Richmond.Ian

MA - MY RESEARCH & PRACTICE

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Idea Development III

Below is the third instalment of my idea development progression. I have focussed on producing a general template that I can easily swap the pictograms and their details. As already noted in earlier posts, I have been experimenting with the inclusion of the Univers typeface. The typeface is arranged to create a calligram of sorts and thus alludes to the title and reference of my newest phase of work titled ‘Univers All Healthcare’ whereby I am attempting to use the Univers typeface for everything, instilling the theory that it will become ‘universal’ (and understood by a global audience). As noted in my previous blog entries, this is the utopian intent of the modernist movements, whereby, a sans-serif typeface, inclusion of geometric shapes, a typographic grid system, and a limited colour scheme (red, blue, yellow and in my case black) could be applied to reduce potential ambiguity by suppressing individual expression.

I have also adjusted my previous pictograms using feedback from Ai Hashimura and her maternity ward staff from Nagasaki University Hospital. I am applying the feedback to my newest phase of experimentation—hoping to gain further insights into the most appropriate form of creating a universally understood pictogram.

My shift to a more theoretical approach has been a refreshing pleasure and has reinvigorated my project, giving it new life and potentially further potential. The final images in this post are a further investigation (into the topic of a universally understood sign/image), and include entirely the components of the ‘only’ Univers (Univers All) concept. The black background is the black canvas evocative of the dense dark backdrop of the universe, and the words, letters, and their arrangements are reminiscent of the stars, constellations and galaxies. By overlaying all of the possible components of the Univers typeface, incorporating all of my project's created pictograms (*not yet completed) adds a universal element (visually and figuratively) to my project by exploring potential polysemic layers of meaning. Analogous to the puzzles of the universe, ‘Univers All’ is a culmination of history and theory; the search for the perfect design for all audiences remains unknown, and the exploration continues. Who knows, it may be out there somewhere?? Consider that globalisation, the systematisation of graphics programs, and online sharing may be approaching the apogee of global collaboration; this drives the concept of a universal design language that speaks to all audiences. Where expressionism and post-modernism have fallen in popular culture, modernist design attributes have upheld the reforms of society, validating my quest to connect with a mass (universal), yet intricate audience.

Fig. 1 - Ian Richmond, Caesarean section pictogram (2016).

Fig. 2 - Ian Richmond, Caesarean section pictogram with Univers typeface indicators (2016).

Fig. 3 - Ian Richmond, Pain pictogram revised version one indicating that the higher the pain the more medicine is used (2016).

Fig. 4 - Ian Richmond, Pain pictogram revised version 2, more pain more pills (2016).

Fig. 5 - Ian Richmond, Pain pictogram revised version 2, with Univers typeface indicators (2016).

Fig. 6 - Ai Hashimura, delivery day feedback note (2016).

Fig. 7 - Ian Richmond, Dyspnoea revision (2016). 

Fig. 8 - Ian Richmond, Dyspnoea revision with Univers typeface indicators (2016).

Fig. 9 - Ai Hashimura, dyspnoea feedback note (2016).

Fig. 10 - Ian Richmond, Paraesthesia revision (2016).

Fig. 11 - Ian Richmond, Paraesthesia revision with Univers typeface indicators (2016).

Fig. 12 - Ai Hashimura, Paraesthesia feedback note (2016).

Fig. 13 - Ian Richmond, Pregnant, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 13 - Ian Richmond, Pain, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 14 - Ian Richmond, Dyspnoea, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 15 - Ian Richmond, Paraesthesia, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 16 - Ian Richmond, Caesarean section low transverse incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 17 - Ian Richmond, Caesarean section vertical incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 18 - Ian Richmond, Caesarean section classic incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 19 - Ian Richmond, all layers combined universe themed ‘All Univers/Univers All’ design concept (2016).

Images

Fig. 1 - Ian Richmond, Caesarean section pictogram (2016).

Fig. 2 - Ian Richmond, Caesarean section pictogram with Univers typeface indicators (2016).

Fig. 3 - Ian Richmond, Pain pictogram revised version one indicating that the higher the pain the more medicine is used (2016).

Fig. 4 - Ian Richmond, Pain pictogram revised version 2, more pain more pills (2016).

Fig. 5 - Ian Richmond, Pain pictogram revised version 2, with Univers typeface indicators (2016).

Fig. 6 - Ai Hashimura, delivery day feedback note (2016).

Fig. 7 - Ian Richmond, Dyspnoea revision (2016).

Fig. 8 - Ian Richmond, Dyspnoea revision with Univers typeface indicators (2016).

Fig. 9 - Ai Hashimura, dyspnoea feedback note (2016).

Fig. 10 - Ian Richmond, Paraesthesia revision (2016).

Fig. 11 - Ian Richmond, Paraesthesia revision with Univers typeface indicators (2016).

Fig. 12 - Ai Hashimura, Paraesthesia feedback note (2016).

Fig. 13 - Ian Richmond, Pregnant, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 13 - Ian Richmond, Pain, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 14 - Ian Richmond, Dyspnoea, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 15 - Ian Richmond, Paraesthesia, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 16 - Ian Richmond, Caesarean section low transverse incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 17 - Ian Richmond, Caesarean section vertical incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 18 - Ian Richmond, Caesarean section classic incision, universe themed ‘All Univers/Univers All’ design concept (2016).

Fig. 19 - Ian Richmond, all layers combined universe themed ‘All Univers/Univers All’ design concept (2016).

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Independent Idea Development II

The Reason for A4 paper size

The International Organization for Standardization (ISO) designates A4 sized paper (ISO 216) as the world standard, used primarily outside of Canada, Mexico, and the United States (Cello, 2009, p. 223). A4 (210mm x 297mm) is similar to the North American standard version of ‘Letter’ (215.9 mm x 279.4 mm) and should provide the best opportunity for universal access and print capabilities enabling the printability of the maternity pictograms from within hospitals with a computer and a basic monochrome printer. Practical reasons for the choice of A4 size paper include proven sustained usage in the transfer of legible information to various audiences (through letters, catalogues, magazines, and forms) and is recognized by most printers for output. The mathematical reasons for using A4 relate to the ’silver ratio’ and its compatibility to be shrunk and or enlarged to fit the other international standard paper sizes and also fit into standard sized envelopes and binders.

Fig. 1 - A4 paper format / international standard paper sizes (no date).

On an A4 platform (hardcopy/digital) the designs themselves can also be potentially altered/improved/re-envisioned/downloaded/uploaded as software increasingly implements standardised outputs for the purpose of global project sharing and collaboration. I believe that this trend should continue to develop, making potential changes and sharing more streamlined and accessible.   

[One] commonly evoked characteristic of globalization is greater connectivity—places, systems, countries, organizations, etc. becoming connected in more and more ways. And connectivity can only happen if you have a certain level of compatibility (Manovich, 2006, p. 184)

Manovich’s statement applies to my strategies and implementation of a globally accessible file (PDF) and paper size standard. To the best of my ability I am focussing on the potential implementation and revisions of the pictograms (open to other creatives, healthcare workers, and patients) that will continue to adhere best to the needs of a global medical staff aiding communication with patients in the future. 

Printing Plans for Major Project

a. A4 Booklets (3)

1. Project Proposal (8 pages) 

2. Reflective Statement (25? pages) 

3. Photo-book presentation (80? pages) with: 

i. description of basic b&w (colour by number, on recycled paper ) ii. Higher quality (colour document) Japanese stitch bound  iii. A series of me (or a model) flipping through the flash cards iv. Digital Flash Cards viewed from an iPad to also future proof and offer further possibilities of implementation in an increasingly paperless and online world. 

Each book will incorporate the Japanese stab (pouch) binding technique (5 stitches) with a paper cover (front cover, front flap, spine, back cover, back flap) and all pages will be printed from a personal printer. The Japanese binding technique is something that I am familiar with and have often seen in Japan. The concept is simple and elegant, and can be reproduced easily by anyone with a sewing needle and thread. I think that the idea of making my books and utilising the materials and tools that I have around me makes sense, and reinforces the notion of universality related to my project. My cogitation and subsequent application of a minimalistic (avant-garde style) presented in my pictograms are meant to communicate an intricate yet simplified concept. I feel in order to adequately summarise the aims of my project; they need to be also demonstrated in the final output to convey my comprehensive working processes as a whole which will relate to various audiences.

b. A4 Cardstock Flashcards (40?) 1. large flash cards (to easily be read under duress)

The three books and flashcards should fit snug into a book sleeve. I will also attempt to build this sleeve.

Bibliography

Cello, J., (2009) Joe Celko’s data, measurements and standards in SQL. United States: Elsevier Inc. p. 223.

Manovich, L., (2006) ‘IMPORT/EXPORT: DESIGN WORKFLOW AND CONTEMPORARY AESTHETICS’. p. 184. In: Armstrong, H., (ed.) (2009) Graphic Design Theory Readings From the Field. New York: Princeton Architectural Press.

Images

Fig. 1 - A4 paper format / international standard paper sizes (no date). Available at: http://www.cl.cam.ac.uk/~mgk25/iso-paper.html#history [Accessed: 15 June 2016].

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Independent Idea Development I

A work of art is realized when form and content are indistinguishable. When they are in synthesis. In other words, when they fuse. When form predominates, meaning is blunted… When content predominates, interest lags. – (Rand, 1996)

Fig. 1 - Ian Richmond, Univers all Healthcare concept, communicating in a global maternity ward (2016).

The use of the typeface Univers to illustrate ‘Univers All Healthcare: Communicating In a Global Maternity Ward’. This concept is utilising modernist design elements of a grid, golden ration, three colours, and geometric shapes. 

DIN 1451–Univers

At the early stages of my project, I chose to work with the German Institute for Standardization’s (Deutsches Institut fur Normung) logo font of ‘DIN 1451’ which was published by the DIN institute in 1931. As I sought to implement a universal graphic pictorial language, I needed to validate a typographic requirement within my project. My choice to use an already standardised font from a global power (that shares a medical history with Japan) seemed like a sensible decision. The font is a modern sans-serif that assists in forming an unconscious connection between German and Japanese healthcare. The relationship between Germany and Japan’s medical systems date back to the Meiji Era (1868–1912), a collection of decades considered being the most glorious period in Japanese history. In 1870, Japan adopted the German medical system (largely believed to be the most progressive in Europe) as its official medical policy. Implementation of the German system sustained a commanding presence in medical research, education, and social health insurance (Raffel, 1997, p. 106). Resulting from the influence of German medical scholars teaching in Japan, and the departure of Japanese medical students to Germany, many of the Japanese medical terms are borrowed from German and written in katakana (a form of writing associated with foreign vocabulary also known as Gairaigo) (Dohlus, 2010, p. 40). The interrelationship between the two countries established an ideal medical context for me to implement the typeface ‘DIN 1451’ as a supplementary communication device throughout much of my project. The institution of a simplified typeface allows me to retain a uniform style and template that can be further applied to the various module’s activities saving me time and adding systematic design cohesion to my project.

Fig. 2 - Deutsches Institut fur Normung (German Institute for Standardization) Logo using DIN 1451 (2015).

As my project began to take shape, I realised that many of the goals that I was trying to achieve within the Japanese maternity environment could potentially be applied globally. This new prospect introduced challenges that meant my location’s focus had to change and also the contextual significance underlining my design decisions needed to be rationalised. Fortunately, both situations and locations (Japan/global setting) require medical staff and foreign patients to communicate using a graphic device that is free from cultural and ethnic bias or stereotyping. As I began to move away from Japan as my primary target audience (health care staff and foreign patients), I also felt that I needed to change my design approach through the selection of another typeface that could be appropriated into my project while supporting my theme and not being construed as an extraneous element used for style’s sake.

My decision to substitute ‘DIN 145’ to Adrian Frutiger’s typeface ‘Univers’ is justified. As a result of divergent thinking, including research into the modernist movements surrounding World War Two, and research into polysemy and the various interpretations of implied meaning through visual communication, I decided to apply ‘Univers’ to a contemporary communication setting. Instilling the modernist philosophy and visions of a universal language, utopia, and international proletariat, there is a historical significance underscoring ‘Univers’ and its modernist disposition. ‘Univers’ is considered to be the descendant of Herbert Bayer’s ‘Universal’ typeface which also embodied the same modernist philosophies ascribed to a universal visual language thought to include only geometric shapes and primary colours (McCoy, 2002, p. 181). ‘Universal’ was based on the laws of objectivity and timelessness serving a purely functional approach with the intent of creating letterforms so ‘essential’ that they would become universal (Lupton and Miller, 1993, p. 38) Typographer Emil Ruder commended Adrian Frutiger and ‘Univers’ claiming its, ‘rich interplay of visual effects’ (Eskilson, 2012, p. 296).

Ambrose and Harris (2011) note that the appropriation of historical stylistic elements from bygone movements continue to inject cognitive and denotative meaning thus positioning them in a new historical context. The current usage of modern design influences in contemporary practice has empirically withstood the changes in time and has established a familiar visual language. Arguably, pervasive implementation of avant-garde aesthetics and systematised visual formulas has raised design literacy amongst the average person and has instituted a platform of universal communication subsequently sharing the same modernist vision (a common global language). To this effect, in order to successfully communicate a single message to a heterogeneous group of people (patients of diverse backgrounds and cultures) the most appropriate step is to make use of what is already in place—a dynamically spreading modernist style that continues to triumph due to its foundation built on rules and legibility.  

As I strive to produce a solution to the challenges that I set out for myself within my project brief, ‘Univers’ accommodates the goals that I have for my project lyrically, poetically, theoretically, historically, contextually, and philosophically. ‘Univers’ All Healthcare is my theoretical approach to achieving the aims of a universally understood pictogram language that can be appropriated into hospitals around the world. By appropriating graphic design theory and aesthetic design tropes that continue to be used in contemporary graphic design practice should empower my designs to be understood a mass audience.

Fig. 3 - Adrian Frutiger, 21 variations of the Univers typeface (1957).

Fig. 4 - Ian Richmond, Pregnancy, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 5 - Ian Richmond, Pregnancy, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 6 - Ian Richmond, Caesarean section: low transverse incision, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 7 - Ian Richmond, Caesarean section: low vertical incision, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Bibliography

Ambrose, G. and Harris, P., (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 164.

Dohlus, K., (2010) ‘The Role of Phonology and Phonetics in Loanword Adaptation German and French Front Rounded Vowels in Japanese’, European University Studies, 353, p. 40.

Eskilson, S.J., (2012) Graphic Design: A History. 2nd edn. London: Laurence King. pp. 296.

Lupton, E. and Miller, A.J., (eds.) (1993) The ABCs of [triangle, square, circle]: The Bauhaus and design theory. London: Thames and Hudson. p. 38.

McCoy, K., (2002) When designers create culture: communications design on a global basis often amounts to cultural imperialism, stifling local character. In: PRINT. (Volume 56, Issue 3). New York. pp. 181.

Raffel, M.W., (ed.) (1997) Health care and reform in industrialized countries. United States: Pennsylvania State University Press. p.106.

Rand, P., (1996) Conversations with Paul Rand (5: 43 clip). Available at:http://www.paul-rand.com/foundation/video_conversationWithPaulRand/#.V2I-zlfVuCp [Accessed: 16 June 2016].

Images

Fig. 1 - Ian Richmond, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 2 - Deutsches Institut fur Normung Logo (2015). Available at:http://onmilwaukee.com/images/articles/static/logo2015-din-berlin.jpg [Accessed: 15 June 2016].

Fig. 3 -Adrian Frutiger, 21 variations of the Univers typeface (1957). Available at:http://www.martinmajoor.com/images/philosophy_10_univers_small.gif (Accessed: 15 June 2016).

Fig. 4 - Ian Richmond, Pregnancy, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 5 - Ian Richmond, Pregnancy, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 6 - Ian Richmond, Caesarean section: low transverse incision, Univers all Healthcare concept, communicating in a global maternity ward (2016).

Fig. 7 - Ian Richmond, Caesarean section: low vertical incision, Univers all Healthcare concept, communicating in a global maternity ward (2016).

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Adding context and continuity to my major project

I am in the stages of positioning my project from the vantage point of communicating to an audience with diverse backgrounds, preconceptions, needs, and expectations. Polysemy and how it is utilised in design can be thought of communicating to a distinct group or market. My goal is to communicate to the world in a hospital setting. My research has affirmed that there is no such thing as a perfect design solution that will communicate the intended message to everyone.

I have taken note from the modernist playbook and have conceived an idea of transplanting modernist design as seen through De Stijl, Constructivism, the Bauhaus, and The International Style movements near and after World War One. Through the appropriation of elements meant to reduce individual expression though not consciously including utopian ideologies of the past, I am curious if I can take a similar approach to realising a universal design system.

The modernist style is prevalent in contemporary practice and there does not seem to be any indication that this will change anytime soon. Thus, in my endeavour to find solutions to communicate to a global audience I will experiment with the usage of primary colours and the successor of Herbert Bayer’s Universal typeface, Univers (McCoy, 2002) created by Adrian Frutiger (1954-1957). Typographer Emil Ruder commended Frutiger and Univers claiming its, ‘rich interplay of visual effects’ and used it in Typographische Monatsblatter (Typographic Monthly or also known as TM), his visions related to the Swiss style have been channels used in teaching the current generation of this period (Eskilson, 2012, p. 296).

Fig. 1 - Wassily Kandinsky, three basic shapes and primary colours (2011).

Fig. 2 - Frutiger’s Grid, numbering system for type width and weight (2011).

Fig. 3 - Nicholas Von Der Bosch and Jeff Fischer, brochure created for Webb & Webb Design Studio (2011).

Fig. 4 - Appropriation (2011).

Bibliography

Ambrose, G. and Harris, P. (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 39–164.

Eskilson, S.J., (2012) Graphic Design: A History. 2nd edn. London: Laurence King. pp. 296.

McCoy, K., (2002) When designers create culture: communications design on a global basis often amounts to cultural imperialism, stifling local character. In: PRINT. (Volume 56, Issue 3). New York. pg. 26

Images

Fig. 1 - Wassily Kandinsky, three basic shapes and primary colours (2011). In: Ambrose, G. and Harris, P. (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 39.

Fig. 2 - Frutiger’s Grid, numbering system for type width and weight (2011). In: In: Ambrose, G. and Harris, P. (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 84.

Fig. 3 - Nicholas Von Der Bosch and Jeff Fischer, brochure created for Webb & Webb Design Studio (2011). In: Ambrose, G. and Harris, P. (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 155.

Fig. 4 - Appropriation (2011). In: Ambrose, G. and Harris, P. (2011) The fundamentals of typography. 2nd edn. Lausanne: AVA Publishing SA. pp. 164.

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A Better Accident and Emergency system?

Fig. 1–4 - Solutions for a better A&E (2016).

My designs need to work as a tool to improve the patient experience and to lower stress. Clear communication and knowing procedures within the hospital help in this regard.

Look at Violence and aggression towards staff from patients, is it a potential issue or already a problem (aggression out of frustration, body language, offensive language)? How can I incorporate a level of prevention in my designs? How can I improve the experience for staff and patients?

The goal is to transform the patient experience.

How do I clarify the process of delivering a baby? Can I map this out? This should reduce stress, anxiety and attribute to a calmer environment for everyone and promoting the perfect place to bring a baby into the world.

Bibliography

PearsonLloyd (2016) Home Page: A Better A&E. Available at: http://www.abetteraande.com/#context [Accessed: 19 April 2016].

Images

Fig. 1–4 - Solutions for a better A&E (2016). Available at: http://www.abetteraande.com/#context [Accessed: 19 April 2016].

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Clark, H. and Brody, D., (2009) Design studies: A reader. New York: Berg Publishers.

For the sign-community, the community of myth-consumers, is not a uniform body. As Volosinov has written, it is cut through by class: Class does not coincide with the sign community, i.e. with the totality of users of the same set of signs of ideological communication. Thus various different classes will use one and the same language. As a result, differently oriented accents intersect in every ideological sign. Sign becomes the area of the class struggle. (Volosinov, 1973, p.23)

The struggle between different discourses, different definitions and meanings with ideology is therefore always, at the same time, a struggle within signification: a struggle for possession of the sign which extends to even the most mundane areas of everyday life. (Hebdige, 1987) (Clark and Brody, 2009, pg. 208).

Style in subculture is, then, pregnant with significance. Its transformations go ‘against nature’, interrupting the process of ’normalization’. As such, they are gestures, movements towards a speech which offends the ’silent majority’, which challenges the principle of unity and cohesion, which contradicts the myth of consensus. Our task becomes, like Barthes’, to discern the hidden messages inscribed in code on the glossy surfaces of style, to trace them out as ‘maps of meaning’ which obscurely re-present the very contradictions they are design to resolve or conceal (Hebdige, 1987) (Clark and Brody, 2009, pg. 208).

I need to be cognizant of the direction I take in my work; to dissociate my design from any style and the potential underlying signifiers. Presenting my designs in a simplified, minimalistic, modernist style (or any style) carries with it a plethora of unintended and potentially rooted meanings that will be forever included. Is there any possibilities of completely omitting style (or as much as possible or does this mean to incorporate the modernist style?) and just signifying pure meaning?

Bibliography

Clark, H. and Brody, D., (2009) Design studies: A reader. New York: Berg Publishers. pp. 208.

Volosinov, V.N., (1973) Marxism and the philosophy of language. New York: Seminar Press. In: Clark, H. and Brody, D., (2009) Design studies: A reader. New York: Berg Publishers. pp. 208.

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Signs and symbols

Secondary Research

Inherited archetypes?

The idea that certain figures are anchored deep in our subconscious, from birth, as inherited "archetypes" with a common symbolic interpretation should also be mentioned here. Does a kitten have a mental picture of "mouse" before it sees one for the first time, or does a child recognise fire as "danger" before it has been burned? This gives rise to a fundamental question which goes far beyond the scope of our inquiry, namely, whether a pictorial notion can be inborn or whether it must first be experienced in order to enter the subconscious as a memory (Frutiger, 1991, p. 115).

This is a fascinating concept and similar to all animals, they instinctively know how to feed, breath, close their eyes to blink, put their hands up to protect their head etc. The knowledge built into the brain at birth offers a new realm of research and possibility and how it may relate to different cultures and locations (climates). Related to my project and the element of babies and birth brings forth ideas related to maternal instincts in the mother and how knowledge related to birth and its understanding may play a larger role in the understanding and recognition of pictograms related to childbirth.

Fig. 1 - Sumerian signs for man (penis) and woman (vulva) along with the Egyptian counterparts (1991).

Fig. 2 - Univers typeface (1957).

The great antiquity of the Indus script and the fact that traces of it have been found from time to time in other parts of the Middle East give the archaeologist's imagination grounds for a great many hypothetical conclusions, in particular as evidence of the first large-scale migrations or even permanent emigrations to other regions and islands, 2000 years before the historical Indo-Germanic migration. For example, there is an amazing similarity between the Indus script and the pictograms of Easter Island (ca. 1000 a.d.), but no historical or geographical connection is possible since the two scripts are separated by more than 3000 years and half the circumference of the earth (Frutiger, 1991, p. 130).

Related to today, the above quote brings to mind many questions related to globalisation and technology and the homogenisation and democratisation of design. Perhaps it is inevitable that design will find a way to communicate in its most basic form possible. Notwithstanding ornamental design that is linked to different locations and culture, the design related to communication is fundamental and is perhaps an inherited instinct in both creating and reading marks and symbols.

Mental pictures, which are not of well-defined objects but rather of archetypes of things that we have seen and experienced, once or many times, and through the piling up of impressions something in the nature of stylized drawings has remained behind, without any sharp outlines, for these pictures, as in dreams, have become somewhat schematic, something that approaches the nature of a sign (Frutiger, 1991, p. 225).

Related to my primary research in ‘Activity 5’ and polysemy and the ‘piling up’ of experiences our brains are visual devices and relate well to visuals. The notion of a schematic notion of a sign exhibited through the fading details of memory are prime examples of the denotative aspects that ought to be considered in the creation of a pictogram.

One might well ask whether we are not thereby on the way back to the origin of the recording of thought, to the pictorial scripts of our forebears? (Frutiger, 1991, p. 226)

How strangely clear it seems that the modern need for symbols closes a circle that takes us back to the rock paintings mentioned right at the beginning of this study as the precursors of speech fixing, the first of all indications of human culture (Frutiger, 1991, p. 226).

So we can provisionally answer the question at the head of this paragraph as follows: pictorial signs are becoming ever more indispensable for human communication, not exclusively but in the right places (Frutiger, 1991, p. 226).

‘Signs and Symbols’ is a fascinating text and although not directly related to the text, I am interested in adopting Frutiger’s font of ‘Univers 55’ for my project. It represents the idea of ‘universality' which incorporates the modernist style of geometric shapes used in primary colours (*red, yellow, blue) plus black and white. As I strive for a universal understood perspective and outcome, my back to basics approach by examining history may simplify my project while adding context and fortifying the outcomes.

Bibliography

Frutiger, A., (1991) Signs and symbols. London: Studio Editions.

Images

Fig. 1 - Signs & Symbols, Sumerian signs for man (penis) and woman (vulva) along with the Egyptian counterparts (1991). Available at: Frutiger, A., (1991) Signs and symbols. London: Studio Editions. pp. 120.

Fig. 2 - Adrian Frutiger, Univers typeface (1957). [Online image] Available at: http://www.100besttypefaces.com/bilder/010/Univers-Schema_web.png [Accessed: 18 April 2016].

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Demographic change, migrant eldercare workers, and national imagination in Japan

Secondary Research

Fig. 1 - Maria Fransiska (right) from Indonesia is preparing for her Japanese nurse exam (2011).

As of 2013, no less than 32.3 % of the Japanese population are over the age of 60, a proportion predicted to further rise to 42.7 % by 2050 and then drop only slightly to 41.1 % by 2100. Simultaneously, Japan’s population is poised to shrink. It is predicted that having reached its peak of 127.75 million in 2005, it will decline to just above 100 million by 2050, and possibly to 64 million by 2100. The challenges posed by such demographic changes – including an ever higher number of older people in need of care – have brought about considerations about viable ways of organizing the society in the forthcoming decades (Switek, 2014, p. 264).

In Japan, two visions of the future have emerged. According to the “Small Option” the future Japan is less numerous but self-sufficient. It operates on a downsized economy and possibly utilizes robots to fill positions which lack manpower due to the smaller size of the working age cohorts. The “Big Option,” sometimes denying feasibility of the former, presents a Japanese future as unavoidably open to significant numbers of migrants in order to sustain the country’s existence. One of the main questions thus is whether to opt for a country that should limit the number of non-Japanese residents as much as possible, or whether it should intentionally become home to more foreigners (Switek, 2014, p. 264).

Stringent immigration regulations reflect and perpetuate these national imaginations. In 2008 people registered as foreigners accounted for 1.7 % – that is, around 2 million – of the total population of 127 million (Switek, 2014, p. 265).

When my project was conceived over a year ago, a large part of my thought process was related to the ‘Big Option’ as it relates to immigration and a foreign population contributing to the sustainability of Japan (and assisting young families just getting settled in Japan through communication assistance at maternity hospitals). The ‘Small Option’ sounds quaint, and is a romantic idea however the large burden of elderly > young will be a drain on the younger generation, and may contribute to future struggles related to making ends meet as they support the insurance schemes and the pensions of aged. As discussed in the article, the need to offer healthcare support to the aging population will be a requirement. The high volume of people who will need assistance will attract many health care workers from outside of Japan and may possibly contribute to a certain level of sustainability. Unfortunately, in 2008 the Indonesian health care staff to work at 52 care homes and 47 hospitals were allowed to stay permanently only if they were to pass the Japanese National Examination (in Sino-Japanese also including knowledge of Japanese specific laws and regulations) was a high hurdle and an obvious deterrent (Switek, 2014, p. 267).

The EPA acceptance, which brought non-Japanese to work on Japanese bodies, placed them at the heart of ideological conflations of race, culture, and nation and therefore forced a rebranding of foreigners from dangerous unknowns to good-hearted, familiar individuals with whom one could connect, identify, and who could be trusted. This new brand of foreigner was then disseminated through the mass media (Switek, 2014, p. 277).

Bibliography 

Świtek, B., (2014) ‘Representing the alternative: Demographic change, migrant eldercare workers, and national imagination in Japan’, Contemporary Japan, 26(2). pp. 263-280. doi: 10.1515/cj-2014-0013.

Images

Fig. 1 - Maria Fransiska (right) from Indonesia is preparing for her Japanese nurse exam (2011). [Online image] Available at: www.nytimes.com/2011/01/03/world/asia/03japan.html?_r=0 [Accessed: 18 April 2016].

[ianresearchblog]

Reinforcing identities? Non-Japanese residents, television and cultural nationalism in Japan’

Secondary Research

Fig. 1 - www.amusecafe.com, I survived a Japanese Gameshow (2014).

The article offers an interesting perspective positioning non-Japanese residents in Japan who of which are often present on television programs. Instead of viewing issues from an international viewpoint, the differences are seen as a form of entertainment with the goal of reinforcing cultural identity within the Japanese. After World War Two and the loss of national pride, the Japanese turned to television to invoke national identity and it continues to play a vital role as it is the most common source for Japanese to obtain their news from and is their main window into the global community (Hambleton, 2011, p. 32). In my experience from watching television everyday in Japan for many years and from a media perspective, their news is extremely national and lacks qualities attributed to investigative journalism. The perspective is biased and caters to uniting the country on many issues while ignoring ‘real news’ that should be addressed. Watching the Olympics or the News only centres on Japanese people or issues, if a major disaster happens outside of Japan and no Japanese were involved there will be little to no coverage. Hambleton’s research (and my personal experience) is in no way attempting to be critical on Japan as cultural nationalism is not Japan specific (Hambleton, 2011, p. 45).

Bibliography

Hambleton, A., (2011) ‘Reinforcing identities? Non-Japanese residents, television and cultural nationalism in Japan’, Contemporary Japan, 23(1), pp. 27–47. doi: 10.1515/cj.2011.003.

Images

Fig. 1 - amusecafe.com, I survived a Japanese Gameshow (2014). [Online image] Available at: https://lh6.ggpht.com/iPmkP6bf0Kq1_xXU9GQzvwdPw6TCOYFE-Reb4mV_jpA2-GJ8drIlhRYraSHATZjlpv4=w1264 [Accessed: 18 April 2016].

[ianresearchblog]

Design studies: A reader

Secondary Research

Fig. 1 - Gui Bonsiepte, Design and Democracy in Design Studies: A Reader (2016).

The issues of interest to me in this text focus on design and global issues, globalising corporate identity in Hong Kong, subculture and style, design and democracy, and gender within design.

By globalising a uniform identity for the intangible processes and complex operations of a multinational corporation, designers play a crucial role in globalisation (Clark and Brody, 2009, p. 130).

In this idea, if I can approach my project from the perspective of creating a branded uniform identity that includes a narrative and overarching theme, this may help my design, leading it towards a uniform language for communication. The history of the HSBC logo and bank and how it modernised its logo to situate itself within the global realm is a noteworthy example of creating an abstract symbol that represents a national identity.

Our task becomes, like Barthes’, to discern the hidden messages inscribed in code on the glossy surfaces of style, to trace them out as ‘maps of meaning’ which obscurely represent the very contradictions they are designed to resolve or conceal (Clark and Brody, 2009, p. 208).

I need to be cognisant of the direction I take in my work; to dissociate my design from any style and the potential underlying signifiers. Presenting my designs in a simplified, minimalistic, modernist style (or any style) carries with it a plethora of unintended and potentially rooted meanings that will be forever included. Is there any possibilities of completely omitting style (or as much as possible or does this mean to incorporate the modernist style?) and just signifying pure meaning?

The relationship between democracy and design, and about the relationship between critical humanism and operational humanism. This issue leads to the question of the role of technology and industrialisation as a procedure for democratising the consumption of goods and service, and finally to the ambivalent role aesthetes as the domain of freedom and manipulation (Clark and Brody, 2009, p. 211).

When attempting to ‘design’ for a timeless and varied audience the idea of intelligent problem solving’ needs to be considered as the designers primary objective. By focussing too much on style and beauty design quickly becomes dated and thus irrelevant, quickly forgotten, and impractical. This thought relates to the thinking near the end of WWI where the notion of a machine idealism or ‘machine aesthetic’ ushered in the admiration for an industrial society (‘purism’) (Eskilsson, 2012, p. 161).

I believe that at this point in history (at the end and after WWI) the machine and technology was seen as symbol of hope and progress and was considered a central component in the realisation of a utopian society (cue in economic justice and social equality); individual expressionism from previous movements fell out of favour and was widely considered the underlying cause of the war.

The geometric forms of the machine (and the styles simplified from cubism) were seen as an attempt at a universal language (modern abstract design meets functional intent). Theo Van Doesburg, one of the founders of 'De Stijl' famously stated, "The old is connected with the individual. The new is connected with the universal.” (Eskilsson, 2012, p. 161) Thus, stripping design down to its most functional elements (form follows function) should be my mantra (related to my practice for my major project) to create a successful and alterable/applicable apparatus that can be easily modified and adapted in the future.

Eskilsson (2012, p. 179) states that De Stijl was guided by an ideal of universal harmony, limiting expression in their art they hoped to contribute to communal and abstract principles. Similar to the idea of the machine and industrialisation as a tool to democratise the world through the production of mass-produced goods. The movements of Dada, DeStijl, Russian Constructivism, International Constructivism and to an extent the Bauhaus captured the zeitgeist in many of the European countries after WWI and how they saw the ‘machine’ as their saviour and a form of influence in art, advertisements, film, architecture, politics (communism), and utopian ideologies that spoke to a growing number of people at that time and was a rallying point to attain a utopian dream of universality (in the wake of war, to shed their national identity). This all ties into my concept of communicating using simple design; a back to basics approach.

Bibliography

Clark, H. and Brody, D., (2009) Design studies: A reader. New York: Berg Publishers. pp. 130.

Eskilson, S.J., (2012) Graphic Design: A History. 2nd edn. London: Laurence King.

Images

Fig. 1 - Ian Richmond, photograph pg. 211 of Design Studies: A Reader by Hazel Clark & David Brody (2016).

[ianresearchblog]

Remaking passports: Visual thought in the debate on multiculturalism

Secondary Research

Fig. 1 Visual Culture Reader’s cover by Nicholas Mirzoeff.

'The visual culture reader' is a compilation of literature encompassing assorted criticisms and histories from diverse sources. The diversity of topics that are discussed in the text focuses my interests related to gender perspectives, communication theory, identity, and transculture. Nestor Garcia Canclini, in her report ‘Remaking passports: Visual thought in the debate on multiculturalism’ speaks of Latin American culture and how globalisation in art and the artist is born. The construction of nationality through culture is a contemporary challenge due to economic and symbolic transnationalisation. Appadurai (1990) provides five reasons for this:

1 the population movements of emigrants, tourists, refugees, exiles and foreign workers; 2 the flows produced by technologies and transnational corporations; 3 the exchanges of multinational financiers; 4 the repertoires of images and information distributed throughout the planet by newspapers, magazines and television channels; 5 the ideological models representative of what one might call Western modernity: concepts of democracy, liberty, wellbeing and human rights, which transcend the definitions of particular identities.

As I am able to contextualise the notion of a universal language, studies related to global theory and culture such as this are invaluable at informing my project’s goals and to position my work in a more manageable manner. Instead of attempting to create a global language, to realise that I need to work within the confines that communicating a universal message to a global audience is impossible, I am better situated to focus on creating a message that is understood by as many people as possible.

Bibliography

Canclini, N.G. (1994) ‘Remaking passports: Visual thought in the debate on multiculturalism’, pp. 374-381. In: Mirzoeff, N., (2003) The visual culture reader. 2nd edn. London: Taylor & Francis.

Images

Fig. 1 - Visual Culture Reader’s cover by Nicholas Mirzoeff. [Online image] Available at: www.nicholasmirzoeff.com/O2012/wp-content/uploads/2012/07/VCR3-Cover.jpg. [Accessed: 18 April 2016]

[ianresearchblog]

Making tech work for older people

Secondary Research

Fig. 1 - Creative Review, The Age Issue (2015).

Consider this: By 2030 around 19% of people in the US will be over 65. Doesn't sound like a lot? Well, it happens to be about the same number of people in the US who own an iPhone today. But which of these two groups do you think Silicon Valley spends more time thinking about?

Positioning myself as a designer accepting the reality of my parents growing older and witnessing their struggles with using a computer and iPhone I have gotten on board the ‘better design for seniors’ bandwagon. Most design is not senior friendly, and although they already constitute a large portion of the market it will continue to steadily grow. As the millennial generation reaches their 60’s these problems will be all sorted out, however, until then, the aging population will have to accept that young designers are not thinking about them as users. I would like to see this article written again in 30 years and see how we compare.  

Bibliography

Campbell, O., (2015) ‘Making tech work for older people’, Creative Review, Vol. 35(6), pp. 59–62.

Images

Fig. 1 - Ollie Campbell, Making tech work for older people (2015). Creative Review, Vol. 35(6). [Online image] Available at: https://s-media-cache-ak0.pinimg.com/736x/bc/fb/96/bcfb96d8bb4eb9515dc92ffb2a7049dc.jpg [Accessed: 19 April 2016].

[ianresearchblog]

The usability of symbols for health care facilities: the effect of culture, gender and age

Secondary Research

Information presented on signs in hospitals needs to be cognisant of the backgrounds of the audience and also the reality that for many people, English is their second language. There are limited studies and objective evaluations relating to hospital patients and visitors comprehending the symbols and signs in a hospital. This report located two of them, the first study found no correlation of data related to gender and age. In the second study, the findings indicated that general understanding between American and Chinese users was limited (5 of 41 signs were recognised on both sides). The observation presented in this research by Olmsted (1998 p. 319) is invaluable to my project; women perform better in a hospital acknowledges that in contemporary culture they are the gender most likely to visit health care centres, as they are often accountable for children and the elderly.

Bibliography

Olmsted, T., (1998) ‘The usability of symbols for health care facilities: the effect of culture, gender and age’. In: Boersema, T., Hoonhout, H.C.M. and Stiff, P., Visual information for everyday use: Design and research perspectives. Edited by Harm Zwaga. London: Taylor & Francis. pp. 315-320.

[ianresearchblog]

Secondary Research

Fig. 1 - Studio Tilt, NHS WHITTINGTON HOSPITAL Children’s Department (2014).

We need to find ways of making the NHS work better, and this Ambulatory Care Centre is a clear example of what the future will be like. (Lamb, 2014)

The redesign of the NHS WHITTINGTON HOSPITAL’s Ambulatory Department is an example of service design and how the environment can positively influence patient behaviour. I commend their approach though I feel that by solely enhancing the physical environment (though they said they took a people-centred approach) only addresses part of the problem and thus solves part of the solution. This concept should not be unique to the medical industry, all nice buildings and environments theoretically produce positive discourse in work and commerce.

Bibliography

Lamb, N., and Studio Tilt., (2014) NHS WHITTINGTON HOSPITAL. Available at: http://studiotilt.com/projects/nhs-whittington-trust [Accessed: 18 April 2016].

Images

Fig. 1 - Studio Tilt, NHS WHITTINGTON HOSPITAL Children’s Department (2014). [Online image] Available at: http://studiotilt.com/projects/nhs-whittington-trust [Accessed: 18 April 2016]. 

[ianresearchblog]

Evaluating Serviceability of Healthcare Servicescapes: Service Design Perspective

Secondary Research

Patient satisfaction is important in the healthcare industry is because patients’ experiences with and perceptions with care can be critical to healing or managing an illness (Lee, 2011, p. 63).

The journal is a study on servicescapes in an effort to improve experiences among users in the healthcare industry. A focus is on how the environment aids in the recovery process. The healthcare industry has targeted other industries as inspiration to its model of servicescapes including that of restaurants and hotels with a focus customers as guests (Lee, 2011, p. 61). In my experience in Japan, when my wife had a baby in Amakusa, Kumamoto last year I was impressed with the structure of the facility and its practices. Upon check in the environment in the hospital was more aligned to that of a high-end hotel, my wife did not want to leave (neither did I).

Bibliography

Lee, S., (2011) ‘Evaluating Serviceability of Healthcare Servicescapes: Service Design Perspective’, International Journal of Design, Vol.5 (No.2). West Lafayette: Purdue University. pp. 61-71.

[ianresearchblog]

Patient information mat

Secondary Research

Fig. 1 - Design Council, Patient information mat (2016).

The patient information mat is a useful and well-designed tool to improve the patient’s experience by providing clear communication and information. By focussing on dignity and privacy the goals are to make the patient feel comfortable thereby reducing stress. The mat is disposable allowing the patient and the medical staff to write on it to communicate changes.

Bibliography

Design Council (2016) Patient information mat - Case Study. Available at: http://www.designcouncil.org.uk/resources/case-study/patient-information-mat [Accessed: 18 April 2016].

Images

Fig. 1 - Design Council, Patient information mat (2016). [Online image] Available at: www.designcouncil.org.uk/resources/case-study/patient-information-mat

[ianresearchblog]

Design and evaluation of public information symbols

Secondary Research

Fig. 1 - Robert Dewar, Design and evaluation of public information symbols (1998).

This study focuses on pictograms related to their efficiency and problematic constituents. Problems relate to the lack of syntactic and semantic rules related to spoken language that can obscure meaning. According to Dewar, the primary reason to use pictograms and symbols is to communicate with people of various cultures and languages. Cross-cultural differences between cultural groups are expected, and a study on symbols for health care resulted in approximately 87 per cent comprehension. Learnability was considered the third criterion in a study related to traffic signals. This is encouraging for my project, indicating that as the world’s pictograms increase, people will have the propensity to decode and understand them.

Bibliography

Dewar, R., (1998) Design and evaluation of public information symbols. In: Boersema, T., Hoonhout, H.C.M. and Stiff, P., Visual information for everyday use: Design and research perspectives. Edited by Harm Zwaga. London: Taylor & Francis. pp. 285-303.

Images

Fig. 1 - Robert Dewar, Design and evaluation of public information symbols pg. 285. In: Boersema, T., Hoonhout, H.C.M. and Stiff, P., Visual information for everyday use: Design and Research Perspectives (1998).