- Toronto, Ontario, Canada
David Cabianca
York University, Design, Faculty Member
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David Cabianca completed an undergraduate degree in architectural studies at the University of Manitoba (BES 1990) an... moreDavid Cabianca completed an undergraduate degree in architectural studies at the University of Manitoba (BES 1990) and a Master of Architecture degree from Princeton University (1995). This was followed by an MFA 2D Design from Cranbrook Academy of Art (2001); an MA in Typeface Design from the University of Reading (2005); and most recently, an MA in Design Writing Criticism, London College of Communication (2012). His work experience includes The New York Times Magazine, Ogilvy+Mather’s Brand Integration Group NY, Bloomingdales, Atlantic Records, and Wieden+Kennedy Tokyo. Initially designed while attending Reading, his typeface Cardea was released by the Emigre Font Foundry in 2014. In 2012, he was one of the organizers of the AIGA Design Educators Conference, “Blunt: Explicit and Graphic Design Criticism Now.” His writing has appeared in Emigre, Idea, Design & Culture, Journal of Design History and Design Observer. His book, Ed Fella — A Life in Images, was published in 2021 by Unit Editions. He has taught at the University of Manitoba, University of Michigan, OCAD University, California Institute of the Arts and Cranbrook Academy of Art and has held a full-time position teaching graphic design at York University in Toronto, Canada since 2005. edit
Current research, 2022–2027. This 5-year study aims to shed light on an aesthetic problem that has been overlooked in design theory. This project seeks to expand our understanding of graphic design as a discipline through the lens of... more
Current research, 2022–2027.
This 5-year study aims to shed light on an aesthetic problem that has been overlooked in design theory. This project seeks to expand our understanding of graphic design as a discipline through the lens of Realism, and in doing so, rethink graphic design's reception among the public and its place among the arts. Realism refers to 'things as they are' rather than 'things in the ideal': A graphic design which reflects Realism is imperfect, diverse, and idiosyncratic. It accepts the conditions or context which informed its creation rather than follow the tenets of 'good' graphic design that determine conventional design aesthetics. This study will analyze the graphic design work of Ed Fella, Lorraine Wild, Jeff Keedy, Rudy VanderLans, and Zuzana Licko to explore the presence and reception of Realism. These designers were at various times vilified by the profession for their design work in the 1980s and 1990s. But the impetus that propelled their work is perhaps more important than ever before and worthy of detailed analysis and critical reflection. The research challenge of this project seeks to increase the visibility of design practices that are often deemed 'marginal', 'alternative', or 'minor'.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
This 5-year study aims to shed light on an aesthetic problem that has been overlooked in design theory. This project seeks to expand our understanding of graphic design as a discipline through the lens of Realism, and in doing so, rethink graphic design's reception among the public and its place among the arts. Realism refers to 'things as they are' rather than 'things in the ideal': A graphic design which reflects Realism is imperfect, diverse, and idiosyncratic. It accepts the conditions or context which informed its creation rather than follow the tenets of 'good' graphic design that determine conventional design aesthetics. This study will analyze the graphic design work of Ed Fella, Lorraine Wild, Jeff Keedy, Rudy VanderLans, and Zuzana Licko to explore the presence and reception of Realism. These designers were at various times vilified by the profession for their design work in the 1980s and 1990s. But the impetus that propelled their work is perhaps more important than ever before and worthy of detailed analysis and critical reflection. The research challenge of this project seeks to increase the visibility of design practices that are often deemed 'marginal', 'alternative', or 'minor'.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
https://bit.ly/EdFellaUnit A Life in Images is an opportunity to delve into a distinctly different aspect of Ed Fella’s contributions to the discipline of graphic design. Fella’s archive is not simply a repository of advertising... more
https://bit.ly/EdFellaUnit A Life in Images is an opportunity to delve into a distinctly different aspect of Ed Fella’s contributions to the discipline of graphic design. Fella’s archive is not simply a repository of advertising ephemera and images from popular culture. Fella was intimately linked to the material conception and production of advertising in the USA from 1957 through 1987, and post 1987 his CalArts students went on to take up leading positions in the creative industries. No previous writing has touched upon materials from Fella’s archive or his “process work” (the label designers use to describe research, sketches and drafts of design work which inform the final design). Rather, the emphasis of discourse about his work has been on the final outcomes, the “flyers” or posters that established his reputation.
Contributing authors also include Rick Poynor and Lorraine Wild. With an introduction by Katherine McCoy and afterward by Andrea Fella.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
Contributing authors also include Rick Poynor and Lorraine Wild. With an introduction by Katherine McCoy and afterward by Andrea Fella.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
Research Interests:
In 1965, the UK designer F.H.K. Henrion was commissioned by the General Post Office to survey the state of design within the organization. The survey report was to form the basis for commissioning a new corporate identity, or ‘house... more
In 1965, the UK designer F.H.K. Henrion was commissioned by the General Post Office to survey the state of design within the organization. The survey report was to form the basis for commissioning a new corporate identity, or ‘house style’, intended to visually unify the various operational divisions of the GPO as well as cultivate the image of a modern and progressive public entity in the minds of the public. Ultimately, thanks to factors that actively or indirectly hampered his efforts, Henrion’s attempt to produce a new, modern identity would, in large part, collapse. While it is true many professional projects do not bear fruit, one does not typically have a detailed account of the factors which might lead an initiative to fail. In this instance, archival records present a tale of intransigence precipitated by career civil servants determined to secure their positions, the conscious obstruction of change because of professional jealousy, and an overall general ineptitude when strength of leadership was required. This paper uses records from client correspondence, PO Board minutes, and internal memos housed in the British Postal Museum to trace the development of Henrion’s efforts from the client’s perspective.
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Facing increased calls for “practical skills,” the arts and humanities are under immense pressure to demonstrate their value to a public that demands measurable metrics. As a response, graphic design has adopted the language of “research”... more
Facing increased calls for “practical skills,” the arts and humanities are under immense pressure to demonstrate their value to a public that demands measurable metrics. As a response, graphic design has adopted the language of “research” as a way to engage with tangible benefits. Research, in turn, has emphasized applied learning and the field of engineering has been suggested by some as a possible model for graphic design education. This paper instead proposes architecture as a more aligned disciplinary model for education, practice, and research. During the late 1960s and early 1970s, architecture faced a crisis very similar to the one affecting graphic design today. But rather than relinquish disciplinary control to the positivist scientism of behavioral science, operational research, and design methods as they asserted control over the codes of architectural practice, a number of architects and educators sought architecture’s autonomy, an inward reflection on the methods, techniques, and questions that were restricted to how architecture sees itself. Architecture’s inward turn, or “criticism from within,” was ultimately responsible for its return to cultural significance.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
Research Interests:
Graphic design has arrived-not that it hadn't already. But the exhibition Graphic Design: Now in Production (GDNiP) previously on view at the Walker Art Center 22 October 2011–22 January 2012, presents a cohesive understanding of graphic... more
Graphic design has arrived-not that it hadn't already. But the exhibition Graphic Design: Now in Production (GDNiP) previously on view at the Walker Art Center 22 October 2011–22 January 2012, presents a cohesive understanding of graphic design as a discipline trying to examine its own sense of self.
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Designer, educator and writer Lorraine Wild has had a distinguished career that spans nearly 40 years. While she has maintained a prodigious output of design work and writing, her contributions remain critically unexamined. Beginning with... more
Designer, educator and writer Lorraine Wild has had a distinguished career that spans nearly 40 years. While she has maintained a prodigious output of design work and writing, her contributions remain critically unexamined. Beginning with Aldo Rossi’s L’architettura della città (1966) and Robert Venturi’s Complexity and contradiction in architecture (1966), and later, Venturi, Denise Scott Brown and Steven Izenour’s Learning from Las Vegas (1972), this essay touches upon the impact these books had on visual culture on a broader scale. Lorraine Wild’s affinity and support for the mundane and vernacular or “unschooled” forms of graphic design falls in line with what would become postmodern narratives of the 1980s and 1990s, narratives put in motion by Rossi, Venturi, et al. This essay will consider a number of Wild’s designs with respect to how they reflect the conditions of modernity circulating at the time of their respective production.
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Briefly stated, a critical practice is one that examines and engages the normative standards of a given discipline. This paper will examine a context for critical positioning in graphic design, one which fulfills design’s communicative... more
Briefly stated, a critical practice is one that examines and engages the normative standards of a given discipline. This paper will examine a context for critical positioning in graphic design, one which fulfills design’s communicative obligations while offering an alternative to prevailing conventions. A critical practice may seek to make those defined limits visible by actively rejecting the conventions of how graphic design ought to operate, while simultaneously working within those bounds to profane, judge and critique the languages of convention. Operating from within, a critical practice, engages what Roland Barthes describes as “a mask which points to itself.” In the interests of brevity, this paper will extend that understanding to a specific instance, the practice of art director, curator and publisher, Zak Kyes.
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Between 1859 and 1860, Charles Baudelaire penned “The Painter of Modern Life.” His essay is an extended series of observations on the emergence of modernity in what was at the time contemporary society for Baudelaire. Nearly 150 years... more
Between 1859 and 1860, Charles Baudelaire penned “The Painter of Modern Life.” His essay is an extended series of observations on the emergence of modernity in what was at the time contemporary society for Baudelaire. Nearly 150 years later, Baudelaire’s focus on the baser aspects of modern society — prostitutes, fashion, carriages, cosmetics — is still a worthy measuring stick to evaluate the state of modernity in graphic design today. This essay will look at a number of “degenerate” and “delinquent” design practices — designers whose production is among the most original, if not provocative, design work being made today. Modernity is often lamented for its degradation in quality, the loss of tradition, and its dehumanizing concern for the quality of life. But such a criticism assumes that tradition and the quality provided by locality are “fixed” and inviolate conditions.
The critique of modernity as the root cause of the debasement and loss of quality in life should be reexamined towards and understanding that in fact, traditions are evolving and new qualities are emerging. Modernity provides each successive generation with the opportunity to see itself in its own practice: it acts as a mirror to the passing of history. Rather than interpret emergent forms as “radical” and a symptom of the debasement of contemporary society, we can look to modernity as an opportunity to appreciate how each successive generation chooses to interpret its own visual culture and the relative icons it chooses to incorporate and elevate as part of its visual vocabulary. Design practices as diverse as Elliott Earls, Vier5, Cornell Windlin, Michael Amzalag & Mathias Augustyniak of m/m Paris, Antoine and Michel and Lorraine Wild, provide us with extreme examples of individuals whose work erases the artificial barriers between classic and populist, learned and ignorant, professional and hack.
The critique of modernity as the root cause of the debasement and loss of quality in life should be reexamined towards and understanding that in fact, traditions are evolving and new qualities are emerging. Modernity provides each successive generation with the opportunity to see itself in its own practice: it acts as a mirror to the passing of history. Rather than interpret emergent forms as “radical” and a symptom of the debasement of contemporary society, we can look to modernity as an opportunity to appreciate how each successive generation chooses to interpret its own visual culture and the relative icons it chooses to incorporate and elevate as part of its visual vocabulary. Design practices as diverse as Elliott Earls, Vier5, Cornell Windlin, Michael Amzalag & Mathias Augustyniak of m/m Paris, Antoine and Michel and Lorraine Wild, provide us with extreme examples of individuals whose work erases the artificial barriers between classic and populist, learned and ignorant, professional and hack.
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This paper will highlight an instance of entrenched creative inertia in academia and the process involved in overcoming this roadblock. Specifically, creative inertia is a problem which can occur in any institution irrespective of size.... more
This paper will highlight an instance of entrenched creative inertia in academia and the process involved in overcoming this roadblock. Specifically, creative inertia is a problem which can occur in any institution irrespective of size. In this particular example, an outside party — Scott Zukowski of California Institute of the Arts — was invited into a program to act as a mediating catalyst for change.
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The goal of this course is to introduce students to the creation of narrative structures outside of print-based media. The projects are not specific to any particular “use value,” i.e. film credits for a particular movie, or a mock... more
The goal of this course is to introduce students to the creation of narrative structures outside of print-based media. The projects are not specific to any particular “use value,” i.e. film credits for a particular movie, or a mock television promo. To do so, would be to rely on a student’s preconception of what narrative structures are, which is to say, rely on what he or she has already seen on television or other media. Instead, the assignments asks a students to “tell stories” or react to an individual’s own experiences.
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The path a student takes is undoubtedly a slow and methodological journey and the educational journey of the type designer perhaps among the slowest. That Gerrit Noordzij has had an influence on contemporary type design is indisputable.... more
The path a student takes is undoubtedly a slow and methodological journey and the educational journey of the type designer perhaps among the slowest. That Gerrit Noordzij has had an influence on contemporary type design is indisputable. Exactly how he has been able to accomplish this feat is altogether another matter of discussion. The intent of this study is twofold. First, however brief, it examines how Noordzij approached the classroom environment, the way he approached student learning and the method by which he relayed information. Second, it examines the techniques and conceptual apparatus Noordzij introduced in the classroom and in the discipline. It does not, however, make the assumption that Noordzij’s success can be codified and reproduced. Quite the contrary, such a naïve assumption is detrimental to the learning environment and precisely counter to Noordzij’s success as a teacher. Rather, this essay attempts to treat teaching and learning as a discursive practice with its own language, mutable theory and practical outcomes. This paper will be a reworked form of my MA dissertation from the University of Reading under the direction of Gerry Leonidas.
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Paper presented at Contesting Absences: Exploring Unexamined Influences, ACSA West Regional Meeting, Eugene OR, 15–16 October 1999. Critical objection to the simulacrum, or "false copy," has a long history in the visual arts beginning... more
Paper presented at Contesting Absences: Exploring Unexamined Influences, ACSA West Regional Meeting, Eugene OR, 15–16 October 1999.
Critical objection to the simulacrum, or "false copy," has a long history in the visual arts beginning with Plato through to the present. In architecture, the legitimate copy is determined via typological extension, historical derivation, or "proper" transformation as the work moves from conception through modeling to final construction. These architectural copies maintain a "truth of resemblance" to the extent that each is founded (internally and spiritually) on the Idea of the thing. The simulacrum however, is made from below, it is a copy in the form of the image without passing through the Idea. The simulacrum negates both original and copy, model and reproduction: Selection is no longer possible. As image-without-referent and perfect impostor, the simulacrum's mimetic capacity allows it to insert itself within the confines of disciplinary limits, thereby subverting the categorizations of the Real: truth, foundation, and model. Using the 1933 Schminke House of Hans Scharoun and its double, the Barnes House of John and Patricia Patkau completed in 1993, this paper asserts that in an era where media images are an ever more pervasive force in society, the simulacrum emerges as an authentic category in its own right.
Critical objection to the simulacrum, or "false copy," has a long history in the visual arts beginning with Plato through to the present. In architecture, the legitimate copy is determined via typological extension, historical derivation, or "proper" transformation as the work moves from conception through modeling to final construction. These architectural copies maintain a "truth of resemblance" to the extent that each is founded (internally and spiritually) on the Idea of the thing. The simulacrum however, is made from below, it is a copy in the form of the image without passing through the Idea. The simulacrum negates both original and copy, model and reproduction: Selection is no longer possible. As image-without-referent and perfect impostor, the simulacrum's mimetic capacity allows it to insert itself within the confines of disciplinary limits, thereby subverting the categorizations of the Real: truth, foundation, and model. Using the 1933 Schminke House of Hans Scharoun and its double, the Barnes House of John and Patricia Patkau completed in 1993, this paper asserts that in an era where media images are an ever more pervasive force in society, the simulacrum emerges as an authentic category in its own right.
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Paper presented at Triangulating the Bodies of Architecture, 1996 ACSA Northeast Regional Meeting, Buffalo NY, 4–6 October. Conventional architectural discourse on representation operates between two poles of a binary system. In one... more
Paper presented at Triangulating the Bodies of Architecture, 1996 ACSA Northeast Regional Meeting, Buffalo NY, 4–6 October.
Conventional architectural discourse on representation operates between two poles of a binary system. In one instance the presence of representative content is seen to affirm a hegemonic reality and the values of a dominant culture; in the other, which is noted by an absence, architectural form is interpreted as disengaged and autonomous, devoid of social and historical circumstance. While seemingly opposite poles, both share a common bond to logocentric thought and a common disregard for the material presence of architecture. In the face of this idealized conception of reality, "material representation" is suggested as a third term in an effort to extract discourse from the confines of conventional representational practice. Rather than simply yield to the forces of an a priori cultural order or the limitations of economic pressures, material engagement or "immersion in particularity," offers up a dialectical situation, one which acts through the particularities of form in the discovery of a social structure in a particular historical configuration. Acting through the filter of the individual subject — which is resistant to affirmation — coupled with a direct material engagement — which explicitly grounds the work in a context and time — it is possible to produce an architecture which does not dissolve representation nor further reflect the boundaries of a secure reality. Such an example can be found in Le Corbusier's chapel at Ronchamp, a building which continues to exceed absorption by the unifying confines of rationalizing processes.
Conventional architectural discourse on representation operates between two poles of a binary system. In one instance the presence of representative content is seen to affirm a hegemonic reality and the values of a dominant culture; in the other, which is noted by an absence, architectural form is interpreted as disengaged and autonomous, devoid of social and historical circumstance. While seemingly opposite poles, both share a common bond to logocentric thought and a common disregard for the material presence of architecture. In the face of this idealized conception of reality, "material representation" is suggested as a third term in an effort to extract discourse from the confines of conventional representational practice. Rather than simply yield to the forces of an a priori cultural order or the limitations of economic pressures, material engagement or "immersion in particularity," offers up a dialectical situation, one which acts through the particularities of form in the discovery of a social structure in a particular historical configuration. Acting through the filter of the individual subject — which is resistant to affirmation — coupled with a direct material engagement — which explicitly grounds the work in a context and time — it is possible to produce an architecture which does not dissolve representation nor further reflect the boundaries of a secure reality. Such an example can be found in Le Corbusier's chapel at Ronchamp, a building which continues to exceed absorption by the unifying confines of rationalizing processes.
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An abbreviated version of this essay has been included with the typeface specimen. The full version can be found on the Emigre website on the link provided.
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Do designers read and write? The Blunt conference aims to inject more writing into design education. Preview by Linda Kwon.
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Graphic design has arrived. Not that it hadn’t already before. But the recently closed exhibition Graphic Design: Now in Production (GDNiP) at the Walker Art Center (and scheduled for future exhibitions at the Cooper-Hewitt National... more
Graphic design has arrived. Not that it hadn’t already before. But the recently closed exhibition Graphic Design: Now in Production (GDNiP) at the Walker Art Center (and scheduled for future exhibitions at the Cooper-Hewitt National Design Museum, New York; Hammer Museum, Los Angeles; Southeastern Center for Contemporary Art, Winston-Salem NC) presents a cohesive understanding of graphic design as a discipline trying to examine its own sense of self. The catalogue makes reference to two previous exhibitions on graphic design of similar scope, Graphic Design in America (1989) and Mixing Messages (1996), which had presented graphic design as a collection of individual practices or current themes, but GDNiP pursues graphic design in a much more introspective way. It theorizes graphic design as a practice with its own history, vocabulary, methods and aspirations. It is the position of this writer that to claim graphic design is a cultural enterprise is to understand it as an expanding disciplinary project. It is no longer simply a profession, a service, a tool or a means to create desire. Obviously it still serves all those roles, but it has also exceeded them. The co-organizers of the exhibition, Andrew Blauvelt and Ellen Lupton say as much in their introduction to the catalogue, “We have sought out innovative practices that are pushing the discourse of design in new directions, expanding the language of the field by creating new tools, strategies, vocabularies, and content.”
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An unpublished review of Two Lines, an installation by David Chipperfield Architects for the 2011 London Design Festival.
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Two Lines Align: Drawings and Graphic Design by Ed Fella and Geoff McFetridge was the first exhibition of graphic design at the Redcat Gallery at the Disney/CalArts Theater in Los Angeles. The show, which closed in early April, presented... more
Two Lines Align: Drawings and Graphic Design by Ed Fella and Geoff McFetridge was the first exhibition of graphic design at the Redcat Gallery at the Disney/CalArts Theater in Los Angeles. The show, which closed in early April, presented a retrospective of the established “art-designer” Ed Fella and a prospective of Geoff McFetridge, a young designer essentially at an early stage of his career. Curated by Michael Worthington, a design educator at California Institute of the Arts, it is both an examination of two careers and a reflection of the state of graphic design in the now. But after seeing the show, in its context — in California, in LA, in the Frank Gehry-designed Disney Concert Hall — it occurs to me that this was also a show about the trajectories of modernism, specifically, the trajectories of American modernism, which may not seem so obviously connected to the work of designers such as Fella and McFetridge.
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An online tool to help high school students, high school counselors and college recruiters spark interest in a design education and career.
On the occasion of the :output Foundation’s 10th Anniversary, five designers who have been published in :output during the last 10 years and now have become successful designers in an international context were invited to be featured in... more
On the occasion of the :output Foundation’s 10th Anniversary, five designers who have been published in :output during the last 10 years and now have become successful designers in an international context were invited to be featured in volume 10.
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We asked a number of people who’ve been involved in the writing, editing, distribution and design of magazines to draw up lists of the magazines that have most influenced their own way of thinking. Each respondent’s comments are both a... more
We asked a number of people who’ve been involved in the writing, editing, distribution and design of magazines to draw up lists of the magazines that have most influenced their own way of thinking. Each respondent’s comments are both a bibliographical musing that provides sure and critical insight into journal culture, and also a confession of an autobiography in magazines told from the unique viewpoint of one reader’s highly personal encounters with magazines. Participants: Andrew Blauvelt, Brett Phillips, Christoph Keller, David Cabianca, David Crowley, David Renard, Emily King, Jeremy Leslie, Jop van Bennekom, Joerg Koch, Kenneth FitzGerald, Kerry William Purcell, Leonardo Sonnoli, Lorraine Wild, Nick Bell, Project Projects, Richard Hollis, Rick Poynor, Robin Kinross, Shumon Basar, Steven Heller, Stuart Bailey, Sulki Choi, Tony Brook, 2×4.
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I am a junior faculty member now teaching graphic design but I began my studies in architecture. Today, working towards my tenure requirements at a large university, I am asked to provide some biographical information whenever a piece of... more
I am a junior faculty member now teaching graphic design but I began my studies in architecture. Today, working towards my tenure requirements at a large university, I am asked to provide some biographical information whenever a piece of my writing finds the light of day in a publication, however infrequently that may be. This request always makes me uneasy because I am aware of the contrast between how this information is written for architecture and graphic design audiences.
Architects list accomplishments in their biographies: the names of building projects, completed and uncompleted; competitions entered, winning or nonwinning entries. Graphic designers provide client lists.
Architects list accomplishments in their biographies: the names of building projects, completed and uncompleted; competitions entered, winning or nonwinning entries. Graphic designers provide client lists.
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Special Feature: Edward Fella This issue of IDEA features Edward Fella’s unique typographic works in extraordinary volume with an Introduction by Lewis Blackwell and the essay “Lettering Beyond the Borders: The Art of Ed Fella” by David... more
Special Feature: Edward Fella
This issue of IDEA features Edward Fella’s unique typographic works in extraordinary volume with an Introduction by Lewis Blackwell and the essay “Lettering Beyond the Borders: The Art of Ed Fella” by David Cabianca.
This issue of IDEA features Edward Fella’s unique typographic works in extraordinary volume with an Introduction by Lewis Blackwell and the essay “Lettering Beyond the Borders: The Art of Ed Fella” by David Cabianca.
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Follow-up interview to a letter published in Emigre no.65, Fall 2003: 124–127. An interview focusing on the value of design theory and criticism in graphic design.
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https://bit.ly/EdFellaUnit A Life in Images is an opportunity to delve into a distinctly different aspect of Ed Fella’s contributions to the discipline of graphic design. Fella’s archive is not simply a repository of advertising ephemera... more
https://bit.ly/EdFellaUnit A Life in Images is an opportunity to delve into a distinctly different aspect of Ed Fella’s contributions to the discipline of graphic design. Fella’s archive is not simply a repository of advertising ephemera and images from popular culture. Fella was intimately linked to the material conception and production of advertising in the USA from 1957 through 1987, and post 1987 his CalArts students went on to take up leading positions in the creative industries. No previous writing has touched upon materials from Fella’s archive or his “process work” (the label designers use to describe research, sketches and drafts of design work which inform the final design). Rather, the emphasis of discourse about his work has been on the final outcomes, the “flyers” or posters that established his reputation.
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
Funded in part by a grant from the Canadian Social Sciences and Humanities Research Council (SSHRC).
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The syllabus and projects for the advanced motion design course I teach were included in the Allworth Press series Teaching Graphic Design: Teaching Motion Design, Steven Heller and Michael Dooley eds., New York: Allworth Press.
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About this reference work The International Encyclopedia of Communication represents the definitive reference source in this interdisciplinary and dynamic field. This authoritative work is jointly published with the International... more
About this reference work
The International Encyclopedia of Communication represents the definitive reference source in this interdisciplinary and dynamic field. This authoritative work is jointly published with the International Communication Association (ICA), the leading academic association of the discipline. Key features:
• 1,339 newly-commissioned A-Z entries, divided into 29 editorial areas representing major fields of inquiry, each of which is headed by a leading expert in the field
• Spans the breadth of communication studies, including coverage of theories, media and communication phenomena, research methods, problems, concepts, and geographical areas
• Simultaneously publishing in print and in this fully accessible and searchable online version
• Features sophisticated cross-referencing and search facilities and a lexicon by subject area
• Entries ranging from extended explorations of major topics to short descriptions of key concepts
• Written and edited by an international team of the world's best scholars and teachers, representing the international character of the ICA
• Editorial areas include communication theory and philosophy, interpersonal communication, journalism, intercultural and intergroup communication, media effects, strategic communication/PR, communication and media law and policy, media systems in the world, and communication and technology.
This unique and inclusive work will strengthen the identity of the growing field of communication studies, support its institutions, and most of all, improve the study of communication problems and phenomena worldwide.
The International Encyclopedia of Communication represents the definitive reference source in this interdisciplinary and dynamic field. This authoritative work is jointly published with the International Communication Association (ICA), the leading academic association of the discipline. Key features:
• 1,339 newly-commissioned A-Z entries, divided into 29 editorial areas representing major fields of inquiry, each of which is headed by a leading expert in the field
• Spans the breadth of communication studies, including coverage of theories, media and communication phenomena, research methods, problems, concepts, and geographical areas
• Simultaneously publishing in print and in this fully accessible and searchable online version
• Features sophisticated cross-referencing and search facilities and a lexicon by subject area
• Entries ranging from extended explorations of major topics to short descriptions of key concepts
• Written and edited by an international team of the world's best scholars and teachers, representing the international character of the ICA
• Editorial areas include communication theory and philosophy, interpersonal communication, journalism, intercultural and intergroup communication, media effects, strategic communication/PR, communication and media law and policy, media systems in the world, and communication and technology.
This unique and inclusive work will strengthen the identity of the growing field of communication studies, support its institutions, and most of all, improve the study of communication problems and phenomena worldwide.
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Keynote talk at the School of Architecture, University of Manitoba, Winnipeg MB. This talk was one of a series celebrating the School of Architecture's 50th Anniversary since its founding.
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Talk delivered at Cranbrook Academy of Art, 24 September 2014, as part of a 2D Design Visiting Artist experience.
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Guest talk for undergraduate course, Research in Design YSDN2103.
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Conference sponsored by Magazine Grafika, Journée Grafika, Montreal QB.
Symposium Presenter: Alternate Practices to Architecture.
Job talk delivered at:
Ontario College of Art and Design
Ontario College of Art and Design
Job talk delivered at:
California Institute of the Arts, Valencia CA.
University of Texas, Austin TX.
Emily Carr Institute of Art and Design, Vancouver BC.
California Institute of the Arts, Valencia CA.
University of Texas, Austin TX.
Emily Carr Institute of Art and Design, Vancouver BC.
Job talk delivered at: School of Architecture, University of British Columbia, Vancouver BC. Carnegie Mellon School of Design, Pittsburgh PA. Herron School of Art, Indiana University/Purdue University, Indianapolis IN. Nova Scotia... more
Job talk delivered at:
School of Architecture, University of British Columbia, Vancouver BC.
Carnegie Mellon School of Design, Pittsburgh PA.
Herron School of Art, Indiana University/Purdue University, Indianapolis IN.
Nova Scotia College of Art and Design University, Halifax NS.
School of Architecture, University of British Columbia, Vancouver BC.
Carnegie Mellon School of Design, Pittsburgh PA.
Herron School of Art, Indiana University/Purdue University, Indianapolis IN.
Nova Scotia College of Art and Design University, Halifax NS.