3D Printing within the Design Industry

Photo Credit: The Conversation

3D printing or additive manufacturing is the process of making an object by depositing material, one small layer at a time. From 3D printed parts for commercial marketing to those implanted in humans through contemporary healthcare practices, 3D printing has become more embraced and engulfed into the design world more than ever before. As technology advances and new ideas are being experimented with, the design world continues to evolve. 

As 3D printing continues to grow, it’s increasingly accessible; as it spreads throughout the world, consumers and designers are able to create more than they’ve ever imagined. With that being said, major brands are using 3D printing for design including Nike and Nokia. Being able to have the tools to design and manufacture something at your own company without having to wait for certain products and then shipping them out, you have the tool you need right there at your work space. Because larger corporations are starting to deliver their products that are designed and manufactured using 3D printing, it enables other companies, like smaller businesses to use it too. Going off of that, take Nike for example; through 3D printing, they’re able to create physical models in two days that would originally take three to five weeks. Not only can 3D printing make certain models, but it can create prototypes, samples that came from sketches, and other products made for marketing tools. It seems to me that 3D printing has exceeded peoples’ expectations and that it’s only going to get better.

Without a doubt, 3D printing allows for more freedom within a design, and with it comes new opportunities to create something geometric, sustainable, and completely abstract. Take sustainability as one advantage to 3D printing: it creates a lot less waste material for a single part plus materials used for 3D printing are usually recyclable. If we need fewer parts for manufacturing that can decrease environmental impact because fewer products, pieces, or other parts are being shipped across the globe. 

As design continues to be classical, with pre-computers, modernist ideas, and right and wrong expectations, 3D printing allows all of these things to coexist together to build something incredible. Design thinking influences our projects by empathizing with our audience because we want the products to connect with people so further projects can be designed and manufactured. Lastly, this type of technology, 3D printing gives room for more design possibilities, expands design solutions, allows us to ask questions within art, and provides leadership opportunities that take action within a company.

. Photo Credit: Bernard Marr & Co.

‘O’ as an ‘Octopus’

David B. Berman’s bright and articulate seven-year-old son had trouble reading and couldn’t fully understand that a circle was a symbol for the sound of “o” as an “octopus” or that a tall line was a symbol for the sound of “l” as a “leaf”, and that you could combine a letter to create a full word. As tutors and teachers tried helping him, nothing seemed to fully click with his son, so Berman took matters into his own hands. 

With a strong vision in mind, Berman designed a system of spiral-flip books that prompts letter-sounds with logo-like icons. With clear letterforms, adjustable rings, and distinct icons, I firmly believe that Berman designed something that is accessible for people with disabilities as well as families who simply want to teach their children or grandchildren how to read. As the author of Do Good Design, a book that encourages and yearns for designers to renounce typical advertising projects and instead use their talents and abilities to restore the planet, Berman hasn’t disappointed his son or the nation. Berman’s distinguished spiral-bound cards bring awareness to all of us and how we can make this world more inclusive and accessible for all people. With a strong and willful yes, this piece of design satisfies both the disabled as well as the ignorant. 

“When thinking about how to design for disabilities, we tend to dwell on the acute cases—people who are blind or deaf since birth, paralyzed veterans–but most disability is less extreme. In fact, most of us have experienced it ourselves. For example, we are all color-blind when looking at a black-and-white printout of a color document.” – David B. Berman

After clearly observing the reasons as to why Berman’s brilliant design has been sold to districts, special-ed teachers, parents, tutors, and so many others, he doesn’t try to fix the people who need it. Instead, he focuses his attention on how he can help people with learning differences and what that will mean for everyone else. 

What I appreciate about Berman’s design is how inclusive and aware he is with not just his son, but the surrounding community. Sometimes we get so caught up in the issue or problem, believing there even is one, that we forget to think about the reason as to why we made those assumptions in the first place. We have to ask ourselves, what are the barriers and how can we fix the societal problems that consume our minds? The issue isn’t the person, it’s the misconceptions and assumptions that people twist in their own minds; this is the real issue we must dis-able.

. Credit: David B. Berman from Design for Disabilities https://www.printmag.com/post/design-for-disabilities-creatives-speaking-access-respect

There is Hope in Sustainability

Being in the presence of nature is something you can’t undo; it’s something that continually fills me up and reminds me how lucky I am to be able to go outside, smell the fresh air, and hike up Smith Rock. As I hear more news about climate change, population expansion, as well as running out of water, my heart sinks. As a designer, I’ve begun to realize how much of a responsibility we hold to the environment and the world around us. The three main steps we discussed in class help mentally recharge my brain so I can better myself as a designer: send positive messages, make responsible decisions, and support ethical and responsible companies. 

One specific company that I find interesting is the Ethical Design Company. Their graphic design agency is dedicated to helping address real business and human needs particularly towards global climate change. What I admire about this company is that they partner with other companies with similar values. Similar to other smaller businesses, they incorporate their ethos into their design because they care about sustainability. They understand what drives them and they move forward with their services while maintaining ethical values. After diving deeper into their mission, Ethical Design Company’s clients serve as another source of ethical design. Some of their clients include Energy Hub, Calibre, Tridant, etc. Not only does Ethical Design Company partner with small businesses, communities, universities, and so much more, but they invest in their relationships with them; they share values in design with sustainability. 

As a young designer, I want to invest more of my time and energy into creating more ethical and sustainable products. I want to feel confident in my work that I can proudly explain the ethical and sustainable reasons that went into designing it and why I chose to take that path. Unfortunately, as a stressed-out and worried junior in college, I’m not there yet, but time will come. As I continue to divest into learning more about sustainability and what it looks like as a designer, at the end of the day, I’m excited to see where it takes me. I’m eager to see where sustainability in design takes me in regard to national parks and traveling and how I can integrate it into my own work. By sending positive messages, making responsible decisions, and supporting ethical and responsible companies, I know the best is yet to come for our world; hope is still alive.

. Source: Ethical Design Company


Design Approaches and Tools in Education and Training

Authors: Jan van den Akker, Robert Maribe Branch, Kent Gustafson, Nienke Nieveen & Tjeerd Plomp

This google book discusses the rapid evolution of training design in education. The editor’s purpose is to serve as a source and reference for advancing design in education and training. The book is separated into two parts: 1.) Principles and methods of development that will help strengthen the educational design and 2.) A discussion of different perspectives on educational design and development. Both chapters offer conceptual frameworks that help clarify ways in which information and communication technology can be displayed. The editors in the book explain the role of design in education that supports three different groups: 1.) Professional designers with a wide range of domains; 2.) Teachers who design their own instructions; 3.) Students, especially in learning processes that need educational design teaching. The editors conclude their book by valuing each paradigm that design in education holds and what aspects should be taught. 

Jan van den Akker is a Professor at the Department of Curriculum, University of Twente, in the Netherlands, and the Director of the National Institute for Curriculum Development.

Robert Maribe Branch is a Professor of Learning, Design, and Technology at the University of Georgia. He has a Bachelor of Science degree from Elizabeth City State University in North Carolina and a Master of Arts degree from Ball State University. As a professor, Branch puts emphasis on student-centered learning and teaches courses related to message design. 

Kent Gustafson is a Professor of Instructional Technology at the University of Georgia. As former chairman of the department, Gustafson has taught courses in instructional design, research, and management for educational programs. 

Nienke Nieveen is the Director of the University of Twente’s teacher education program in the Netherlands. Her positions at Twente focuses on professional learning in relation to curriculum design in education and design approaches and tools. 

Tjeerd Plomp was a Professor of Education at the University of Twente in the Netherlands from 1981-1999. He was Dean of the Faculty of Educational Science and Technology from 1982-1985 and Director of Institue for Applied Educational Research from 1986-1989.

Akker, Jan, Robert Branch, Kent Gustafson, Nienke Nieveen, and Tjeerd Plomp. Design Approaches and Tools in Education and Training. Kluwer Academic Publishers. 1999. Google Books. https://books.google.com/books?hl=en&lr=&id=KDDpCAAAQBAJ&oi=fnd&pg=PP8&dq=design+in+education&ots=rY1jKALfEd&sig=xcrazKOaYHpgPbs8ArD4J20msp0#v=onepage&q=design%20in%20education&f=false

Source: Universal Design in Higher Education

Authors: Sheryl E. Burgstahler &  Rebecca C. Cory

This google book edited by Sheryl Burgstahler and Rebecca Cory discusses the approaches of universal design that reflect the values we place on diversity in education. This book aims to dismiss the “typical” student and instead actively address the needs of people with the broadest range of characteristics during a design process. The approach that Burgstahler and Cory break down helps lead to educational products and other environments that are welcoming for students and accessible for all aspects of diversity. Their conclusions are analyzed and discussed in four parts: 1.) Introduction; 2.) Universal Design of Instruction in Higher Education; 3.) Universal Design of Student Services, Physical Spaces, and Technological Environments in Higher Education; 4.) Institutionalization of Universal Design in Higher Education. Their findings, in the end, show that creating a universal design course requires intentional meaning and planning. 

Sheryl E. Burgstahler is the director of DO-IT (Disabilities, Opportunities, Internetworking, and Technology) which promotes the success of students with disabilities in colleges and universities at the University of Washington. 

Rebecca C. Cory has a ph.D. in Culture Foundations of Education, with a focus on Disability Studies at Syracuse University. Her first job out of college was as an academic advisor and disability specialist at Gustavus Adolphus College in Minnesota. Now you can find her in the Office of Instruction at Bellevue, where she helps students and faculty with their curriculum and assessments.

Burgstahler, Sheryl, and Cory Rebecca. Universal Design in Higher Education. Harvard Education Press. 2008. Google Books. https://books.google.com/books?hl=en&lr=&id=k6VhDwAAQBAJ&oi=fnd&pg=PT10&dq=design+in+education&ots=9P-kX20GCp&sig=mRiboFg4v5NzN1FDQ9BZC8KDyEw#v=onepage&q=design%20in%20education&f=false

Source: Donald Schon’s Philosophy of Design and Design Education

Author: Leonard J. Waks

Donald Schon’s Philosophy of Design and Design Education is an article written by Leonard J. Waks that examines and re-introduces the philosophical principles of design educator, Donald Schon. The purpose of this article is to explain “design-like” ideas that should be taught and learned throughout the classroom. Waks splits his article into ten sections: 1.) The Displaced Philosopher; 2.) Dewey’s Experimentalism and Schon’s Design-Constructivism; 3.) Design and the Reflective Practicum; 4.) The Professional Practicum and Reflection-In-Action; 5.) The Concept of Design and the Design Professions; 6.) Design as Frame Experimentation; 7.) Design Education: Teaching and Learning to Design; 8.) Execution as Design: Musical Performance and Teaching; 9.) Learning to Design and Learning to Teach; 10.) Schon’s Epistemology of Practice and a New Design for Education. Through his discussion of Schon’s philosophical new designs, he concludes that Schon’s conception of design frames the role of education and how it impacts professional design fields. 
Leonard J. Waks is an author of the book Technology and professor of Educational Leadership and Policy Studies at Temple University, in Philadelphia. He earned his Ph.D. in philosophy at the University of Wisconsin in 1968 and has earned a doctorate in philosophy and organizational studies and has taught at Stanford, Purdue, and Peen State. He is also the co-founder of the National Technological Literacy Conferences and is a general editor of the book series Leaders in Educational Studies. He has published over 100 scholarly journal articles and book chapters, and currently researches emerging education arrangements of the global network society of American Pragmatism.

Waks, J. Leonard. “Donald Schon’s Philosophy of Design and Design Education.” Kluwer Academic Publishers. 2001, pp. 37-51.

Source: Offshore Studio’s Isabel Seiffert on Her Teaching Practice + Merging Concept and Form

Author: Ksenya Samarskaya 

This source was published in the American Institute of Graphic Arts in November 2020. Ksenya Samarskaya’s article breaks down the teaching methods of Offshore Studio and studio-based teacher, Isabel Seiffert. Samarskaya caught up with Seiffert via phone call and dove deeper into how her teaching mechanism and techniques vary in each school she teaches. The article is split up according to each question asked by Samarskaya: 1.) Beginning with how Seiffert adapts to different institutions; 2.) Range of assignments she brings to the classroom and other workshops; 3.) One takeaway lesson she tries to encourage students and; 4.) Seiffert’s method of instruction relates to the famous Swiss style of design. Within the first paragraph, Samarskaya introduces the audience to the hardworking teacher, Isabel Seiffert, who aims to encourage her students at Offshore Studio, University of Arts Bern, Zurich University, and several more educational institutions. She then asked Seiffert multiple questions that open the door to how she teaches, looking at certain curriculums and broadening the work of typography. The second half of the questions dive deeper into lessons that Seiffert wants her students to take away from her courses; the balance of craftsmanship, concept, and exploring beyond the studio. Samarskaya wraps up her article by explaining how Seiffert mixes in Swiss-style design to her students and why it’s essential to design education. 

Ksenya Samarskaya is a Russian, multi-disciplinary designer, with an emphasis on typography. She splits her time between Lisbon and New York and specializes in visual communication via brand strategy, identity design, typography, and other collaborative designs for the internet. Samarskaya is mostly interested in landscape perspectives that help provide fresh and universal approaches to design. She currently works at Samarskaya & Partners as a creative practitioner in Brooklyn, New York.

Samarskaya, Ksenya. “Offshore Studio’s Isabel Seiffert on Her Teaching Practice + Merging Concept and Form.” Eye on Design, 10 Nov. 2020, eyeondesign.aiga.org/offshore-studios-isabel-seiffert-on-her-teaching-practice-merging-concept-and-form/.

The Power of Design in Politics

Design in politics has been around for a long time; a lot longer than we think. From Benjamin Franklin designing the “Join, or Die” emblem to Ronald Reagan’s doodles, design had and will continue to have the power to persuade and support change. When post-war designers arose, there was a rise in independent campaigns that spoke out against the government. People wanted to see change happen and they took matters into their own hands. The influence of independent work moved into the modern-day where there is little government work and instead huge amounts of independent work. Whether that be party or issue-driven, people are still designing ways in which they want to see better change for our country. 

For me, it’s not about the designer or who they’re designing for, it’s about the story and message they’re trying to convey. It’s about the ethical responsibility that they hold when they refer their design concept or idea to the world. To see the intersection between design and politics makes me feel belittled and yet hopeful. Growing up I never found interest in politics or how design intersects with it and how it influences people of every kind. I was in the dark; I didn’t know who and what to listen to because all I wanted to do was make a difference. But here I am, an official voter in the 2020 election, and all I can say is that I’m hopeful. 

One specific design piece that has stuck with me throughout my journey of becoming more politically attuned is street artist, Shepard Fairey’s brilliant piece of “Hope” which displays the now-iconic image of Barack Obama. I find this piece of political design effective because it demonstrates the power of one’s voice to encourage people to rise up and stand in hope. It pushes and supports people to create their own vision of hope. Because Obama was the first Africa-American President of the United States, that sparked a trickle of hope and light for people. Bit by bit, piece by piece, there is hope if we believe to see it for ourselves; for this country. 

Whether you believe design and politics go hand-in-hand or you feel like you can never catch up, take a deep breath and know you’re not alone. I have to remind myself that every day. The journey of gaining political understanding is a daily responsibility and choice. Although it may be overwhelming and scary to put your design work out into the world, specifically with politics, there is power in the story you tell. Similar to Reagan’s doodles or Fairey’s hopeful poster, I’m excited to see change not only in my own design work but also in the work of our country. With a new president, a new year, and a hopeful heart, the best is yet to come. 

Source: Shepard Fairey

Illuminating Gumption Coffee

Photo from Brand New

Discovered in the heart of Sydney Australia, Gumption Coffee came about in 2013 by two brilliant women, Hazel de los Reyes and Clare Lim. With three other popular coffee shops in Australia, Gumption was the one that stood out the most. Because of their master roaster skills and fresh beans from across the world, Gumption moved to the Big Apple. Fast forward to 2018 and Gumption Coffee is still blooming. With its online coffee selections and two outposts scattered around New York, their new identity logo, designed by Lippincott, has brought the pure essence of Gumption Coffee to people everywhere.

From Hazel’s humble origins of brewing coffee from a rewired popcorn machine to eventually being named Australian Barista Champion and Australian Cupping Champion, Gumption is a story of ingenuity, tenacity, and boldness. We began crafting the brand’s strategy through this ethos, positioning Gumption Coffee as the secret weapon for the spirited, amplifying, and unleashing that little voice already inside all of us to take on the world. 

(Lippincott Project Page)

Photo from Brand New

When I think about the ethos of a brand or logo, I usually think of the community that created it in the first place. I think of the hard work and dedication that these people have emotionally and mentally gone through to make this company mean something to someone. What I appreciate about the new logo is that it resembles and symbolizes the inner gumption or spirit that this brand gives to its customers. The old logo is too typical, bubbly, all caps, minimalistic typeface that doesn’t make me feel anything; therefore it’s not capturing or memorable at all. People want to be intrigued in a way that is going to make them feel something. When I look at Gumption’s old logo all I notice is a dark, flared serif that is overwhelming and only interesting with its first two letters. But to be completely honest, the main reason I dislike the old logo is how typical it feels; every coffee shop has a black and white logo. I get tired of looking at everyday things and I want to feel something other than the stereotypical trendy vibes. 

The new visual toolkit is designed to be eye-catching and inclusive. The brand voice, inspired by the brand purpose, is energetic, edgy, and clever. Think signage, comic walls, packaging, and everything with a smile. The custom logotype, made in collaboration with type foundry Typozon, retains the brand’s quirkiness while elevating it to signal premium coffee and expertise. The negative spaces in the G and the O resemble milk swirling into coffee and symbolize the inner “gumption” that the brand’s coffee gives to its customers.

(Lippincott Project Page)

Photo from Brand New

The new Gumption logo excites me. It’s refreshing and inviting to look at because it consists of another color that isn’t black or white. The logo is bright, eyecatching, and not what I was expecting to be for a coffee shop. The red speaks boldness and fearlessness, while the entire color palette invites people to come and feel comfortable. Along with the logotype, Typozon, and its colors, I get the sense that I now want to read comic books back in the 70s or 80s; it makes me want to go out and buy more brightly colored pants or doc martens. Because the subtitle “coffee” isn’t designed with the same logotype, it makes it feel kept together and professional; therefore, I don’t dislike it or like it completely, but I’m curious to see what it looks like without it completely. I also like how the logo can be broken down into two parts, but maintain a sense of unity and quirkiness.

Photo from Brand New

Photo from Brand New

The brand’s voice has always been pretty clear to me. Gumption is inspired by its history of hard work and is determined to bring energy, edge, light, and a breath of fresh air to a commonplace in New York City. With the help of its energetic and yet sophisticated colors, their patterns symbolize the journey of Gumption where everything began on a farm in Sydney, Australia. From small leaves to the beans that make the coffee, it all comes together to make a perfect identity system. Although the patterns are vibrant and festive, the packaging reminds me of the Holiday season just a little bit, but specifically, the teal and red combined. To add to the pattern dilemma, I don’t particularly like the strokes because it takes away from the pattern itself and is a bit distracting. When I look at each pattern my eyes go straight to the stroke and that shouldn’t be the case. Instead, I should be acknowledging what each pattern is exactly.

Photo from Brand New

Photo from Brand New

As for the interior design that includes comic book posters, I get the sense of the late 1970s and 80s again. It’s very fun, bright, energetic, and inclusive. However, the flooring is very odd and feels out of place when compared to Gumptions patterns and overall brand; it’s hectic, too bright, and just too overwhelming and I don’t like looking at it. As harsh as it may sound, I’m disappointed in the overall interior because Gumption has such a memorable and special history and it didn’t serve its justice.

Overall, I absolutely love and admire the story behind Gumption Coffee. I appreciate how they strategically used their ethos for the spirited and successfully unleashed and amplified the little voice that is in all of us. As someone who didn’t properly know what “gumption” meant, I was happy to realize that the definition of it truly does mean “spirited initiative.” I’m also very pleased to announce that they nailed that exact definition of gumption on the button by how they designed and created their logo.


“The Swirl Next Door.” https://www.underconsideration.com/brandnew/archives/new_logo_and_identity_for_gumption_coffee_by_lippincott.php

Marshall McLuhan

Marshall McLuhan was a media theorist who understood the power of words and the strength of electronic mediums and how they change the way we see each other. He discovered many ideas that relate to the network strategy as an environment: the medium is the message, the hot and cold media strategy, acoustical space, and the meaning of the global village. We may not have enough time to go through every aspect that he came up with, but there are a few that we’re gonna discuss here today. 

One is the importance of McLuhan’s well-known phrase, “The Medium is the Message.” When I first heard this phrase I was a bit confused because I had to turn my attention to what a “medium” truly is; it’s what the content is being displayed upon, like computers, phones, radios, televisions, etc. The collective viewings, feelings, and forming of our own impressions and immediate interpretations of something that is right before our eyes. McLuhan said, “We shape our tools and thereafter our tools shape us.” Re-reading this quote, again and again, may make you wonder how we relate to each other through the tools we decide to use. What kind of tools are you mending? How do they impact society? Well, McLuhan’s theory helps designers dive deeper into media and understand that the way we receive messages changes our interpretation. It makes us question our values and how we trust certain platforms. No matter what kind of tool a designer chooses to make, we must all realize how important and meaningful it can be for someone. The real question is what kind of tool are you willing to make to connect with your audience?

Another principal McLuhan has so gladly left us with is the idea of the “global village” and how in today’s society, we are consumed by electronic media. Although keeping up with certain aspects of society and the media can be difficult, McLuhan has given us hope in moving towards personal interactions worldwide through electronic media. What this means is that all people have access to the same information, simultaneously, which further links people together. This past year and moving forward, there is no doubt that new technologies will come about and advance, and because of this, we are able to connect throughout the entire world. It’s as simple as logging onto your computer and reading comments on your friend’s Instagram post. Or maybe you’re scrolling through your social media accounts and learn about an incredible design opportunity that is hiring new designers and you want to sign up. As time provides more opportunities and technological advancements, the intention of the media itself is what builds the message. Because of Marshall McLuhan, we too have the ability to advance technology in a way that reconnects people to who they really are.

Photographer: Yousuf Karsh, 1967.