands of years and has been used as a symbol of good fortune in almost every culture in the world. As more evidence emerges of its long pre-Nazi history in Europe, can this ancient sign ever shake off its evil associations? <…………. Swastika Symbol <…………………………………………………………………………………………………………………..>
5. Reschears on visual Culture -Intertwining discourses: a visual history of bodie – Alicja Khatchikian – Published by Routes and Roots https://www.roots-routes.org/intertwining-discourses-visual-history-of-bodies-alicja-khatchikian/ “Resistance was conceptualized only in terms of negotiation. Nevertheless […] resistance is not solely a negotiation but a creative process. To create and recreate, to transform the situation, to participate actively in the process, that is to resist” M. Foucault <………………….. Claude Cahun .<…………………………………………………………………………………………………………………..>
6. Shirin Neshat a state that challenge us to look away – Kelly grovier Published By BBC http://www.bbc.com/culture/story/20191104-shirin-neshat-a-stare-that-challenges-us-to-look-away Forget the Remington rifle that, propped upright in front of the veiled woman’s face, boldly splits her being in two. What really blows you away is the double-barrelled blast of her inscrutable eyes. Deepening the penetration of her stare is the alignment of the sniper’s ‘sight’ (that slender ridge at the weapon’s tip that a marksman uses for aiming) with the middle of the woman’s forehead. Is this a subliminal suggestion of a mystical third eye – a detail that elevates the work to something spiritually universal – or is she, herself, a tragic target caught in the crosshairs? <……………….. Shirin Neshat <…………………………………………………………………………………………………………………..> .
7. Four Artist Redefining Henna Tattoo – Jessica Canjemanaden Published By Dazed and Confused https://www.dazeddigital.com/beauty/body/article/47257/1/redefining-traditional-henna-body-art-mehndi-artists Mriga, Ayqa Khan, Huq That, And Pavan Dhanjal Share their personal connections to Mehndi and how they’re using it as a means of exciting creative expression ………………………… ………….. Henna Body Art

Throughout this project there will be adressed some references, as one of them being one of the most known personalities in the graphic design industry, Stefan Sagmeister. The main subject in question is about how body markings have recently evolved into a kind of marginalized form of graphic expression. And how can we classify the application of typography in a poster or a body, being the first one assorted into graphic design and the other as art.

Quoting Martí Pérez and Josep, “Tattooíng and body modification in general have to be also considered in relation to the issue of intangible heritage. There are many cultures of the world which had a rich tradítion in tattooing and because of direct or indirect Western influence they have lost this tradition or it is in the process of extinction. More and more, the body does not reflect any more particular worldviews of particular cultures or societies but uniformized attitudes coming from dominant paradigms.

Invisible Cities, a book by Italo Calvino, first published 1972, is a collection of fiffty-five citys, explores imagination and the imaginable through the descriptions of cities by an explorer, Marco Polo, the famous Venetian Trabaler and Kublai Kan, the legendary conqueror.

This project is a personal interpretation of the book, witch aims to present its content though a visual representation, each one of the cities was illustrated with a geometric base in order to provide the reader a different interpretation.

The cities are divided in eleven categories: “Cities & Memory”, “Cities & Desire”, “Cities & Signs”, “Thin Cities”, “Trading Cities”, “Cities & Eyes”, “Cities & Names”, “Cities & the Dead”, “Cities & the Shy”, “Continuous Cities” and “Hidden Cities”. Each one were also illustrated and defined with a unique color palette constituted with three different colors, and black/white was common colors among all of them. In the end a pattern can be seen as a representation of the space of each category.

Visual Research

Be yourself; Everyone else is already taken.

— Oscar Wilde.

This is the first post on my new blog. I’m just getting this new blog going, so stay tuned for more. Subscribe below to get notified when I post new updates.

This is an example post, originally published as part of Blogging University. Enroll in one of our ten programs, and start your blog right.

You’re going to publish a post today. Don’t worry about how your blog looks. Don’t worry if you haven’t given it a name yet, or you’re feeling overwhelmed. Just click the “New Post” button, and tell us why you’re here.

Why do this?

• Because it gives new readers context. What are you about? Why should they read your blog?
• Because it will help you focus you own ideas about your blog and what you’d like to do with it.

The post can be short or long, a personal intro to your life or a bloggy mission statement, a manifesto for the future or a simple outline of your the types of things you hope to publish.

To help you get started, here are a few questions:

• Why are you blogging publicly, rather than keeping a personal journal?
• What topics do you think you’ll write about?
• Who would you love to connect with via your blog?
• If you blog successfully throughout the next year, what would you hope to have accomplished?

You’re not locked into any of this; one of the wonderful things about blogs is how they constantly evolve as we learn, grow, and interact with one another — but it’s good to know where and why you started, and articulating your goals may just give you a few other post ideas.

Can’t think how to get started? Just write the first thing that pops into your head. Anne Lamott, author of a book on writing we love, says that you need to give yourself permission to write a “crappy first draft”. Anne makes a great point — just start writing, and worry about editing it later.

When you’re ready to publish, give your post three to five tags that describe your blog’s focus — writing, photography, fiction, parenting, food, cars, movies, sports, whatever. These tags will help others who care about your topics find you in the Reader. Make sure one of the tags is “zerotohero,” so other new bloggers can find you, too.