Graphic Design Commons^™

Wind, Light And Seating Xperience (Xr), Shaun Foster

Frameless

Inspired by Plato’s Cave metaphor from "The Republic", this mixed reality experience talk and demonstration will ask the user to enter a virtual reality experience that is not completely virtual. Elements from the real world exist inside of the virtual; a flash light, a chair and wind. Research and demonstrations will be presented discussing what is XR (mixed reality) right now and what are some exciting technologies on the horizon that will take this field further...

Cross Disciplinary Virtual Reality For Lighting And Composition: Research Update, Shaun Foster, Ihab Mardini

Frameless

Advanced technology has made Virtual Reality a viable tool for widespread multidisciplinary use. We saw an opportunity to use VR to benefit multiple departments at RIT; 3D Digital Design, Industrial Design, Interior Design, and the School of Film and Animation. All departments wrestle with the problem of effectively allowing the students the speed to iteratively light, compose and compare work. The complexity and length of rendering time using previous generation (CPU rendering) 3D applications distracts learners from focusing on design. Light and Composition are two major elements of designs that are often buried under overwhelming technical obstacles.

Stefan Bucher, John White

Communication Design: Design Pioneers

No abstract provided.

Margaret Calvert, Casey Capece

Communication Design: Design Pioneers

No abstract provided.

Pablo Ferro, Kyle Lutz

Communication Design: Design Pioneers

No abstract provided.

Becca Clason, Sarah Sterner

Communication Design: Design Pioneers

No abstract provided.

Spring 2020

In The Loop

Letter from the Dean: Advancing Past Adversity; Look Who's Talking: Expert Talk Series; Seen and Heard; Keeping It Real: Client Web Projects for Students; OMG, It's DIBS, LOL!; X-ray Vision: Brian Andrews bones up on anthropomorphic entities and virtual realty in an audacious Project Bluelight film; Nothing But Net: Shannon Linares scores a win for female and first-generation college students in network engineering and cybersecurity careers; Mix Master: Claire Rosas blends disciplines and social synergy in her designs, from egg-ceptional typography to adaptive ergs

Dorothy And Otis Shephard, Jen Pepper

Communication Design: Design Pioneers

No abstract provided.

Cultural Heritage And User Interface Design, Narges Tavakoli

LSU Master's Theses

This study centers around localizing the user interface and experience design of digital products considering the culture of the audience and their visual heritage. Even though it seems the internet has made the distance between developing and advanced countries less than before, there are still fundamental differences between people’s beliefs and expectations. As a graphic designer who is based in The United States and is from Iran, I noticed the digital products (web, mobile applications) produced in Iran disregard the Iranian’s specific needs and emulate western patterns. So, I researched the dissimilarities between the two countries by using Greet Hofstede’s …

Board Game Under Construction: Putting The Design In Game Design, Cory S. Gurley

Masters Theses

The contemporary design landscape is informed by the need for interactive design, yet not all interactive media is digital. Technology has transformed the way many people receive information, and thus the way that they interact with graphic design, and the impact of user interfaces in creating a positive interactive experience is more important now than ever. However, while this phenomenon is usually identified with the digital environment of smartphone apps, websites and video games, user interface is equally important in analog design, and few media illustrate this better than board games. Board games have enjoyed a surge in popularity over …

U+16e99, Bobby Joe Smith Iii

Masters Theses

The general understanding and professional practice of graphic design have been shaped by the perspectives, needs, and desires of white, cis-gendered, heterosexual men in imperialist, capitalist societies. The tools, substrates, professional networks, institutions, processes, theories, grammars, and values that have come to define the discipline have been formed from this position. Consequently, graphic design primarily serves the needs of the settler in settler colonial regimes like the United States. This reality has prompted many designers like myself who come from colonized communities or whose identity troubles this rubric to question the framework of the discipline and our position within it. …

My Millennial Asian Fetishized American Fantasy, Seyong Ahn

Masters Theses

The perspectives that I present throughout My Millennial Asian Fetishized American Fantasy are South Korean-centric, biased, absurd, skewed, unfair, and real.

Instead of being nostalgic, the contents introduce questions—ones that persist as I examine my design practice. They open a process of dialogue with the present, while provoking a consideration of the future:

1) If I am a product of capitalism and globalization, how might I better interrogate and define my cultural DNA?

2) What is my approach to the evolving conception of graphic design under new (technological, ethical, ontological) conditions?

3) What interests and concerns truly engage me, such …

A Very Large Array, Hilary Dupont

Masters Theses

The Very Large Array is a radio telescope in a remote area of western New Mexico. An array is a single telescope made out of multiple satellite dishes. The satellite dishes move in and out on tracks to focus on different distant points in the solar system. These multiple dishes are functioning together to look at one single point, the combined powers of the satellite dishes results in a sharper focus.

This book is an array. The objects included are my observations, interests, experiences and ideas. My thesis is a point in the distance, and I am looking at it …

Oh Wait, Is This A Loop?, Carl-Gustaf Ewerbring

Masters Theses

When Photography as a medium arrived, it changed our world. It caused us to reinvent many things, one of them being the medium of painting. All of a sudden, a realistically painted picture was no longer the best possible way to document and archive visual qualities. New styles of painting evolved, and the medium grew into something bigger than before.

The web arrived more than three decades ago. What mediums has radically changed since then? Or more important, what mediums should we reinvent because of the web? This book is an systematic attempt to investigate that question.

What I knew …

Temporal Collisions, Lizzie Baur

Masters Theses

We live during a time of smoothly effortless design that encourages instant gratification. In this sea of pre-existing content, most of which we experience through layers of mediation, my practice encourages drifting. As a graphic designer, I try to decondition myself from reductive thinking. In response, this thesis operates on the fringe, cycling attention to unexpected associations, harnessing temporal collisions and formal play towards diminishing cultural baggage and preconceived notions. I deliberately attune the reader to the labyrinthine as an experience by which to interrogate common sense and steer the imagination towards moments of uncertainty.

This work engages a kind …

Counter Formation, Fabian Fohrer

Masters Theses

Counter-formation establishes a foundation to envision a more accurate shape and field of inter-relations across disciplines and contexts that are not only receptive but appropriative and elaborative.

By approaching the space of the counter-form, my ambition is to generate a responsive structure and an archive of fragments to build upon - a blank canvas with a variable format to recast vision and action.

Counter-formation places emphasis on the transformative, liminal space that allows one to encounter contexts from within, between, and around to organize or break them in a different fashion.

Ancient Hyper Present, Sophie Loloi

Masters Theses

My practice, especially this virtual garden, is a collage made of media, images, and virtual space across different eras and time signatures. Graphic design can exist in a gallery, on the screen, inside headsets or in the streets. Like a lucid dream, it can be disorienting as it opens up to a more-than physical ground of experience; within the virtual, within shared memory. This reflective practice arises as a form of “anachronism.” Before I could arrive at my transdisciplinary practice that considers experiences of exile and diaspora, I had to grapple with a singular question: what does it mean to …

Skew-Morphic Dream, Yoonsu Kim

Masters Theses

Skew-morphic Dream explores design approaches that shift one’s viewpoint, that agitate the familiar with a daydream. The doubling disjunctions presented here frame an ‘unreal real’, a skewed perspective on the function-driven interface design represented in skeuomorphism. To achieve this effect, a kind of perceptual halt, I implement defamiliarization. Within these spaces, there emerges an opportunity to think differently about perception, tools, and interfaces.

This thesis catalogs three methods used to create ‘skew-morphic dreams’: utilizing familiar tools with inverted functions, opening portals to defamiliarized landscapes, and developing platforms that require the audience to behave in unfamiliar ways.

How To Do Things With Things, Emily Guez

Masters Theses

Humans have always done things with things. It’s at the very origin of who we are as a species: we’ve gone from being bipedal homonins to people who live in complex societies by making rocks into tools. Things can serve a practical function, but they also carry cultural and symbolic meaning: they can tell our personal stories, allow us to connect with each other, and be the outer manifestations of our inner lives. The things we use in our every day lives, by implying a set of actions we can take when interacting with them, participate in shaping our reality: …

Strata : Lessons In Latency, Mukul Chakravarthi

Masters Theses

Every visual artifact, from a street sign to advertising commercials, is an event of culture, a cross-section of time. Crucial to my work as a designer is to build an interpretive understanding of these images as more than surface, more than banal. Embedded in their construction are dense, unseen contextual latencies— social, economic, and political forces — that combine to define a cultural moment.

This thesis offers a series of lessons in making visible visual infrastructure. It emphasizes design’s semiotic potential to examine and leverage a view on what these visual signs represent as ideological constructions. Through a conscious un-layering …