05.02.2024 - 22.03.2024 | Week 1 - Week 7
Maisarah binti Mohd Sufian | 0358458
Intercultural Design | Bachelor of Design (Honours) in Creative Media
Project 1 - Project 3 / Proposal, Data Collection and Final Outcome
LECTURES
What is the message you want to say about this particular culture?
Don’t immediately try to figure out what media to produce the outcome in
The media is not what will drive your team
01 CULTURE & DESIGN
Visual information society to communicate information simply and universally
Visuals are;
1. Everything that can be seen
2. Everything produced or created by humans that can be seen
Designers have to be aware of cultural contexts and symbolisms in order to design things that are inclusive and resonate with your audience.
Cultural sensitivity encompasses functionality, usability and the overall user experience.
02 CULTURE DESIGN & RESEARCH
Culture and design are inseparable.
Designers have to be more vigilant with their artwork and they also have to do research before creating their final output.
Why?
With research, you can gather more data to process them into crucial information to start your workflow.
Data Gathering
You need to do research;
1. Before writing the project proposal
- Primary findings: sketches of proposed artworks based on your research from the secondary findings.
- Secondary findings: Data collected from pre-existing sites and resources.
2. After producing the proposal
- Primary findings that your team has collected (on-site observations and/or interviews and surveys).
3. During the creation of your artwork
- Data collected from pre-existing sites and resources
- Final design production of your artwork
INSTRUCTIONS
(insert MIB pdf)
TASK
Theme: "Cultural Sensitivity in Design"
Culture: Japan
Come up with 3 ideas with rationale, detailed sketches, and visual references
Collect data for selected topic and idea
Produce outcome with knowledge gained from data collection
Project 1 | Proposal
For our proposal, our group started by researching some traditions and celebrations in Japanese culture. From there, we voted on which one we each wanted to be our theme. In the end, we chose 'Tenjin Matsuri'.
(insert Google photos of Tenjin Matsuri)
Afterwards, we researched more about the festival and what people usually do during them. We compiled all the research in a singular Google Doc and then started coming up with ideas and sketches.
(insert sketches)
In total, we created 3 ideas and designs for our proposal. However, we realized near the end that it would be difficult to gather data based on Tenjin Matsuri during our trip since it only happens in the summer but by then we felt like it was too late to pivot and decided to proceed with what we had.
(insert Tenjin Matsuri proposal pdf))
After our submission, Ms. Anis suggested that we go ahead with the Japanese omamori, since it would be easier to gather data for our initial topic. We agreed and proceeded with our data collection.
Project 2 | Field Study
Our next step is to create a slide for data collection to ensure our research is well-structured and comprehensive. We had the opportunity to gather data during our study trip in Osaka, Japan, from February 25th, 2024, to March 1st, 2024.
The research method we used was through in-person visits of shrines as well as online research to make up for what data we were lacking from physical observations. We also decided to purchase a couple of actual omamoris from the shrines we visited.
(trip pictures)
After collecting all the information and data during our trip, we organized them into a slide to present the complete dataset that we have gathered.
(data collection pdf)
Project 3 | Design
Design Process
Sketch
Our sketch draft for our design is inspired the pattern design of the omamori charms. We have decided to design a stationery set and targets for students because when we visited the shrines during our data collection, there were a lot of prayers and wishes regarding exams and grades. The main color we have chosen is blue/purple, as it signifies academic success, wisdom and calmness, which applies to students as well.
We started by gathering inspiration from various sources, including traditional omamori designs, Japanese art, and stationary trends.
Brainstorming: Next, we brainstormed ideas for our design mockups. We discussed the concepts, themes, and motifs that we want to incorporate into the stationery, such as cherry blossoms, lucky charms, and Japanese calligraphy. Not only that, we also consider the functionality and practicality of the stationery items, ensuring they are both aesthetically pleasing and useful.
Sketching: Then, we begin sketching rough concepts for the design mockups. We explore different layouts, compositions, and color schemes, experimenting with various combinations to find the most visually appealing and cohesive designs.
(insert sketches)
Mockup progression
Two of our group members designed the mockups through Adobe Illustrator as well as Adobe Photoshop. During this stage, it was difficult to find free and aesthetically pleasing mockup files for the pencil, eraser and notepad so we had to remove or create substitutes for them.
(insert progress screenshots)
Finalized mockups
(insert mockup photos)
(insert final presentation pdf)
FEEDBACK
Week 3
Ms. Noranis suggested us "Exploring Japan's Perspective on Omamori and Charms for Fortune and Protection".
Week 4
Ms. Noranis suggested that we visit various shrines and temples, encouraging us to observe the diverse designs of omamori and understand their unique significance.
Week 6
Mr. Arizal suggested that we take design elements and how it applies to our daily lives.
He also suggested that we take one example and observe and the meanings of the colours and shapes and apply it (for example stationary for students).
REFLECTION
Throughout our journey in creating a stationery line inspired by omamori and the cultural context of Osaka, Japan, I've found myself deeply immersed in the process of understanding and respecting cultural sensitivities. Our research into omamori and its significance within Japanese culture provided valuable insights into the intricate symbolism and traditions associated with it.
Delving into the cultural fabric of Osaka allowed us to grasp the regional nuances that influenced our designs. From exploring traditional motifs to understanding the local preferences in colors and patterns, every aspect was meticulously considered to ensure authenticity and respect.
Personally, this experience has heightened my awareness of the importance of cultural sensitivity in design. It has taught me to approach cross-cultural projects with humility, curiosity, and a willingness to learn. Moving forward, I am committed to integrating these principles into my future work, ensuring that I always approach design projects with the utmost respect for the cultural contexts that inspire them.
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