Timney Thesis

visualizing graphic design history through new mediaSIGN-OFF Rob Carter primary advisor /professor, department of graphic design Roy D. McKelvey secondary advisor/associate professor, department of graphic design John Malinoski reader/associate professor, department of graphic design Matt Woolman chair/associate professor, department of graphic design Dr. Richard Toscan dean /school of the arts Dr. F. Douglas Boudinot dean /school of graduate studies Design History Matters: Visualizing Graphic Design History Through New Media submitted to the faculty of the school of the arts at virginia commonwealth university in partial fulfillment of the requirements for the degree, master of fine arts in design/visual communications. Todd Timney Bachelor of Fine Arts in Graphic Design Hartford Art School, University Of Hartford Hartford, Connecticut / May 1997 Virginia Commonwealth University Richmond, Virginia / May 2007 co n t e m po ra ry a rt i s t m a r k lom ba r d i e x a m i n e s n et wo r k c a rto g ra p h i e s com : h ow d o e s hy p e rt e x t c h a n g e t h e com pos t i o n o f h i s to r i c a l n a r rat i ve s ? visualizing graphic design history through new media 03 .table of contents 04 05 06 problem statement abstract introduction personal interests topic overview 13 15 delimitations process + methodology problem solving vs. problem seeking observing the environment comparative analysis: timelines diagrams: visualized thinking new media: web site design new media: podcasting 32 34 35 36 exhibition evaluation + future directions bibliography acknowledgements v i s ua lt h e s au ru s . m e g g s re l e a s e d t h e f i r s t e d i t i o n o f a h i s to ry o f g ra p h i c d e s i g n visualizing graphic design history through new media 05 . New media’s emerging influence on society and the design profession is profound. sound. customization. static imagery. Currently unrealized. But the potential benefits of this exploration are many. and other forms of digital media to develop and deliver dynamic content to students of the internet generation. and multiple authorship—can be unsettling. podcasting. For graphic designers trained in the design of fixed content for traditional media. the intersection of graphic design history and digital media is an area worthy of further examination. new media’s challenge—to develop open-ended systems that adapt to dynamic content. i n 1 9 8 3 p h i l i p b. Primary focus is on the possibilities of the World Wide Web. The ability to synthesize video.abstract pro b l e m s t a t e m e n t This project examines new media’s potential to reshape the documentation and presentation of graphic design history. and textual information to present interactive content that adapts to the contemporary history of graphic design student’s multi-modal and mobile lifestyle will provide a significant advantage. Meggs’ authoritative survey A History of Graphic Design was the first attempt to create a definitive and linear history of the graphic design profession. charting its progress from the marks found in the caves of Lascaux to experimentation with digital media in the late 1990’s. in order that I may learn how to do it.” pablo picasso 06 visualizing graphic design history through new media rc no h te ch visualizing graphic design history through new media 07 . or R. students and teachers can freely create their own historical connections through interactive media and networked information sources. my focus was on the relationship between individual and communal identities and would culminate in a project specifically related to my birth town of Brattleboro. All of these factors exert profound impact on the way we currently construct knowledge and historical narratives. Summarized by my proposal statement Without You I am Nothing: Design in Need of Community. When I discovered the capabilities of digital media to create knowledge-building communities I realized my new direction was simply a change in perspective. No longer consigned to be passive receivers of historical interpretations by authors such as Philip Meggs. and learned. Roger Remington. Hypertext has changed the way in which users create associations and strengthen relationships between information bits. hypertext’s affect on historical narratives While graphic design practitioners often enjoy the benefits of collaboration in their work. my initial research focused on the relationship between design and community. the graphic design profession has undergone enormous technological transformation. Digital media has altered the traditional. from the one to the many. They have also raised important questions about authenticity. Celebrated as a landmark contribution. User-created narratives now challenge authoritative reports. the synthesis of text. Community in Need of Design. Vermont. hypertext enables users to link topics to related information and graphics via simple point-and-click methods. the stage. one-directional relationship between writer and reader. imagery and atmosphere that visitors use to weave their own story. and trust. Brad Johnson. The authoritative role of historian as narrator and interpreter of the past is now challenged by interactive. the backbone of the Internet’s interactive capabilities has increased users’ abilities to be active participants in composing historical narratives. my new direction centered on the intersection of digital media and the way graphic design history is constructed. gathering. summarizes the transforming information landscape and its effect on their work: “The evolution of interactive media means the story no longer flows in one direction. presented. Additionally. The flexibility of this “choose your own adventure” philosophy allows users to create seemingly infinite rob carte r 1 roy mckelve y 2 graphic design histor y content experts t en pr e se n t information desig n mapping diagrams visualizing information navigation definition of purpose functionality interface Ideas can travel full circle. The resulting loss of important resources required me to shift my approach. Blogs.introduction introduction personal interests topic overview For all intents and purposes. Combining these two deficiencies became the basis for several broad studies which have challenged both my previous definition of graphic design and my personal place within the field. Unlike traditional media’s single-channel and linear presentation of fixed content. The narrative is only visible in hindsight. Meggs’ book inspired many schools to emphasize design history as an integral component of a young designer’s education. Virginia Commonwealth University is the place where the idea of a comprehensive account of graphic design history was born. Soon thereafter I became aware of the complexity and evolving nature of these relationships. Initially I thought I would design a basic web site devoted to the history of graphic design. sound. audiences now have more control over how historical narratives are composed. Perhaps the time has come to consider new mediums for collecting and presenting the past. networked media. establishing collaborative information gathering and dialogues among remote people. Access to information in firstworld countries is almost ubiquitous. Richard Hollis. But in the twenty-four years since the first edition was published. still and moving images through digital media has changed the way information is presented and processed. the design firm responsible for the creation of online history experiences for institutions as diverse as the Smithsonian Institution and American Institute of Graphic Arts (AIGA). nt at co io n 4 technologies web dvd visualizing graphic design history through new media 3 interactive design useability: user-centered design approach cognitive psychology social sciences people es re gi se lo a PPING d i ag ra m depicting area s of concentration and subproblems for c re at i ve project exploration “ I am always doing that which I cannot do. yet criticized for its editorial omissions. information. Search engines and content filters have changed the way users access information. the implications of interactivity and collaboration destabilize the traditional hierarchal nature of historical narratives and how they are created and presented. producer and consumer. As active participants. My personal interest in these topics stems partly from an undergraduate education in which design history was curiously absent from the curriculum and a professional career affording few opportunities to explore new media. The book quickly became standard reading for young designers and was adopted into curricula worldwide as the textbook of choice. Mildred Friedman. Related to this project. Philip B. music. and wikis have created new possibilities in publishing. discussion boards. taught. After careful consideration. their story. when we piece together the visitor’s path through our work—the path was their history. A brief conversation with my parents revealed that Brattleboro was in the midst of political scandal and economic hardship. We provide the characters. Creative Director of Second Story. authority.” Hypertext. cannot be accomplished through the fragmented nature with which information is digested via digital media. “The misunderstanding of narrative. I believe.” Swiss architect Andreas Nothiger and historian Dr. Current web sites that leverage collaborative editing technologies. wikis. Using wiki technologies. critics. and discussion forums. the turning of pages. and trust The supporters of wikis defend their democratic foundation and argue that the best results often come from a pooling of knowledge with limited control. the important and the trivial. these technologies enable many individuals to effectively participate in large-scale collaborations of information gathering and sharing. is why historians write history in the first place. the naive belief that narrative is linear.intro d u c t i o n : t o p i c o v e r v i e w numbers of self-directed narratives. their timeline was later adapted to digital media providing links that connect users with additional imagery and in-depth information on a wide range of topics. is both pervasive and wrong-headed. his objections may just as easily focus on print media. However. “Every source appearing on the screen has the same weight and credibility as every other. A wiki-based portal would be highly beneficial in a field requiring input from wide ranging sources for a comprehensive view. each with enormous potential for new and expanded meanings and associations. simulating metadata tags and/or hypertext links. Events that take place in different times and different places can be indispensable to understanding later history—this. Traditional single authorship could be replaced by a fluid system of joint authoring and editing. allowing individuals to either engage or disengage from participation. could readily correct perceived injustices. Syntax is the substructure of discourse. Critical discourse would be encouraged by digital media’s support for instantaneous feedback and instantaneous editing. Hypertext critic and author of The Gutenberg Elegies. is a forward moving succession. The system authenticity. To this point. working in close collaboration with students and teachers could engage in a collective effort to establish a multifaceted narrative of graphic design history. The World Wide Web. Hyperhistory. and is bound to logic by the imperatives of syntax. With Hypertext users can investigate topics through varying levels of association. In spite of these benefits. writers. he argues. history is built on a foundation of myth and memory. authority. and video could be stored. as a result of the advent of blogs. Birkerts’ unwavering support for print. Sven Birkerts argues that the user participation model of digital media undermines culture’s search for wisdom. cataloged. and that this more democratic approach is more reflective of the unfolding of design history.…hypertextuality can make complex structure concrete. collaborative knowledge gathering Birkert’s criticisms of information fragmentation. after all. not to mention the vertical descent down the page. Although originally designed for print production. relationships are drawn between similar and disparated items 08 visualizing graphic design history through new media visualizing graphic design history through new media 09 . Like the folk arts. “The order of print is linear. which it is commonly believed forms the basis of knowledge. those who are critical of editorial omissions in a particular text.” Supporters of hypertext would claim Birkerts fondness and nostalgia for traditional printed narratives is weak on logic and emotionally positioned alongside those who claimed that television would kill movies and later predicted the same about the advent of videotapes and DVDs. the potential benefits of mass collaboration are enormous. with earlier contents at every point serving as a ground for what follows. the presentation combines a synchronoptic timeline in which time and space are combined so users can simultaneously view both when and where things happened. or “bite speak” is difficult to dispute. Print also posits a time axis. opening editorial control to anyone could also result in misrepresentations of the past. clear and responsive to both the author and reader. Intellectual historian. Arno Peters have made a remarkable attempt using the capacities of digital media to visually present historical information. no authority is ‘privileged’ over any other. would greatly benefit from digital media’s support of critical discussion and collaboration. The physical arrangements of print are in accord with our traditional sense of history. and retrieved. Hypertext advocates perceive a strong relationship between the composition and utilizaton of interactive historical narratives. Amateur authors can acquire significance equal to those with more scholarly pedigrees. they lend themselves to rereading and to sustained attention. as newspapers increasingly try to emulate digital presentations using tactics first employed in a large scale publication by USA Today. While inaccuracies are often self-corrected by could allow users to assign metadata tags. and conservative cultural critic Gertrude Himmelfarb notes. or who feel additional material needs to be included. and scholars. Materials are layered. A global field of practitioners. transferring that knowledge into new situations. the enduring and the ephemeral. such as Wikipedia. design pioneer triptych. a mapping of the ways that the mind makes sense through language. have recently been criticized for the credibility of their content. The uncertainty of partnering with readers and sharing in the construction of narratives calls into question the traditional structures to which they are accustomed. The Internet does not distinguish between the true and the false. Many authors who have been brought up on the stability of the traditional printed word are troubled by this loss of control. images. Faced with the opportunity to develop a worldwide database of graphic design history. Graphic design history.com is a graphic representation of world history. Investigation is no longer bound to predetermined associations presented by an author. hypertext scholar Mark Bernstein contends. Articles. with each contributor providing an organic system of checks and balances. Although formally awkward. According to a National Research Council study. or for the possibility of exploring deeper relationships between seemingly disparate subjects. user-generated keywords useful for future searches that create associations between similar items and promote the comparative analysis of work generated in multiple parts of the world. stems from his belief that print’s linear presentation is more reflective of the structure of language. A deep understanding of information. Birkerts’ disdain for digital media’s affect on information quality is open to debate. opting for the safety of the obvious. has lowered the traditional barriers to publication. Despite this. this method parallels the way we create knowledge: the human ability to learn is characterized by creating links with what is already known. “The potential dissemination of untrustworthy and false information is troubling. This ability to link information in time and space is a distinct advantage of digital media and is ripe for further exploration. To combat criticisms of the credibility of content. they want you to tell them what the rules of the game are. Sanger hopes these new systems can restore credibility to a medium with the potential to change the way students and teachers reference educational material. The legitimacy of articles is based upon their neutrality. In response to this potential problem. Wikipedia co-founder Jimmy Wales states. economics. but presents multiple studies that confirms that its information is comparable in accuracy to traditionally trusted reference resources such as the Encyclopedia Britannica. injecting context through content filtering To understand graphic design history one must account for both the technical and societal context in which it was created. The participants who are happy to collaborate on information collection won’t also be very interested in collaborating on system design. Students feel more connected to a community and are encouraged to actively participate in creating and editing the web site’s content. these false facts may gain credibility and have a profoundly negative impact on those who access the information. and technology influence creative methods and form the basis of numerous graphic statements. Articles written by t h e ya l e school of art’s web site supports collaborative content g e n e rat i o n settle disputes with the help of discipline-specific editorial workgroups. Make people feel apart of the design process. “As with any reference resource. and be prepared to take their advice. referenced and consist of notable. self-promoting authors are quickly edited and returned to neutrality. Culture. the result has been largely positive. politics. Listen to them. Citizendium contributors are required to use their real names and new levels of editorial hierarchy have been established which favor “gentle expert oversight. All edits are cataloged for future reference while providing a method for documenting the web sites evolution. The framework of the site allows contributions from current students. information accessed through Wikipedia should always be cross-referenced with other material. Describing this situation.” The Yale School of Art has recently developed an experimental wiki-based web site that also puts up a limited set of controls to deter vandalism while still ensuring the benefits of collaborative content generation and knowledge sharing. some colleges have banned students from referencing Wikipedia in research papers. articles submitted to Wikipedia are neutral. verifiable knowledge. “I think it is possible to have a very open and strongly collaborative system that has special roles for people who know a lot about a field. It is only after some definite system is in place that many people will feel comfortable collaborating. Ideally this debate will ultimately reinforce rather than degrade standards of effective research.introduction: topic overview dedicated contributors. Therefore project leaders have to establish rules for the game. It is an excellent idea to consult with your future participants about the structure of your system. In response to some of the initial problems with the Wikipedia model. Wikipedia itself acknowledges the potential for vandalism on its web site. they understand the need for unbiased and carefully constructed submissions. faculty and staff but not every area is editable.” Those claiming expertise in a specialized area must meet certain benchmark requirements prior to acquiring editorial capabilities. Because most contributors are sensitive to their perceived credibility among Wikipedia readers. former Wikipedia co-founder Larry Sanger has created a new wiki project encouraging increased participation by more academics and other content experts. Given these constraints. the occasional fictitious submission sometimes finds its way into the knowledge network. It is imperative to understand these contexts if graphic designers hope to properly evaluate the overzealous. Facilitators and organizers of expertise areas visualizing graphic design history through new media 11 . Few single sources can be trusted on for absolute truth. People desire structure. Left uncorrected for too long. Biased or intentionally fraudulent material normally doesn’t last long.” Ideally. Visitors of the web site are pleasantly surprised to find unexpected insights mixed in with typical institution content. The creation of informative and mobile multimedia “experiences” could be a way to bridge the gap between the delivery of important historical information and the Internet generation’s desire to have factual knowledge presented in more dynamic and engaging ways. The purpose of this project is to research and conceptually explore areas of design that are new to me. but can also be a kind of narrative travel that allows for picnics along the way. and helps set familiar contemporary work—or their own work—within a more objective and less controlled landscape. results in having much of the story untold. I intend to use these studies as the basis for future development of a collaborative. text. The project forms a series of independent and interconnected studies that visualize and present many possibilities. To omit the realms of other contextual influences. multimedia has the potential to provide increased access to primary sources. and cannot be conclusive in scope. The intimacy of this interaction contributes to design students’ understanding of graphic design history. viewers could draw individual conclusions about particular designers or design pieces based on direct access to video. Who can hope to say anything conclusive on so vast a subject? But I opted for vastness precisely because it would allow me to explore this unfamiliar essayistic method. For the user. A method predicated not upon conclusiveness but upon exploratory digressiveness. a method which proposes that thinking is not simply utilitarian. If filtering were incorporated into the design of timelines. including Milton Glaser and Pentagram Studio. information filtering allows users to turn on and off layers of information from a particular display. ability to catalog podcasts. Regardless of screen size. methodologies and workspaces of some of the field’s most influential practitioners. sound. The School of Visual Arts’ Paul Rand Lecture Series is a catalog of podcasted lectures by people such as Rick Poynor and Paula Scher. The current emphasis on the chronological presentation of history could be replaced by an emphasis on forces that influence the work. “ I know that I face an impossible task. the combination of information and entertainment is representative of their era’s zeitgeist. In order to present the historical contexts of graphic design milestones. provides insightful views into the lives of graphic design legends. For the Internet generation. for example. this project is not. video. retrieved and accessed from both desktop and mobile devices at the users convenience. pragmatic solution that addresses many of the issues raised by this work.intr o d u c t i o n : t o p i c o v e r v i e w delimitations products of graphic design beyond their formal properties. sorted. By utilizing iTunes. multiple media and a multisensory experience to deliver educational content. information is delivered using media channels and techniques previously reserved for entertainment purposes. sound. In addition to providing a more active. various historians have created timelines to visualize historical narratives. it is also intended to be a stimulus for further discovery. Armed with a better understanding of the complexities proposed by this problem. The techniques employed are not significantly different from those utilized by exhibition designers. or works created specifically for delivery by digital technologies. and interactivity. This could have a dramatic effect on how graphic design history is understood. Newspapers and other print media struggle to compete with online resources that provide comparable content in formats that synthesize animation. 12 visualizing graphic design history through new media visualizing graphic design history through new media 13 . Increasingly. it is. These podcasts allow for secondary levels of commentary by design history scholars such as Steven Heller. The work of video documentarian Hilman Curtis. interactive experience. For years exhibition design has embraced the beneficiary combination of interactivity. users could view historical items within a variety of contexts. Because of the vastness of the topic. Circumventing the secondary narratives provided by historians. using multi-media to access primary source material For better or worse the presentation of information via multimedia channels is rapidly overtaking traditional printed forms. Unfortunately the page sizes typical of a typical book or magazine are too small to include anything more than a brief chronology of historical designers and objects. Digital media provides the capability to dynamically filter and reorganize information. as well as contemporary figures such as David Carson and Stefan Sagmeister. thousands of multimedia presentations could be stored. and to also promote thoughtful discussions regarding the intersection of graphic design history and digital media. This gives students a first-hand opportunity to experience the work and thoughts of historical figures. Users are given unprecedented direct access to the philosophies.” sven birkerts delimitations This project aspires to be more than a record of research. the ability to create new and unexpected connections between several aspects of historical context could contribute to information retention and accommodate a variety of learning aptitudes. many of my class projects required me to first identify problems worthy of solving. The following questions are fundamental to this exploration: How might the presentation of graphic design history be reorganized when considering the potentials of user-driven navigation and digital media? How can collaborative networks contribute to new ways of gathering and distributing historical information? Which communication models have been traditionally utilized in this process? How might they be modified? What are the implications of “multiple authorship” and distributed editing? Can podcasts aid in the presentation of historical materials? What are the possible benefits of this medium? How should they best be organized and integrated into larger information environments? How can digital media benefit the presentation of historical information through the development of multi-contextual timelines? How is the history of graphic design currently presented in the classroom? How do design history students document these presentations for future retrieval? What are the possibilities for new media to enhance the learning of historical information? a com pl et e b i b l i o g ra p hy c a n b e fo u n d at t h e e n d o f t h e d oc u m e n t 14 visualizing graphic design history through new media .delimitations process + methodology process + methodology problem-solving versus problem-seeking Prior to graduate school and my involvement with this project. the central objective of my design work focused on problem solving. My undergraduate education and experiences in professional practice programmed me to see design from the perspective of solving problems that were typically delivered by external sources such as professors and clients. I have given myself an opportunity to simply ‘dream’ and to concentrate more on research and less on refined formal development. Unbound by pragmatic restrictions. Graduate school introduced me to the concept of problem seeking. But as a graduate student. Incorporating this perspective into my design process has been difficult. The vastness of my research topic has forced me to focus on the larger implications of my ideas and to welcome a methodology that encourages changes in direction upon unexpected discoveries. Nonetheless I have learned to embrace this opportunity for theoretic exploration. After a brief discussion I learned he would later access the projected images posted on the Web via Blackboard®. the journalism. But you are doing much more than that: you’re creating a community. “Imagine the discussions. I decided to observe the History of Graphic Design class offered during the Fall 2006 semester at VCU. He would then combine these with his previously captured recordings and notes which allowed him to recreate the lecture in its entirety. the news summaries. I focused on a student seated directly in front of me. Over two thirds of the students were inputting data directly into their laptop computers. focused on the creation of an online community where intellectuals and interested amateurs could work together. the textbooks and educational material. In particular I noted difficulties in how particular works could be compared and contrasted within the lecture. To experience works in the context of the talking points required further imagination.” My project. Towards the end of Spring 2007 semester I attended an on-campus lecture by Wikipedia founder Jimmy Wales. I realized. As Wales spoke about the phenomena of social networking web sites and collaborative knowledge development he made a statement that resonated and caused me to reflect about the processes I have experienced over course of my research. more efficient methods of note taking. He was utilizing the multimedia capabilities of digital media to assist his studies for an upcoming exam. you might think that you’re simply creating an information-gathering system or impersonal content management system. an online course management program. the libraries. It was a utopian vision that was well within reach as a result of the increasing powers of digital media. but marveling at these newer. the encyclopedias. Using a new feature in Microsoft Word® he recorded and attached the audio presentation of the lecture to a bulleted summary of talking points that he typed in from the professor’s projected material at the front of the class. Hindered by the lecturer’s need to flip back and forth between individual slides. I left the lecture wondering what sketching became a useful method to document ideas quickly the possibilities were for design to effectively solve these problems. the 3D universes. Feeling my age. As co-founder of Wikipedia Larry Sanger has enthusiastically stated. Having been several years removed from the experience of an undergraduate lecture class I discovered that technology has had a profound effect on the methods used by students to capture content presented by a professor. the multimedia. The traditional notebook and tape recorder are no longer the primary technologies used to record information for future retrieval. “In creating a strong collaboration. the students were challenged to imagine comparative works without the ability to actually see them side-by-side. not to mention brand new sorts of resources possible for the first time and only through massive collaboration.proc e s s + m e t h o d o l o g y : o b s e r ving the environment observing the environment In order to better understand how design history is currently being presented. It was from this talk that I made the connection between my design history project and my initial research interests relating to community.” 16 visualizing graphic design history through new media . Watching the methods used by the professor to present her lecture also provided helpful insights into the influence of technology on the presentation of design history. its primary purpose is to facilitate the sharing of data across different information systems. Using technology similar to Google Maps.m. timelines present a viable tool for the presentation of detailed narratives. Its main purpose is to convey a perspective of world historical events.m. My current conclusion is that it’s difficult to balance formal sophistication with the desire for easy editing capabilities. particularly via the internet. Using this capability. thus provoking a journey of discoveries.e. hyperhistory. Through the creation of synchronoptic views. audio and video files. Developed by Swiss architect Andreas Nothiger. By definition.i. For graphically sophisticated users such as history of graphic design students.i. These solutions are difficult to update and do not support multiple authorship. and discussion forums.t. For the design of a timeline of graphic design history. s yn c h ro n o pt i c a l : ‘s e e i n g at t h e s a m e t i m e ’ . m. quantitative tallies aid viewer to see content of timeline in numerous contexts discuss supports links to discussion boards left column: filter feature organization: alphabetical (top to bottom) portal to other in-depth information m. and to enable the reader to hold simultaneously in mind what was happening in widely disperse parts of the earth.i. com 18 visualizing graphic design history through new media visualizing graphic design history through new media 19 . (Semantic Interoperability of Metadata and Information in unLike Environments) project was the creation of a timeline interface that could be automatically populated with data by pointing it to an XML file. project One component of the Massachusetts Institute of Technology’s s. developing a Flash-based solution is potentially problematic.com HyperHistory is an expanding scientific project interactively presenting 3. and maps. project timeline hy p e r h i s to ry. s. In an attempt to understand the various techniques and technologies utilized to present timelines via digital media.i.e. Regardless.l. teachers or scholars however the interface might be considered formally challenged.e. The benefit of this is that anyone can upload chronological manuscripts and have them automatically translated into a visual diagram that supports hyperactive text.000 years of world history with a combination of synchronoptic lifelines. the timeline serves as a widget for time-based events. which would require constant updates because of it massive scope and evolutionary nature.proc e s s + m e t h o d o l o g y : c o m p a rative analysis w i d g et : a third party item that can be embedded in a web page comparative analysis: timelines A timeline is an index of facts. s. What these timelines offer in graphic sophistication is gained at the cost of functionality. I referenced several precedents.l.i. but not all timelines need to be restricted to the limitations of the printed page. HyperHistory contains over 2000 files and serves as a portal to hundreds of other Web sites with more specific information about world history.i. The Synchronoptic History Chart is a timeline using visual art forms (maps. the primary benefit of timelines designed for digital media is their ability to filter large amounts of information in order to create numerous comparative contexts. colors) in combination with textual information.i.m.i. o r m o re ac c u rat e ly ‘pa ra ll e l v i e w s ’ . timelines are economical.” macromedia flash™ based timelines There are numerous examples of Flash-based timelines on the World Wide Web. graphics. xml: extensible markup language.t. Most of the timelines I referenced fell into one of two catagories— those with beautiful form but poor functionality or those which are functionally smart.l. imagery. but lacking in formal sophistication. the projects goal is to “juxtapose information to aid student’s abilities to see relationships between seemingly unrelated things. timelines. and continues to pro duce an astounding amount of work in many fields of design to this 1935 1940 194 1945 1 1939 – 1945 WWII 1950 1929 Great Depression begins 1918 WORLDWIDE FLU EPIDEMIC technological. Intuitively conceptual. Little interest in page structure or systematic organization. Paul Rand SWISS STYLE rational disciplined profession systematic order NY SCHOOL of AD big idea creative servant inspirational genius Rudy DeHarak 20 visualizing graphic design history through new media visualizing graphic design history through new media 21 .01. users using arrows placed at either end ofBORN can scroll through data at a fixed rate. He opened Milton Glaser . Mies. Bayer. developed in Ulm School. Giorgio Morandi in Bologna .proc e s s + m e t h o d o l o g y : t i m e l i ne studies [below pop-up window] “quick scroll” feature allows users to navigate data at faster rates. In 2004 he was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum. COOPER BLACK T YPEFACE RICHARD SAUL WURMAN BORN WORK MILTON GLASER 1928 BIO THOMAS GEISMAR MILTONGLASER. Objective presentation of information through composition of photography and minimalist typography. Quickly adopted by many Swiss Modernist as validation of their rational and objective approach. in 1974. Moholy-Nagy 1939: Bauhaus emigres to US Chicago Illinois visualizing graphic design history through new medi a My explorations focused on implementing context into the timeline.COM SMAR BORN KEN HIEBERT BORN RN DE STIJL MOVEMENT BEGINGS SCHWITTERS: MERZ 1915 1914–18 WWI 1920 1925 1930 Milton Glaser (b. BAUHAUS: BREUER & ALBERS 1919-1924 BAUHAUS HERMANN ZAPF BORN HERB LUBALIN BORN FRED WOODWARD BORN OTL AICHER BORN MURIEL COOPER BORN VICTOR PANANEK BOR N BORN R ROBERT BROWN JOHN B BORN K ARL GERSTNER BORN SIEGFRIED OTTERMAT BORN MILTON GLASER BORN SEYMOUR CHWAST BORN HWAST MASSIMO VIGNELLI BORN GNELLI 1850 2006 SAUL BASS BORN ALVIN LUSTIG the timeline. Modernisms second wave of influence. leveraging underlying structure of grids. First codified theory of graphic design. political. separate from items specific to graphic design. He has had the distinction of oneman-shows at the Museum of Modern Art and the Georges Pompidou Center. As a Fulbright scholar .06 Walter Gropius 1919: Bauhaus School Ulm Germany. Rational method of visual communication. cultural. Creation of ambiguity and surprise through unexpected word/image combinations. Highly image oriented through use of subjectively expressive illustration and symbollic photography. G M 1890 1900 1940 1910 early 1960s Arrival of Swiss design thinking to America. area below timeline reserved for context subjects such as filterable menu allows design subjects to be viewed in a variety of contexts depending on user-preferences FILTER WORLD EVENTS DESIGNERS QUOTES BOOKS timeline studies todd timne y Timeline 10. Germany. Text and image decoded by and read by viewer. Glaser studied with the painter .1929) is among the most celebrated graphic designer in the United States. Inc. Syntactic representation i 1920 1930 1965 T Graphis Magazine design bibles Muller-Brockman Karl Gerstner Armin Hoffman Emil Ruder Differing methodologies and philosophies create split between advertising and graphic design 1968 semiotics Science of signs in visual language. Intelligent and clever interplays between visual and verbal concepts. 1970 1960 1950 1980 1990 a profession from a craft or trade massimo vignelli 1950 New York School of Advertising M Big idea method of visual communication. Later studies explored the concept of creating a “context zone” where all contextual influences would reside. Codified approach not so dependent on individualist inspiration or designer’s talent. Initial studies used color codification and icons to differentiate contextual items. G Semantic meaning. social influences. and is an articulate spokesman for the ethical practice of design. My diagrams therefore focused on categorizing the field from several perspectives. Maeda discusses how interface design uses its capability to “hide” layers of information to present the illusion of simplicity.” Using the acronym S. Mapping: An Illustrated Guide to Graphic Navigation Systems by Roger Fawcett-Tang and Else/Where: Mapping—New Cartographies of Networks and Territories by Janet Abrams and Peter Hall were two books which served as helpful references.proc e s s + m e t h o d o l o g y : d i a g r a mming Filtration 1 2 3 diagrams: visualized thinking Note taking has always been an important part of my design process. As I considered this proposition in relation to my project. hide. contextual influence and the definition of definitive categories within graphic design. but equally descriptive stories. and presentation/promotion. Given the challenge of diagramming a bodily system and applying our findings to our personal design process. At the time. find it very difficult to efficiently describe what exactly we do. I would need to leverage digital media’s capability to support various orderings of the content. I referenced a variety of resources including graphic design history books. It’s function consists of 3 distinct responsibilities. I realized how the physical size of 1. Unable to find a precedent. 3. Steven Hellers’ Graphic Design Timeline uses a chronological presentation with bulleted references of works and people to succinctly outline the events that have shaped the broad field of visual communication. It is amazing that very few graphic designers. “reduce. and embody. Patrick Bell’s Fall 2006 workshop changed that. I was submersed in studying network cartographies. information design. The first “law” in John Maeda’s book Laws of Simplicity is Several of my early diagrams focused on the reorganization of graphic design history while considering user-driven navigation. 2. Meggs’ History of Graphic Design is organized thematically. I would visually translate my findings in order to better present my research to my colleagues. I used diagramming throughout the research of my creative project. Unfortunately my notes have all too often taken a purely written form. to represent the concepts shrink. THE KIDNEY the holdings of both brick-and-mortar and online book stores. starting at a macro level and moving towards a micro level. A diagramming exercise in Laura Chessin’s Spring 2007 seminar exposed me to the work of neo-conceptualist and abstract artist Mark Lombardi. Collection + Discharge 2 0 0 6 fa ll wo r k s h o p : d i ag ra m m i n g a b o d i ly s ys t e m u r i n a ry s ys t e m A A STEP 2 : DIAGRAM REFINEMENT + EXT RELATIONSHIPS EXPLORATION STEP 1 : DIAGRAMMING THE URINARY PROCESS 2. Although incomplete and untested these diagrams have proven to be important in the development of my own philosophies regarding what is and what is not graphic design. Other studies focused on people. Finding an industry standard was impossible. Selection + Redistribution 1. libraries and the AIGA Design Archive in order to develop a better understanding of how others categorized the field of graphic design. I learned to synthesize words into visuals that revealed more compelling. During the Spring 2007 semester I discovered the work of Hugh Dubberly. I was frustrated at my inability to find anything other than highly refined. I understood that user preferences and the context of their research would vary widely. In translating this historical content into an interactive form.” Maeda proposes “the simplest way to achieve simplicity is through thoughtful reduction. 3. The Transparency section of Good magazine was also a frequent source for inspiration. The first studies focused on the functional properties of solutions including identity. chronology. machine produced solutions. Lombardi’s hand drawn diagrams of crime and conspiracy networks offered a new and refreshing perspective. including myself.E. The design history books used a wide variety of methods of organization. Richard Hollis’ Graphic Design: A Concise History uses a framework built around the relationships between design movements and countries. 22 visualizing graphic design history through new media visualizing graphic design history through new media 23 . D KIDNEY C The kidney is the primary component in the urinary system. Taking complex concepts distilled from my readings. as well as global influences such as both World Wars. His use of conceptual maps “to help people create mental models and clarify thoughts” proved to be a useful design tool during future explorations.H. 7 million users per month (NAA). <cover> <logos> <symbols> <letterhead> <business card> <wordmark> <crest> <emblem> <insignia> <seal> <sign> <tags> <issue> <article> <spread> <cover> corporate communications <navigation> <tradeshow> <museum> <donor wall> <booth> <storefront> <installation> <billboard> <kiosk> <interior> <showroom> <facade> <retail> <fixture> <display> <sign> (non system) <tags> <tags> <tags> <tags> definition based on intent definition based on intent definition based on intent definition based on intent design categories bk book design brand/identity systems corporate communications editorial design environmental design experience design illustration information design motion graphics package design promotional /adverstising design typographic design self explanatory 01 trademarks 02 stationery 03 standards manuals 01 annual reports 02 brochures 03 direct mail 04 catalogues 05 sales kits 01 magazine 02 newspaper 03 journal self explanatory book design id brand/identity systems cc corporate communications ed editorial design env environmental / exhibtion design exp experience design 01 websites 02 interactive install. When I began this project. communication is two-way. or video clip). Using Maeda’s “hide” principle in the design of an online history of graphic design resource could entice information trustworthy.process + methodology: diagramming People Social Change + New global interest communities form + Information validity challenged + Intellectual Property laws challenged Technology Network Computing + 1990s + computers connected: the internet + wireless mobility Information Content + Text + Image + Sound + Digital Video books and the layout of their pages can deter readers from engaging with their content. Up 11% since 2006 for ages 18–34. which adapt to user preferences. introduced me to new ways of thinking about how information is developed and distributed. 03 cd-roms ill illustration self explanatory inf information design 01 sub category mo motion graphics 01 sub category pkg packaging 01 sub category on the other hand. Hugh Dubberly’s the book Emerging Paradigm: Design and Change. If not. television and radio. and YouTube.3 billion worldwide by 2010 (BBC News) range of services zero directional structure linear sequence multi directional structure includes: Map Newpaper digital media I realized how much different its communication process is from traditional media. Many different paths may be taken. tag A tag is a (relevant) keyword or term associated with or assigned to a piece of information (like picture. At over six hundred pages. Inventing New Forms of Experience and Communication by Peter Zec. thus describing the item and enabling keyword-based classification of information it is applied to. Without an established hierarchy of authority. Software will provide links to other items that share that keyword tag. information of questionable truth can easily be distributed. it is one-way authorative. Decentralized and distributive networks advocate more flexibility and interaction between senders and receivers. Decentralized networks maintain the formal hierarchy between sender and receiver. distributive networks are also the least definition based on intent definition based on intent definition based on intent definition based on intent <tags> <interface> <multi-media> <multi-modal> <user-experience> <kiosk> <screen> <tags> <charts> <maps> <graphs> <forms> <pictograms> <diagram> <directions> <signs> <symbols> <icons> <tags> <cover> <tags> <cover> filter HOLLIS’ CONCISE HISTORY 237 PAGES world wide web hypertext or hypermedia visualizing graphic design history through new media 25 . I never expected to explore models of communication. people use computers connected to internet to exchange more students to explore the subject. but support the sharing of methods and resources between the two groups. article. entry point & pace is audience controlled. examination of this topic and examples I encountered in Adaptation of Model by Hugh Dubberly 1995 latest is: Info is perceived all at once. must be considered. This open system is typical of open-source coding and social networking web sites such as Wikipedia. Meggs’ History of Graphic Design has an intimidating presence. Although they’re the most democratic and collaborative. Audience has some control over navigating information. Much of my career has focused on designing objects and solutions using a design process that tries to minimize their modification. The broadcast or centralized model of communication is typical of traditional media such as print. Instead the development of flexible systems. Fixed forms are no longer the criteria to judge effective solutions. But as I learned more about Authors + Unprecedented opportunities for publishing + Concept of intellectual authority is challenged has Readers + Online readership increases to 53. These two new models pose new challenges to the way designers approach systems design. GRAPHIC DESIGN TIMELINE 252 pages includes: Colaborative Spaces + Discussion Boards + Blog + Wiki + Email Audio Digital Video includes: Digital Media Term to describe multi-directional structures via digital media. it was easy to relate to this model. or even to specified collections of tags. Information is distributed in one direction from senders to receivers. New media has introduced two different models of gathering and distributing knowledge. input software output network of networks no center of authority can be presented as: can be organized into: can be organized into: Ownership + Household ownership to double to 1. Flickr. j o h n m a e da’s “ h i d e” p r i n c i pl e c at e g o r i z i n g g ra p h i c d e s i g n a d i agram exploring the relationship between people and inform at i o n d i s t r i b u t i o n c at e g o r i z i n g g ra p h i c d e s i g n absolute control and results in the development of fixed systems. As a graphic designer trained in design for traditional media. eliminate all formal hierarchies. The centralized network model promotes meggs’ history of graphic design 600 + pages includes: Stop sign Alarm includes: Speech Novel Movie If info. Distributive networks. Software will provide links to other items that share that keyword tag. or even to specified collections of tags. thus describing the item and enabling keyword-based classification of information it is applied to. article. <cover> 1 decentralized <tags> 2 distributed <tags> 3 <tags> <tags> definition based on intent traditional media definition based on intent new media definition based on intent design categories bk book design brand/identity systems corporate communications editorial design environmental design experience design illustration information design motion graphics package design promotional /adverstising design typographic design self explanatory 01 trademarks Systems: gathering and distributing knowledge 02 stationery id brand/identity systems cc corporate communications 01 annual reports 02 brochures 03 direct mail Network Models: distributive ed editorial design 01 magazine 02 newspaper 03 journal wiki word of mouth viral campaigns open-source coding explosive growth democratic active participation no control trustworthy? self correcting open system / tool loss of control book design Systems: gathering and distributing knowledge 03 standards manuals Network Models: centralized banks insurance companies government books television radio controlled authoritative unified/consistent singular interpretation fixed system absolute control 04 catalogues 05 sales kits 1 3 exp experience design 01 websites 02 interactive install.process + methodology: diagramming Network Models: <logos> <symbols> <letterhead> <business card> <wordmark> <crest> <emblem> <insignia> <seal> centralized <sign> <issue> <article> <spread> <cover> corporate communications tag A tag is a (relevant) keyword or term associated with or assigned to a piece of information (like picture. 03 cd-roms ill inf mo a series of rks illustrationd i ag ra m s e x plo r i n g t h e re l at i o n s h i p b et we e n n e w m e d i a a n d i n fo r m at i o n d i s t r i b u t i o n n et womotion graphics information design self explanatory 01 sub category 01 sub category 26 visualizing graphic design history through new media visualizing graphic design history through new media 27 . or video clip). The process of planning out the system and translating it visually through mapping was useful for several of my creative project studies. I thought the transition to this new medium would be easy. I developed a site map that outlined the framework of my web site prior to designing the interface. The development of maps forced me to focus on the functionality of my creative project rather than the final form. These experiences will be helpful during future collaborations with respect to the evolution of my creative project into a fully functioning online presence for the history of graphic design. I thought the transition to this new medium would be easy. This new knowledge was helpful when I designed a web site for my alma mater. new media: web site design Roy McKelvey’s introductory Web Design class introduced me to web site design. web design class fall 06 These experiences will be helpful during future collaborations with respect to the evolution of my creative project into a fully functioning online presence for the history of graphic design. Interactivity requires designers to develop a community of systems. I was able to learn about the complex syntaxes characteristic of programming languages. Design for digital media requires an entirely different mind-set. I was wrong. process became a much more important component of my methodology than product. the web design class exposed me to web site production. web site for the hartford art school. Interactivity requires designers to develop a community of systems. the Hartford Art School. I was able to learn about the complex syntaxes characteristic of programming languages. process became a much more important component of my methodology than product. Using my expanded understanding of web site production allowed me to effectively articulate design concepts to my former colleague (VCU Alum. Using my previous experiences in editorial print design. Using Macromedia Dreamweaver. In addition to developing maps and designing interfaces. Design/Visual Communications 2006) Chris Malven with whom I collaborated with on this project. This new knowledge was helpful when I designed a web site for my alma mater. the Hartford Art School. Using my previous experiences in editorial print design. Using Macromedia Dreamweaver. In addition to developing maps and designing interfaces. As a result. As a result. The process of planning out the system and translating it visually through mapping was useful for several of my creative project studies.process + methodology: New media new media: web site design Roy McKelvey’s introductory Web Design class introduced me to web site design. I developed a site map that outlined the framework of my web site prior to designing the interface. I was wrong. a collaboration with chris malven opposite page: marc newson web site. Design for digital media requires an entirely different mind-set. visualizing graphic design history through new media 03 . the web design class exposed me to web site production. The development of maps forced me to focus on the functionality of my creative project rather than the final form. Using my expanded understanding of web site production allowed me to effectively articulate design concepts to my former colleague (VCU Alum. Design/Visual Communications 2006) Chris Malven with whom I collaborated with on this project. and full of confidence as a result of learning how to use a digital video camera. Users could access audio presentations using iTunes and transfer them to an iPod for mobile convenience. and examine critically their place both within my life and career. Unfortunately. I decided to test my ability to edit video and produce an actual animation. and contrast but was introduced to new areas as well. rhythm. cultural critic Neil Postman cautions society about the effects of technology on culture. such as pace. designers are now able to combine animation with video.proc e s s + m e t h o d o l o g y : n e w m edia gdes new media: podcasting In his book Technopoly. One area I explored was the potential for technologies such as iTunes. my technological deficiencies prohibited the completion of either. I decided to create my own enhanced pocasts using presentations from the Department of Graphic Design’s Objects + Methods Lecture Series as content. I had been previously inspired by Hilman Curtis’ documentary video work and the podcasted lectures from the School of Visual Arts Paul Rand Lecture Series. With the invention of “enhanced podcasts”. Using the design planning methodology I developed dursketches from an analysis of hilman curtis’ documentary work gdes department of graphic design 2007 visiting lecture series 2007 visiting lecture series 2007 visiting lecture series [objects] [objects] m methods objects + methods visting lecture series [objects] + [methods] chaz maviyane-davies CREATIVEDEFIANCE ing my web site map studies. The first podcasts were simple audio files. Having never before worked with time-based media. like sound and time. this was an exciting challenge. Determined to explore the delicate intersection between information and entertainment. static imagery and audio to create more dynamic presentations. and also within the context of my creative project. and the iPod to effectively deliver historical information.07 0:00 -60. [objects] now playing 1 of 3 itunes s.00 [o]+[m] objects + methods 1977: new york tourism industry 30 visualizing graphic design history through new media visualizing graphic design history through new media 31 . I created a storyboard that presents the framework for an opening animation to each of the lecturer’s presentations. pocasting. One of my goals of this project was to introduce myself to new technologies. storyboard of opening animation for objects + methods lecture series studying podcasts ability to deliver dynamic historical content hilman curtis paula scher milton glaser david carson stefan sagmeister pentagram objects + methods world studios chaz maviyane-davies terry irwin ivan chermayeff lanny sommese Excited by my storyboard. I was able to explore familiar principles of sequencing. exhibition 04–09 MAY 2007 VCUARTS VISUAL COMMUNICATION DESIGN MFA EXHIBITION N JE OPENING RECEPTION 04 MAY 2007 6PM–10PM 207 WEST BROAD STREET RICHMOND. VIRGINIA 1 2 3 4 5 6 HEATHER BOONE BEN GAYDOS JINNY KIM MATT KLIMAS KAREN STEIN TODD TIMNEY FF ER SO N ST N N SO DI A M ST BR OA D ST 04–09 MAY 2007 32 visualizing graphic design history through new media . Even though I was aware that the development of anything formally conclusive would be an impossible task. ©2001 Birkerts. ©1992 Technology. Graphic Design Timeline: A Century of Design Milestones. Bruce. ©2006 This book takes the reader step by step through planning a project. Switzerland. Massachusetts. the author celebrates the work of several designers who started to practice in the 1950s and 1960s and made the term memorable. Meggs’ History of Graphic Design. It discusses in detail a variety of fundamental concepts including planning. Digital History: A Guide to Gathering. to the best of my ability. Although I would have liked to develop more formally sophisticated solutions. energy. Red Dot Editions. Using what I have learned about both digital media and graphic design history. and several AIGA conferences in the past. Philadelphia. New York. Ballantine Books. Fourth Edition. ©2006 Ballance. ©2006 MIT Professor John Maeda explores the benefits of simplicity by developing a series of “laws” which describe methods of implementing the concepts into design. Sven. Allworth Press. What I have discovered as a result of this project is that new media provides an The potential benefits of digital media to enhance the way graphic design history is documented. Massive Change. Lucienne. ©2004 Through a series of interviews and case studies. when. and how it is so deeply ingrained in our collective con consciousness that we assume that science is a natural ally of democracy. New York. Peter. Georgette and Heller. Emerging Paradigm: Design and Change–Inventing New Forms of Experience and Communication. ©2000 Hollis. business. information. presented. AVA Publishing SA. Roy. Clive. Placing their work in historical and personal contexts. “it destroys the vital sources of our humanity. ©2005 Small screen technology is becoming increasingly prevalent in our mobile. The Gutenberg Elegies: The Fate of Reading in the Electronic Age. O’Reilly Media Inc. Phaidon Press Inc. Focus is on several “economy” areas including urban. my desire for closure and the comforts of formal refinement have consistently been challenged. usability and programming. Based on my attendance of the College Arts Association conference this past Winter. and reaching and responding to an intended audience effectively. and Rosmarie Tissi. Else/Where: Mapping—New Cartographies of Networks and Territories. Allworth Press. Roger. I am satisfied by the range of perspectives that I was able to consider. David. This book examines some of these challenges including interaction. Alston. I hope to seek out other people who share my desire to bring this concept to reality. but I considered them to be important to my aspirations to teach graphic design. several key issues within the time allotted. Janet and Hall. Preserving. Peter. MIT Press. Bruce Mau explores the effects of design on the world. ©2005 Before the Second World War the term graphic design didn’t even exist. and Rosenweig. Minnesota. Philip B. the limitations and proportions of screen size. I firmly believe that I was able to successfully address. material. and legibility. designing a site that is both easy to use and scholarly. digitizing materials in a way that makes them web friendly while preserving historical integrity.evaluation bibliography evaluation + future directions In the past my self-evaluations have always been predicated on my ability to complete the entire design process and deliver a final solution. “The State of Design History: Part One—Mapping the Field. Milton Glaser. The Laws of Simplicity. Daniel J. Wiley. New York. Steven. books + articles Abrams. Switzerland. In this book. and Presenting the Past on the Web. Illinois. New York. I am confident that this project would be worthy of submission for presentation at upcoming conferences. U of Penn Press. Elinor. ©2005 Postman.5. Vintage Books. AVA Publishing SA. University of Minnesota Design Institute. Peter. My goal was to develop an introductory understanding of each topic to the point where I could intelligently engage in future collaborations and continue in the development of an online history of graphic design resource. Maeda looks at simplicity from variety of perspectives including principles of visual organization. 34 visualizing graphic design history through new media visualizing graphic design history through new media 35 . Karl Gerstner. and discussions online. Steven and Petit. As a proponent of design for change. Richard. Mau “attempts to chart the bewildering complexity of our increasingly interconnected (and designed) world. University of Chicago Press. Zec. New York. I am excited about using this body of research as a catalyst for future discussions. John. the author interviews as series of designers including Wim Crouwel. It took Philip Meggs ten years to develop the first edition of A History of Graphic Design. “A new social landscape and new conditions mean new rules. The ambitious scope of this project has forced me to concentrate on research and concept development. New York.” He examines our social and political relationship to technology. Digital Layout for the Internet and Other Media. ©2005 This book focuses on questions related to designing for the mulitfaceted and constantly developing area of digital media. Graphic Design History. Meggs. interpretations. Technopoly: The Surrender of Culture to Technology. ©2004 In the article.” yet “its gifts are not without a heavy cost. This book is particulary useful for designers looking to adapt their traditional skills to meet the demands of new technology.” Roberts. Ambient Findability. People are more mobile in work and life than ever before. Minneapolis. California. digital world. The most gratifying aspect of this project has been its ability to raise more questions than provide answers. and Purvis. movement. Graphic Design: A Concise History. and industrial design. It is an excellent resource for those seeking an introductory overview of the advantages and disadvantages of putting historical documents. Thames and Hudson. Germany. “Mobile Collaborative Working” Brian Switzer states. ©2005 Friedman. Walker Art Center. © 1989 Fawcett-Tang. I intend to explore these collaborative abilities further in the future. AVA Publishing SA. conception. according to Postman. Drip-dry Shirts: The Evolution of the Graphic Designer. and implementation of logical hierarchies for easy access to information. Switzerland. understanding the technologies involved and how to choose appropriate ones. Switzerland. ©2002 Maeda. military and manufacturing. Mau. Dilnot. ©1989 Heller.” He goes on to discuss the different types of information distribution networks and the effects of various technologies on the methods in which people collaborate in our mobile society. image. Neil. A quick read (100 pages). Studio 7. excellent opportunity to develop collaborative projects. Mapping: An Illustrated Guide to Graphic Navigational Systems. taught and learned are enormous. Graphic design history and digital media are two areas I had not been previously exposed to. in effect. Graphic Design in America: A Visual Language History. Mildred. ©2006 Morville. Skopec. Rotovision SA. It is not unreasonable to think an online resource of equal magnitude could take just as much time if one person was responsible for its development. Design for Small Screens. “does not invite a close examination of its own consequences.” Design Discourse. New York. Chicago. This presents new challenges for designers. ©2004 Cohen. Ben Gaydos. thank you for your dedication. A bottomless reservoir of graphic design knowledge. Just when I thought I had it all figured out. rob carter. We never met but this project has made me realize how brave you were to not only put design history on the map but withstand the criticism which followed. Walking into your office uninvited was one of the best decisions I made in graduate school. Thank you for the financial support. I owe you nearly everything for these past two years. For two years I have been further away from all of you than I ever want to be again. that is unbelievable. I’m confident it will be a long time before VCU finds a group so dedicated to making shit happen. 36 visualizing graphic design history through new media . david colley. sandy wheeler. Your warm heart and constant support was comforting during times of self-doubt and discouragement. Your disdain for complacency is inspiring. A deep and insightful thinker. optimism and contributions to the field are characteristics I will always try to emulate. We went through a lot together…and always came out on the other end… together. hard work. It was your constant encouragement to follow my dream which made this experience possible. We made a mean team. Your entertaining stories and charisma constantly reminded me of the importance of laughter. phil meggs.acknowledgements good people christine gindy. I am eternally grateful. My foundation. Your constructive criticism during the writing of my teaching philosophy was one of the most impacting experiences during my two years. Matt Klimas. steve hoskins. Thank you for all the encouragement and support. I can now begin my life free of school debt. one of our conversations would challenge me to rethink my position. Thank you for allowing me the opportunity to always speak my mind and even after times of disagreement still shake my hand. Simply stated. and encouragement. Karen Stein. all of my classmates: There is not enough space here to say everything that needs to be said. matt woolman. susan king-roth. You have sacrificed so much during the past two years. all in effort to make graphic design education better. I love you. The amount of time and thought you would put into critiquing anything I submitted to you or brought up in discussion was always appreciated. Thank you for sharing my passion for progression. and Jinny Kim. Heather Boone. roy mckelvey. In today’s society. A great lisenter and communicator. my family. During times of perceived crisis you always reminded me of the importance of unwavering companionship. admissions committee. willis. john malinoski. I always appreciated your candid views and valuable opinions. The shoulder I cried on and the compass who always directed me back to reality. Your work ethic. I wish you the best of luck during your retirement.