I had the opportunity to meet with my MFA committee members this semester to keep them up to date on my progress since our last meeting in February. The presentation went alright, but I think a lot of the questions still surround how will the thesis exhibition be displayed, and how does it represent my thesis research and visual work? Some comments that came up involved visiting children’s museums around the area to get some inspiration and how items are arranged in an environment. Currently the exhibition idea presented does not get the ideas across that it is a cross-cultural project to promote cultural preservation and merging of multiple cultures; think about educational materials related to the journey; perhaps there is a system of symbols that tie into the project; perhaps there is something projected; the message is unclear–people don’t understand what it’s for; perhaps include another component that is interactive in the environment; define what the thesis is–is it the app or is it an accumulation of something more?; is the experience in the app or is it the whole experience in the display that delivers the message, and the app is just a component to the thesis message, or purpose of cultural sustainability?; think about how lanterns are lit in the gallery space; think about the audience of children and adults; how to make the space more interesting? what is the statement? what is the environment/space?; can light create something magical?; if the person is visiting the space, what can they understand at a deeper level?–is there a cross-cultural end missing? what is happening? is it educational? will it need more explanation to what the project is about?; maybe the display focuses more on point of purchase; what components can be brought together to explain, using visuals; do lanterns make a sound when touched?; perhaps it is a series of flat objects but when touched create a sound, documenting the journey to explain cross-cultural ideas; other points related to Missing Mooncakes: hybrid mooncake designs, eyelashes on Sophie to look more feminine; expressions on face significant; are scale of characters logical for story?; perhaps a landscape of Vancouver and Chinese symbols instead of mooncake chairs…Definitely a lot to think about and glad we have a few days off from classes to gear up for the end of semester projects and research.
One of the comments I received while showing the Missing Mooncakes scenes is that there seems to be too many scenes. I’ve reviewed again at the number of scenes the story currently has. It accumulated to 16 scenes, and to this point I have brought it down to 12. I thought that perhaps some scenes could be combined into one, such as the aquarium scene where Sophie looks for a mooncake (this scene replaced the scene of Muffles taking the mooncake for the birdhouse). Below are some screenshots:
The tutorial Puzzle Piece Design with Illustrator and Photoshop made it easy to construct the shapes of the puzzle pieces.
Also thought about potential playing cards that can help build vocabulary:
Continued to sketch and digitize the rest of the characters for the ‘(v)Ending Machine’ for the VC group project. Our project tries to show potential harmful ingredients that can be in certain foods.
It was a relief to finish writing my research paper for my last art history class. The topic I chose to write about relates closely to the design work that I’m researching and currently experimenting with–cross-cultural design. The topic of my paper: “The development of cross-cultural graphic design in China from the 1980s to 2000.” I researched further into cross-cultural designs such as pioneer Chinese graphic designer Bingnan Yu; termed ‘Father of Hong Kong Design’ Henry Steiner; and well-known Chinese graphic designer Xu Wang. I cross-referenced about 30 references of design work for the paper, worked out to be about 20 pages of content with 10 pages of design work images.
Was thinking a little more into how the interactive ‘help’ element comes into the screen. If it came in from the top, it seemed that it enclosed the page too much, but having come from the bottom may work, but it also seemed a little bit too cluttered? Some screen shots below:
Decided to see what it would look like if character prints were adhered to the cardboard. I started off cutting with an exacto knife, but found out that using a pair of scissors was much easier to cut the curves–for a mock-up anyways. Some screenshots of the process below:
Continually thinking about simplifying the scenes. Adding a few new textures, and taken away some elements–but now it’s time to quickly finish the scenes to a level that it can be tested again.
More revisions to follow.
Continued researching a variety of cross-cultural graphic designers in China. For my research paper, I’m analyzing the design works of pioneer Chinese designer Bingnan Yu, ‘Father of Hong Kong’ design Henry Steiner, and Xu Wang–a well-known graphic designer whose works show influences from the East and West. Working bibliography:
Anderson, Chris. “Wang Xu: graphic design’s evangelist in China.” Graphis 316 (1998): 22-31.
Arntson, Amy E. Graphic Design Basics, Third Edition. Orlando: Harcourt Brace College Publishers, 1998.
Cushing, Lincoln. “Revolutionary Chinese Posters and Their Impact Abroad,” 7-23.
Cushing, Lincoln, and Ann Tompkins. Chinese posters: Art from the great proletarian cultural revolution. San Francisco: Chronicle Books LLC, 2007.
Hongxing, Zhang and Lauren Parker, eds. China Design Now. South Kensington: V&A Publishing, 2008.
Lupton, Ellen. Thinking with type: a critical guide for designers, writers, editors, & students (second, revised and expanded edition). New York: Princeton Architectural Press, 2010.
Meggs, Philip B. and Alston W. Purvis. Meggs’ History of Graphic Design, 4th edition. Hoboken[city]: John Wiley & Sons, Inc., 2005.
Meggs, Philip B. and Alston W. Purvis. Meggs’ History of Graphic Design, 5th edition. Hoboken[city]: John Wiley & Sons, Inc., 2011.
Minick, Scott, and Jiao Ping. Chinese Graphic Design in the Twentieth Century. New York: Van Nostrand Reinhold, 1990.
Page One Publishing. Inspirations from the East: Modern Chinese Design. Page One Publishing Private, 2010.
Resnick, Elizabeth. Design for communication: conceptual graphic design basics. New Jersey: John Wiley & Sons, 2003.
Steiner, Henry, and Ken Haas. Cross-Cultural Design: Communicating in the Global Marketplace. New York: Thames and Hudson Inc., 1995.
Wang, Min, and Xiao Hong Shen. “After Mao: Chinese Graphic Design Today,” Print 48 (1994): 64-71.
Welch, Patricia Bjaaland. Chinese art: a guide to motifs and visual imagery. Tokyo: Tuttle Publishing, 2008.
Other resources of interest:
Losing In Translation 2: Graphic Design in Hong Kong and the Peoples Republic of China, by Catherine Jo Ishino
Posters by Xu Wang, The International Poster Collection, Colorado State University
Biography on Xu Wang on Beijing International Design Triennial
More resources to update as the research paper progresses.
We are working towards some of the illustrations in our vc group project. I’ve been working on some character sketches in the different environments we decided on. The first environment relates to the character jogging outdoors, then consumes a flavored drink that contains Brominated Vegetable Oil (BVO). Expressions and gestures are exaggerated. Still quite a few sketches to go, but some below are some initial digital drafts.
Had the opportunity to print out some cardboard cutouts of the characters of Missing Mooncakes. I am also hoping to construct cardboard chairs in the shape of mooncakes.