TERMS MOST USEFUL IN DESCRIBING CREATIVE WORKS OF DESIGN

Design

ACKNOWLEDGEMENTDeveloped and supported by OCAD U Writing & Learning Centre and First Generation

CONTRIBUTORSDerek LiddingtonPatrick Phillips

DESIGNLinh Do

CONSULTATIONNancy Snow

The editors would also like to thank the following OCAD U faculty members for their generosity in opening up their classrooms during this project: Luke Painter, Catherine Beaudette, Glenn McArthur, Michele White, Jesse Jackson, Carl Hastrich, Mary Porter, Natalie Waldburger, Doug Panton and Dianne Pugen.

Special thanks to Susan Ferguson and Jennie Suddick for their enthusiasm and support throughout the project, and the students who contributed to the conversation and dialogue during the critiques we visited.

COPYRIGHTThis book is made available under the Creative Commons Attribution. Noncommercial. No Derivatives License. You are free to share, copy, distribute, excerpt or transmit the information in this guide, but you must attribute it to the OCAD University Writing & Learning Centre. You may not use this information or guide for commercial purposes.

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INTRODUCTIONThe critique is an important compo-nent of your studio practice. It has the potential to engage the opinions and imagination of your instructors and peers. A critique can provide you with valuable feedback, unexpected viewpoints, new inspiration and critical insight into your creative process. Most importantly, a critique is a dialogue between you, your peers and your work.

The following pages are designed to guide you through a series of questions that will help build your confidence and prepare you for critique. Each of the category pages is designed to reference themes and artistic styles common to the various programs offered in the Faculty of Design at OCAD University. As you ask these questions of your work, and the work of others, you will start to notice trends in how you and your peers respond and ask further questions. Use the work plan provided to document the responses and questions that come out of your critique for future research, writing and critiques.

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TERMINOLOGYIMPACTrefers to the level of a presentation or product’s finish; how market-ready a design or product appears at presentation

TARGETrefers to a designer’s need to consider the demographics of his or her audience and associated needs a design addresses

BLINDdescribes a design lacking sufficient textual or symbolic cues to be accessible/readily understood by its audience

CONCEPTdescribes the development of an idea through a wide variety of research strategies

RATIONALEa verbal or written statement answering the who, what, when, where, why of a project

HOOKa verbal, written or visual device whose primary purpose is to physically or emotion-ally capture the imagination of your audience

EVOLUTIONthe progression of a concept or idea from beginning to end which influences the form and function of a final design

DISSEMINATIONa design might be affected by its movement or modification through the process of reaching its audience or final application

VALUEwhat it means to others - social/political or monetary value

SCALEfeasibility or intended breadth of a project - may include manufacturing, promotion, materials, infrastructure, communication strategies

PITCHa concise verbal presentation of a design or concept to establish a client’s interest

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ADVERTISING

GRAPHIC DESIGN

ILLUSTRATION

ENVIRONMENTALDESIGN

INDUSTRIALDESIGN

MATERIALART & DESIGN

TABLE OF CONTENTS

PACKAGING p. A10, p. 06

FINISH p. A10, p. 08

TYPOGRAPHY p. A10, p. 13

TYPOGRAPHY p. A10, p. 13

COMPOSITION p. A10, p. 14

AUDIENCE p. A10, p. 11

COMPOSITION p. A10, p. 14

FINISH p. A10, p. 08

IMAGERY p. A10, p. 16

ACCESSIBILITY p. A10, p. 10

ENVIRONMENT p. A10, p. 12

FEASIBILITY p. A10, p. 15

FINISH p. A10, p. 08

AUDIENCE p. A10, p. 11

FEASIBILITY p. A10, p. 15

FORMAL STRATEGIES p. A10, p. 07

HANDMADE p. A10, p. 09

MATERIAL p. A10, p. 17

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QUESTION 01 RESPONSE 01

QUESTION 02

QUESTION 03

WORK PLANUse the following template to break down your critique into useful pieces that can then be used to make stronger work, create an artist statement and speak more confi-dently about your work in future critique situations. For an example of how to start, simply follow the sample workplan on page 20

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QUESTION 02

QUESTION 03

RESPONSE 02

NOTES/REFLECTIONS

RESPONSE 02

RESPONSE 03

RESPONSE 03