Book Review: Graphic Communication & Design in Contemporary Cartography edited by D. R. FRASER TAYLOR. Vol. 2 in series Progress in Contemporary Cartography. Chichester: John Wiley. 1983. pp. 314. £29.50

Urban Studies ◽  
1984 ◽  
Vol 21 (2) ◽  
pp. 204-205
Author(s):  
Jean Forbes
Keyword(s):  
Communication Design ◽  
Graphic Communication ◽  
In Series

A commentary on: Reappropriation of Gendered Irish Sign Language in One Family

2021 ◽  
Vol 55 (3) ◽  
Author(s):  
Mary Dyson
Keyword(s):  
Sign Language ◽  
Social History ◽  
Final Section ◽  
Cultural Anthropology ◽  
Positive Sign ◽  
Visual Anthropology ◽  
Communication Research ◽  
Communication Design ◽  
Language Standardization ◽  
Graphic Communication

Barbara LeMaster’s article “Reappropriation of Gendered Irish Sign Language in One Family” in Visual Anthropology Review piqued my interest with its initial sentence:  The native vocabularies of one segment of the Dublin deaf community (i.e., primarily women over 70 and men over 55) contain different signs for the majority of common lexical items examined (LeMaster 1990).  From this I learned that there existed different female and male signs in Irish Sign Language. This intrigued me and led me to explore further, despite recognizing that I was probably out of my comfort zone. I would be addressing a topic of social history, through my lens of theoretical and empirical aspects of communication design. Curiously, I rejected a more comfortable choice of an article that uses an approach far more familiar to me: research analyzing the covers of introductory texts on cultural anthropology (Hammond et al., 2009). I am therefore acutely aware that the questions I ask about Irish Sign Language not only stem from another discipline, but also introduce different research methods. I also suspect that some of the issues I raise are covered elsewhere, either by LeMaster or by other researchers. This I regard as a positive sign of considerable overlap between our disciplines. In the following commentary on LeMaster’s article, I start with a brief account of what I consider to be main themes within the article. This is not a comprehensive summary, but sets the scene for discussion points. I then propose some general differences in approach and emphasis between the disciplines of visual anthropology, as represented in this article, and communication design. Although I have situated myself within a particular sector of communication design (in the introduction), I have nonetheless tried to cover a wider field encompassing design practitioners and historians. From more general topics, I narrow down to specific areas that might inform, or be informed by, graphic communication research: the process of language standardization and dictionary design. The final section on signs moves us some distance from LeMaster’s study. However, personally, one of the most exciting aspects of research is forging links between apparently disparate areas of research, which might require a leap in the dark.

scholarly journals 7. The Burke’s Pentad Heuristic: Potentiality for Creative Idea Generation in Graphic Communication Design

2020 ◽  
Vol 20 (1) ◽  
pp. 228-242
Author(s):  
Sylvester Zifegha Ebigbagha
Keyword(s):  
Material Culture ◽  
Creative Thinking ◽  
Idea Generation ◽  
Art And Design ◽  
Form Generation ◽  
Communication Design ◽  
Creative Idea ◽  
Graphic Communication ◽  
New Ideas ◽  
Culture Development

AbstractThe Burke’s Pentad (Act, Agent, Agency, Scene and Purpose) is a creative idea generation guide for dramatism (or dramatistic framework). Its utilization to probe, often engenders a process of stochastic combination, whereby a vista of multiple ideational variations emerge in one’s mind, from which an appropriate subset could be selected and implemented. This usually affords inspiration, creative flow and energy that are pivotal for success in drama as much as in visual communication. However, there is prevalent unawareness of the potentials of the Pentad model as a veritable structure to creating innovative ideas in art and design. Therefore, this paper focused on the potentiality of the Pentad for creating and or analyzing ideas on form generation for pedagogical, practical, or theoretical purpose in graphic communication design. Towards this end, a triangulation of methods: critical-historical-analytic examination, artistic exploration, and content analysis are employed. The paper introduced the reader to the need for a strategy to generate new ideas, stimulate creative thinking, and enhance self-motivation in visual expression for structural and human development. Furthermore, it highlighted the processes of creativity, and form generation for material culture development. Also, the paper discussed the Pentad and its utilization for generating new ideas in art/design. It was found that the Pentad is indispensable in generating ideas for creating, interpreting and teaching visual form. The paper ended with the need for visual communicators to be acquainted by use of the Pentad for creative ideas to generate product with satisfactory outcomes.

Drawing as a democratic space within higher education, fine and applied arts: Categorization, process, outcome

2019 ◽  
Vol 4 (2) ◽  
pp. 201-223
Author(s):  
Andrew Hall
Keyword(s):  
Higher Education ◽  
Creative Process ◽  
Art And Design ◽  
Communication Design ◽  
Graphic Communication ◽  
The Arts ◽  
Educational Role ◽  
Process And Outcome ◽  
Embodied Practice ◽  
Applied Arts

Abstract This article tracks the presence, influence of and development of drawing as a creative practice in Higher Education, Art and Design at Central Saint Martins (CSM) University of the Arts London (UAL) since 1896. Connecting to both a historical and a contemporary discourse on the practice of drawing within this institution, the article explores the educational role that drawing has played in the fine and applied arts (in particular, graphic communication design) and its present state of evolution as an embodied practice within an expanded field that is intrinsically and fundamentally linked to the creative process and final creative outcome. Also cited are notable academics, creative practitioners and critical theorists who have made it their goal to open up the practice of drawing as a democratic space for all to participate in, and one can observe this territory through three distinctive, although interlinked, lenses: categorization, process and outcome.

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