30. CONTEXT ABSTRACT REWRITTEN

This contextual report explores our appreciation towards ‘work’ as consumers, users or alike. Investigations have involved looking at the way in which work is received or accepted, particularly the attitude towards it and the attention given. Key questions revolve around what we appreciate and why; what is it about quality that we appreciate, assuming that we do in fact appreciate it at all? This then leads to the effects of varied approaches to intaking the work, whether levels of appreciation can directly correlate with our emotions and if our enjoyment or fulfilment can be optimised through work (effort) of our own. In turn, what can the designer or maker do further to dictate how the work is perceived in the first place, to trigger better attention by the recipient? Such arguments have been specifically explored through print media in particular, as this industry has shown fascinating movement in recent years, which illustrates a good example of a shift in focus for higher care and appreciation from both parties (publisher and reader). This report itself also an attempt at encouraging you, the reader, to dedicate time with it and to make effort to experience its qualities – not only for my work as the designer to be fully recognised, but also for you to enjoy it better because of it. It concludes with the belief that there are benefits for everyone with an increase, whether small or large, in treatment manner.

Written post-Alex's-talk on what abstracts should look like. My feeling is still that I'm happy with what an abstract should do and how it should be structured, but given that the content is still uncertain, I feel stuck on what to write, not how. My topic still seems very broad. I don't want to fall behind. 

29. CONTEXT ABSTRACT

For my contextual report, I'd like to explore the relationship between maker and consumer, designer and user. My early project investigations have involved looking at the way in which 'work' is received and how it is valued by its audience. Key questions revolve around what we appreciate and why; what is it about quality that we appreciate, assuming that we do in fact appreciate it at all? I'd like to inspect how our attitude towards accepting and appreciating 'work' can directly relate to our emotions, whether our enjoyment or fulfilment can be optimised through work (effort) of our own. In turn, what can design do to dictate how the work is first perceived to trigger more attention by the recipient or user? 

The print industry has seen a spike in new publications, albeit smaller in scale and target audience, each succeeding with a significant shift in focus from the digitally-converting mass-market titles. I believe that this focus is driven by greater care, which both serves more goodness for the reader as well as it invites more appreciation too.

This report itself acts as an attempt in encouraging you, the reader, to dedicate time with it and to make effort to experience its qualities – not only for my work as the designer to be fully recognised, but also for you to enjoy it better because of it.

This isn't the easiest thing to write right now, given that the subject area is still undecided, or at least not a stage at which I am optimally comfortable. And also because I thought abstracts tend to be best written at the end of the assignment itself; it's difficult to be specific about what the report will consist of. (I'm also 74 words shy.) But I understand the values that are held in writing something now, because we're at the start of the process, and that it's a good way to set off by actually doing useful work. I just don't want to be tied down to what I say now, that's all.

28. EVERYDAY EXCELLENCE BY PATTERNITY FOR COS

27. MAGAZINE SPOTLIGHT: OFFSCREEN

Magazine Spotlight #1
Offscreen www.offscreenmag.com

First up in my spotlight series of good publications is Offscreen, a magazine exploring the people behind websites and apps – a smart concept looking at the offscreen lives of those who are behind the work we see on screen as well as more literally being behind screens all day for a living. I'm no coding enthusiast nor app developer, but it's still really interesting to be presented with how these people operate and to hear their outlooks on the broader notion of design and lifestyle.

Originally a web designer by trade, Kai Brach launched the first issue of Offscreen in early 2012. Feeling disconnected by the fast pace and the ephemeral nature of the digital world, after ten years of freelance work Kai wanted to create something more tangible. With Offscreen Magazine, he combines both his love for technology and the web, and the unique experience of printed magazines.

In the span of three months, Kai "converted" from a UI designer to an editorial art director, not only publishing and editing Offscreen but also designing the magazine from the ground up. As such, Offscreen is still a one-man operation, and a proudly authentic indie magazine supported by amazing contributors and curious readers. Kai hopes to reinvigorate printed magazines as a choice of media that provides a welcome break from our always-on society.

The words here, extracted from Offscreen's own About page, are eloquently put and provides a perfect introduction to the project's aims and purpose, which resonate with my feelings towards print as both an industry and as a reader who can appreciate good content. Printed magazines being a "unique experience" is vital to note, as an experience I am eager to find in its creation as well as the experience I feel as a reader. I think that Offscreen's statement of intent or self-instigated value is well communicated and on point for fitting into our lifestyle. It's therefore one of my favourite publications in the market, and has thus found itself first in my series of upcoming 'spotlights'.

26. CAMERA PURCHASE

It's been coming and I've finally purchased my camera. Panasonic Lumix DMC-G6, a micro four thirds compact with a 20mm f1.7 pancake lens for now. Good for photos and good for video.

I've been meaning to get a pro grade camera for a while, not sure what exactly I was waiting for, probably just hesitant to splash the money. But I've always felt that I should own one and that I should know how to use one. This is now my final year at university and I just figured if I don't get one and learn it now, when would I? This is the right time, especially with such freedom in our design practice I know I will be using this kit every day and it may just become pivotal in the shape of my work for the year. Very happy with the purchase.

25. MATERIALS WORKSHOP TWO

The following task for the workshop required us to use our selected materials to make words, but maintaining its primary function for which it is intended for. Or something like that? The explanation sounded awfully 'wishy washy' and I'm not sure I quite 'got' it but I gave it a go. With tracing paper my choice, I wanted to create the word "trace". However, by definition, tracing paper needs to remain as unhindered as possible to retain its transparency that allows the tracing to happen. So my challenge was to manipulate the material in a way that didn't tamper with its physicality, or by as little as possible. I didn't find that easy, but I did decide to use folding techniques to create shapes for letters so that it could still be unfolded to again be a blank sheet for tracing with. Not sure it fulfils the brief but in some ways I have at least overcome what I saw as an initial problem to have an outcome at all.

> Read the first entry here.

24. UNIQUE HANDWRITING

So it occurred to me whilst tracing that handwriting is rather interesting. I write this with no research undertaken, but there are a lot of traits that make up our handwriting. Different qualities and tendencies constitute how our hands move and how this in turn reflects in our writing, naturally. What is it about each of our handwriting that makes it unique? Sure there can be similarities between people, and indeed dissimilarities between one's own writing, but I'm sure there are fundamental characteristics that make up our own handwriting fingerprint, if you like – just like a typeface does. It's fascinating to me how letters of completely unique shapes to each other (A to Z) can be designed to be recognisable as a font family, whereby all characters so successfully 'fit' with each other. How?

Tracing over somebody else's writing is a simple way of replicating, but aside from the tracing paper itself, what distinguishes it from the replica from the original, if anything?

> Read about the Materials workshop here and here.

23. MATERIALS WORKSHOP ONE

Materials speed dating. I must say the most significant positive to come out of this morning's session for me was getting to interact with new members of the class. There's certainly interest to be found in discussing a range of unknown materials put in front of us, but I think I found it difficult to relate to my project interests.

The next task involved choosing a material to research. I selected tracing paper as I had a pad of it with me. Below constitutes some background and history behind tracing paper.

21. MATERIAL DISDAIN

Materials and making aren't really my forte, so I'm not particularly looking forward to Monday's workshop. But the tutors' sentiments so far have been really agreeable so I trust there will be something for me to take away from it. I am useless at hands-on physical stuff though!