MEDA301 | Assessment 2 |Out of Hand


Front Design [Swedish, est. 2004]
Materialized Sketch of a Chandelier, 2005
Thermoplastic powder
33.9 x 31.1 x 27.68 inches
86.1 x 79 x 70.3 cm
Edition of 3

During week 5 we went to the Out of Hand: Materializing the Digital exhibition held at the Museum of Applied Arts & Sciences. This museum presents artworks exploring the ever-present role of digital manufacture in contemporary art, science, fashion, design, and architecture (Museum of Applied Arts & Sciences 2016). Within the gallery there were many works that expressed material discourse of the digital in creation and development of objects. In my exploration of the exhibition I found a work that I had a strong connection to; Prototype for Materialized Sketch of a Chandelier by FRONT Design (2005). This artwork is one of four created in the series known as Sketch Furniture, however only the Chandelier was displayed at Out of Hand.

Sketch Furniture is a series of artworks which look like fluorescent tubing, 3D printed via a process known as laser sintering (Friedman Benda 2013). Laser sintering (LS) is a type of additive manufacturing, where each section is built through successive layering of powder, fused together by laser heat (Verbelen et al. 2017). LS is more efficient than traditional methods such as injection moulding because it is faster, ultraprecise and is able to produce components with mechanical characteristics that are similar to those made by conventional methods (Kruth et al. 2003). The lighting accompanying this artwork made it seem as if it was glowing from the centre of the loopy mess of pure white material that casts an eerie shadow on the wall behind it. My first impression of Prototype for Materialized Sketch of a Chandelier was that it appears as if it was materialised from thin air, even otherworldly. There is no indication of its manmade origins, it is as if somebody has materialised their idea from nothing. Beneath the work of art is a name and description plaque and video which depicts the creation process.

Prototype for Materialized Sketch of a Chandelier (2005) is the combination of motion capture technology that records the movement of a pen that is used by the artists, and transfers them into a 3D file that generates a skeleton based upon the lines traced from the pen’s movements. This 3D file is then materialised through laser sintering; a type of 3D printing that uses a laser beam to direct ultraviolet light into a bath of liquid thermoplastic powder. This method creates a 1:1 exact replica of the artists drawing in the bath and solidifies the plastic in the path of this beam (Front Design 2005; Kruth et al. 2003; Verbelen et al. 2017). This artwork is 86.1cm high, 79cm wide and 70.3cm deep. It has been designed so that it may be hung off of a lightbulb where the bulb sits within the centre of the artwork. This element allows for the shadows of the Chandelier to create an artwork in of themselves.

Front Design is a creative group based in Sweden composed of three designers, Anna Lindgren, Charlotte von der Lancken and Sofia Lagerkvist (Front Design 2006). They collaborate to create artwork on a variety of different themes – focussing on less traditional styles. Front Design artworks often convey debates and stories about design, the materiality about it and the immateriality of it (Anna Lindgren & Sofia Lagerkvist 2017). They both share an interest in things that are unusual, magical or technological – often designing pieces which mesh traditional icons with an unusual pairing. A key example of this is their design piece Horse Lamp which imitates a traditional statue of a horse but transforms it into a lamp – a commentary on how animals are now inanimate objects in today’s society (Front Design 2006). Their goal with the Sketch Furniture series was to blend new 3D printing technology with traditional ‘sketching’, allowing the idea of design through spontaneous thought.

The purpose of Sketch Furniture (2005) was to ask a question, “Is it possible to let a first sketch become an object, to design directly onto space?” (Front Design 2016). The artists at Front Design were creating a method to materialise free hand sketches instead of the traditional process of sketching pen and paper before designing the sketch as a 3D file through a computer. This is where they sought the use of motion capture technology to trace the artists pen – therefore eliminating the use of the 2D paper surface. Through this method, Front could materialise the object created from the artist’s sketch through laser sintering without the middle steps of manipulating a design within a computer. A traditional element which would usually be sketched and designed before production is furniture. Front Design has specialised their ethics of cutting out pen and paper through the use of technology and instantaneously skips to the production component instead of the traditional design-production process.

With this combination of motion capture and rapid prototyping, Front Design could create Prototype for Materialized Sketch of a Chandelier (2005). The video clip supplied with the artwork depicts Lindgren and Lagerkvist drawing the furniture in a 3D space as several motion capture cameras track the movement of the pen. It appears as if a button is pressed on the pen which then activates the tracking within the motion capture program. As the artist draws in the air, the program traces and creates splines off the line art so that it is then printed as a solid object instead of skinny lines. This is then saved and printed as a thermoplastic 3D printed laser sinter – layer by layer.

The coming together of these different elements and materials means that Front Design was virtually able to design in the gallery they were exhibiting in. This approach to materialising the digital and taking away the material aspect of common furniture design is quite unique. Front Design’s question on if it’s possible to design directly into space inherently takes out the middle man of research and development. Equally using laser sintering as a method of materialising means they virtually take the idea right out of the artist’s mind and hand and recording it with 3D motion capture.

Installed in the Out of Hand exhibition, Prototype for Materialized Sketch of a Chandelier engages the audience in the production and final piece. From a physicality stand point, the audience can generate different perspectives on Front’s take on materialising the digital. Essences of typography and graphic design come to mind, along with aesthetic keys to the human body take shape from the movement of the plastic sculpture. The video supplied allows the audience to digest the immaterial aspects that went into the work. The video editing paints the picture that Front wanted to portray in that the designs were created directly in their space. The enchanting look of the artist’s movements seemingly building the chandelier that is on display presents their argument for their question to the audience.

Front Design generates ideas and perceptions of magic, they are drawn to it in their creative practice. In Out of Hand: Materialising the Digitality we are brought an iteration of this coming together of immaterial perceptions and material development. Prototype for Materialized Sketch of a Chandelier (2005) brings forward discourse about how we perceive the interaction between the digital and virtual worlds, and questions current design methods and ideas.
A critical component of artwork is how the world around it shapes its creation and how the artwork itself shapes the world in turn. In this way, the artists can interact with the world around them through expressing their ideas materially. Usually, this means that they will design their thoughts on pen and paper before transforming these thoughts into a material object. These objects carry the artist’s potential, the immaterial elements, however within Prototype for Materialized Sketch of a Chandelier (2005) there is discourse created from this culmination of the elements.

Front Design’s ideas derive from their fascination with magic. This motive to keep with other-worldly and intriguing design has drawn them to the path of furniture and interior design. This influence is what has shaped their design making method, by using animals, computers and machines. Horse Light (Front Design 2006) is an artwork by Front Design that expresses this conversation with magic and design that is vivid in other works. The 2.4m tall black PVC horse with functional lamp is a slightly clearer visual aid for Front Designs argument on materialising the digitality. It, much like Prototype for Materialized Sketch of a Chandelier (2005), expresses the blur between digital and virtual realities that is created from modern technologies.

Front Design [Swedish, est. 2004]
Horse Lamp, 2006
PVC viscose laminate shade, metal frame structure and polyester Horse
240 x 230 cm

Another artwork that holds similar ideas and debate on the subject at hand is Alfrim I (1966) that was created by artist James Turnell. It is a sculpture that uses projected light to create the visual image of a 3D cube. Turnell’s work engages with its audience by amplifying their perception creating false ideas on the physicality of the work using this technique. Alfrum I (1966) relies on perspective to express this concept, the same can be said for Prototype for Materialized Sketch of a Chandelier (2005) as Front Design uses the material aesthetic from laser sintering to create this discourse. Aesthetically they create an other-worldly phenomena, Alfrum I (1966) using lighting to distort with the audiences perspective, and Prototype for Materialized Sketch of a Chandelier (2005) using 3D motion capture and laser sintering to question the audiences perspective.

Prototype for Materialized Sketch of a Chandelier (2005) is shaped by the world around it because it is created through a modern technology. The advent of computers, motion-capture programs, wireless peripherals and cameras which can communicate flawlessly with each other allows for 3D space drawing to occur and be saved digitally. Without the 3D process of laser sintering, the artwork would not have the aesthetic that Front Design were intending. This being said, the artwork is a direct form of discourse that challenges the current mechanisms of production. What is perceived within Prototype for Materialized Sketch of a Chandelier (2005) is this potential for how we perceive our ideas. This experiment in design engages with the world around it; it develops a rift between reality and imagination. By pushing the boundaries of the gap between thoughts and the material world we live in, Front Design has created the series Sketch Furniture to illustrate that the gap is becoming smaller and smaller.

Prototype for Materialized Sketch of a Chandelier (2005) by Front Design is an artwork that engages with the idea of Materialising the Digitality. It’s engagement with 3D motion capture and laser sintering generates discourse. This argument brings the audience in to question how we perceive design and equally the boundaries between the digital and the virtual. Through the sharp movements from the artist’s hand to the silky-smooth texture of the melted thermoplastic powder, we are able to perceive Front Design’s answer to their own question;

Is it entirely possible to design directly onto space?

(Front Design 2016)



Anna Lindgren & Sofia Lagerkvist 2017, Front Design; about page, <;.

Friedman Benda 2013, My Brain is in my Inkstand: Drawing as Thinking and Process, <;.

Front Design 2017, Friedman Brenda, viewed 20/04/2017, <;.

Front Design 2005, Prototype for Materialized Sketch of a Chandelier, 3 edn, 86.1 x 79 x 70.3 cm, Out of Hand: Materializing the Digital exhibition, Sculpture.

Front Design 2006, Horse Lamp, 240 x 230 cm Moooi,

Front Design 2016, Sketch Furniture Performance Design Project, viewed 20/04 2017, <;.

frontfilm 2007, Sketch Furniture by FRONT, 20/04/2017,

Kruth, JP, Wang, X, Laoui, T & Froyen, L 2003, ‘Lasers and materials in selective lasersintering’, Assembly Automation, vol. 23, no. 4, pp. 357-71.

Museum of Applied Arts & Sciences 2016, Out of Hand: Materialising the Digital, viewed 20/04 2017, <;.

Spector, N 2017, James Turrell, Afrum I (White), viewed 20/04 2017, <;.

Turrell, J 1967, Afrum I (White), dimensions variable, Projected light

Verbelen, L, Dadbakhsh, S, Van den Eynde, M, Strobbe, D, Kruth, J-P, Goderis, B & Van Puyvelde, P 2017, ‘Full Length Article: Analysis of the material properties involved in laser sintering of thermoplastic polyurethane’, Additive Manufacturing, vol. 15, pp. 12-9.

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MEDA301 | Project Pitch

For our 6th week of MEDA301 we brainstormed as a class all of our project ideas and shared insight.

In my project for materialising the digital I chose to delve into typography, a key part of graphic design. Typography is the design and aesthetic of print media, which merges very well with materialising the digital as typography is something that has changed immensely ever since we started writing.

For this project we are to engage in the discourse of materials

For our class time we engaged with each other in a mass brain storm in the MCA art gallery.


During which we were to grasp our knowledge of everything we researched and theorised about over the past 6 weeks; for my poster I spoke of typography and it’s materiality. I have been excited by the idea of working with neon lighting, a long forgotten form of typography that has become more of a niche object that one would place behind a bar. It has also become a meme finding it’s founding place in the whole vaporware aesthetic.

Image result for vaporwave neonImage result for neon art sign


When I returned to my paper, I had a few different variants on my initial text; for context we would all go around to others sheets to add in different ideas to form discourse.

One of which (the orange text) built further onto an idea that I really wanted to explore

“Fonts are 2D, can you do something, more interesting when making it 3D than just making the letters thicker?”

“Play off the fact that so many letters are built from the same forms”

The idea of the physicality of text, how we have surpassed the days of the printing press where fonts and words were held in your hands before being printed onto paper is something that I wished to explore. This brought me back to my artwork I chose for my essay Sketch Furniture by Front Design, in which furniture was designed digitally using a pen and a 3D cad program that scanned where the pen went, creating a 3D spline that could be printed.

Bringing the audience in is something I’ve always liked to play with, and creating a code that could read peoples movements or gestures and then present their type interests me. This idea brings back the idea of the ink and quill, where typography was something quite personal, and uniquely beautiful in the various iterations of  a single persons font. Potentially exploring this kind of process could bring forth some discourse in typography.

The blue text brings forth some ideas for MVP’s which I’m curious about trying as it goes back to some original ideas that I wanted to try.

“MVP; Re purpose old neon type to create new typeface”

“MVP; Create system that translates analogue typewriter to digital signals”

The first idea is to re-purpose old neon typography in order to create a new typeface. Neon signs are something that I did have in mind to play with for this project. For this iteration I would really be playing with the space in which the work is situated, as neon signs are generally used for non-moving adverts. As it goes now for graphic design, we have LED’s in order to gain a similar effect, but also have the ability to change what is being displayed.

Potential idea is to buy some neon light kits online (cheap from ebay!!) and make some movable neon that can create different typefaces on the spot, even catering to the audience and the space.

Another idea that the blue text suggested was bringing the analogue into the digital. Re-purposing an old typewriter to create digital signals. This is MVP is something I feel I could explore the sound of words and letters (need to search up the word for this!!).

Using an arduino or similar tech I could get an input coming in from the different keys pressed on the type writer and have individual code/programs be relayed through to a projection to visualise and even hear the letters being transferred.

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MEDA301 | Week 5 | My Project

Looking back upon my research I have developed some ideas for what I wish to create for my 3rd and final assessment for MEDA301. Within the past 6 weeks I have researched about others in my field, other practitioners whom I reflect upon, what they do and how they do it, and for this blog post I’m going to build upon what I wish to reverse engineer from my theory.

Before I start I want to explain what typography is, I have spoken about it but I feel I didn’t give a concrete description of it.

When one googles ‘typography’ they are given this definition.
Typography is the style and appearance of printed matter.”

Typography is the practice of making anything printed readable.

Typography is the design of print.

A typographer is a person whom makes it their practice to design print media.

It’s very broad what print media is as this means a lot of things, which also relates to my degree as graphic design covers many different areas, it is the art of combining text and visuals to create printed matter. It takes on many shapes and forms.

From my hero Stephen Banham and also my research into typography I have developed the following idea.

My inspiration comes from a combination work from an art work I viewed at the excursion to the exhibition Out of Hand that is called Sketch Furniture by Front Design.

In this video the Swedish born design company create furniture through the use of 3D tracking and laser printing known as laser sintering. From watching the team create the furniture I was quite astounded by the visual process. I assumed (as it was hard to find out how it was actually created) that there is some code that is tracking the pen that they are using to ‘sketch’ out their creations and transform them into 3D models based on the paths. From watching this and engaging with my lecturer Jo Law I asked if there may be a possibility that this could be used for typography.

The idea that we can create our own font out of thin air arose to mind, using a similar setup to create each individual letters taking out the middle man of pen and paper by bringing it directly to the digital. This also brought up the idea of engineering the digital to the analogue.

This made me think of ways to generate a 3D printed font, creating each individual letter with a 3D printer to bring back the letterpress; an early graphic design typographical machine that would print type from blocks to paper. I was able to research an already existing work, the font A23D (source: I wonder if there is some way that I can re-engineer this, how can I design the style and appearance of this print media.

Building onto this I also tossed up the idea of actually printing out my theory into 3D. What I mean is writing up my blog post’s ect ect and then printing them onto slabs. I don’t know how strongly I feel to this sort of idea, so it is just a quick shot at some more 3D designs.

I want to work with bringing the imaginary into reality, the digital to the analogue and I feel i have a lot of motion with the storytelling capabilities of typography.

It is just finding that quick spark, possibly using neon lighting? Bringing back the picturesque views of late night cities filled with classic neon signs. How it has made a re-emergence in design and aesthetic, how can this be re-engineered? I have always loved working with code, so I have pathways to generate the digital however how do I make that a reality?

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MEDA 301 | Week 4 | Making Opportunity

Week 4 Research opportunities – what are the opportunities available to you in your field? And how may you tap into these opportunities?

How an industry works:

  • What are its hierarchies?
  • Who reports to who?
  • Where does you desired position fit in?
  • What steps have people taken to arrive at your desired position?

What does your practice’s industry look like? How is it classed?

What does the hierarchy of Graphic design look like? Typically it starts with the Head of Design or a Lead Designer. The Head will allocate work to their team based on their skills, per say a client needs a 3D advert created so of course you are going to need a digital artist or someone who specializes in 3D typography.

You then have heads of specific areas, per say you may have some artists that lead in Photoshop and use it extremely well so you will have a head of this team. They will sort out jobs to the other artists under their wing. This leads onto artists. For graphic design there is a lot of versatility, of course you will have people who specialise and become practitioners in print media or digital, or even 3D imagery.

Exercise 1: Plan your apprenticeship

I have done 2 apprenticeships so far so I already have my foot in the door in the graphic design industry.Despite both opportunities being labelled ‘graphic design’ interns, they were both drastically different in what they required and what lessons I learned from experiencing them.

My first one was at Felix, the creative group that works alongside Foxtel to help create their advertisements and anything brand related. My second one was at Lendlease which is a property and infrastructure company, in which I worked with the advertising team.

Now on paper both jobs were under the same description however were in two entirely different environments. Felix is a creative group comprised of a team with different skill sets. Being a creative group there is a lot of freedom within the team on how to approach work in saying this when clients brought in jobs the workers had just as much of a say on how the task was to be completed. Brand guidelines still were to be followed however there was a lot of freedom in the creation of work. Here I was able to stretch my wings and have my say in the creation of some jobs. I was able to work on the re-design of the Felix brand and even had my design chosen as the top 4.

Lendlease is very different in this aspect as it is a corporate identity. This meant that there were very strict guidelines to follow, every job was to scream “Lendlease”. There was still the option of offering different ideas on how to approach the design, but it did have to retain the strict guidelines. That being said I actually had the most fun here, I was able to work in a brand new environment that I didn’t know much about and I was assigned many tasks that kept me very busy.

Mentors and how can they help you?

Two mentors that I know and have;

Daniel Evans, Head of Design at Felix, my boss when I interned at Foxtel

Pino Sellaro, Head of Design at Lendlease, my boss when I interned at Lendlease

These are my main two mentors that I can think of off the top of my head, my bosses and friends. I worked alongside Daniel and Pino during my internship and they taught me a lot about graphic design as a job, but both seemed to speak of it as a hobby in a way. They taught me a lot of techniques on how to do jobs more effectively and how to imagine better, how to get the ideas out of my head and onto the paper or computer in front of me.

For this task I need to get in contact with them, so I’m going to drop in hopefully during my break in week 7 to see how they are going, but to also learn a bit more about them as that was something I neglected when I was doing my internship.

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MEDA 301 | Week 3 | Working with Passion

For our third week of Media Arts, we are to find a hero!

For my hero, I chose Stephen Banham, the founder of Letterbox Design.

Stephen Banham is a graphic designer, much like myself, he is also a typographer much like what I aspire to make my own practice. Stephen is a Melbourne born graphic designer and is currently the owner and founder of Letterbox, his very own typography studio.

I have chosen Stephen to research, reflect upon, and to build upon for this week due to many reasons. I have read about him in one of my design books previously and love his theory on design (also some of his fonts). So I felt he was a good start to build upon as a hero.

I began the majority of my research through my old design book open by the Outdoor Media Association, which has some very cool cover art and also lots of Australia design artists and their work. Pages 20 to 23 is an exert from Stephen Banham in which he speaks about Bringing character to our streets. In open Stephen speaks about the typography in the open world and how it has developed over the past 10 years, explaining;

“Like the cities in which they are situated, advertising media is in constant dynamic change. The earlier age of neon lent itself to a simpler notion of advertising when presenting a fixed single message to a mass audience was considered not only appropriate but economically effective. But now we live in the age of the very finely segmented media, with niche markets addressed by customised messages; where users contribute to rather than absorb media messages, building brand relationships around a product or service.”
Stephen Banham (2012, pp.21)

In this text Stephen speaks about how graphic design has been shaped over the years to suit the new day and age of digital media; modern graphic design favors the small screen opposed to the big neon signs and giant posters. This leads onto why I have chosen Stephen Banham as my hero; Stephen focuses on the recognition of a typeface, the story being told by the design.

From an article I also found I was able to learn more about Stephen Banham in a personal interview by Lucy Feagins from The Design Files. In it you learn some personal information, like the fact that he enforces a 5:30pm leave time at work, not for any personal gains but for self-discipline. Through self-discipline and patience he has gained his place in the graphic design field. This is something I have learnt while studying him, that you need to have a lot of self-discipline and also a lot of self-worth.

Another thing I learnt about graphic design through Stephen was that it may be a fun course and indeed career, but it is also very very hard. There are times where sacrifices must be made, one such sacrifice is Stephens decision on where to spend his $300, on printing his first issue of his book Qwerty or to pay rent. There are times where you may not like a job, a client, the pay, or the environment, but you have to work through it and maintain this level of passion to be a practitioner within your field.

This brings me onto my conclusion for this week;

What motivates me?

I continue to study my degree for the same reason I chose my degree. I asked myself what job would I be able to wake up at 4:30am to do? It’s a little specific choosing 4:30am, but I chose it not as a sacrifice that I would have to do for a job, but a sacrifice I’d do for myself.

I’d be more than happy to wake up at 4:30am for a graphic/typographic job. Ergo I’m more than happy to put in the hard yards at uni to learn what I need to learn to get there. I have had problems where this was a big task to do, and I did let it get the best of me but I tried not to make it keep me down. I do these assignments to learn the history about my career (even though I suck at remembering names) . I work internships as stepping stones to shove my foot in the door. The most important thing for me in my career is that I am happy.


Lucy Feagins, 2010, The Design Files, Stephen Banham of Letterbox, viewed 17/3/2017; <>

Feagins, L 2010, ‘Stephen Banham of Letterbox’, <;

Outdoor Media Association, 2012, open, pp.20-23, viewed 17/3/2017;
Letterbox, 2017, About, viewed 17/3/2017;


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MEDA 301 | Week 2 | Research processes

This week, I have focused on the following three questions (to help define and narrow my research efforts).

What is research and why does it matter?
Why do we use theory to create our practice?
Why do we practice to create our theory?

First of all, I looked into defining research. Research is a practice in of itself, you find the ‘new’. This ‘new’ could be new knowledge, new discoveries, new understandings or new mediums. Research matters because it is able to measure understanding and information by it’s impact and seeks to answer questions (Davis, 2015).

Finding a difference that will make a difference. (Wall-Smith, 2017)

In order to find a difference when researching, I will have to find details relevant to the skills related to my practice (Graphic Design/typography). Therefore, a key skill I have begun to develop is deciding what articles and information is relevant to my degree – if it’s not relevant I must learn to ignore it. Therefore, in order to research into typography effectively, I needed to define smaller categories to search for. These categories (in no particular order) are:

– Context

– Theory

– Contemporary Research into forms and practices.

– History of typography – where was it developed and how?

– Practice

– Material Research

For this subject I’m looking into the historical aspects of Graphic Design/Typography and also concentrating on developing vital skills that I will need for my degree. This is mostly looking into how stylized text (fonts) are created and why they were created (using the skills I selected). The Bauhaus Era (1940s) defined the beginning of Graphic Design branching out into contemporary arts worldwide, this included the rise of typography within Graphic Design (Guttenberger & Bahr, 2016).

When researching into the history of design, I focused on typography within Graphic Design because this is what I want to end up doing for my practice. Typography is centered around telling a story, typically selling a story, and the best stories are remembered past a lifetime. An example of good typography would be Coca Cola’s brand – their iconic calligraphy is recognizable all over the world and has been for decades. Putting this into the perspective of Graphic Design you will look into logo design and how identities are made, what do they tell you, why are they like this? The text included with a logo speaks volumes about the type of product the logo represents. The great ones won’t exactly tell you these fine details, such as the fabled Golden Arches – just by describing them, most people will understand what you are referring to. McDonalds identity has been immortalized by their use of typography and logo design incorporating into their architecture. It is efficient and eye-catching – the very description of good design practice.

We use theory in order to improve our practice, to reflect and to find answers to questions we have about our own practice. For example, by looking into the history of Bauhaus Design we get this sense of visual freedom in the typography and especially the design of things. We see artists like Joost Schmidt and his Poster for the 1923 Bauhaus Exhibition in Weimar. These examples inspire and extend a Graphic Designer, allowing for creativity and visual acuity.
Poster for the 1923 Bauhaus Exhibition in Weimar, lithograph, author: Joost Schmidt, 1923. Bauhaus-Archiv Berlin / © VG Bild-Kunst, Bonn 2016.

Within Schmidt’s work we see the incorporation of the Bauhaus logo, the title, what is on and where and what time (of course in German/Austrian). The geometric shapes lead into the text and take you on a journey to fin the information. It’s colors aren’t very bright or over captivating in a good way (in my opinion) so you do not get distracted. the form of the design and how it plays with the type is very beautiful. Reflecting this to other Bauhaus graphic design we see some key similarities in how design was shaped during this era.

I feel as some practice I could try to replicate this work in InDesign or Illustrator and I’ll set this as a mini task for me to do to explore some Bauhaus design.Image result for helvetica

Now in comparison moving to the Swiss era of design around the 1950’s we get a different design perspective, a very functionality over form design principle. The geometric designs are still seen, however it is more focused on the functionality of text, the story telling of fonts. I love the Bauhaus era of design and I love the functionality of Helvetica, the neutrality of it, how there is a meaning in the text and not just the typeface.


Through practice, we are able to build knowledge and skills. Whilst we create our artwork and products, we in turn create theory and history – we are allowing ourselves to become immersed in the theory. To create is to contribute to the theory we research, therefore it is important to not become distracted by the act of reading about others and instead, use what skills and lessons learned from history to inspire and guide our practice. For typography, which is quickly becoming a digital only medium, I feel it is important to trace back to its roots and rediscover its potential as a print media.


Davis, GF 2015, Editorial Essay: What Is Organizational Research For?, Administrative Science Quarterly, <;

Guttenberger, A & Bahr, G 2016, What exactly was the Bauhaus?, <;.

Wall-Smith, M 2017, ‘02W: Research processes’, accessed 07/03/2017. <;






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MEDA 301 | Assignment 1: Practices Development Project | Week 1

Week 1 Define your practice and your field

For this Assessment task we are to research, practice and learn about our practice.

In this week’s blog, we were tasked with deepening our understanding of our respective field of knowledge. For me, this is Graphic Design so I have focussed on typography, design, advertising and graphics. For the rest of the semester, we will be looking further into MEDA301 as well as ourselves in order to be successful practitioners of our respective degrees. It is my aim to (what would you like to learn) as part of this course.


In my opinion, I am fairly lucky to be completing a Degree in Graphic Design because there is a wide variety of areas in my field of study, such as marketing, website creation, digital media, logo design, brand managing, photo editor, UX (user interface) designer, poster design, etc (. When I was completing my internship, I discovered that I am most comfortable with print based media and 3D animation, therefore I will continue to refine my skills in these areas. Keywords that best describe my field of study are;


  • Typography – (for fonts, language, storytelling, poster design etc)
  • Design
  • Writing
  • Sketching
  • Fluidity
  • pen and paper
  • Digital
  • Illustration
  • Calligraphy
  • Creation
  • Imagination
  • Mind map
  • Repetition
  • Iteration.

Some related activities that I came up with are story-telling, sticker design, typography, poster design, logo design, brand identity.

These keywords seem to suit my degree – it covers what I believed my degree is about. Graphic design is centered around design and storytelling which I feel is emulated through a lot of my previous projects that I have completed during my university degree.

The most influential project I have completed was my cameraless film project for Meda 201. Although other projects have given me skills and expertise that I now rely on, ‘Stroke of a Pen’ for MEDA201 gave me the opportunity to tell a story as well as allow me to experiment and create with a number of design elements.


I loved drawing on each individual piece of film and even though there was repetition of imagery, every single drawing ended up being different in every way. I would love to incorporate this sort of design principle into my professional practice. I fear that this type of design may appear to be mundane at first, therefore I am searching for new techniques to ensure my future projects capture the audience the same way ‘Stroke of a Pen’ did.

This is a mind map I drew after our first tutorial for MEDA301. It depicts areas of research and personal goals in order to ensure I remain on target and hopefully do not get caught up researching an irrelevant topic.



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