Programme

This paper looks at the future of design education with a focus on Typography. One of the key developments in Type education in the past two decades has been the emergence of new media in visual communication, which has compelled us to take a new look at the way Typography is defined. If a majority of the definitions of the word, ‘Typography’, revolved around the “printed word” earlier, the emergence of pixel-based visual media, has forced a reorientation of the traditional definition of the study of Typography.
As we move firmly towards a pixel-centric communication interface in our foreseeable future, we need to create design professionals who are not only aware of the vast differences between traditional media and the new digital media but are also competent enough to unravel as well as meet the dynamic challenges posed by relentless technological advances.
For example, designers will have to tackle the limitations of a web environment in which the variety of typefaces available for visual communication shrink drastically vis-à-vis the old (print) media. Similarly, colours defined by the designer often do not render as intended on a digital plane on different operating systems and different hardware.
The degree of control of typographical parameters enjoyed by a designer has reduced in many fields of new media such as the web and interfaces of operating systems where factors like hardware compatibility and software updation play a vital role in deciding how a visual finally appears to the end user. This is in great contrast with the confidence of execution a designer had while handling traditional media like Offset lithography, Photography, etc.
Design education thus needs a careful relook and revamp to address the tectonic shift in technological, social and psychological matrices as we move towards an era where the scope of control in the hands of a designer over the final output is dictated by technology. On the other hand, there is an equal challenge to emerging technologies as well insofar as its ability to accurately measure up to designer’s conception and visualisation needs
is concerned.
This paper looks at the changes in design education that are called for at the individual, institutional and technological levels to meet the challenges of evolving technologies, based on the significant lessons of the past as well as the adaptability of the present.

Since 2000, Sreekumar is teaching typography, information graphics, publication design and life-drawing as Associate Professor at Industrial Design Centre (IDC), the most reputed design institute in the country, at the Indian Institute of Technology (IIT-Bombay). He has designed popular magazines like Chandamama, CHIP, Overdrive, Digit, Network Computing, Society, Savvy, Kanyaka, CTO Forum, Banking Frontiers etc.

He graduated in Applied Art from the prestigious Maharaja Sayajirao University, Baroda, Gujarat in 1990. After completing the MDes (Master of Design) in Visual Communication from the Industrial Design Centre at the Indian Institute of Technology (IIT-Bombay) in 1992, he worked for publications like the Times of India Group, Indian Express and Jasubhai Digital Media.

After joining IDC as a faculty member, he teaches various subjects including Typography, Information Graphics, Visual Design, Representational Techniques, Human Anatomy etc.

Inspired by his predecessor, Prof. R. K. Joshi, he researches on subjects like Font Design, Publication Design, experimental typography and installations. Sreekumar is now pursuing a Ph.D. at M.S. University, Baroda, on the behavioural analysis of letterforms under the guidance of Dr. Deepal Kannal.

http://www.idc.iitb.ac.in/gvsree/bio.htm

http://www.designingwithtype.com/iit-bombay/index.html

www.typostudents.blogspot.com

Movable type printing originated in China but the enormous number of characters in Chinese rendered it unsuitable for such printing. Johannes Guttenberg a printer from Mainz in general, is attributed for inventing the movable type during the fifteenth century. After his invention, the art of printing began to spread across the world. In a span of hundred years, printing reached India, this became possible due to the discovery of sea route by Vasco da Gama and arrival of Christian missionaries. The evangelists established printing presses at various coastal regions of southern India, the first being at Goa. The printing of book ‘Doctrina Christam’ by St. Xavier in 1557 marked the beginning of printing in India and consequently in Tamil. In the next 450 years, the country and script has witnessed numerous changes in printing, type design and typography.

The seminal work by Anant Kakba Priolkar has been the primary source for many scholars who study history of Indian printing. This is followed by the works of an historian, B. S. Kesavan who draws inspiration from the same. Similarly in Tamil script, notable scholars like N. Sambandan and Tamilnadan, are few who had worked on the print history. Apart from their efforts there are hardly any literary works on this subject. The existing studies mainly focus on the evangelic activities of the missionaries and their print activities but lacks influences beyond their contribution. There is a lacuna that requires study and research. It observed from the literary study that there is a need for a comprehensive history of Indian printing and typography especially in Tamil. There is also a need to educate this history in a manner understandable by the younger generation in the modern context.

The research identifies and documents some of the major developments in Indian printing and Tamil typography. It also attempts to document the printing and typeface design of native script Tamil other than in India. The objective of the research is also to develop a set of information graphics based on the study to educate the present and newer generation. The resultant information graphics is not only aimed at bringing a concise history of Indian printing and typography but also to make history more visual, interesting and easier to understand and learn. The study is limited to the period between the first printing and early twentieth century.

Dr. D. Udaya Kumar is an Assistant Professor at Indian Institute of Technology Guwahati, India. He teaches Typography, Graphic Design and Visual Design at Department of Design. He is involved in various consultancy projects and is the designer of the Indian Rupee Symbol. He has a PhD and Master’s degree in Design (Visual Communication) from Industrial Design Centre, IIT Bombay. He did his Bachelor’s degree in Architecture from School of Architecture and Planning, Anna University. He worked as a design head of a magazine – Intelligent Computing CHIP for renowned publishing house in Mumbai.  His areas of interest include Visual Communication, Graphic Design, Typography, Type Design and Design research with special focus on Tamil Typography.

The paper discusses the benefits and the opportunities created through the recently initiated platform and printed matter entitled InformForm. InformForm examines how we generate, understand, organise and give shape to data and information. It specifically looks at the process, properties and scope of producing charts, schematics and diagrammatic displays. InformForm is a guide for students, as well as a reference for tutors. It is to be used alongside other relevant literature, journals and online resources. It encourages reflective methods of understanding and process in a learning (academic) environment. Information design is a field of study as well as a vocation. For it to be of reference it needs to be knowledge driven, useful and accessible to a wide user range, especially in today’s overwhelming ocean of information.
As designers we give form to both quantitative and qualitative data and information when producing visual output. Spatial and visual characteristics as part of a consistent visual system can give a truthful and objective impression to a reader. Diagrammatic displays are in their nature systematic, ordered, clean and clear. This helps the reader understand the message being communicated. It can be triggered through the synthesis of the medium, the context and the graphic elements utilised.
The visual language of information systems is often a reflection of content, context, its place in time and more so than ever before: technological opportunities in relation to large often complex datasets. The paper we propose would discuss the importance of setting up design students with the knowledge to reflect on historic case studies, comprehend the value of information, process, their own work and exploring a wide range of technologies - old and new, theoretical as well as practical. This dialogue and learning experience is encouraged through traditional workshop orientated tasks with tangible and physical explorations but also through ephemeral, transitory processes that can be found in online community environments. Therefore to be shared with a larger community and becoming a reference point in a student’s iterative cycle of process.
The first issue of InformForm showed the work of students from Tsinghua University, University for the Creative Arts at Farnham and University of Portsmouth. It also includes a brief and interviews with Darren Clarke, Peter Crnokrak, Ronni Kimm and Stefanie Posavec.

Maaike van Neck, ΜΑ, is a Senior Lecturer on the BA (Hons) Graphic Design at the University of Ravensbourne, UK, and a founding member of the London-based Research and Design studio Mwmcreative.

Maria da Gandra, MA, is a Lecturer on the BA (Hons) Graphic Communication at the UCA Farnham, UK, and a founding member of the London-based Research and Design studio Mwmcreative.

This paper will synthesize work from a number of projects that focus on how visual communication and visual thinking skills can be taught and supported across settings. Visual literacy supporters argue that we learn to read and communicate with images, in similar ways that we learn to read and communicate with text.  In order to understand and be able to decode effectively the information from a visual we have to learn the visual syntax and grammar of the visual language used.  Few attempts were made to evaluate the readability of images. One project examined the readability of images according to context, audience and purpose of use. The Picture Readability Index (PRI) is a qualitative instrument that was based on research and theory from the areas of semiotics, linguistics, perception, visual literacy and cognitive psychology.  Designers often falsely assume that certain visuals will have the same impact on a group of learners.  Cultural conditioning influences the way we read images.  Learners from different cultural backgrounds have different ways of responding to images.  There is a need for establishing guidelines for designing and using visuals for pedagogical purposes.  Guidelines deriving from visual research should not be aimed to create precise prescriptions for effective visualization for all the learners.  Instead, these guidelines should be aimed to make sure that the majority of the students would benefit from a specific set of visuals. The pedagogical design of teaching visual thinking skills comes from projects Design practice, METIS and Authentic Learning, which place a big emphasis on supporting educators to think visually about their learning designs. By providing several tools that support visual thinking, educators are empowered to map their learning aims with specific activities in ways that the affordances of tools used will support students to achieve the expected learning outcomes.

http://www.cardet.org/vrasidas/

This paper studies how Graf, Inc., the first graphic design studio from Puerto Rico, which operated from 1982-2002, attempted to professionalize the graphic design industry of the country. Founded by graphic designer Mary Anne Hopgood, Graf, Inc. implemented a new paradigm in the design practice of Puerto Rico that shifted away from fine art printmaking traditions. The studio’s focus on providing visual communication services to local businesses allowed designers to develop their practice as something other than fine artists or advertising agencies. The authors will discuss the considerations that were taken to adapt a model of industry imported from central contexts like the United States to a peripheral country such as Puerto Rico. Interviews to Hopgood, co-author and subject of study of this paper, will work as primary source of information. As case study of the firm's work, the author's will use multiple milestones of a recurring publication design project for the Puerto Rico Tourism Company of the Government of Puerto Rico. The project, which lasted throughout the firm's twenty year operation and which shaped the country's national branding plan, will be used to study the strategies implemented by the design firm to thrive as a design business. The eventual demise of the studio, triggered by neoliberal policies introduced by the government agencies behind the publication, will be discussed. The authors will also consider other catalysts for the closing of Graf, Inc. such as: the dissemination of user friendly technology for non-design design

competitors due to the emergence of desktop publishing. Graf's attempt to professionalize the graphic design industry in Puerto Rico will be analyzed in part by assessing the current condition of the industry. The lessons learned by the firm when facing challenges that are still present today, like: a shrinking economy, neoliberal practices and the widespread of design software to untrained competitors, prove to be relevant for contemporary designers.

Asseo and O'Neill are partners in Rubberband, LLP, a transformation design studio based in San Juan, Puerto Rico. In 2010 they received the BID10 award from the Spanish American Design Biennial, Madrid. They have presented in multiple design conferences in Washington, DC, Argentina, Cyprus and Puerto Rico. Asseo is a candidate for an MA in the History of Decorative Arts from Smithsonian-George Mason University, Washington, DC. He has a BFA in Image and Design from the Escuela de Artes Plásticas, Puerto Rico. O'Neill is a multiple award winning painter and designer. She has a BFA from Cooper Union, New York, and is a candidate for a Doctorate in Design Practice from the School of Design, Northumbria University, UK. Hopgood is a multiple award winning designer, with an MA in Design and Visual Communication from Pratt Institute, New York. She founded and managed Graf, Inc., the first graphic design firm in Puerto Rico.

Asseo and O'Neill are partners in Rubberband, LLP, a transformation design studio based in San Juan, Puerto Rico. In 2010 they received the BID10 award from the Spanish American Design Biennial, Madrid. They have presented in multiple design conferences in Washington, DC, Argentina, Cyprus and Puerto Rico. Asseo is a candidate for an MA in the History of Decorative Arts from Smithsonian-George Mason University, Washington, DC. He has a BFA in Image and Design from the Escuela de Artes Plásticas, Puerto Rico. O'Neill is a multiple award winning painter and designer. She has a BFA from Cooper Union, New York, and is a candidate for a Doctorate in Design Practice from the School of Design, Northumbria University, UK. Hopgood is a multiple award winning designer, with an MA in Design and Visual Communication from Pratt Institute, New York. She founded and managed Graf, Inc., the first graphic design firm in Puerto Rico.

Mary Anne Hopgood Santaella is a multiple award winning designer with an MA in Design and Visual Communication from Pratt Institute, New York. She founded and managed Graf, Inc., the first graphic design firm in Puerto Rico.

Typography is often treated as a utilitarian element in graphic design, used only to convey verbal information in compositions whose strength lies in the brilliant illustration, photography, abstract forms... However, while transmitting verbal message, typography conveys emotional and associative information and has psychological or subliminal influence on the viewer.

The lecture will explore this area of ​​the subconscious and how properly used typography can influence emotions and associations of observers that have an impact on the understanding of the message.

Typography is a fundamental element of the various media of graphic design, but the media that is in focus, in exploring the expressive power of typography, is agitation poster.

Poster is a medium of visual communication where the immediate impact of message on observers is the most prominent. Although it can contain layers of meaning, its primary effect must be direct and immediate. Another advantage of the media is democracy. Content can target a specific audience, but the media itself is universal. There is no discrimination related to age, race, gender, profession or social status.

Thus, in recent decades posters and billboards have become platforms for testing, moralizing or taking arguments in public space. Posters are not only advertising/propaganda tool, therefore, I decided to explore typography of agitation, non-commercial posters, or posters that are not in the service of advertising campaigns but have wider influence on society.

The lecture will show what is the role of typography in creation of agitation posters and it’s power to encourage, persuade and even to manipulate (a political poster).

Agitation posters with typography which is by its nature purely decorative, and where the character of the letters does not make any further meaning or value will not be included.

Agitation posters are mostly political, but can be social or ecological too. However, some of them are not conveying positive messages promoting humane initiatives or environmental concerns. There are posters that are used for manipulating audience, distorting picture of reality, promoting persons and ideas that pose a threat to stability and peace and are against the basic principles of humanity. Such posters, unfortunately, often found their place in history and it is interesting how typography successfully served their purposes (for example, Nazi posters with Blackletter typography). Examples of this kind of posters can be found even today on many places worldwide.

Dalida Karic-Hadziahmetovic is Docent-Assistant Professor at the Fine Arts Academy in Sarajevo, Department of Graphic Design. She has an MA in Visual Communications.

Dalida has won “The Best Ten Posters” award at the "Gender Equality Now!" of the “Poster for Tomorrow” competition in Paris (2012), a Gold Medal at the 9th International Poster Biennial in Mexico (2006), a Honorable Mention at the 3rd International Socio-Political Poster Biennale in Auschwitz (2010), prizes of the Association of Designers ULUPUBIH (2013, 2011, 2004, 2002), and the EUPhoria consolation prize (2009). She was a finalist at the 12th International Triennial of the Political Poster Show in Mons (2013), the 22nd Warsaw Poster Biennial (2010), the 10th International Triennial of Political Poster, Mons (2007), the 11th International Mexico Poster Biennial (2010), the Festival of Visual Communication-Maribor (2002, 2003, 2004) etc.

Dalida had twelve solo exhibitions and has participated in many group exhibitions and festivals staged worldwide, such as: "All The Gold of The World" at the 9th Golden Bee Biennial-Moscow (2010), "Voices in Freedom" (2010-11), IV YAKU in Lima (2010), "PROPAGANDA III World Tour", that started in San Francisco (2007-08), Biennial of Young Artists of Europe and the Mediterranean, Rome (1999), "Spring of Design 99" in Barcelona (1999) etc.

Her works are in permanent collections at the Victoria and Albert Museum, London, Les Arts Decoratifs, Paris, the Center for the Study of Political Graphics in Los Angeles, the Canadian Museum for Human Rights, the Dansk Plakatmuseum, the Design Museum Gent, the Wilanow Poster Museum, the Graphic Design Museum Breda, the Lahti Poster Museum, and the Museum für Gestaltung in Zurich.

Director Andreas Siadimas

Script Christos Goussios

Handset type

Early 1982. The writing system of the Greek language changes from polytonic to monotonic. It is an era when technology starts to be widely introduced in printing at the expense of handset type. The clash of these two different worlds leads the characters of the film to exceed their personal limits and brings about unforeseen developments.

Greek subtitles available.

The paper will present a case study comparing eight different designs/brands of a similar baby product. The product design under investigation is a baby-wet-wipes package, which was designed by the first author of this paper and his associate, and was created to replace an existing product. The new package featured a completely new look and fresh identity. One year after launching it in the Cypriot market, according to the client’s data, the new package design and identity doubled the
product’s sales.
This research paper will aim in investigating the reasons behind this package’s success by analyzing the design and by comparing it to its predecessor and to their main competitor.
The most traditional way of gathering and analyzing the required data for such investigation are focus groups and interviews. These are important tools for gathering consumer opinions, but research and experience have revealed that consumers do not always know the true reasons behind their choices.
"While consumers are often unaware of what attracts them to a package, eye tracking provides objective insight into how package designs affect consumer decisions. When several design concepts are developed, eye tracking is invaluable for understanding which will be most effective on the shelf when it comes to attracting attention, creating interest, and evoking a positive emotional response" (User Centric, 2010).
The data for this investigation will be collected through an extensive evaluation of the aforementioned design, its predecessor and six of the main competition. All the data will be collected through an eyetracking
device. By analyzing the eye movements of our subjects and comparing the visual impact of our design against its predecessor and that of its main competition, we aim to discover the specific features of the design that made it so much more appealing to consumers in order to double its sales.

DPhil in Human Vision & Computer Graphics, University of Oxford, UK

Specialisation:

3D Modeling & Animation, Virtual Reality, Applied Perception & Internet Technologies

MSc in Knowledge Based Systems, Heriot-Watt University, UK

B.A. Philosophy & Cognitive Sciences, University of Sussex, UK

Born in Cyprus and studied Graphic Communication and Fine Arts at Indiana State University, then proceeded to obtain an MA in Graphic Design and Multimedia at the same university.
He has presented and published papers in international conferences on graphic communication, user interface design and multimedia. He also practices graphic, packaging and user interface design professionally and has extensive experience in the field. Samples of his commercial work can be found at http://www.barcodex.com.cy
He has been teaching in tertiary education since 1998 and he currently holds the position of associate professor and associate head of the department of design and multimedia at the University of Nicosia.
His latest personal passion involves volunteering in Africa to help care for endangered animal species.

http://unic.academia.edu/paschalispaschalis

Για πολλές δεκαετίες η καλλιγραφία ήταν ένα απαραίτητο συστατικό στοιχείο στις γραφικές τέχνες. Προσέθετε φρεσκάδα και μαστοριά στη μακέτα, δίνοντας την ξεχωριστή αίσθηση του ανθρώπινου παράγοντα και τη μοναδικότητα που επιζητούσε μια πετυχημένη ρεκλάμα, επιγραφή, συσκευασία ή τίτλος ταινίας. Πολυάριθμοι ικανοί καλλιτέχνες, που οι περισσότεροι παρέμειναν ανώνυμοι, μέσα σε μικρά ατελιέ εξάσκησαν το ταλέντο τους, δημιουργώντας μοναδικά δείγματα γραμμάτων και συνθέσεων που ξεχάστηκαν όμως με τα χρόνια.
Καθώς η κυρίαρχη αισθητική άλλαζε και νέες τεχνολογίες έρχονταν στο προσκήνιο, οι γραφικές τέχνες βίωσαν τον μοιραίο αφανισμό αυτής της ξεχασμένης δεξιότητας.
Η καλλιγραφία θεωρήθηκε ξεπερασμένη και παλιομοδίτικη και εγκαταλείφθηκε σιγά-σιγά χάνοντας την παλιά της αίγλη.
Το πρότζεκτ Στέλλα είναι η προσπάθεια των σχεδιαστών Γιάννη Καρλόπουλου, Βασίλη Γεωργίου και Παναγιώτη Χαρατζόπουλου να μελετήσουν την ξεχασμένη αυτή κληρονομιά σε μια έμμεση «συνομιλία» με τους μάστορες του παρελθόντος. Είναι μια μελέτη στις τεχνικές και τα εργαλεία εκείνης της εποχής, μια εργασία ταξινόμησης, τεκμηρίωσης και προσαρμογής αυτού του ιδιαίτερου ύφους στα σύγχρονα μέσα και εργαλεία επικοινωνίας. Η μελέτη αυτή είναι σε εξέλιξη και αποσκοπεί στο σχεδιασμό και την παραγωγή γραμματοσειρών, εμπνευσμένων από αυτή την πολιτιστική κληρονομιά, ώστε να είναι πλέον διαθέσιμες και στους σημερινούς συναδέλφους σχεδιαστές.

Γεννήθηκε το 1967 στην Αθήνα, σπούδασε γραφιστική στο ΤΕΙ Αθήνας και στη συνέχεια απέκτησε Master of Arts (Graphic Fine Arts) από το University of Kent στην Αγγλία. Ίδρυσε την Cannibal Fonts μαζί με το Γιάννη Κουρούδη το 1995. Όταν δεν σχεδιάζει γραμματοσειρές, επιμελείται γραφιστικές και πολυμεσικές εφαρμογές για μεγάλους πελάτες στην Ελλάδα και το εξωτερικό, όπως Μουσεία και Οργανισμούς. Από το 2010 συμμετέχει ως Εργαστηριακός Συνεργάτης στη σχολή Γραφιστικής του ΤΕΙ Αθήνας στα μαθήματα της Τυπογραφίας και των Πολυμέσων. Έχει πολλές δημοσιεύσεις σε κλαδικά περιοδικά, σεμινάρια, εκθέσεις και ομιλίες σε επιστημονικά συνέδρια.

Γεννήθηκε το 1967 στη Θεσσαλονίκη. Ξεκίνησε τις σπουδές του στο Τμήμα Γραφιστικής της ΣΓΤΚΣ του ΤΕΙ Αθήνας το 1984. Το διάστημα έως το 1991, οπότε και αποφοίτησε από την κατεύθυνση αφίσα-βιβλίο με καθηγητή τον Τ. Κατσουλίδη, εργάστηκε με ζωγράφους στον τομέα της γιγαντοαφίσσας κινηματογράφου και βυζαντινής τοιχογραφίας εκκλησιών στην Ελλάδα και την Κύπρο, παράλληλα παρακολούθησε τα σεμινάρια του Φωτογραφικού Κύκλου του Πλ. Ριβέλλη. Την περίοδο 1991-92, ως πτυχιούχος υπότροφος του ΙΚΥ, συνέχισε μεταπτυχιακό κύκλο σπουδών στο Παρίσι, στην Ecole Estienne πάνω στην ψηφιακή τυπογραφία-σελιδοποίηση και τον σχεδιασμό γραμμάτων. Έχει πραγματοποιήσει εισηγήσεις και παρουσιάσεις σε συνέδρια και σχολές κι έχει διδάξει για ένα χρόνο σε ιδιωτική σχολή Γραφιστικής. Παράλληλα ασχολείται με τη συλλογή τυπογραφικών πηγών (όπως γραφομηχανές, στένσιλς κ.ά.), τη φωτογραφία και κάπως λιγότερο με διάφορες χειρονακτικές τεχνικές εκτύπωσης. Σχεδιάζει κυρίως βιβλία, περιοδικά, εφημερίδες, καταλόγους καλλιτεχνών, ημερολόγια και γραμματοσειρές. Εχει συνεργαστεί κατα καιρούς με το Ιδρυμα ΔEΣTE, την YES! hotels και για ένα μικρό διάστημα με το Κ2design και τον οργανισμό Αθήνα 2004. Συμμετέχει στην Ελληνική Ψηφιακή Τυποθήκη και στην Ενωση Γραφιστών Ελλάδας και είναι μέλος του Εικαστικού Επιμελητηρίου. Υπεύθυνος των ενθέτων, ειδικών εκδόσεων και προσφορών του Βήματος και του Δημοσιογραφικού Οργανισμού Λαμπράκη την τελευταία 5ετία, σύμβουλος σχεδιασμού της έντυπης έκδοσης του freepress Lifo, creative director στο South as a State of Mind Journal for Contemporary Arts and Culture και συνιδρυτής του νεοσύστατου φωτογραφικού πρακτορείου-φωτοθήκης fosphotos.com.

Γεννήθηκε το 1974 στην Αθήνα. Σπούδασε γραφιστική στο ΤΕΙ Αθήνας. Από το 1997 έχει εργαστεί ως μαθητευόμενος στο δημιουργικό γραφείο Κουρούδης design, ως junior art director στη διαφημιστική εταιρία Project, ως σχεδιαστής για το φεστιβάλ Bios ’01, ως designer στο Κ2design καθώς και στο τμήμα creative media της εκδοτικής Δάφνη Επικοινωνίες. Το 2004 ανέλαβε τη θέση του art director στο μηνιαίο περιοδικό ΜΕΤΡΟ, το 2006 τη θέση του senior designer στην εβδομαδιαία έκδοση Lifο και το 2008 τη θέση του art director στο εβδομαδιαίο περιοδικό Ταχυδρόμος. Από το 2009, σχεδιάζει εκδόσεις βιβλίων για τις εφημερίδες Το Βήμα και Τα Νέα. Το 2006 εξέδωσε μια συλλογή comics στην Giganto Books, ενώ το 2011 σχεδίασε κόμικς για την διαδικτυακή έκδοση bomchickawahwah.

Around the turn of the 16^th century, sailors coming into the port of Famagusta incised pictures of their ships in the ruined frescoes of the French Gothic-style church, St. George of the Greeks.  This paper will present some of the twenty four anonymous drawings that remain at the site, contextualizing them with appearances of other ex voto maritime graffiti: in the United Kingdom,  Malta, Australia and elsewhere.   Illustrated throughout, the paper is roughly divided into three areas of understanding.  It begins with examples of graffiti that suggest specific knowledge, and may reveal ways to locate individuals in the labor mechanism of a ship. This first part of the paper dealing with the individual - the sailor - will be politically framed using Rancière as a guide.

Looking at ships as representations of states, and as collections of individuals, we then begin to track the historical surroundings of these drawings. Graffiti is an uncertain medium: not only is it somewhat ephemeral, but it is also often un-dated, as is the case in Famagusta. To the extent that it is possible, types of ships present in the Church of St. George of the Greeks will be identified, leaving open to speculation their purpose and windows of time in which they could have been sailing to and from the port. What networks of history can be read from the types of ships that are depicted here? Interpreting these ships as visualizations of other social structures, the paper will refer to Jean Genet (Le Nom du Rose; Querelle), as well as Victor Hugo (Les Miserables), among others.

The talk concludes by reading the Church of St. George of the Greeks itself, as a total architecture of communication.  The church will not be looked at in the standard art historical terms (although reference will be made to Camille Enlart), but rather in terms of the way its materiality indicates the transitional period in Mediterranean maritime history wherein the Suez Canal was opened, and the economy of the steam ship eclipsed the great sailing ships and their crews.

Elizabeth Hoak-Doering holds a BA (Anthropology), MAed, and MFA. She is native to Philadelphia. She won a Fulbright Scholarship in sculpture and archaeology in Cyprus in 1996, and moved to Nicosia in 2007. Her projects are research-based and interdisciplinary: drawing, animation, radio, kinetic installation and academic publications. Elizabeth’s work is informed by Cyprus and inspired by previous experience: the Navajo (NM, USA 2008), in Armenia (Gyumri 2001, 2006), and with the Samburu (Kenya 1986-87). Exhibitions include the Skulpturenmuseum Glaskasten Marl (solo, Germany 2012); 54th Venice Biennale of Art (co-representation of Cyprus, National Pavilion 2011); more can be found at www.ehdoering.com. Elizabeth’s publications include the Journal of Balkan and Near Easter Studies (2012), the International Feminist Journal of Politics (2010), the Cyprus Review (2009) and the University of Pennsylvania (2007). A chapter on photography in Cyprus is forthcoming (I.B. Tauris 2013).

She is Associate Professor at the University of Nicosia.

http://www.ehdoering.com/

Haji Mike aka Dr Mike Hajimichael, Dub Poet, Assistant Professor and Radio/Podcast Producer.

Poet, DJ, Radio Presenter and Assistant Professor, Haji Mike is a unique recording artist and spoken word performer. Dub Poetry is his favoured medium of expression although his earlier works were more MC/world fusion with a hybrid form of dancehall music from Cyprus via London. And he has collaborated with a wide range of artists including:

Producer Simon Emmerson, the acid-jazz funk band Izit, Greek Rappers Imiskoubria and more recently the Cyprus songstress Lia Vissy. Over the last 10 years Haji Mike has been working more through collaborations on the net with Standout Selector (USA), Bandulu Dub (Portugal), Jah Billah (Croatia), Spill The Milk (UK) and Sonic Crime (Greece & Cyprus). In 2009 he connected in a virtual sense with producer Dub Caravan. Their collaborative work, the CD Virtual Oasis™ was recorded and produced entirely online. This along with many other online collaborations have influenced current research interest by the dub poet, with a forthcoming paper at The Art of RecordingMike is an Associate Professor at The University of Nicosia in the Department of Communications. His PhD was in Cultural Studies at The Centre for Contemporary Cultural Studies (CCCS) in England. CCCS was an important experience as it defined many aspects of his academic, cultural and political perspectives. Besides being an academic Mike is also a performance poet, recording artist, radio presenter and freelance writer. These experiences have enhanced and informed his writing and research for the last two decades. Recent conference engagements includes in the Art and Social Justice conferences Durban (2010), Nicosia (2011) and Gernika (2012); Art of Record Production, Leeds (2010) and San Francisco (2011); and The International Reggae Conference, Kingston, Jamaica (2013). Mike is particularly interested in art and social justice, media literacy, citizens media, colonial writing/texts, applied ethnomusicology and the impact of technology on creative processes. He also produces a weekly radio show ‘Outernational’ which is played on 7 different stations in 5 countries. Production Conference at Leeds University in December 2010.

Haji Mike also produces a weekly radio show, OuterNational and teaches Communications at The University of Nicosia, Cyprus. He has published articles on poetry and multiculturalism, early colonial photography in Cyprus and equal opportunities/diversity.

My presentation will focus upon recent video pieces made in collaboration with my colleague at the University of Hertfordshire, Alan Clark, whose ideas and artworks share some interests that overlap with my own. This new body of work-in-progress currently goes under the provisional title in.ef.fa.ble, and engages with ideas and experiences of water, flow and drift, in part foregrounding analogies between the fluid and translucent-to-opaque medium of video art and the natural forms of water, whilst also taking account of the parallel movement of time, conventionally considered as a stream or “narrative” sequence of events. Within these broad concerns the work also attempts to engage with a variety of other issues. These include the implications and rhythms of reading implied by the conscious presentation of fragmented imagery when confronted within work in which fourteen moving images are presented simultaneously within the framework of a single screen display. Such multiple imagery raises question of hierarchy, margin and centre, the directing and redirecting of the viewer’s gaze, and information overload, the latter a key concern within contemporary culture. The work also utilises the overlay of text upon and adjacent to the grid of images, and adds, along with a possible soundtrack, yet another layer of information for the viewer to process.

Part of the background to this collaboration involves an investigation into personal memory, including my own childhood memories of sitting naked in a river, being conscious of the effects on the body of such immersion, as well as of the differentiated zones of what was above and what was under the water, together with the coming to the surface of certain aspects of this liquid “landscape”. Thus some interest in the hidden and the revealed, the repressed and the externalised is implied. More specifically, how can subjective memories and feelings be conveyed through works of art (in this case video, an increasingly common and accessible technology)?

The collaboration has raised a wide range of concerns, and some of these will be discussed in the presentation: the rhythms of the body in relation to those of the medium of video; the importance and effects of language and text within selected video work (Roland Barthes on text and image, Jean-Luc Godard); the compositional structure of the video image; Jean-Francois Lyotard’s idea of “driftworks” and their implied openness of reading/meaning. Feminist theories of language (Irigaray and Cixous); the nature of artistic collaboration, its positive and negative aspects.

Rebecca has studied Art to doctorate level starting her Higher Education qualifications at Central/St Martins School of Art in 1987. She is an arts educator and is passionate about making her own work about being immersed in the physicality of the landscape. She has had many exhibitions, the last one was ‘Close to home’ in Leeds, England with Land2 the research group that she is involved in. Rebecca grew up in the Snowdonia Mountains in North Wales and now has adventurous vacations in the mountains worldwide. Rebecca’s current post is a Senior lecture and Programme Leader of Photography at the University of Hertfordshire. She has a wide experience of the Creative arts and has lead departments and a variety of courses and has been a director for two galleries in the South East of England.

“Obviously we need to be able to rest from sound just as we do from visual stimulation, we need aural as well as visual privacy, but silencing our public environment is the acoustic equivalent of painting it black. Certainly just as our eyes are for seeing, our ears are for hearing.”

Max Neuhaus

The urban space in which we live, walk, interact and communicate is characterised by acceleration of information images, as natural consequence of the spatial overabundance Mark Augé2 described. This accumulation of printed images has fabricated a new multi‐layered urban skin which is as much architectonic (façade) as much readable.

Every city has its own tune, which is consisted of variable parameters3. Extracting the sounds, still the city holds a visual echo. Printed images give the city a certain “loudness”, depending on the colour palette, the text, the repetition and the accumulation, the ‘sound’ varies. Absence of printed images gives a different quality of sound.

Athens is one of the most “visual overloaded” cities of Europe. Stavros Stavridis4 writes regarding Athens: “Advertising intruded on public life and established itself at its heart, appropriating the role of the public monument‐landmark. Its presence in public places not only modified their form but, more importantly, also contributed to the creation of a new experience of the public domain.”

The information images (posters of any kind) that surround us produce, besides a visual haze, an echo haze as well. Printed images are dominant elements of communication in public spaces, we read them consciously or unconsciously. All of us, the inhabitants of this city, are exposed to an overwhelming echo landscape that is produced by our interaction with public visual information.

Graphic designers are conscious of this echo dimension and intentionally use type tools and design tools to increase the volume of the communication.

Following our previous research work “the‐walk‐in‐the‐city”5 we aim to place the research one step further by “translating” the printed images, into sounds. Giving to the visual element an echo content, reflects the complexity of our sonic environments, as well as the different perception and design perspectives.

We consider visual noise an additional sound layer of the soundscape of the city. With this study we investigate mostly the echo dimension of the printed images in the City of Athens.

Having a graphic design background we focus as a case study in commercial roads of the city of Athens as well as old neighbourhoods.

Our routes in the city have a soundtrack. Those ‘visual’ sounds we try to map and ‘record’.

Eleni is a professor of graphic design at the Graphic Design school of The Technological Institute of Athens. She is a visual artist who has an MA in Printmaking and an MA on Multimedia / Royal College of Arts, London. She had personal and group shows in Greece, Italy, Spain, the Uk, and the USA. She has given workshops in Aalto University, Finland.
Has been the art director of a digital publication (CD‐Rom) of the Piraeus Bank foundation. Areas of research iclude visual literacy, visual identity, illustrations and symbols.

Graphic Designer (AKA Design Studio). Katerina studied Graphic Design and New Media in Greece (TEI of Athens) and Finland (University of Art and Design of Helsinki) and holds an MA in Design – Critical Theory and Practice from Goldsmiths, University of London. Katerina is exploring how we can simplify visual information. Based on spatial and media theories, philosophical analysis, sociological observations and visual research she is investigating the links and the interferences between graphic design and spatial terrain. Her research interests include visual identity of public space, the space that emerges, design methodologies, mapping, and the role of spontaneity in design process.

Neville Brody is one of the most celebrated graphic designers of his generation – a leading typographer and internationally recognised art director and brand strategist. The founder of design agency Research Studios, Brody established his reputation working with record labels, magazines and a range of international clients from Apple to Dom Pérignon. His hugely influential work has been the subject of numerous exhibitions and publications, most notably the two-volume monograph The Graphic Language of Neville Brody, which was accompanied by an exhibition at the Victoria and Albert Museum.

http://www.researchstudios.com/neville-brody/

Neville Brody & John Fass: Digital public space and the creative exchange

Klimis Mastoridis is the initiator of the idea for the International Conference on Typography and Visual Communication (ICTVC). He is the author of the books "Reproduction and printing issues" (Thessaloniki, 1988, 1993, 1997, new edition 2010) and "Casting the Greek newspaper" (Thessaloniki & Athens, 1999). Since 1998 he publishes the journal "Hyphen: a typographic forum" and is currently Professor of Typography & Graphic Communication at the University of Nicosia and Head of the Department of Design & Multimedia.



http://unic.academia.edu/klimismastoridis

http://www.altervision.gr/