"The sudden change of ambiance in a street within the space of a few meters; the evident division of a city into zones of distinct psychic atmospheres; the path of least resistance which is automatically followed in aimless strolls (and which has no relation to the physical contour of the ground); the appealing or repelling character of certain places - all this seems to be neglected."
Guy Debord, ' Introduction to a Critique of Urban Geography'
The Dérive ("drift" in english) was a theory put forth by french theorist and writer Guy Debord in 1956. He describes the dérive as an unplanned journey through an urban landscape in which the participants step outside of their everyday relationships with the city and "let themselves be drawn by the attractions of the terrain and the encounters they find there". The intention is to step outside of everyday familiarity and playfully de-familiarize yourself with yourself and your surroundings.
Bio. by Sarah Owens, head of MA Design & Communication, Zurich University of the Arts, Switzerland
How best to describe Daniel Eatock’s work? Possibly by listing some of the numerous attributes mentioned in the biographies on his website. Thus, his projects are
attune to moments and coincidence,
(In German: einfallsreich, wortgewandt, zwanghaft, fragend, kollaborativ, seltsam, explorativ, konzeptionell, partizipativ, paradox, subversiv, suchend, offen, vorsichtig, interessiert an Momenten und Zufällen, reduktiv, humorvoll, nachdenklich stimmend, herausfordernd, enthusiastisch, unkonventionell, assoziativ, scharfsinnig, exzentrisch, intensiv, systematisch.)
Bio. by Matt Edgar Course Leader Graphic Design, Sheffield Hallam University
1975 D.E. is born in Bolton, England.
Whilst on holiday with secondary school friend Daniel Foster D.E. draws ‘sky, sea, sand’ and realizes that ideas could be more powerful than aesthetics.
1993 Reads Lippard’s ‘Six Years: The Dematerialization of the Art Object’. The book has a profound impact on D.E.
1993-1996 Studies communication design at Ravensbourne under Rupert Basset, Collin Maughan and Geoff White, a fully committed student, D.E. arrives early for lectures and sits at the front in opposition to the cliché of the slacker student.
1998 Shortly before graduating from the Royal College of Art, D.E. follows the advice of one of his tutors, Rick Poynor, and travels to Minneapolis, Minnesota to complete an internship at the Walker Art Center.
1998 At the Walker Art Center D.E. works alongside design director Andrew Blauvelt and Sam Solhaug. D.E. and Solhaug conceive the ‘10.2 Multi Ply Coffee Table’ and establish the collaborative initiative ‘Foundation 33’.
1998 Returning to the UK D.E. teaches graphic design at Brighton University and sets up a studio space in Bethnal Green, London.
2000 ‘Foundation 33’ build the ’10.2 Multi Ply Coffee Table’ in Pentagram London’s carpentry workshop for the Milan Furniture Fair. Lyn Winter offers to promote the table and also introduces D.E. to friend Katie Hayes. Hayes works for Channel 4 in the UK and invites D.E. to pitch for the design of a new series in production; Big Brother. D.E. wins the pitch. Daniel Forster and Tim Evans join Foundation 33, now transformed from collaborative project to fully functioning business.
2004 Foundation 33 merges with creative agency Boymeetsgirl but twelve months later the venture folds and D.E. becomes independent again.
2006 Co-founds www.indexhibit.org with Jeffry Vaska, a standards based, archetypal web application.
2008 D.E organizes and makes his monograph ‘Imprint’ (published by Princeton Architectural Press, see bio above). The A4 book is an archive of themes and motives through D.E’s work to date. On the spine is D.E’s thumbprint. Bound between pages 208 and 209 is a hand-drawn circle.
2008 D.E. works as occasional Art Director at Fearlessly Frank, a business consultancy working to deliver strategic, operational and functional change.
2014 Eatock Ltd continues to imagine, conceive, create, participate, make and disrupt.
Bio. by Matthew Hearn BALTIC 39
Born in Bolton and currently living in London, former graphic designer Daniel Eatock displays an ongoing interest in proposing problems; problems to which he sets about formulating solutions. These problems themselves often cannot be understood before they have been solved, resolved or contradicted, yet in applying a rational mind to the irrational world, Eatock channels inventiveness seeking out unsuspected connections from the mould of everyday life. Rigorous, yet refreshingly glib, a conceptual idealist yet a compulsive chancemonger, his practice not only rounds the circle, but reinvents and questions the very premise of what a circle might be. Unlocking the grooves of received logic, undesigning systems and reorientating conventions, Eatock’s process inventively returns us to the beginning of a question: a question that we are poised to ask.
Within Eatock’s diverse output he has collaborated with Channel Four television on numerous projects including the multifarious Big Brother ident. As co-developer of the ubiquitous Indexhibit web Content Management System, Eatock is the face behind more websites than you may have to date cared to notice, including his own. He is a compulsive serialist, a whimsical maker, an inventive collaborator and his particular conflation of design ideals and artistic exploration has seen his work presented internationally in what can only be seen as a fitting diversity of contexts.
Bio. by Cortney Lane Stell, Philip J. Steele Gallery
The impossibility of capturing a life, yet the custom of doing it anyway is perhaps why biographies are often prescriptive. Perhaps this is also why Daniel Eatock archives versions of his biography on this website. The biographical elements presented here similarly endeavor to highlight Eatock’s accomplishments…
Daniel Eatock is a British artist who takes no mind to boundaries—boundaries like those often found between art and design, commercial and art object, producer and author. A graduate of the Royal College of Art, Eatock has design experience at institutions such as the Walker Art Center as well as independent ventures such as interdisciplinary art and design studio Foundation 33. Eatock's care to systems, information, and archiving can be seen in both his monograph Imprint, published in 2008 by Princeton's Architectural Press, and his website. His website highlights Indexibit, a widely used Content Management System and website platform designed collaboratively by Eatock and Jeffery Vaska. No matter what tool he uses and whether it's for himself or a client, Eatock's practice is based on exploration of the world in which he lives, orienting himself toward the practical, creating new relations to everyday objects.
Bio. CONTAINER Tim Milne
Daniel Eatock is renowned for his exploration of the wit and conceptual irony that exist in everyday objects and situations. He devises systems, templates and opportunities for collaboration inviting contributors to shape the outcome and participate in the creation of his work. He embraces contradictions and dilemmas; seeking out alignments, paradoxes, chance circumstance, loops, impossibilities and oxymorons. He likes to create the feeling of falling backwards. Daniel trained at The Royal College of Art as a graphic designer, but is now an established artist exhibiting around the world with a devoted following.
Bio. Portland State University MFA Lecture Series
London-based artist Daniel Eatock (born 1975) has a practice shaped by discovery, invention, and an alert sensitivity to coincidence and contradiction. A graduate of London’s Royal College of Art, Eatock served on the design staff of the Walker Art Center before returning to England to work with clients that include Channel Four Television and the Serpentine Gallery. In 2008 Princeton's Architectural Press published Eatock’s monograph Imprint. Entirely authored and designed by Eatock, the book is distinguished not only by its (deceptive) lack of apparent order but also by the fact that each individual copy in the run of 4,000 is unique.
Born 1975, Bolton, UK. Currently lives and works between London, São Paulo and Norway. A graduate of London’s Royal College of Art, Eatock served on the design staff of the Walker Art Center before returning to England to work with clients that include Channel Four Television and the Serpentine Gallery. An accomplished graphic designer, Eatock applies his former vocations skills to art-making. Embracing his design roots, his practice subverts strategies of communications, rational problem solving and formal design/un-designed methodologies. He uses invitations, opportunities and chance circumstance, actively seeking, embracing and responding to the coincidences and contradictions encountered in everyday life. In 2006 in collaboration with Jeffery Vaska, Eatock developed the ubiquitous website portfolio platform, Indexibit.org. In 2008 Princeton Architectural Press published Eatock’s monograph Imprint.
Bio. One Question Interview
Daniel Eatock is a London based artist who is interested in connections between image and language, titles, punch lines, miscommunication, subversions, open systems, contributions from others, seriality, collections, discovery and inventing.
Born 1975, Bolton, UK. Lives E2 9EH. Attempts to draw a perfect circle everyday. Likes the color purple found in a flame, soap bubble or oil resting on the surface of water. Eats healthy, buys organic when possible, likes humble restaurants and rice and beans. Rarely drinks alcohol, makes fruit smoothies everyday. Listens to Camper Van Beethoven and Anthology of American Folk Music edited by Harry Smith. Has hay fever in spring, is allergic to milk. Cooks, cycles, walks everyday. Carefully chooses things that last. Photographs moments, alignments, coincidence and small things that go unnoticed. Likes the feeling of falling backwards. Tries to save time, resources and economizes when possible.
Bio. On Purpose: Design Concepts
Daniel Eatock is a London-based artist known for his conceptual approach to solving traditional client design problems, as well as those of his own choosing. He is fascinated in the connections between image and language, titles, miscommunication, subversions, open systems, seriality, collections, discovery and inventing. Eatock employs a reductive logic to his practice, toying with the paradoxes of function and non-function.
Bio. Princeton Architectural Press
Imagine the work of a young designer for whom concept and humor are more important than the glossy aesthetics of mainstream periodicals and design annuals and for whom the message trumps the media and you begin to get an idea of the refreshingly smart and thought-provoking work of Daniel Eatock. Rejecting the widely held opinion that work made without a client is “art” and work for hire is “design” Eatock challenges both categories by purposely blurring the distinction. Whether he is solving client problems or those of his own choosing Eatock’s work responds to personal fascinations and the desire to invent discover and present.
His commissioned works for clients include an exhibition catalog featuring sound chips a flip book handwritten notes and a cover wrapped in the upholstery fabric used on London transit seating as well as the graphic identity of the UK’s Big Brother reality-TV series among many others. Eatock’s idea of “entrepreneurial authorship” has resulted in numerous self-published limited-edition works such as an edition of prints made using every color of Pantone’s felt-tip pens and his Untitled Beatles Poster which includes the lyrics from every Beatles song. Eatock's most personal self-initiated artworks share an unabashed enthusiasm for punch lines miscommunication and seriality: there's the search for a stone that weighs exactly one stone; a perfectly hand-drawn circle the world's largest signed and numbered limited-edition artwork utilitarian greeting cards price label wrapping paper car alarm dances and a fruit bowl stickered with fruit labels.
The first monograph on this unconventional practitioner Daniel Eatock Imprint is as unconventional as the artist himself. While utilizing and embracing the expectations of a traditional monograph the London-based designer also challenges and subverts them presenting works based on connections and associations through color, composition, titles, material, and format rather than in chronological or hierarchical order. Constantly oscillating between art and graphic design, this book is full of Eatock’s astute observations and eccentric obsessions.
Eatock is interested in connections between image and language, titles, punch lines, miscommunication, subversions, open systems, contributions from others, seriality, collections, discovery and inventing.
He employs reductive logic, and strives for objective and rational solutions to form concluded works. I am especially interested in the connection of the start and end points of a hand drawn circle.
Bio. AIGA / NY
Daniel Eatock’s interests lie in the connections between image and language, titles, punch lines, miscommunication, subversions, open systems, contributions from others, seriality, collections, discovery, and inventing (as well as other small things that usually go unnoticed). A young British designer and artist, he is described by Steven Heller as “an obsessive design documentarian.” A graduate of Ravensbourne College of Design and Communication and the Royal College of Art, his independent art and design studio Eatock Ltd. focuses on both self-initiated art projects and commissioned design work. These range from simply collecting his own fingernail clippings to the 2005 creation of the no-frills “Indexhibit,” a free downloadable content management system.
His first monograph, Daniel Eatock Imprint, has just been published by Princeton Architectural Press. Constantly oscillating between art and graphic design, each copy individually marked with his own thumbprint, this book is full of Eatock’s astute observations and eccentric obsessions.
Bio. Elisa Platteau Galerie
Born 1975, UK
Lives and works in London
The English artist and designer Daniel Eatock (b. 1975) studied at London’s Royal College of Art. He worked as a designer at the Walker Art Center (Minneapolis, Minnesota) after which he returned to England to undertake contracts with Channel 4 television and the Serpentine Gallery, amongst others. The pictorial and linguistic techniques, the norms and procedures belonging to the milieu of graphic design, thus form a habitat in which his work can unfold. In contrast to his colleagues, Daniel allows new images to emerge by shifting their context or linguistic definition. Their new context is a new form of observation, of perception.
Bio. by Steven Heller
Daniel Eatock, a London-based artist and graphic designer, is an obsessive design documentarian and a champion of democratizing information architecture systems. His basic design methodology is rooted in a reductive logic that strives for objective and rational website designs. In 2005, Eatock co-created, with Jeffrey Vaska, a free, down-loadable content management system called Indexhibit that enables people to build simple websites that bring content to the fore. Indexhibit’s no-frills approach is evident on Eatock’s own site, eatock.com, an extensive repository for objects, prints, and photographs (his own and others’) that reveal his intense fascination with the art of observation and the pleasure of unexpected connections. A 1998 graduate of the Royal College of Art, Eatock interned at the Walker Art Center in Minneapolis before returning to England in 1999 to launch the design firm Foundation 33, which he later merged with the creative agency Boymeetsgirl. In 2003, he started Eatock Ltd., through which he builds and main-tains his database of photographic projects and completes work for a range of entertainment and cultural clients, including Samsung and Channel 4. The art world has also embraced him, and various galleries have exhibited his con-ceptual art. For a 2007 show at London’s M+R Gallery, he stuck his collection of tape rolls to a beam and let them slowly unwind to the floor. Eatock refers to his process as “entrepreneurial authorship,” which includes numerous limited-edition works such as Untitled Beatles Poster, a printed piece bearing the lyrics to every Beatles song.
Born 1975 Bolton, UK.
Lives and works in London, UK
I am interested in connections between image and language, titles, punch lines, miscommunication, subversions, open systems, contributions from others, seriality, collections, discovery and inventing. I employ reductive logic, and strive for objective and rational solutions to form concluded works.
Born 1975 in Bolton, UK. Lives and works in London, UK.
Daniel Eatock is interested in connections between image and language, titles, punch lines, miscommunication, subversions, open systems, contributions from others, seriality, collections, discovery and inventing. Makes conceptual things that are resolved in a reductive, logical and objective way, and is especially interested in the connection of the start and end points of a hand drawn circle.
Bio. Walker Art Center
Daniel Eatock is a London-based designer known for his conceptual approach to solving traditional client problems as well as those of his own choosing. Eatock graduated from the Royal College of Art and worked as a designer at the Walker Art Center before returning to England to create Foundation 33 and most recently Eatock Ltd. His work has consistently employed a systematic but not necessarily dogmatic rigor that privileges the elemental over the extraneous—a philosophy neatly embodied in his motto: “Say YES to fun & function & NO to seductive imagery & colour!” His work for entertainment and cultural clients ranges from such projects as the graphic identity and promotion for the British television hit Big Brother to a street exhibition of Warhol billboards for Channel 4 to a collaboration with artists Oliver Payne and Nick Relph for an exhibition catalogue with sound chips, a flip book, handwritten notes, and a cover wrapped in the upholstery fabric used on London transit seating. Eatock’s idea of “entrepreneurial authorship” has led to the creation of numerous self-published limited-edition works such as Untitled Beatles Poster, which includes the lyrics from every Beatles song, and the 10.2 Multi-Ply Coffee Table, fabricated from an entire single sheet of plywood.
Bio. One Friday
Daniel Eatock is a graduate of Ravensbourne College of Design and Communication and the Royal College of Art. He worked as an intern at the Walker Art Centre in Minneapolis before establishing Foundation 33, a multidisciplinary practice that later merged with creative agency boymeetsgirl.
He recently formed Eatock Ltd, an independent art and design studio where his inventive entrepreneurial approach to authorship and his adherence to the integrity of ideas are applied to commercial design work and contemporary art projects.
His varied portfolio includes the creation of the world’s largest signed and numbered limited edition artwork and the ongoing design and development of the Big Brother identity for Channel 4 television.
Daniel Eatock is a graduate of Ravensbourne College of Design and Communication and the Royal College of Art. He worked as an intern at the Walker Art Centre in Minneapolis before establishing Foundation 33, a multidisciplinary practice that later merged with creative agency boymeetsgirl. He recently formed Eatock Ltd., an independent art and design studio where his inventive entrepreneurial approach to authorship and his adherence to the integrity of ideas are applied to commercial design work and contemporary art projects. His varied portfolio includes the creation of the world’s largest signed and numbered limited edition artwork and the ongoing design and development of the Big Brother identity for Channel 4 television.
Using your final project research as a starting point you will pick one subject to document daily for the next 3 weeks. Subjects can range from vernacular typography, to a vase, a chair, etc – they just need to show a relationship to your current research.
You can use any medium/format to document – photograph, image making, sound, type, illustration, etc. but must choose only one to use throughout.
For example, if your subject is vernacular typography, your method of documentation could be photography or illustrating found lettering.
Keep in mind:
This is meant to be generative and could potentially serve as 'raw material' for your project. Choose something to document that has a strong relationship to your research interests.
Your time. Pick a method of documentation that is managaeble – it fits in with your schedule and can maintain over a period of 3 weeks.
Variety & Cohesiveness. Each piece of documentation must register some type of change. This could be time based, content based, form based, etc. They should all be formally similar
No images from the internet unless they have been manipulated in some way.
Stay away from tropes and clichés. Selfies, pictures of sunsets, meals you have eaten, etc.
As you begin to generate ideas and content for your final project proposal, you will need to create a 20x20 slideshow presentation to introduce your final project to your classmates and faculty.
Use this sheet to guide your proposal. Be as detailed as possible in your answers.
What do you intend to investigate in the courseof your project? What is your primary interest? What concerns you?
Who are you and why is this project important to you? Who is your audience? Why is this the group of people you intend to address? What are their characteristics? How will their outlook and position impact the way they consume your project?
Where will your project reside? What are the characteristics of the medium and/or format that are important for your project? What are the conventions of this medium and/or format and how can you surpass them?
Why is this project relevant? What social, political, economic, environmental, formal, historical concerns does it address? Why is it important to address these concerns?
Create a detailed timeline for your project. Create goals and plot your desired outcomes on a calendar. Do not end your calendar with the end of the semester. Create a long-term plan for your project.
What methodologies, techniques, materials, and approaches are appropriate for this project? Don’t be prescriptive as to your results, but please consider what certain approaches mean considering your desired outcome.
Discuss projects that are similar to your own. Provide historical, social, and political context to your project by investigating the work of other designers & artists.
(adapted from Final Project Proposal Worksheet, Julie Cho)
"Beyond a self-evident pun referring to music played 14 feet underground, “Deep Listening” signified Ms. Oliveros’s emerging aural discipline: a practice that compelled listening not just to the conventional details of a given musical performance — melody, harmony, rhythm, intonation — but also to sounds surrounding that performance, including acoustic space and extra-musical noise"
We produce participatory design projects that engage people in reconfiguring the politics of social and environmental issues. We combine design research methods with radical pedagogy, feral approaches to community economies and lots of DIY making and organising.
Brave New Alps
We create a diversity of outputs, including spaces for making, learning and exchanging; commoning and community-building processes; events such as workshops and conferences. We also enjoy feminist theory, writing, (self)publishing research outputs, working with our circular saw, printing with our Risograph and good graphic design.
This course will guide you through the process of researching, contextualizing, and framing the thinking around your final project.
Broadly, we will be investigating these questions:
Specifically, you will be examining these questions by researching, writing, and discussing:
The class will be split up into three sections – Inquiry, Processing, & Framing.
Class time will be used as a forum to discuss assigned readings, review/critique work, and conduct in-class projects.
Identify and investigate topics of interest important to the student’s developing role as a graphic designer
Demonstrate the ability to frame questions, devise appropriate methodologies for answering them, and collect evidence of an ongoing perspective of critical theory.
Apply critical thinking skills, writing skills, and research skills
Compare and contrast the ideas and arguments of varying texts
Collaborate with other students in class assignments, discussions, and critiques.
Reflect on past, present, and future interests and concerns, assessing personal investment in contemporary subjects relevant to the field.
Attendance is critical to learning and academic success; students are therefore expected toattend all class meetings. Students who incur more than two absences in a course that meetsonce per week, or more than four absences in a course that meets twice per week, will fail thecourse, barring exceptional circumstances as determined by the Chair. Exceptionalcircumstances include, but are not limited to: death in the family, serious medical conditions,hospitalization, observance of religious holidays, and some approved disability accommodations.Students wishing to claim exceptional circumstances must provide the Chair with appropriatedocumentation. At the Chair's discretion, numerous absences due to exceptional circumstancesmay necessitate course withdrawal or failure. Three tardies (including arriving late or leavingearly) equal one absence.
This course is graded on a Pass / Fail basis. If you get less than a D in this class you Fail the course.
Plagiarism occurs when a person deliberately uses another person’s concepts, language,
images, music, or other original (not common knowledge) material without acknowledging the
source and/or making substantial modifications. While referencing or appropriating may be part of
a studio or Liberal Arts and Sciences assignment, it is the student’s ethical responsibility to
acknowledge and/or modify the original material
Specific examples of plagiarism include:
Submitting someone else’s work in whole or part (including copying directly from a sourcewithout documentation and/or alteration, or turning in studio work that is not your own).Having someone else produce, revise, or substantially alter all or part of a written paperor studio assignment.
Cutting and pasting any textual or image-based work from the internet without proper
documentation or clarification of sources.
Failure to cite sources.
Proper citations in MLA style and a Works Cited page must accompany all papers.You can find citation information through the Library website. http://www.lib.duke.edu/libguide/cite/works_cited.html
Using the writing, editing, or creative services of another person who quantitatively and/or qualitatively revises the paper and/or studio work significantly.
An editor often fixes the paper without the writer learning how to do it him/herself.Sometimes the editor changes so much of the paper that it is no longer the studentwriter’s work and thus plagiarized. A trained tutor helps the writer to learn how torevise the papers and eventually not need the tutor’s assistance.
Instances of alleged plagiarism are reported to the Academic Integrity Committee for review. Fora complete description of the Academic Integrity Committee process, please go to:
Otis provides an excellent tutoring program, free to all students, located in the Student ResourcesCenter (out the front doors, then left and left). They offer drop in tutoring (when available),a ppointments, and online tutoring. (See website for more information.)
If you are a student with documented disability services (physical, learning, or psychological)requiring reasonable academic accommodations, you must contact Disabilities Services (locatedin the Student Resources Center, ext. 2554) before you need any accommodations. Retroactiveaccommodations are not provided, so please be sure to make your request early in the semester.All discussions will remain confidential.
For additional information, please visit: http://www.otis.edu/life_otis/student_life/student_affairs/student_disabilities_services.html
WEEK 01 J18
Create Are.na account
Class: Work on outline of Genealogy presentation
WEEK 02 J25
WEEK 03 F01
Discuss: Jacques Rancière The Surface of Design
5 items - Visual Glossary
WEEK 04 F08
Discuss: Ursula Franklin The Real World of Technology
Discuss: Lisa Gitelman Near Print and Beyond Paper: Knowing by *.pdf
10 items - Visual Glossary
WEEK 05 F15
Discuss: Trevor Paglen Invisible Images (Your Pictures Are Looking at You)
Homeworkk: Watch Hypernormalization
15 items - Visual Glossary
WEEK 06 F22
Introduction: Noise Flying Through the Air
In Class: Desk Crit
WEEK 07 M01
In Class: Work on Noise Flying Through the Air
In Class: Desk Crit
WEEK 08 M08
Present Noise Flying Throught the Air
Present Visual Glossary
WEEK 09 M15
Discuss: Daniel Buren Why Write
Discuss: Rough Draft Ideolectic/Dialectic
In Class: Workshop Ideolectic/Dialectic
M 22 SPRING BREAK NO CLASS
WEEK 10 M29
Discuss: Rough Draft Ideolectic/Dialectic
In Class: Desk Crits and Interviews
WEEK 11 A05
Introduction: Final Project Proposal Worksheet
Introduction: Every Day Documentation
Homework: Read Reference Work excerpt
Homework: Proposal Rough Outline
Homework: 3 Every Day Documentation Ideas/Roughs
WEEK 12 A12
Guest Speaker Marco Kane Braunschweiler
Artist and Associate Director, Digital, MOCA
Review: Proposal Rough Outline
Review: 3 Every Day Documentation Ideas/Roughs
Homework: Read The Architecture of Content Management
WEEK 13 A19
Guest Speaker Fiona Connor
In Class: Desk Crits
WEEK 14 A26
Present Final Project Proposal
WEEK 15 M03
Discussions play a crucial part in this class. It is important to come to class with prepared questions and comment based on the readings we will do. Some of what we read will be straightforward, some will be difficult. Discussion is how we can collectively help our comprehension and understanding.
A 'Family Tree' of your influences and interests. Prepare a 21 slide presentation that presents:
Your work (7 slides)
Your influences (7 slides)
The broader themes that your influences and interests represent (7 slides).
DUE Week 02
You will create a research archive in the form of an annotated visual glossary. This glossary will address your developing interests / concerns / beliefs as a graphic designer.
DUE Week 08
You will be using the online platform are.na to collect and organize your visual glossary.
The format consists of one "item" (text, image, object, artwork, etc.) accompanied by a title and a 100-150 word annotation.
At least 20 items
Citations for each source
As a group, you will create a 45 minute long 'sound collage' reflecting on your travels to and from the L.A. Art Book Fair. Through the use of sound recording alone, you will investigate and try to capture the experience of yourself and the people around you on your journey. Using the examples shown in class as points of departure, think about how language can be broken down into sound, how sound could be used to create a disembodied 'visual', and how listening can become active.
DUE Week 08
A one page statement of purpose and intention. This statement will present the philosophy of your evolving design practice. The document should focus on the distinctive qualities and approaches in your own work (idiolect) in relation to others work whose characteristics you find influential (dialect).
1 page outline of:
Characteristic, qualities, and approaches within you design practice
Characteristic in the practices of people you find influential
Greater ideas and themes that you are are interested in. Due Week 9
In class break off into pairs and interview each other for 20 minutes. Record the conversation.
Write a 1 page, lucid, clear and articulate statement that incorporated the thoughts above. Present to class.
DUE Week 10
*in-class exercise. TBA DUE Week 15
A 20x20 slideshow presentation to introduce your final project to your classmates and faculty.
DUE Week 15
Are you interested in employing a narrative structure in dealing with your content?
What form could it take: visual essay, documentary, play, non-linear, etc?