Thursday, September 23, 2010
Tuesday, September 14, 2010
TYPOGRAPHY BLOG
Thinking With Type
http://www.papress.com/other/thinkingwithtype/index.htm
Type Club
http://www.typeclub.com/
Eye Magazine
http://eyemagazine.com/home.php
Emigre
http://emigre.com/
Linotype
http://www.linotype.com/
Baseline Magazine
http://baselinemagazine.com/
Ilovetypography
http://ilovetypography.com/
**Welovetypography
http://welovetypography.com/
Typophile
http://typophile.com/
**Typographica
http://typographica.org/
Type Culture
http://www.typeculture.com/
TDC - Type Directors Club
http://tdc.org/
The Font Feed
http://fontfeed.com/
The Elements of Typographic Style Applied to the Web
http://webtypography.net/
TypeRadio
http://www.typeradio.org/loudblog/index.php?loc=dark-talk
A List Apart
http://www.alistapart.com/
Typography Twibe
http://www.twibes.com/group/typography
http://www.papress.com/other/thinkingwithtype/index.htm
Type Club
http://www.typeclub.com/
Eye Magazine
http://eyemagazine.com/home.php
Emigre
http://emigre.com/
Linotype
http://www.linotype.com/
Baseline Magazine
http://baselinemagazine.com/
Ilovetypography
http://ilovetypography.com/
**Welovetypography
http://welovetypography.com/
Typophile
http://typophile.com/
**Typographica
http://typographica.org/
Type Culture
http://www.typeculture.com/
TDC - Type Directors Club
http://tdc.org/
The Font Feed
http://fontfeed.com/
The Elements of Typographic Style Applied to the Web
http://webtypography.net/
TypeRadio
http://www.typeradio.org/loudblog/index.php?loc=dark-talk
A List Apart
http://www.alistapart.com/
Typography Twibe
http://www.twibes.com/group/typography
Wednesday, September 8, 2010
THESIS CLASS 1
So my initial thesis presentation and abstract didn't go very well. I apparently distilled my ideas too far and my Japanese Tattoo Encyclopedia proposal was rejected. It was too narrow.
Keith suggested I do more research and think of alternative directions. He suggested a few keywords i should concentrate on that would allow for broader discourse of knowledge:
The Last Shogun
Sustainable Tokyo
Edo period of Japan
Anthropology
Sociology
Ethnography
Pattern
Symbolism
Criminality
Spirituality
During the class critique i remember a peer stating he was fascinated by the storytelling aspect of tattoos. His thesis involved examining people with mental trauma and disorders and interviewing them. He used motion graphics to make visual simulations of what people said during their interviews and would use typography and graphic design to merge 3 videos together.
The use of ethnography could be useful to understanding why people get tattoos, how they feel about their own tattoos, how they feel the public reacts to their tattoos.
(Further idealization required)
So now i have no idea what my thesis direction will be.
Keith suggested I do more research and think of alternative directions. He suggested a few keywords i should concentrate on that would allow for broader discourse of knowledge:
The Last Shogun
Sustainable Tokyo
Edo period of Japan
Anthropology
Sociology
Ethnography
Pattern
Symbolism
Criminality
Spirituality
During the class critique i remember a peer stating he was fascinated by the storytelling aspect of tattoos. His thesis involved examining people with mental trauma and disorders and interviewing them. He used motion graphics to make visual simulations of what people said during their interviews and would use typography and graphic design to merge 3 videos together.
The use of ethnography could be useful to understanding why people get tattoos, how they feel about their own tattoos, how they feel the public reacts to their tattoos.
(Further idealization required)
So now i have no idea what my thesis direction will be.
Tuesday, September 7, 2010
Font History
TYPE5 FONTS
JENSON STD
http://new.myfonts.com/fonts/adobe/jenson/
GILL SANS STD
http://en.wikipedia.org/wiki/Gill_Sans
EUROSTYLE STD
http://en.wikipedia.org/wiki/Eurostile
FRAKTUR
http://en.wikipedia.org/wiki/Fraktur_(script)
**news gothic
bookman old style
optima
perpetua
MY FONTS
Hiroshige STD
http://new.myfonts.com/fonts/adobe/hiroshige/
Legacy STD
http://www.paratype.com/fstore/default.asp?fcode=834&letter=L
Bodoni STD
http://new.myfonts.com/fonts/adobe/bodoni-1/
FUTURA STD
http://en.wikipedia.org/wiki/Futura_(typeface)
JENSON STD
http://new.myfonts.com/fonts/adobe/jenson/
GILL SANS STD
http://en.wikipedia.org/wiki/Gill_Sans
EUROSTYLE STD
http://en.wikipedia.org/wiki/Eurostile
FRAKTUR
http://en.wikipedia.org/wiki/Fraktur_(script)
**news gothic
bookman old style
optima
perpetua
MY FONTS
Hiroshige STD
http://new.myfonts.com/fonts/adobe/hiroshige/
Legacy STD
http://www.paratype.com/fstore/default.asp?fcode=834&letter=L
Bodoni STD
http://new.myfonts.com/fonts/adobe/bodoni-1/
FUTURA STD
http://en.wikipedia.org/wiki/Futura_(typeface)
Works Cited
Works Cited
Japanese Buddhism
Mori, H. Sculpture of the Kamakura Period. Heibonsha & John Weatherhill Inc.,1974
Kyotaro, N. Great Age of Japanese Buddhist Sculpture 600 to 1300 AD. Art Media Resources, 1982.
Kasahara, K. A History of Japanese Religion. Kosei Publishing Company, 2002.
Mutsu, I. Kamakura: Fact and Legend. Charles E. Tuttle Company, 1918.
Fenollosa, E. Epochs of Chinese and Japanese Art. ICG Muse Inc., 1912.
Frederic, L. Buddhism: Flammarion Iconographic Guides. France, 1995.
Walters, Derek. Chinese Mythology: Encyclopedia of Myth and Legend. Harpercollins, 1993.
Schumacher, M. A-Z Photo Dictionary: Japanese Buddhist Statuary: Gods, Goddesses, Shinto Kami, Creatures & Demons. Copyright 1995. 07 September 2010.
< http://www.onmarkproductions.com/html/bibliography.shtml >.
Japanese Symbolism
Ryerson, C. Popular Japanese Tattoo Meanings, Symbolism and Designs. Ezine 2010.
< http://ezinearticles.com/?Popular-Japanese-Tattoo-Meanings,-Symbolism-and- Designs&id=2682226>
Irezumi Web Site. Copyright 2004. 07 September 2010.
Baird, M. Symbols of Japan: Thematic Motifs in Art and Design. Rizzoli International Publications, 2001.
http://www.amazon.com/exec/obidos/ASIN/084782361X/mehndiskinartdis
Beer, R. The Encyclopedia of Tibetan Symbols and Motifs. Shambhala, 1999.
http://www.amazon.com/exec/obidos/ASIN/157062416X/mehndiskinartdis
Lei, Q. The Simple Art of Chinese Calligraphy: Create Your Own Chinese Characters and Symbols for Good Fortune and Prosperity. Watson-Guptill Publications, 2002.
http://www.amazon.com/exec/obidos/ASIN/0823048381/mehndiskinartdis
Hawley,W. Chinese Folk Designs. Dover Publications,1971.
http://www.amazon.com/exec/obidos/ASIN/0486226336/mehndiskinartdis
Japanese Tattoo
Japanese Tattoo Design. Vanishing Tattoo 2010. 07 September 2010.
Vice, D. Horitoshi: Deep Skin. 07 September 2010.
< http://www.tokyo.to/backissues/feb00/tj0200p14,15,16,17,20/>
The Art of Zen. 07 September, 2010.
Wanczura, D. Japanese Tattoo Art. Artelino 2010. 07 September 2010.
How to Understand Japanese Tattoo Designs. EzineArticles.com, 2010. 07 September 2010. < http://ezinearticles.com/?How-to-Understand-Japanese-Tattoo-Designs&id=4474955>
Then, J. Essay on Tattoos. James Then 2010. 07 September 2010. < http://jamesthen.com/essay-on-tattoos/>
Hawley, W. Treasury of Japanese Designs and Motifs for Artists and Craftsmen. Dover Publications. 1971.
http://www.amazon.com/exec/obidos/ASIN/0486244350/mehndiskinartdis
Kitamura, T. Tattoos of the Floating World: Ukiyo-E Motifs in Japanese Tattoo. KIT Publishers. 2003.
http://www.amazon.com/exec/obidos/ASIN/9074822452/mehndiskinartdis
Fellman, S. The Japanese Tattoo. Abbeville Press. 1987.
http://www.amazon.com/exec/obidos/ASIN/0896597989/mehndiskinartdis
Irezumi
Irezumi. Wikipedia 2010. 07 September 2010
Buruma, I. The Japanese Tattoo. New York: Weatherhill, 1980.
Water Margin
Okazaki, M. 108 Heroes of the Suikoden. Japan Times 2010. 07 September 2010.
Horiyoshi III 108 Heroes of the Suikoden. Tattoo Source 2007. 07 September 2010.
Water Margin. Wikipedia 2010. 07 September 2010
< http://en.wikipedia.org/wiki/Water_Margin>
Japanese Heroes for the Twelve Signs. Kuniyoshi Project 1982. 07 September 2010.
Wanczura, D. Heroes of the Sukikoden. Artelino 2010. 07 September 2010.
< http://www.artelino.com/articles/heroes_suikoden.asp>
Jing, W. The Story of Stone: Intertextuality, ancient Chinese stone lore, and the stone symbolism in Dream of the red chamber, Water margin, and The journey to the west. Duke University. 1992.
http://books.google.com.au/books?id=49brOdOKlD0C
Yakuza
Tattoo History: Irezumi, Yakuza Tattoo. Draadlogger 2003. 07 September 2010.
The Yakuza. Virtual Ginza 2002. 07 September 2010.
Yakuza: The Japanese Mafia. Things Asian 2008. 07 September 2010.
TATTOO BOOKS:
A Brief History of Tattoos. Design Bloom 2009. 22 November 2009.
.
Adorno, T. The Culture Industry. London: Routledge. 1991.
Andes, L. Growing Up Punk: Meaning and Commintment Careers in a Contemporary Youth Subculture. Oxford: Blackwell, 1998.
Arnold, D. Subcultures. Berkley: Glendessary Press, 1970.
Atton, Chris. Alternative Media. London: Sage Publications, 2002.
Atkinson, Michael. Tattooed: The Sociogenesis of a Body Art. Toronto: University of Toronto Press, 2003.
Baker, Houston A. Black Studies: Rap and the Academy. Chicago: University of Chicago Press, 1993.
Cross, David. No Regrets: The Best, Worst, & Most #$%*ing Ridiculous Tattoos Ever. New York: Grand Central Publishing, 2008.
Declan, O’Reilly. The Complete Tattoo Bible. 22 Novemeber 2009.
.
Enders, Kimberly. Getting Inked. 21 November 2009.
< http://www.my-resell-portal.com>.
Gelder, Ken. Subcultures: Culture Histories and Social Practice. New York: Routledge, 2007.
Got Ink. Shop Free Here. 22 November 2009. < http://www.shopherefree.com>.
Hardy, Lal. The Mammoth Book of Tattoos. London: The Constable & Robinson Ltd, 2009.
Hart, Carey. Inked. New York: Artisan, 2008.
Johnson, Jeff. Tattoo Machine. New York: The Random House of Publishing, 2009.
Mifflin, Margot. Bodies of Subversion: A Secret History of Women and Tattoo. New York City: Juno Books, 1997.
Minguet, Eva. Tattoo Delirium. New York: Collins design and Monsa Publications, 2009.
Parker, Steven. The Human Body Book. New York: DK Publishing, 2007.
Sloss, Andy. The Tattoo Sourcebook. Ed. Zaynab Mirz. San Diego: Thunderbay Press 2008.
Tattoo Art Book. Tattoo Me Now. 22 November 2009..
Tattoos Unlimited: The Hottest Tattoo Resource Online. 22 November 2009. Tattoos Unlimited.
Von D, Kat. High Voltage Tattoo. New York: Harper Collins Publishers, 2009.
Waterhouse, Jo. Art by Tattooists Beyond Flash. London: Lawrence King Publishing Ltd, 2009.
Japanese Buddhism
Mori, H. Sculpture of the Kamakura Period. Heibonsha & John Weatherhill Inc.,1974
Kyotaro, N. Great Age of Japanese Buddhist Sculpture 600 to 1300 AD. Art Media Resources, 1982.
Kasahara, K. A History of Japanese Religion. Kosei Publishing Company, 2002.
Mutsu, I. Kamakura: Fact and Legend. Charles E. Tuttle Company, 1918.
Fenollosa, E. Epochs of Chinese and Japanese Art. ICG Muse Inc., 1912.
Frederic, L. Buddhism: Flammarion Iconographic Guides. France, 1995.
Walters, Derek. Chinese Mythology: Encyclopedia of Myth and Legend. Harpercollins, 1993.
Schumacher, M. A-Z Photo Dictionary: Japanese Buddhist Statuary: Gods, Goddesses, Shinto Kami, Creatures & Demons. Copyright 1995. 07 September 2010.
< http://www.onmarkproductions.com/html/bibliography.shtml >.
Japanese Symbolism
Ryerson, C. Popular Japanese Tattoo Meanings, Symbolism and Designs. Ezine 2010.
< http://ezinearticles.com/?Popular-Japanese-Tattoo-Meanings,-Symbolism-and- Designs&id=2682226>
Irezumi Web Site. Copyright 2004. 07 September 2010.
Baird, M. Symbols of Japan: Thematic Motifs in Art and Design. Rizzoli International Publications, 2001.
http://www.amazon.com/exec/obidos/ASIN/084782361X/mehndiskinartdis
Beer, R. The Encyclopedia of Tibetan Symbols and Motifs. Shambhala, 1999.
http://www.amazon.com/exec/obidos/ASIN/157062416X/mehndiskinartdis
Lei, Q. The Simple Art of Chinese Calligraphy: Create Your Own Chinese Characters and Symbols for Good Fortune and Prosperity. Watson-Guptill Publications, 2002.
http://www.amazon.com/exec/obidos/ASIN/0823048381/mehndiskinartdis
Hawley,W. Chinese Folk Designs. Dover Publications,1971.
http://www.amazon.com/exec/obidos/ASIN/0486226336/mehndiskinartdis
Japanese Tattoo
Japanese Tattoo Design. Vanishing Tattoo 2010. 07 September 2010.
Vice, D. Horitoshi: Deep Skin. 07 September 2010.
< http://www.tokyo.to/backissues/feb00/tj0200p14,15,16,17,20/>
The Art of Zen. 07 September, 2010.
Wanczura, D. Japanese Tattoo Art. Artelino 2010. 07 September 2010.
How to Understand Japanese Tattoo Designs. EzineArticles.com, 2010. 07 September 2010. < http://ezinearticles.com/?How-to-Understand-Japanese-Tattoo-Designs&id=4474955>
Then, J. Essay on Tattoos. James Then 2010. 07 September 2010. < http://jamesthen.com/essay-on-tattoos/>
Hawley, W. Treasury of Japanese Designs and Motifs for Artists and Craftsmen. Dover Publications. 1971.
http://www.amazon.com/exec/obidos/ASIN/0486244350/mehndiskinartdis
Kitamura, T. Tattoos of the Floating World: Ukiyo-E Motifs in Japanese Tattoo. KIT Publishers. 2003.
http://www.amazon.com/exec/obidos/ASIN/9074822452/mehndiskinartdis
Fellman, S. The Japanese Tattoo. Abbeville Press. 1987.
http://www.amazon.com/exec/obidos/ASIN/0896597989/mehndiskinartdis
Irezumi
Irezumi. Wikipedia 2010. 07 September 2010
Buruma, I. The Japanese Tattoo. New York: Weatherhill, 1980.
Water Margin
Okazaki, M. 108 Heroes of the Suikoden. Japan Times 2010. 07 September 2010.
Horiyoshi III 108 Heroes of the Suikoden. Tattoo Source 2007. 07 September 2010.
Water Margin. Wikipedia 2010. 07 September 2010
< http://en.wikipedia.org/wiki/Water_Margin>
Japanese Heroes for the Twelve Signs. Kuniyoshi Project 1982. 07 September 2010.
Wanczura, D. Heroes of the Sukikoden. Artelino 2010. 07 September 2010.
< http://www.artelino.com/articles/heroes_suikoden.asp>
Jing, W. The Story of Stone: Intertextuality, ancient Chinese stone lore, and the stone symbolism in Dream of the red chamber, Water margin, and The journey to the west. Duke University. 1992.
http://books.google.com.au/books?id=49brOdOKlD0C
Yakuza
Tattoo History: Irezumi, Yakuza Tattoo. Draadlogger 2003. 07 September 2010.
The Yakuza. Virtual Ginza 2002. 07 September 2010.
Yakuza: The Japanese Mafia. Things Asian 2008. 07 September 2010.
TATTOO BOOKS:
A Brief History of Tattoos. Design Bloom 2009. 22 November 2009.
Adorno, T. The Culture Industry. London: Routledge. 1991.
Andes, L. Growing Up Punk: Meaning and Commintment Careers in a Contemporary Youth Subculture. Oxford: Blackwell, 1998.
Arnold, D. Subcultures. Berkley: Glendessary Press, 1970.
Atton, Chris. Alternative Media. London: Sage Publications, 2002.
Atkinson, Michael. Tattooed: The Sociogenesis of a Body Art. Toronto: University of Toronto Press, 2003.
Baker, Houston A. Black Studies: Rap and the Academy. Chicago: University of Chicago Press, 1993.
Cross, David. No Regrets: The Best, Worst, & Most #$%*ing Ridiculous Tattoos Ever. New York: Grand Central Publishing, 2008.
Declan, O’Reilly. The Complete Tattoo Bible. 22 Novemeber 2009.
Enders, Kimberly. Getting Inked. 21 November 2009.
< http://www.my-resell-portal.com>.
Gelder, Ken. Subcultures: Culture Histories and Social Practice. New York: Routledge, 2007.
Got Ink. Shop Free Here. 22 November 2009. < http://www.shopherefree.com>.
Hardy, Lal. The Mammoth Book of Tattoos. London: The Constable & Robinson Ltd, 2009.
Hart, Carey. Inked. New York: Artisan, 2008.
Johnson, Jeff. Tattoo Machine. New York: The Random House of Publishing, 2009.
Mifflin, Margot. Bodies of Subversion: A Secret History of Women and Tattoo. New York City: Juno Books, 1997.
Minguet, Eva. Tattoo Delirium. New York: Collins design and Monsa Publications, 2009.
Parker, Steven. The Human Body Book. New York: DK Publishing, 2007.
Sloss, Andy. The Tattoo Sourcebook. Ed. Zaynab Mirz. San Diego: Thunderbay Press 2008.
Tattoo Art Book. Tattoo Me Now. 22 November 2009.
Tattoos Unlimited: The Hottest Tattoo Resource Online. 22 November 2009. Tattoos Unlimited
Von D, Kat. High Voltage Tattoo. New York: Harper Collins Publishers, 2009.
Waterhouse, Jo. Art by Tattooists Beyond Flash. London: Lawrence King Publishing Ltd, 2009.
Japanese Tattoo Symbolism
* Mythological beasts and monsters: Dragons, Kirin, Baku, Foo Dogs, Hō-ō (鳳凰, Phoenixes)
* Animals: Birds, Koi (Carp), Tigers, Snakes
* Flowers: Peonies, Cherry Blossoms, Lotuses, Chrysanthemums
* Other plants: Bamboo, Maple leaves
* Characters from traditional folklore and literature, such as the Suikoden
* Images of the "Floating World" inspired by ukiyo-e prints: geisha, samurai
* Buddhas and Buddhist deities such as Fudō Myō-ō and Kannon
* Shinto kami (deities) such as tengu
* Backgrounds: clouds, waves, wind bars.
http://en.wikipedia.org/wiki/Irezumi
Japanese Tattoo Terms
* Irezumi (入れ墨, 入墨, 文身 (also pronounced bunshin), 剳青, 黥 or 刺青): tattoo (noun or verb)
* Horimono (彫り物, 彫物, literally carving, engraving): tattoo. This is another word for traditional Japanese tattoos.
* Horishi (彫り師, 彫物師): a tattoo artist.
* Bokukei, bokkei (墨刑): punishment by tattooing.
* Tebori (手彫り, literally to carve by hand): describes the technique of tattooing by hand.
* Hanebori (羽彫り, literally to carve with a feather): a hand-tattooing technique employing a feathering motion.
* Tsuki-bori (突き彫り): a hand-tattooing technique employing a thrusting motion.
* Kakushibori (隠し彫り, literally hidden carving): tattooing near the armpits, the inside of the thighs and other "hidden" body areas. Also refers to the tattooing of hidden words, for example among the petals of flowers.
* Kebori (毛彫り): the tattooing of fine lines or of hair on tattooed figures.
* Sujibori (筋彫り): outlining, the outline of a tattoo.
* Shakki: the sound needles make when they puncture the skin.
* Irebokuro (入れ黒子): from ire or ireru, which means to insert, and bokuro or hokuro, a beauty spot
* Yobori: "Yo" (European) tattooing. The Japanese-English slang term for tattooing done with the machine.
* Sumi (墨): The ink used to tattoo, traditionally mixed by the apprentice
* Hikae: Chest panel tattoo
* Nagasode (長袖): Arm tattoo, to the wrist
* Shichibu (七分): Tattoo 7/10ths of the sleeve to the forearm
* Gobu (五分): Tattoo 5/10ths of the sleeve to above the elbow
http://en.wikipedia.org/wiki/Irezumi
Monday, September 6, 2010
ASIAN TATTOO HISTORY
Buddism
http://www.onmarkproductions.com/html/dragon.shtml
TATTOO BOOKS
http://www.amazon.com/exec/obidos/ASIN/9074822452/mehndiskinartdis
http://www.mehndiskinart.com/Chinese_Japanese_symbols_books.htm
http://www.onmarkproductions.com/html/english-books-journals-buddhism-resources.html
How To Understand Japanese Tattoo
http://ezinearticles.com/?How-to-Understand-Japanese-Tattoo-Designs&id=4474955
Tattoo History
http://jamesthen.com/
Irezumi
http://www.irezumi.us/eg/index.html
http://en.wikipedia.org/wiki/Irezumi
Irezumi, Yakuza Tattoo
http://www.dreadloki.com/pivot/pivot/entry.php?uid=standard-718
The Yakuza
http://www.okinawan-shorinryu.com/okinawa/yakuza.html
Yakuza: Japanese Mafia
http://www.thingsasian.com/stories-photos/2020
Japanese Tattoo Art
http://www.artelino.com/articles/japanese_tattoo_art.asp?mey=16
108 Heroes of Suikoden
http://www.artelino.com/articles/heroes_suikoden.asp
http://www.kuniyoshiproject.com/108%20Heroes%20of%20the%20Suikoden,%20One%20by%20One.htm
http://en.wikipedia.org/wiki/Water_Margin
http://www.tattoo-source.com/japanese-tattoo-books/nakano-heroes-of-suikoden.html
http://search.japantimes.co.jp/cgi-bin/fa20100122b1.html
The Art of Zen
http://tattoos.com/oguri.htm
Horitoshi - Deep Skin (interview)
http://www.tokyo.to/backissues/feb00/tj0200p14,15,16,17,20/
Japanese Tattoo Symboloism
http://www.vanishingtattoo.com/tattoos_designs_symbols_japanese.htm
http://ezinearticles.com/?Popular-Japanese-Tattoo-Meanings,-Symbolism-and-Designs&id=2682226
Horiyoshi III
http://www.tattoo-source.com/japanese-tattoo-books/nakano-heroes-of-suikoden.html
http://www.ne.jp/asahi/tattoo/horiyoshi3/
JAPANESE TATTOO GALLERY
http://www.vanishingtattoo.com/tattoo_gallery.htm
http://www.tattoo.ne.jp/j-style.html
http://www.ne.jp/asahi/office/mashuko/bunsin/ART.html
http://www.yellowblaze.net/
http://besttattoosarea.blogspot.com/2010/03/yakuza-tattoo-gallery.html
Tuesday, March 30, 2010
Monday, March 29, 2010
Readings 6
The Reflective Practitioner:
How Professionals Think in Action
Donald Schon
Knowledge in academia vs. Professional practice
Universities are institutions committed to a particular view of knowledge
Professional knowledge=application of scientific theory & technique to the problem
Technical Rationality
Positivism: achievements of science & tech applied to the well being of mankind
1. Empirical Science is the only source of positive knowledge
2. Cleanse men’s minds of pseudo knowledge: mysticism
3. Extending scientific knowledge to human society in politics & morality
Positivist observed, hypothesized, experimented, recorded and confirmed natural phenomenon
Positivism solved the puzzle of practical knowledge
Professional practice is problem solving
Problem setting defines the decision to be made
Problem setting is a process on naming things to attend, and framing the context to attend to them
Reflecting in action is “learning to adjust when you’re out there”
Studying wining habits and repeating then every time you perform
Pitchers, jazz musicians
Practitioners Reflection-in-Action
Criticize initial understanding of phenomenon
Construct new description of it
Test new description with experiment
Construct new way of seeing problem
Reflecting in action is research
Not dependant on categories of establishment theory and technique, but constructs new theory of a unique case
Not bound by Technical Rationality
Uncertainty can be a sign of weakness
Semiotics: A Primer for Designers
Challis Hodge
Semiotics allows us to understand relationships between signs, what they stand for, and the people who must interpret them
Semiotics is the study of signs, representation
Saussure is considered the founder of linguistics and semiotics
Semantics: the relationship of signs to what they stand for
Syntactics (Syntax): The Formal or structural relations between signs
Pragmatics: the relation of signs to interpreters
Text is an assemblage of signs: word, image, sound and gesture
Language is the system vs. Speech the instance
Our work has no meaning outside the complex set of factors that define it
Factors are constantly changing as we create them
Understanding the factors gives us control over the success of work
Reality depends on the intentions we put in our work, and also the interpretations of people experiencing it
Meaning is actively created
Becoming aware of these systems and rules and learning to master them is the true power of visual communication and design
How Professionals Think in Action
Donald Schon
Knowledge in academia vs. Professional practice
Universities are institutions committed to a particular view of knowledge
Professional knowledge=application of scientific theory & technique to the problem
Technical Rationality
Positivism: achievements of science & tech applied to the well being of mankind
1. Empirical Science is the only source of positive knowledge
2. Cleanse men’s minds of pseudo knowledge: mysticism
3. Extending scientific knowledge to human society in politics & morality
Positivist observed, hypothesized, experimented, recorded and confirmed natural phenomenon
Positivism solved the puzzle of practical knowledge
Professional practice is problem solving
Problem setting defines the decision to be made
Problem setting is a process on naming things to attend, and framing the context to attend to them
Reflecting in action is “learning to adjust when you’re out there”
Studying wining habits and repeating then every time you perform
Pitchers, jazz musicians
Practitioners Reflection-in-Action
Criticize initial understanding of phenomenon
Construct new description of it
Test new description with experiment
Construct new way of seeing problem
Reflecting in action is research
Not dependant on categories of establishment theory and technique, but constructs new theory of a unique case
Not bound by Technical Rationality
Uncertainty can be a sign of weakness
Semiotics: A Primer for Designers
Challis Hodge
Semiotics allows us to understand relationships between signs, what they stand for, and the people who must interpret them
Semiotics is the study of signs, representation
Saussure is considered the founder of linguistics and semiotics
Semantics: the relationship of signs to what they stand for
Syntactics (Syntax): The Formal or structural relations between signs
Pragmatics: the relation of signs to interpreters
Text is an assemblage of signs: word, image, sound and gesture
Language is the system vs. Speech the instance
Our work has no meaning outside the complex set of factors that define it
Factors are constantly changing as we create them
Understanding the factors gives us control over the success of work
Reality depends on the intentions we put in our work, and also the interpretations of people experiencing it
Meaning is actively created
Becoming aware of these systems and rules and learning to master them is the true power of visual communication and design
Readings 5
Why designers can’t think
Michael Bierut
Process vs. Portfolio Schools
Process schools favor a form driven problem-solving approach
Drawing letterforms
Translating objects into marks
Basic photography
Combining typography with illustrations & photographs
Creating communication using various combinations of acquired skills
Process schools attempt to duplicate Swiss/Basel teaching methods
Portfolio schools provide students with books that will get them jobs upon graduation
Product is more important than process
Portfolio teachers are impatient with idle exercises meaningless to the “real world”
Portfolio schools view the Swiss method as hermetic, arcane, and meaningless to the public
Process schools view portfolio methods as distastefully commercial, shallow, and derivative
Both process schools & portfolio schools value the visual aesthetic of graphic design
Some designers fill in educational gaps as they progress, some fake it
Mediocre design is a result of concentration on the visual
Every problem has a purely visual solution that exists outside and cultural context
The client must be touched with communication that is resonant, not self referential
Exposure to a meaningful range of culture would benefit graphic design students
I Come to Bury Graphic Design
Kenneth Fitzgerald
Procreation: assuring the creation of more professional design
The faster you go, the closer you get and the more weighed down you become
We seek a society where everyone is making art, being creative.
Increasing access to the means of production + desire
Design has a death wish
“In Search of the Perfect Client:’ Michael Bierut suggested we might have to psychologically condition future employers from childhood
Isn’t there a disconnect between advocating the free flow of information but allowing only a clique of specialists to direct it?
Design is an on-the-job learning experience
Students enter with a vague interest in text and image—often, not even that—and are channeled wholesale into professional design making
A successful design program is defined as one that (re) produces more professional design and designers
“Graphic Design is not a Profession”
“Can studying design be of general, not just professional, interest?”
“Do we really have anything to offer outside of the sometimes questionable promise of a job?”
The majority of design students will not go into professional practice
Does design care about anything other than producing more designers?
An education through design rather than in design should be our goal
Design is just a job to most of its practitioners
The majority of studios and corporate art departments are factories
The simple truth is that professional design will almost always fall short of touching hearts because it’s second-hand love
Designer’s love doing design, the client is just a vehicle
Why else do designers have creative side projects, as they describe it, to gratify their creative urges?
Shouldn’t this tell them that they’re in the wrong business?
Or that design shouldn’t be a business?
This does not mean, however, that designers must only do design
Maybe design should be left to people inspired by the nutrition labels on food packages
Michael Bierut
Process vs. Portfolio Schools
Process schools favor a form driven problem-solving approach
Drawing letterforms
Translating objects into marks
Basic photography
Combining typography with illustrations & photographs
Creating communication using various combinations of acquired skills
Process schools attempt to duplicate Swiss/Basel teaching methods
Portfolio schools provide students with books that will get them jobs upon graduation
Product is more important than process
Portfolio teachers are impatient with idle exercises meaningless to the “real world”
Portfolio schools view the Swiss method as hermetic, arcane, and meaningless to the public
Process schools view portfolio methods as distastefully commercial, shallow, and derivative
Both process schools & portfolio schools value the visual aesthetic of graphic design
Some designers fill in educational gaps as they progress, some fake it
Mediocre design is a result of concentration on the visual
Every problem has a purely visual solution that exists outside and cultural context
The client must be touched with communication that is resonant, not self referential
Exposure to a meaningful range of culture would benefit graphic design students
I Come to Bury Graphic Design
Kenneth Fitzgerald
Procreation: assuring the creation of more professional design
The faster you go, the closer you get and the more weighed down you become
We seek a society where everyone is making art, being creative.
Increasing access to the means of production + desire
Design has a death wish
“In Search of the Perfect Client:’ Michael Bierut suggested we might have to psychologically condition future employers from childhood
Isn’t there a disconnect between advocating the free flow of information but allowing only a clique of specialists to direct it?
Design is an on-the-job learning experience
Students enter with a vague interest in text and image—often, not even that—and are channeled wholesale into professional design making
A successful design program is defined as one that (re) produces more professional design and designers
“Graphic Design is not a Profession”
“Can studying design be of general, not just professional, interest?”
“Do we really have anything to offer outside of the sometimes questionable promise of a job?”
The majority of design students will not go into professional practice
Does design care about anything other than producing more designers?
An education through design rather than in design should be our goal
Design is just a job to most of its practitioners
The majority of studios and corporate art departments are factories
The simple truth is that professional design will almost always fall short of touching hearts because it’s second-hand love
Designer’s love doing design, the client is just a vehicle
Why else do designers have creative side projects, as they describe it, to gratify their creative urges?
Shouldn’t this tell them that they’re in the wrong business?
Or that design shouldn’t be a business?
This does not mean, however, that designers must only do design
Maybe design should be left to people inspired by the nutrition labels on food packages
TATTOO SHOPS & ARTISTS
TATTOO SHOPS:
http://www.highvoltagetattoo.com/
http://www.imagotattoo.com/
http://www.yellowblaze.net/
http://tlc.discovery.com/tv/la-ink/la-ink.html
http://tlc.discovery.com/fansites/miami-ink/miami-ink.html
http://www.yourdiscovery.com/realtime/londonink/
TATTOO ARTISTS:
http://www.mistercartoon.com/
http://www.katvond.net/
http://www.ne.jp/asahi/tattoo/horiyoshi3/
TATTOO SHOPS IN TORONTO
Here is a list of successful tattoo shops located in downtown Toronto:
http://www.newtribe.ca/
http://www.adrenalinetoronto.com/Adrenaline.html
http://www.yongestreettattoos.com/
http://www.salstattoo.com/
http://www.lucky13tattoos.ca/
http://www.waycool-tattoos.com/
http://www.chronicinktattoo.com/
http://www.bodyandsoultattoo.ca/
These shops are potentially competition for "TDOT INK"
Looking at their websites gives an overall impression of the artists and the shop.
Most of the websites are outdated. Logos are average. I especially like Newtribe, Adrenaline and Chronic Ink logos.
Visiting the shops could provide information about the interior design of the tattoo shop.
TATTOO HISTORY
a brief history of tattoos
the word tattoo is said to has two major derivations- from
the polynesian word ‘ta’ which means striking something
and the tahitian word ‘tatau’ which means ‘to mark something’.
the history of tattoo began over 5000 years ago and is as
diverse as the people who wear them.
tattoos are created by inserting colored materials beneath
the skins surface. the first tattoos probably were created
by accident. someone had a small wound, and rubbed it
with a hand that was dirty with soot and ashes from the fire.
once the wound had healed, they saw that a mark stayed
permanently.
despite the social sciences' growing fascination with tattooing,
and the immense popularity of tattoos themselves,
the practice has not left much of a historical record.
---
bronze age
in 1991, a five thousand year old tattooed man ‘ötzi the ice man’
made the headlines of newspapers all over the world when
his frozen body was discovered on a mountain between
austria and italy.
this is the best preserved corpse of that period ever found.
the skin bears 57 tattoos: a cross on the inside of the left knee,
six straight lines 15 centimeters long above the kidneys and
numerous parallel lines on the ankles.
the position of the tattoo marks suggests that they were probably
applied for therapeutic reasons (treatment of arthritis).
---
pazyryk culture
in 1948, 120 miles north of the border between russia and
china, russian archeologist sergei rudenko began excavating
a group of tombs, or kurgans, in the high altai mountains of
western and southern siberia. mummies were found that date
from around 2400 years ago.
the tattoos on their bodies represent a variety of animals.
the griffins and monsters are thought to have a magical
significance but some elements are believed to be purely
decorative. altogether the tattoos are believed to reflect the
status of the individual.
---
egypt
written records, physical remains, and works of art relevant to
egyptian tattoo have virtually been ignored by earlier egyptologists
influenced by prevailing social attitudes toward the medium.
today however, we know that there have been bodies recovered
dating to as early XI dynasty exhibiting the art form of tattoo.
in 1891, archaeologists discovered the mummified remains
of amunet, a priestess of the goddess hathor, at thebes who
lived some time between 2160 BC and 1994 BC.
this female mummy displayed several lines and dots tattooed
about her body - grouping dots and/or dashes were aligned into
abstract geometric patterns. this art form was restricted
to women only, and usually these women were associated
with ritualistic practice.
the egyptians spread the practice of tattooing throughout the world.
the pyramid-building third and fourth dynasties of egypt
developed international nations with crete, greece, persia,
and arabia. by 2,000 BC the art of tattooing had stretched out all the
way to southeast asia .
the ainu (western asian nomads) then brought it with them
as they moved to japan.
---
japan
the earliest evidence of tattooing in japan is found in the form
of clay figurines which have faces painted or engraved to
represent tattoo marks. the oldest figurines of this kind have
been recovered from tombs dated 3,000 BC or older, and many
other such figurines have been found in tombs dating from the
second and third millennia BC.
these figurines served as stand-ins for living individuals who
symbolically accompanied the dead on their journey into the
unknown, and it is believed that the tattoo marks had religious
or magical significance.
the first written record of japanese tattooing is found in a
chinese dynastic history compiled in 297 AD.
the japanese were interested in the art mostly for its decorative
attributes, as opposed to magical ones. the horis - the japanese
tattoo artists - were the undisputed masters. their use of colors,
perspective, and imaginative designs gave the practice a whole
new angle. the classic japanese tattoo, is a full body suit.
---
china
from southern china the practice spread along the silk route.
---
polynesia
in pacific cultures tattooing has a huge historic significance.
polynesian tattooing is considered the most intricate and
skillful tattooing of the ancient world.
polynesian peoples, believe that a person's mana, their spiritual
power or life force, is displayed through their tattoo.
the vast majority of what we know today about these ancient
arts has been passed down through legends, songs, and ritual
ceremonies. elaborate geometrical designs which were often
added to, renewed, and embellished throughout the life of the
individual until they covered the entire body.
in samoa, the tradition of applying tattoo, or ‘tatau’, by hand,
has long been defined by rank and title, with chiefs and their
assistants, descending from notable families in the proper birth order.
the tattooing ceremonies for young chiefs, typically conducted at
the onset of puberty, were elaborate affairs and were a key part
of their ascendance to a leadership role.
the permanent marks left by the tattoo artists would forever
celebrate their endurance and dedication to cultural traditions.
the first europeans who set foot on samoan soil were members
of a 1787 french expedition. they got a closer look at the natives
and reported that ‘the men have their thighs painted or tattooed
in such a way that one would think them clothed,
although they are almost naked’. the mythological origins of
samoan tattooing and the extraordinary cross-cultural history
of tatau has been transported to the migrant communities of
new zealand, and later disseminated into various international
subcultures from auckland to the netherlands.
the hawaiian people had their traditional tattoo art,
known as ‘kakau’. it served them not only for ornamentation
and distinction, but to guard their health and spiritual well-being.
intricate patterns, mimicking woven reeds or other natural forms,
graced men's arms, legs, torso and face.
women were generally tattooed on the hand, fingers, wrists
and sometimes on their tongue.
the arrival of western missionaries forced this unique art form
into decline as tattooing has been discouraged or forbidden by
most christian churches throughout history.
---
new zealand
the maori of new zealand had created one of the most impressive
cultures of all polynesia. their tattoo, called ‘moko’, reflected their
refined artistry - using their woodcarving skills to carve skin.
the full-face moko was a mark of distinction, which communicated
their status, lines of descent and tribal affiliations. it recalled their
wearer's exploits in war and other great events of their life.
---
indonesia
borneo is one of the few places in the world where traditional
tribal tattooing is still practiced today just as it has been for
thousands of years. until recently many of the inland tribes had
little contact with the outside world.
as a result, they have preserved many aspects of their traditional
way of life, including tattooing.
borneo designs have gone all around the world to form the
basis of what the western people call ‘tribal’.
---
india / thailand
hanuman in india was a popular symbol of strength on
arms and legs. the mythical monk is still today one of the
most popular creations in thailand and myanmar.
they are put on the human body by monks who incorporate
magical powers to the design while tattooing.
women are excluded because monks are not allowed to be
touched by them and because thais believe women do not
need the extra boost as they are already strong enough on
their own.
---
africa
in africa, where people have dark skin, it is difficult to make
coloured tattoos as we know them.
but they want to be tattooed anyway, so they have developed
another technique - they make scarifications (this is not really
tattooing, but it is related to tattooing). made by lifting the skin a little,
and making a cut with a knife or some other sharp thing
special sands or ashes were rubbed in to make raised scars
in patterns on the body, it can be felt like braille lettering...
these patterns often follow local traditions.
---
ancient greece and rome
the greeks learnt tattooing from the persians.
their woman were fascinated by the idea of tattoos as
exotic beauty marks.
the romans adopted tattooing from the greeks.
roman writers such as virgil, seneca, and galenus reported that
many slaves and criminals were tattooed.
a legal inscription from ephesus indicates that during the early
roman empire all slaves exported to asia were tattooed with the
words ‘tax paid’.
greeks and romans also used tattooing as a punishment.
early in the fourth century, when constantine became roman emperor
and rescinded the prohibition on christianity, he also banned tattooing
on face, which was common for convicts, soldiers, and gladiators.
constantine believed that the human face was a representation of the
image of god and should not be disfigured or defiled.
---
the celts
were a tribal people who moved across western europe in times
around 1200 and 700 B.C. they reached the british Isles around
400 B.C. and most of what has survived from their culture is in
the areas now known as ireland, wales and scotland.
celtic culture was full of body art.
permanent body painting was done with woad, which left a blue
design on the skin. spirals are very common, and they can be single,
doubled or tripled. knotwork is probably the most recognized form
of celtic art, with lines forming complex braids which then weave
across themselves. these symbolise the connection of all life.
step or key patterns, like those found in early labyrinth designs,
are seen both in simple borders and full complex mazes.
much in the way that labyrinths are walked, these designs are
symbolic of the various paths that life’s journey can take.
---
central and south america
in peru, tattooed inca mummies dating to the 11th century
have been found. 16th century spanish accounts of mayan tattooing
in mexico and central americareveal tattoos to be a sign of courage.
when cortez and his conquistadors arrived on the coast of mexico
in 1519 they were horrified to discover that the natives
not only worshipped devils in the form of statues and idols,
but had somehow managed to imprint indelible images of these
idols on their skin. the spaniards, who had never heard of tattooing,
recognized it at once as the work of satan.
the sixteenth century spanish historians who chronicled the
adventures of cortez and his conquistadors reported that tattooing
was widely practiced by the natives of central america.
---
north america
early jesuit accounts testify to the widespread practice of
tattooing among native americans.
among the chickasaw, outstanding warriors were recognised
by their tattoos. among the ontario iroquoians, elaborate
tattoos reflected high status. in north-west america,
inuit women's chins were tattooed to indicate marital status
and group identity.
the first permanent tattoo shop in new york city was settled up
in 1846 and began a tradition by tattooing military servicemen
from both sides of the civil war. samuel o'reilly invented the electric
tattooing machine in 1891.
---
middle-east
during the time of the old testament, much of the pagan world
was practicing the art of tattooing as a means of deity worship.
a passage in leviticus reads:
‘ye shall not make any cuttings on your flesh for the dead nor
print any marks upon you’. (19:28)
this has been cited as biblical authority to support the church's
position. biblical scholar m.w. thomson suggests, however, that
moses favored tattoos. moses introduced tattoos as a way to
commemorate the deliverance of the jews from slavery in egypt.
---
vikings
it is very likely that the vikings were tattooed.
at around year 1100 the arab ibn fadlan described a
meeting with some vikings. he thought them very rude, dirty
- and covered with pictures.
---
england
explorers returned home with tattooed polynesians
to exhibit at fairs, in lecture halls and in dime museums,
to demonstrate the height of european civilization compared
to the ‘primitive natives’.
after captain cook returned from his voyage to polynesia
tattooing became a tradition in the british navy.
by the middle of the 18th century most british ports had
at least one professional tattoo artist in residence.
in 1862, the prince of wales, later to become king edward VII,
received his first tattoo - a jerusalem cross - on his arm.
he started a tattoo fad among the aristocracy when he was
tattooed before ascending to the throne.
in 1882, his sons, the duke of clarence and the duke of york
were tattooed by the japanese master tattooist, hori chiyo.
---
france
in the 18th century, many french sailors returning from voyages
in the south pacific had been tattooed.
in 1861, french naval surgeon, maurice berchon, published a study
on the medical complications of tattooing.
after this, the navy and army banned tattooing within their ranks.
stereotypical and sensationalised association of tattoo design
-------------------------------------------------------------------------------------
sailor
sailors on their ships returned home with their own tattoos...
usually of a very basic style that only uses a minimum amount
of details making the tattoos look quite two dimensional and flat.
this often gives a cartoonish feeling and typical motifs would be flowers,
hearts, mermaids, ships, anchors, snakes, birds, and names.
criminality
for a long time, tattooing was the preserve of sailors and...
criminals!
in prison, the tattoo - professionally done and homemade-
indelibly imprint on their bodies what these men desire in their
souls: autonomy and identity.
the ultimate symbol for gang members are their gang tattoos,
getting a permanent mark is a sign of showing total commitment to
the gang. these tattoos can reveal lots of things, like,
who you are/what gang you're in/ what your beliefs are (racist etc..),
what you have done, where you have been, how many years
you have been in jail (also referred to as ‘dead time’) and even
things like how many you have killed.
known symbols include teardrops under the eye as well as spider
webs on the elbows to symbolize people killed.
circus
the popularity of tattooing during the latter part of the nineteenth
century and the first half of the twentieth century owed much to
the circus. when circuses prospered, tattooing prospered.
for over 70 years every major circus employed several completely
tattooed people. some were exhibited in sideshows;
others performed traditional circus acts such as juggling and
sword swallowing.
---------------
tattoo flash
as with other artistic mediums and cultural developments,
vocabulary continually evolves, reflecting the depth and potential
of body marking and of the contemporary imagination.
in recent years tattooing has emerged to the forefront of popular
consciousness. today a tattoo ‘flash’, is a folder of tattoo-artwork by
tattoo artists. styles range from the traditional and vernacular to
the sacred and innovative.
http://www.designboom.com/history/tattoo_history.html
the word tattoo is said to has two major derivations- from
the polynesian word ‘ta’ which means striking something
and the tahitian word ‘tatau’ which means ‘to mark something’.
the history of tattoo began over 5000 years ago and is as
diverse as the people who wear them.
tattoos are created by inserting colored materials beneath
the skins surface. the first tattoos probably were created
by accident. someone had a small wound, and rubbed it
with a hand that was dirty with soot and ashes from the fire.
once the wound had healed, they saw that a mark stayed
permanently.
despite the social sciences' growing fascination with tattooing,
and the immense popularity of tattoos themselves,
the practice has not left much of a historical record.
---
bronze age
in 1991, a five thousand year old tattooed man ‘ötzi the ice man’
made the headlines of newspapers all over the world when
his frozen body was discovered on a mountain between
austria and italy.
this is the best preserved corpse of that period ever found.
the skin bears 57 tattoos: a cross on the inside of the left knee,
six straight lines 15 centimeters long above the kidneys and
numerous parallel lines on the ankles.
the position of the tattoo marks suggests that they were probably
applied for therapeutic reasons (treatment of arthritis).
---
pazyryk culture
in 1948, 120 miles north of the border between russia and
china, russian archeologist sergei rudenko began excavating
a group of tombs, or kurgans, in the high altai mountains of
western and southern siberia. mummies were found that date
from around 2400 years ago.
the tattoos on their bodies represent a variety of animals.
the griffins and monsters are thought to have a magical
significance but some elements are believed to be purely
decorative. altogether the tattoos are believed to reflect the
status of the individual.
---
egypt
written records, physical remains, and works of art relevant to
egyptian tattoo have virtually been ignored by earlier egyptologists
influenced by prevailing social attitudes toward the medium.
today however, we know that there have been bodies recovered
dating to as early XI dynasty exhibiting the art form of tattoo.
in 1891, archaeologists discovered the mummified remains
of amunet, a priestess of the goddess hathor, at thebes who
lived some time between 2160 BC and 1994 BC.
this female mummy displayed several lines and dots tattooed
about her body - grouping dots and/or dashes were aligned into
abstract geometric patterns. this art form was restricted
to women only, and usually these women were associated
with ritualistic practice.
the egyptians spread the practice of tattooing throughout the world.
the pyramid-building third and fourth dynasties of egypt
developed international nations with crete, greece, persia,
and arabia. by 2,000 BC the art of tattooing had stretched out all the
way to southeast asia .
the ainu (western asian nomads) then brought it with them
as they moved to japan.
---
japan
the earliest evidence of tattooing in japan is found in the form
of clay figurines which have faces painted or engraved to
represent tattoo marks. the oldest figurines of this kind have
been recovered from tombs dated 3,000 BC or older, and many
other such figurines have been found in tombs dating from the
second and third millennia BC.
these figurines served as stand-ins for living individuals who
symbolically accompanied the dead on their journey into the
unknown, and it is believed that the tattoo marks had religious
or magical significance.
the first written record of japanese tattooing is found in a
chinese dynastic history compiled in 297 AD.
the japanese were interested in the art mostly for its decorative
attributes, as opposed to magical ones. the horis - the japanese
tattoo artists - were the undisputed masters. their use of colors,
perspective, and imaginative designs gave the practice a whole
new angle. the classic japanese tattoo, is a full body suit.
---
china
from southern china the practice spread along the silk route.
---
polynesia
in pacific cultures tattooing has a huge historic significance.
polynesian tattooing is considered the most intricate and
skillful tattooing of the ancient world.
polynesian peoples, believe that a person's mana, their spiritual
power or life force, is displayed through their tattoo.
the vast majority of what we know today about these ancient
arts has been passed down through legends, songs, and ritual
ceremonies. elaborate geometrical designs which were often
added to, renewed, and embellished throughout the life of the
individual until they covered the entire body.
in samoa, the tradition of applying tattoo, or ‘tatau’, by hand,
has long been defined by rank and title, with chiefs and their
assistants, descending from notable families in the proper birth order.
the tattooing ceremonies for young chiefs, typically conducted at
the onset of puberty, were elaborate affairs and were a key part
of their ascendance to a leadership role.
the permanent marks left by the tattoo artists would forever
celebrate their endurance and dedication to cultural traditions.
the first europeans who set foot on samoan soil were members
of a 1787 french expedition. they got a closer look at the natives
and reported that ‘the men have their thighs painted or tattooed
in such a way that one would think them clothed,
although they are almost naked’. the mythological origins of
samoan tattooing and the extraordinary cross-cultural history
of tatau has been transported to the migrant communities of
new zealand, and later disseminated into various international
subcultures from auckland to the netherlands.
the hawaiian people had their traditional tattoo art,
known as ‘kakau’. it served them not only for ornamentation
and distinction, but to guard their health and spiritual well-being.
intricate patterns, mimicking woven reeds or other natural forms,
graced men's arms, legs, torso and face.
women were generally tattooed on the hand, fingers, wrists
and sometimes on their tongue.
the arrival of western missionaries forced this unique art form
into decline as tattooing has been discouraged or forbidden by
most christian churches throughout history.
---
new zealand
the maori of new zealand had created one of the most impressive
cultures of all polynesia. their tattoo, called ‘moko’, reflected their
refined artistry - using their woodcarving skills to carve skin.
the full-face moko was a mark of distinction, which communicated
their status, lines of descent and tribal affiliations. it recalled their
wearer's exploits in war and other great events of their life.
---
indonesia
borneo is one of the few places in the world where traditional
tribal tattooing is still practiced today just as it has been for
thousands of years. until recently many of the inland tribes had
little contact with the outside world.
as a result, they have preserved many aspects of their traditional
way of life, including tattooing.
borneo designs have gone all around the world to form the
basis of what the western people call ‘tribal’.
---
india / thailand
hanuman in india was a popular symbol of strength on
arms and legs. the mythical monk is still today one of the
most popular creations in thailand and myanmar.
they are put on the human body by monks who incorporate
magical powers to the design while tattooing.
women are excluded because monks are not allowed to be
touched by them and because thais believe women do not
need the extra boost as they are already strong enough on
their own.
---
africa
in africa, where people have dark skin, it is difficult to make
coloured tattoos as we know them.
but they want to be tattooed anyway, so they have developed
another technique - they make scarifications (this is not really
tattooing, but it is related to tattooing). made by lifting the skin a little,
and making a cut with a knife or some other sharp thing
special sands or ashes were rubbed in to make raised scars
in patterns on the body, it can be felt like braille lettering...
these patterns often follow local traditions.
---
ancient greece and rome
the greeks learnt tattooing from the persians.
their woman were fascinated by the idea of tattoos as
exotic beauty marks.
the romans adopted tattooing from the greeks.
roman writers such as virgil, seneca, and galenus reported that
many slaves and criminals were tattooed.
a legal inscription from ephesus indicates that during the early
roman empire all slaves exported to asia were tattooed with the
words ‘tax paid’.
greeks and romans also used tattooing as a punishment.
early in the fourth century, when constantine became roman emperor
and rescinded the prohibition on christianity, he also banned tattooing
on face, which was common for convicts, soldiers, and gladiators.
constantine believed that the human face was a representation of the
image of god and should not be disfigured or defiled.
---
the celts
were a tribal people who moved across western europe in times
around 1200 and 700 B.C. they reached the british Isles around
400 B.C. and most of what has survived from their culture is in
the areas now known as ireland, wales and scotland.
celtic culture was full of body art.
permanent body painting was done with woad, which left a blue
design on the skin. spirals are very common, and they can be single,
doubled or tripled. knotwork is probably the most recognized form
of celtic art, with lines forming complex braids which then weave
across themselves. these symbolise the connection of all life.
step or key patterns, like those found in early labyrinth designs,
are seen both in simple borders and full complex mazes.
much in the way that labyrinths are walked, these designs are
symbolic of the various paths that life’s journey can take.
---
central and south america
in peru, tattooed inca mummies dating to the 11th century
have been found. 16th century spanish accounts of mayan tattooing
in mexico and central americareveal tattoos to be a sign of courage.
when cortez and his conquistadors arrived on the coast of mexico
in 1519 they were horrified to discover that the natives
not only worshipped devils in the form of statues and idols,
but had somehow managed to imprint indelible images of these
idols on their skin. the spaniards, who had never heard of tattooing,
recognized it at once as the work of satan.
the sixteenth century spanish historians who chronicled the
adventures of cortez and his conquistadors reported that tattooing
was widely practiced by the natives of central america.
---
north america
early jesuit accounts testify to the widespread practice of
tattooing among native americans.
among the chickasaw, outstanding warriors were recognised
by their tattoos. among the ontario iroquoians, elaborate
tattoos reflected high status. in north-west america,
inuit women's chins were tattooed to indicate marital status
and group identity.
the first permanent tattoo shop in new york city was settled up
in 1846 and began a tradition by tattooing military servicemen
from both sides of the civil war. samuel o'reilly invented the electric
tattooing machine in 1891.
---
middle-east
during the time of the old testament, much of the pagan world
was practicing the art of tattooing as a means of deity worship.
a passage in leviticus reads:
‘ye shall not make any cuttings on your flesh for the dead nor
print any marks upon you’. (19:28)
this has been cited as biblical authority to support the church's
position. biblical scholar m.w. thomson suggests, however, that
moses favored tattoos. moses introduced tattoos as a way to
commemorate the deliverance of the jews from slavery in egypt.
---
vikings
it is very likely that the vikings were tattooed.
at around year 1100 the arab ibn fadlan described a
meeting with some vikings. he thought them very rude, dirty
- and covered with pictures.
---
england
explorers returned home with tattooed polynesians
to exhibit at fairs, in lecture halls and in dime museums,
to demonstrate the height of european civilization compared
to the ‘primitive natives’.
after captain cook returned from his voyage to polynesia
tattooing became a tradition in the british navy.
by the middle of the 18th century most british ports had
at least one professional tattoo artist in residence.
in 1862, the prince of wales, later to become king edward VII,
received his first tattoo - a jerusalem cross - on his arm.
he started a tattoo fad among the aristocracy when he was
tattooed before ascending to the throne.
in 1882, his sons, the duke of clarence and the duke of york
were tattooed by the japanese master tattooist, hori chiyo.
---
france
in the 18th century, many french sailors returning from voyages
in the south pacific had been tattooed.
in 1861, french naval surgeon, maurice berchon, published a study
on the medical complications of tattooing.
after this, the navy and army banned tattooing within their ranks.
stereotypical and sensationalised association of tattoo design
-------------------------------------------------------------------------------------
sailor
sailors on their ships returned home with their own tattoos...
usually of a very basic style that only uses a minimum amount
of details making the tattoos look quite two dimensional and flat.
this often gives a cartoonish feeling and typical motifs would be flowers,
hearts, mermaids, ships, anchors, snakes, birds, and names.
criminality
for a long time, tattooing was the preserve of sailors and...
criminals!
in prison, the tattoo - professionally done and homemade-
indelibly imprint on their bodies what these men desire in their
souls: autonomy and identity.
the ultimate symbol for gang members are their gang tattoos,
getting a permanent mark is a sign of showing total commitment to
the gang. these tattoos can reveal lots of things, like,
who you are/what gang you're in/ what your beliefs are (racist etc..),
what you have done, where you have been, how many years
you have been in jail (also referred to as ‘dead time’) and even
things like how many you have killed.
known symbols include teardrops under the eye as well as spider
webs on the elbows to symbolize people killed.
circus
the popularity of tattooing during the latter part of the nineteenth
century and the first half of the twentieth century owed much to
the circus. when circuses prospered, tattooing prospered.
for over 70 years every major circus employed several completely
tattooed people. some were exhibited in sideshows;
others performed traditional circus acts such as juggling and
sword swallowing.
---------------
tattoo flash
as with other artistic mediums and cultural developments,
vocabulary continually evolves, reflecting the depth and potential
of body marking and of the contemporary imagination.
in recent years tattooing has emerged to the forefront of popular
consciousness. today a tattoo ‘flash’, is a folder of tattoo-artwork by
tattoo artists. styles range from the traditional and vernacular to
the sacred and innovative.
http://www.designboom.com/history/tattoo_history.html
TATTOO AD CAMPAIGNS
Tattoos have different meanings and implications for different people. For some, it is a way of beautifying the body, for some it is a modification ritual. Some tribes in the Amazon consider tattoos as prints to instill fear in other tribes. Some tribes liken the human skin to a canvas and paint on it to impress the gods. Now, we have a new meaning to add to those old values. People have started using tattoos for ad campaigns for smartphones. Is this totally a new trend? Has this trend resulted in selling more smartphones? Read on to know.
The Internet is a platform where people can become famous if they can do very strange things willingly or by accident. Remember how the iPhone factory girl became so famous after her accidental photo was revealed to the iPhone community? That was accidental fame. A man who got Zune logo tattooed on his arm became famous overnight and also made news when he ditched his Zune for the iPhone. He used his arm to campaign for Zune and iPhone to attain a celebrity status. That was an innovative and a successful ad campaign and something that was strange then.
Back in November, 2008 RIM launched a contest asking “What would you do for a BlackBerry Storm?” A man who tattooed the BlackBerry on his leg won the contest. That was the most effective ad campaign for the BlackBerry Storm. However, the campaign could not make much turnover in terms of sales for RIM. Rumors has it that the tattooist refused to tattoo the same person when requested to tattoo “iPhone sucks.” The tattooist turned out to be an iPhone fan.
It was never strange seeing people with Nokia tattoos on their arms in the street few years back. The logos of Zune and BlackBerry were the next famous tattoos sighted. Apple logo tattoos ruled the later part of 2007 and the whole of 2008. The iPhone still rules in terms of tattoos and sales.
2009 brings in a new smartphone tattoo. Natalie has started a tattoo campaign for the android. Did she do it for fame, for money or simply for the love of Android is not known though?
Tattoo ads thus directly reflect the booming sales status and popularity of smartphones. Tattoo ad campaigns has become as effective as any other known ad campaigns. Human skin has become a very effective platform of advertisement!
http://www.iphonefootprint.com/2009/01/tattoo-ad-campaigns-for-nokia-blackberry-android-zune-and-iphone/
The Internet is a platform where people can become famous if they can do very strange things willingly or by accident. Remember how the iPhone factory girl became so famous after her accidental photo was revealed to the iPhone community? That was accidental fame. A man who got Zune logo tattooed on his arm became famous overnight and also made news when he ditched his Zune for the iPhone. He used his arm to campaign for Zune and iPhone to attain a celebrity status. That was an innovative and a successful ad campaign and something that was strange then.
Back in November, 2008 RIM launched a contest asking “What would you do for a BlackBerry Storm?” A man who tattooed the BlackBerry on his leg won the contest. That was the most effective ad campaign for the BlackBerry Storm. However, the campaign could not make much turnover in terms of sales for RIM. Rumors has it that the tattooist refused to tattoo the same person when requested to tattoo “iPhone sucks.” The tattooist turned out to be an iPhone fan.
It was never strange seeing people with Nokia tattoos on their arms in the street few years back. The logos of Zune and BlackBerry were the next famous tattoos sighted. Apple logo tattoos ruled the later part of 2007 and the whole of 2008. The iPhone still rules in terms of tattoos and sales.
2009 brings in a new smartphone tattoo. Natalie has started a tattoo campaign for the android. Did she do it for fame, for money or simply for the love of Android is not known though?
Tattoo ads thus directly reflect the booming sales status and popularity of smartphones. Tattoo ad campaigns has become as effective as any other known ad campaigns. Human skin has become a very effective platform of advertisement!
http://www.iphonefootprint.com/2009/01/tattoo-ad-campaigns-for-nokia-blackberry-android-zune-and-iphone/
INK NOT MINK
Ink Not Mink is an ad campaign for Peta2, PETA's young adult division. PETA, the largest animal rights group, is an acronym for "People for the Ethical Treatment of Animals."
http://www.peta2.com
A list of various peat campaigns against animal cruelty
http://www.peta.org/MC/printAds_clothing.asp
THESIS STATEMENT
THE PRACTICE OF TATTOOS HAS A 5000-YEAR HISTORY influencing the cultures and civilizations of the world including, Egypt, Japan, China, Polynesia, New Zealand, Indonesia, India, Thailand, Africa, India, Thailand, Africa, Ancient Greece, Rome Celts, Incas, and Native Americans. Tattoo stereotypes are associated with sailors, criminality, and circuses. Despite the social sciences growing fascination with tattooing, and the immense popularity of tattoos themselves, the practice has not left much of a historical record. Presenting a brief history of the art and practice of tattoos would be interesting and useful information to provide to people interested in the subculture of tattoos.
Despite taboos surrounding tattooing, the art continues to be popular in many parts of the world. In contemporary culture, the popularity of tattoos has evolved into televised series, testimonial storybooks, and magazines. The marking of bodies provides an interesting sub culture related to art, social relations, social interaction, and deviance.
Educating people interested in tattoos, and inspiring the next generation of tattoo artists are key concerns in preserving the culture of tattoos. To educate people interested in tattoos, provide information concerning choosing the tattoo artist, choosing the perfect image to tattoo, offer information and history of common styles of tattoos, map the human body to provide information about tattoo placement, provide testimonial stories of tattooed people, and deeply discuss the tattoo process and aftercare instructions. To inspire the next generation of tattoo artists, create an in depth how to tattoo guide including instruction manual for tattoo equipment, provide flash art, and include interviews with tattoo artists. This information can be compiled and organized into a website. Also, because there are 2 general issues, the information can further be separated into two books, one for people interested in tattoos, and another book to inspire the next generation of tattoo artists.
This topic is directly related to my passionate interest in the art of tattoos and relates directly to my experiences as a tattoo artist/graphic design student. Educating myself about different styles of tattoos will further enhance my technique as a tattoo artist, while benefiting my clients. Also, my studies will also make my experiences as a tattoo artist more memorable.
Despite taboos surrounding tattooing, the art continues to be popular in many parts of the world. In contemporary culture, the popularity of tattoos has evolved into televised series, testimonial storybooks, and magazines. The marking of bodies provides an interesting sub culture related to art, social relations, social interaction, and deviance.
Educating people interested in tattoos, and inspiring the next generation of tattoo artists are key concerns in preserving the culture of tattoos. To educate people interested in tattoos, provide information concerning choosing the tattoo artist, choosing the perfect image to tattoo, offer information and history of common styles of tattoos, map the human body to provide information about tattoo placement, provide testimonial stories of tattooed people, and deeply discuss the tattoo process and aftercare instructions. To inspire the next generation of tattoo artists, create an in depth how to tattoo guide including instruction manual for tattoo equipment, provide flash art, and include interviews with tattoo artists. This information can be compiled and organized into a website. Also, because there are 2 general issues, the information can further be separated into two books, one for people interested in tattoos, and another book to inspire the next generation of tattoo artists.
This topic is directly related to my passionate interest in the art of tattoos and relates directly to my experiences as a tattoo artist/graphic design student. Educating myself about different styles of tattoos will further enhance my technique as a tattoo artist, while benefiting my clients. Also, my studies will also make my experiences as a tattoo artist more memorable.
Saturday, January 30, 2010
Research Methodologies 2: Case Study Group Contribution
WINSON TSAI 2263763
RESEARCH METHODOLOGIES 2
GROUP CONTRIBUTION
As a group we decided that every member will participate in field research, as well as the presentation aspects of this assignment. My specific assigned role to the group is being the note taker. My task is to be present at every group meeting and to record all ideas, information discussed, and post it on my blog, so that other group members can access the information easily.
I have conducted extensive filed research for the Wintercity Festival 2010. I began my field research by taking photos of the various advertisements for the event around the city. I didn’t find too many, however I found a few bus shelter ads, and 2 newspaper ads. The second part of my field research was to attend the event on Jan.29th in order to experience it. While at the event I observed and recorded notes concerning the event. In addition I also captured 98 RAW photos and edited them down to 84 high-resolution photographs. I then uploaded the photographs to a flickr account, which will be accessible to all my group members. These photos can be used in the report, final documentation, and presentation of our case study. Furthermore I also conducted roughly 20 taped interview while attending the event. Most of the interviews I conducted were group interviews. However I interviewed one designer, and one representative from the RBC. In exchange for some of the photos I have taken that night they both agreed to participate in further interviews if necessary. The data I collected will be interpreted and organized by the data interpreter of the group.
After further inquiry with my group, we will design 2 more questionnaires specifically directed to the RBC representative, and the designer that worked with them.
RESEARCH METHODOLOGIES 2
GROUP CONTRIBUTION
As a group we decided that every member will participate in field research, as well as the presentation aspects of this assignment. My specific assigned role to the group is being the note taker. My task is to be present at every group meeting and to record all ideas, information discussed, and post it on my blog,
I have conducted extensive filed research for the Wintercity Festival 2010. I began my field research by taking photos of the various advertisements for the event around the city. I didn’t find too many, however I found a few bus shelter ads, and 2 newspaper ads. The second part of my field research was to attend the event on Jan.29th in order to experience it. While at the event I observed and recorded notes concerning the event. In addition I also captured 98 RAW photos and edited them down to 84 high-resolution photographs. I then uploaded the photographs to a flickr account
After further inquiry with my group, we will design 2 more questionnaires specifically directed to the RBC representative, and the designer that worked with them.
Wintercity Festival 2010
So i attended the Wintercity Festival @ Nathan Phillip Square last night.
I made notes of the event which will be included in the blog entry.
I captured 98 RAW photos that need to be edited before i can publish them.
I conducted roughly 20 interview. Most of them were group interviews, couples. Amonst the interviews are 1 interveiw with an RBC representative, and a designer.
Luckily i met a designer that works for various RBC campaigns, and my interview with him went off tangent. Should be fun for the data interpreter in my group to record everything and turn it into concrete info for our case study. So i got his contact info, in exchange for some of the photos i took of the event, he will participate in further interview when the questionnaire designer in our group designs specific questions to ask him.
The RBC also sponsors the 2010 Olympics. Now i know.
I also interviewed the contact from the RBC that worked directly with the designer to design the RBC 2010 olympic sponsor campaign. this is not directly related to Wintercity Festival. However it deals with RBC sponsorship. I can also get her contact from the designer for further questions.
From what i remember,
Everyone supports corporate sponsorship
Some people think there should be more corporate sponsorship
Most people agree there should be more advertising.
Few people saw the bus ads, most people heard about it from City TV channel 24. No one noticed the newspaper ads.
**RBC provided a warming station at the wintercity which was where many people gathered when performances were not occuring.
So here are my notes. I will filter through those for concrete information later as well:
Food is provided $5 for peameal bacon
Warming station looks like an inflatable igloo.
Provided by RBC Public firepits provided Middle of the NFsquare is chinese lanterns.
In the center of the lanterns is a giant lantern filled with riddles. A chinese tradition.
Spnsors metioned by MC Warming station is warm.
Many people gathered in igloo.
Couches provided.
2 signs with RBC olympic sponsorship facts.
wall for public to to leave a msg for candaian athletes.
Tv shows random footage of RBC supporting team canada.
Purpose of this station is to warm people and provide info about rbc sponsorship.
*Sent on the TELUS Mobility network with BlackBerry
Wintercity Festival 2010: Ads pt.3
So i found more wintercity ads in the newspapers.
They are 5" x 10" inch ads. Relatively small compared to the normal full sized RBC newspaper ads.
I found one in the Friday January 29th Metro.
Also another in the Saturday January 30th Toronto Star LIVING section. Which is the last section in the paper.
This is very surprising since i found out that the Toronto Star is sponsoring the event.
They couldn't even sponsor a full page ad for this event. Or at least a few more ads in the weekly papers.
However the ad is there. Just harder to find.
Friday, January 29, 2010
Corporate Sponsorship
So we narrowed down our case study question to...
"Does corporate sponsorship have any impact on the overall communication success of Toronto events, more specifically, Wintercity 2010?"
So while reading the Toronto Star today i noticed an article in the business section concerning corporate sponsorship. This article is not related to Toronto...but it made me realize the impact of corporate sponsorship.
LeBron James has just added McDonald's to hist list of corporate sponsors which inclue, Nike Inc., Statefarm Insurance, and Coca Cola.
Celebrities get sponsored, or endorsed all the time, musicians, athletes, etc. Also Vancouver 2010 Olympic sponsorship is also very interesting.
So Linking this back to my case study. Toronto events seem to be sponsored by banks. Further research will clarify this assumption.
Nuit Blanche was sponsored by Scotia Bank
Wintercity Festival is sponsored by RBC
It could be interesting to create a list of various Toronto events, and the corporations that sponsor them. The next question would be, the effect the sponsorship has on corporations and events.
The formula seems to be: Lebron+McDonalds=$$$
McDonalds earns Lebron fans
LeBron fans remember McDonalds
*Both get more publicity
**Unless your Tiger Woods and you get bad publicity??
***Tigers still got Nike lol! Kobe also has Nike!
Toronto has...
Thursday, January 28, 2010
Research Methodologies 2: Case Study Interview Questionaire
January 28, 2010
Julie, Camilla, and I narrowed down our Case Study project to focus on "Corporate Sponsorship for Toronto events" and its affect on both corporations as well as participants of the events.
Our intention is to prove that corporate sponsorship is beneficial to the community, corporations, and participants. If more companies provided sponsorship, the city would have more festivals.
In addition to creating a focus for our case study, we also created a 2 questionnaires for both participants and corporates.
Questions for Participants:
1. Where did you hear about the event from?
2. Do you know who sponsored this event
3. How did you feel about this event? Good or bad?
4. Does corporate sponsorship have an impact in the success of Toronto events?
5. Which of the following events have you attended? Nuit Blanche, Wintercity Festival, Summerlicious, Taste of Danforth, Chinese Lantern Festival, Caribanna, Gay-Pride
6. How would you improve the communication of this event?
Questions for Corporate Sponsors:
1. How many public events does your organizations sponsor?
2. Do you have a budget for corporate sponsorship?
3. How do you feel that your organizations benefits from this sponsorship?
4. How do you feel the community benefits from this sponsorship?
5. Did you give designers boundaries concerning how your organization was branded for this event?
Julie, Camilla, and I narrowed down our Case Study project to focus on "Corporate Sponsorship for Toronto events" and its affect on both corporations as well as participants of the events.
Our intention is to prove that corporate sponsorship is beneficial to the community, corporations, and participants. If more companies provided sponsorship, the city would have more festivals.
In addition to creating a focus for our case study, we also created a 2 questionnaires for both participants and corporates.
Questions for Participants:
1. Where did you hear about the event from?
2. Do you know who sponsored this event
3. How did you feel about this event? Good or bad?
4. Does corporate sponsorship have an impact in the success of Toronto events?
5. Which of the following events have you attended? Nuit Blanche, Wintercity Festival, Summerlicious, Taste of Danforth, Chinese Lantern Festival, Caribanna, Gay-Pride
6. How would you improve the communication of this event?
Questions for Corporate Sponsors:
1. How many public events does your organizations sponsor?
2. Do you have a budget for corporate sponsorship?
3. How do you feel that your organizations benefits from this sponsorship?
4. How do you feel the community benefits from this sponsorship?
5. Did you give designers boundaries concerning how your organization was branded for this event?
Wednesday, January 27, 2010
Reading Everyday Typography 1
At pacific mall, I noticed an attractive store front. It used white text on top of a glossy back background with many pink fluorencent lights on the window. On the left of the text, there was a logo made of a heart composed of a magenta pink outline with a red fill and a B centered in the middle with a hand rendered script font. The text centered in the middle of the store front read Babe Collection. The word Babe is tightly kerned. The font used is Peignot Std Bold and originating from France. The overall apppearance of the store front connotes flirty, feminine, fashionable aesthetics. the store front reminds me of a stag shop, nudie store or a gentleman's club. The use of the word "Collection" reminds me of the Victoria's secret collection of any other lingerie collection.
The appearance of the store front is decivieing because in actuality , the store sells phone accesories, purses, home decorations, bags, umbrellas, hats and pillows etc. The demographic that the store is attracting is females. This is a classic depiction of the phrase "sex sells". The design is successful in the fact that it connotes sexyness whithout showing a female figure. The store attracts alot of attention .
This is one choice for my reading everyday typography selection.
Wintercity Festival Ads 2010 : Part two
Wednedsday January 26th, 2010 .
At Einstein's bar near the washroom, I saw a poster with the Wintercity logo on the bottom left-hand corner.
On my way home, on the subway I saw a poster for the family day carnival which had winter festival connotations. Still no wintercity festival posters on the subway!
I spotted another bus shelter ad on Morningside and Lawrence.
Mr.Hunt told me told to follow the money relating that statement to our case study, we should focus on the RBCs contriubutions to the wintercity festival. Good questions include how much money the RBC is donating and what type of image does the RBC result from sponsoring such events. Who benefits from the event? Possible answers would be the restuarants would benefit, RBC gets publicity and Torontonians get a winter festival.
Monday, January 25, 2010
Reading 2: Notes
Investigating Design: A Review of Forty Years of Design Research
Nigan Bayazit
What is Design Research ?
Design research is systematic inquiry
1: Design research is concerned with the physical embodiment of man-made things, how these things perform their jobs, and ho they work
2: Design research is concerned with construction as a human activity, hw designs work, how they think, and how they carry out design activity.
3: Design research is concerned with what is achieved at the end of a purposeful design activity, how an artificial thing appears, and what it means.
4: Design research is concerned with the embodiment of configurations.
5: Design research is systematic search and acquisition of knowledge related to design activity.
The objectives of design research are the study, research and investigation of the artificial
All design research reports are related to the history or past
Each research report has to prove its roots in the past
The roots of design research are found within the Bauhaus, which was established as the methodological foundation for design education
Develop a “design science” that would obtain maximum human advantage from a minimal use of energy and materials
Due to technological developments and the implications of mass production, interest had to be shifted from the hardware and form to the consideration of human needs
First Generation Design Methods
“Systematic design methods”
Everyone was systematizing his or her own approach to design, and externalizing it as design method
Incorporating scientific techniques and knowledge into the design process.
They were attempting to work out the rational criteria of decision making, and trying to optimize the decisions.
Confrontation
Behaviorists, representing a mechanized, quantified view of design.
Existentialist/phenomenologist (formerly Marxist) concerned , above all “ with the humanness”
Provide a format for researchers to present their current work for evaluation from their peers.
To encourage dialogue between the researchers and the practitioners who are interesting in the application of this work.
Researcher & Practitioner
Studies related to planning methods
The consequences of the illegitimate simplifications of the first generation design techniques
Second- Generation Design Methods
Finding appropriate solutions was very difficult and each solution to a problem created new problems to be solved
The first generation design methods were formulated and applied by scientists and designers
Were identified by them during the design process, which caused rigidity in design decisions and unexpected failures
Argumentative method
Problem identification methods
User involvement in design decisions and the identification of their objectives were the main characteristics of the second-generation methods
The success of the participatory design process depended on the designer’s awareness of user values
Development of Scientific Research in Design
Throughout the 1920s, industrial fatigue research became the most important subject
Increasing the efficiency
Cybernetics influenced many design methodologists
Began to develop research methods for the artificial
Profession-based theories, user-based theories, user-profession-based theories
Building appearance & Dealing with profession
New generation of systematic design methods
Developing a science of engineering design and the establishing design as an accepted field of engineering research
Close relationship between design research and the development in the IT field, especially in cognitive sciences and “ artificial intelligence” ( AI) and expert systems.
Designing behaviors of expert designers
Relationship between practice and research in design
Conclusion
Articles and book chapters concerning state-of-the-art reviews, the history of the discipline, or original conference proceedings and other documents were used in this paper
Design research & its relevance to design methodology & scientific research
Most design research studies were made in architecture
Future studies in various design disciplines including: engineering, psychology , social psychology, management , economies, semantics, and ergonomics
Method Designing : the Paradox of Modern Design Education
Jessica Helfand
Draw on emotions to achieve a true understanding of a character
Ultimately reveal the degree to which a character could be a hugely complex human being with feelings, emotions and often-conflicting desires.
There are always expectations to the rule, deviations from the principal learning curve
How do you teach discipline and promote invention?
Achieving honesty increases chances in engaging your audience as a result.
Self-aware, idiosyncratic abstraction that seems to lie at the core of the theoretical process
The part that amplifies personal memory and replays it as objective truth.
In an effort to produce designers who can think for themselves, we ask our students to identify a method which becomes evident through the work that they produce
The richness of their sources testifies to an ability to engage a large universe, and their work benefits
In being true to ourselves, we distance ourselves from a more universal truth
Authenticity
“Love the art in yourself, not yourself in the art.”
To better understand our selves as authors requires a certain amount of self-reflection,
Self-knowledge cannot be a method. It is simply a motive
The Problem: The Heart of the Research Process
Leedy & Ormrod
The statement of the problem must first be expressed with the utmost precision
Then divided into more manageable sub-problems
Finding Research Projects
Problems for research are everywhere
Research intimately related to the ever-expanding and exploding universe of knowledge
Some research projects are intended to enhance basic knowledge
Such projects, which can advance human beings’ theoretical conceptualizations about a particular topic, are known as basic research
Address issues that have immediate relevance
Such projects, which can inform human decision making about practical problems, are known as applied research
Basic research and applied research
Nigan Bayazit
What is Design Research ?
Design research is systematic inquiry
1: Design research is concerned with the physical embodiment of man-made things, how these things perform their jobs, and ho they work
2: Design research is concerned with construction as a human activity, hw designs work, how they think, and how they carry out design activity.
3: Design research is concerned with what is achieved at the end of a purposeful design activity, how an artificial thing appears, and what it means.
4: Design research is concerned with the embodiment of configurations.
5: Design research is systematic search and acquisition of knowledge related to design activity.
The objectives of design research are the study, research and investigation of the artificial
All design research reports are related to the history or past
Each research report has to prove its roots in the past
The roots of design research are found within the Bauhaus, which was established as the methodological foundation for design education
Develop a “design science” that would obtain maximum human advantage from a minimal use of energy and materials
Due to technological developments and the implications of mass production, interest had to be shifted from the hardware and form to the consideration of human needs
First Generation Design Methods
“Systematic design methods”
Everyone was systematizing his or her own approach to design, and externalizing it as design method
Incorporating scientific techniques and knowledge into the design process.
They were attempting to work out the rational criteria of decision making, and trying to optimize the decisions.
Confrontation
Behaviorists, representing a mechanized, quantified view of design.
Existentialist/phenomenologist (formerly Marxist) concerned , above all “ with the humanness”
Provide a format for researchers to present their current work for evaluation from their peers.
To encourage dialogue between the researchers and the practitioners who are interesting in the application of this work.
Researcher & Practitioner
Studies related to planning methods
The consequences of the illegitimate simplifications of the first generation design techniques
Second- Generation Design Methods
Finding appropriate solutions was very difficult and each solution to a problem created new problems to be solved
The first generation design methods were formulated and applied by scientists and designers
Were identified by them during the design process, which caused rigidity in design decisions and unexpected failures
Argumentative method
Problem identification methods
User involvement in design decisions and the identification of their objectives were the main characteristics of the second-generation methods
The success of the participatory design process depended on the designer’s awareness of user values
Development of Scientific Research in Design
Throughout the 1920s, industrial fatigue research became the most important subject
Increasing the efficiency
Cybernetics influenced many design methodologists
Began to develop research methods for the artificial
Profession-based theories, user-based theories, user-profession-based theories
Building appearance & Dealing with profession
New generation of systematic design methods
Developing a science of engineering design and the establishing design as an accepted field of engineering research
Close relationship between design research and the development in the IT field, especially in cognitive sciences and “ artificial intelligence” ( AI) and expert systems.
Designing behaviors of expert designers
Relationship between practice and research in design
Conclusion
Articles and book chapters concerning state-of-the-art reviews, the history of the discipline, or original conference proceedings and other documents were used in this paper
Design research & its relevance to design methodology & scientific research
Most design research studies were made in architecture
Future studies in various design disciplines including: engineering, psychology , social psychology, management , economies, semantics, and ergonomics
Method Designing : the Paradox of Modern Design Education
Jessica Helfand
Draw on emotions to achieve a true understanding of a character
Ultimately reveal the degree to which a character could be a hugely complex human being with feelings, emotions and often-conflicting desires.
There are always expectations to the rule, deviations from the principal learning curve
How do you teach discipline and promote invention?
Achieving honesty increases chances in engaging your audience as a result.
Self-aware, idiosyncratic abstraction that seems to lie at the core of the theoretical process
The part that amplifies personal memory and replays it as objective truth.
In an effort to produce designers who can think for themselves, we ask our students to identify a method which becomes evident through the work that they produce
The richness of their sources testifies to an ability to engage a large universe, and their work benefits
In being true to ourselves, we distance ourselves from a more universal truth
Authenticity
“Love the art in yourself, not yourself in the art.”
To better understand our selves as authors requires a certain amount of self-reflection,
Self-knowledge cannot be a method. It is simply a motive
The Problem: The Heart of the Research Process
Leedy & Ormrod
The statement of the problem must first be expressed with the utmost precision
Then divided into more manageable sub-problems
Finding Research Projects
Problems for research are everywhere
Research intimately related to the ever-expanding and exploding universe of knowledge
Some research projects are intended to enhance basic knowledge
Such projects, which can advance human beings’ theoretical conceptualizations about a particular topic, are known as basic research
Address issues that have immediate relevance
Such projects, which can inform human decision making about practical problems, are known as applied research
Basic research and applied research
Wintercity Festival 2010: Ads
So I've personally never heard of the Wintercity Festival or Winterlicious. I've heard of Summerlicious from a friend, but have never attended it. The first time i heard of the Wintercity Festival was when Camilla introduced it as an idea for the group to perform a case study on it.
I assumed that i never heard of the event because it was not advertised to my demographic...being a student. So i figured it would be interesting to attent these events to observe and report what the majority of the demographic is.
I live in scarborough, never seen any ads for it in Scarborough. I read the newspaper occasionally, never saw any ads in there either. I travel down town by bus and subway frequently, still never saw any ads.
Randomly, i was in the west end. Specifically Weston Rd. & Bushy Ave. and i actually saw the first ad i seen for the Wintercity Festival inside the bus shelter.
The first time i saw the Wintercity Festival logo on the city of toronto website, me and my group agreed it could be better. However, now seeing the logo/ graphic blown up, i realized that its not just a simple snowflake...the snowflake is actually composed of performers, and the Winterlicious logo is also incorperated into it. The details make a big difference!!
Wintercity Festival 2010: Field Research Schedual
Friday, January 29, 2010
5:30-9:30pm @ Nathan Phillip Square
Events: Time Is, Fire Installations/Performances, Choreographed Fire Performances
Sunday, February 7, 2010
11:00-1:00pm @ Toula Restaurant for Winterlicious Lunch
4:00-8:00pm @ Nathan Phillip Square
Events: Mythical Ice
Toronto Wintercity Festival 2010: Presentation Notes
Headline: Toronto's Wintercity Festival 2010
Subheadline: Research Methodologies Project 1: Group Case Study
Group Members: Winson, Arezoo, Julie, Camilla, Lucian
Intro:
Toronto's Wintercity Festival has a 7 yr history.
Accompanied by Toronto's Winterlicious event with an 8 yr history.
Our group will be attending the various events offered by the Wintercity Festival.
Wintercity Festival Highlights:
WOW-series events @ Nathan Phillip Square
Warm-Up series events @ Nathan Philllip Square
Winterlicious events @ participating restaurants
We will conduct field research at the various events to gain insight on how many people attend the Wintercity Festival, what the main demographic of the event is, and to participate in the event in order to personally experience the festival.
Our intention is to make the public more aware of the festival.
*We have all lived in Toronto and have never even heard of the festival, possibly due to demographics...
Our main questions of inquiry concerns:
How to improve the Toronto Wintercity Festival?
Who attends this event?
How to make the public more aware of this event?
How to get more restaurants to participate in this event?
Possible Solutions include:
Turning Nathan Phillip Square into a giant advertisement for the event
Placing advertisements around Nathan Phillip Square to create dialogue about the festival
Placing advertisements/ poster in the storefronts of participating restaurants...etc...
Subscribe to:
Posts (Atom)