Decorative Arts Design

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By Esther Dudley, Stuart Mealing

Proposing an research into key affects on designers as they advance from scholars into practitioners, this article brings jointly contributions from specialists in layout schooling, perform, examine and conception.

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Experimentation has a rich contextual history. Jonathan Barnbrook, whose inventive and sometimes controversial designs include the typefaces Exocet and Manson, states that his work refers to the tradition of type as an important learning reference. People should experiment, but they must know the craft first; otherwise there is no experimentation – there is nothing to work against. Plenty of students and 56 intelligent shape sorting professionals think that they are doing experimental type, but they’re not – they’re just working in a fairly defined contemporary visual language.

Or, what happens when we are just as likely to access online information via our hands-free mobile phone as a screen? These are but two questions that might vex a web-designer in a more reflective moment. They are two examples of issues that face designers of all disciplines. I raise them as an illustration of subjects that are unlikely to be resolved through past experience of the design profession. Answers are more likely to flow from a wider analysis of business, social and technological trends, wedded to a knowledge of design.

From a purely pragmatic point of view, design is perceived to have survived so far without the need for theory, therefore few designers see the need for it. Towards Design Praxis Anything that is not nature, is design (or designed)14 Richard Seymour Many shrug their shoulders and proclaim that design is too complicated to understand and ask why we would want to anyway. My founding assumption is that design can be understood and that a greater awareness of its processes is desirable for designers.

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