Week 2: Critical Research Journal

Ambrose, G (2014) ‘Design Genius. The Ways and Workings of Creative Thinkers’, London, Bloomsbury.

What is the need? (Show forms and ask why they are hard)





tick boxes

Walker Art Centre (2011) Graphic Design: Now in Production.


Similar projects

The back story
Communities have traditionally been defined by geographical borders, but the way we identify community is ever changing. There is a whole host of different types of communities out there. These generally fit under five different headings: interest, action,
place, practice and circumstance.

What’s the challenge?
Language is often strongly engrained in the nature of a community from the language we speak to how and where we communicate. How could this translate across to typography becoming an identifier for community as well? Create a typography-led integrated graphic design campaign that:
• uses type to celebrate a community of your choice (maybe your own?) and showcase what makes it unique
• explores communities beyond the usual expectations. Such as online communities,
those with shared interests, groups trying to bring about change or even communities
brought together by circumstance. It’s up to you.

Who are we talking to?
Those within your chosen community. Those who might not know about your community but want to become a part of it. Or even those who simply have no idea that the community exists.

Things to think about
How to identify uniqueness You’ll need to do your research and be inquisitive. This isn’t about enforcing stereotypes or making assumptions. Explore a fully rounded view of what makes your community different and have a solid understanding as to why.

How to celebrate community
The community you choose should have a positive message. It mustn’t discriminate,
alienate or degrade other communities.

How to find inspiration
Your inspiration can come from anywhere; you just need to sell it. So why look at obvious sources? Consider the typography in the heritage of your community. Or maybe look at things within it that provide stimulation and symbolism?

How to avoid assumptions
Your audience may not already know the community you’ve chosen. How can you
express its essence to someone who’s never encountered it before?
The important stuff
Your campaign must include:
• at least one poster
• at least one digital element
• at least one other touchpoint.
Your touchpoints could be anything: a publication, digital experience, OOH, banners, moving image ads or other online promotions, for instance. Think beyond the obvious but think about what’s relevant to the community – and what would sell
it the best. The more innovative, the better. Show how your output is relevant to your
community alongside your execution. Whatever applications you choose, type must be the major creative expression.
What to submit and how: Read Preparing Your Entries before you get started for full format guidelines – we won’t accept work that doesn’t meet these specs.
Main (essential):
Either a presentation video (max. 2 min) OR JPEG slides (max. 8), showing your solution.
Optional (judges may view this if they wish):
Interactive work (brands websites, apps, etc); physical supporting material; if your mainpiece is JPEGs, you can also submit video (max. 1 min total); if your main piece is video, you can also submit JPEGs (max. 4).




The Journal



One thought on “Week 2: Critical Research Journal

  1. Pingback: Week 2: Ideas, Craft and Context – Anna Robinette

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