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This was my final poster design, and I altered the title from "My 20 Objects to Aspects of Myself" to "My 20 Objects to Aspects of Myself."I modified the font arrangement, emptying the space surrounding my Chinese and English names to make it look more workable, re-edited my content, and tried to examine my 20 items from a perspective that was meaningful to me.

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This is my poster draft. After I discussed it with my teacher, I thought I'd want to think more about why I should design my poster in this way and whether it was relevant to my work. I think I should use an illustration to draw my final poster because my work is illustrated, and I use my own illustrations to better express my design.

These are some of the ways I need references, called diptychs. When I'm making my posters, I need to make my posters' tones look uniform. It can be two pages of symmetry, but the overall design needs to be uniform. Just like the posters in the picture.

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WK06 Reflection on the presentations

Through this presentation, I got feedback that my research is not enough to fully express my design ideas; I should look for some more relevant to my identification of protection, healing, animals, and sustainability as key ideas-themed artists, which my mentor thought I would recommend. I am more looking for artists like NARA. Because there's a deeper narrative behind it than some simple cartoon characters.

From my feedback :

There are grammatical errors in the text of some slides. Always proofread/check. Slides need captions to explain what the viewer is looking at. There are some good references eg. Nara and engaging slides with lots of images.

So, when I do presentations later, you need more proofreading.

For my creative community, I need to build a better graphic connection. But that's my weakness because I've never really joined or participated in any of these communities. So, in the future, I should play my part, as much as possible, in some activities and interactions.

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Missing part: WK04 all the rest of 4 artists

For more than 30 years, Dr. David Sinfield has worked as a lecturer, academic leader, and creative director in the field of graphic communications design, both in the UK and other countries.

Because David is a graphic designer and art director, he designs and makes printed works of art, moving image graphics, documentary films, and short films like the poem film.

This study is based on practice-led research, and it looks at artistic works like photography, graphic design, communication design, typography, AR/VR, mobile technology, new and emerging technology, and moving images (film poems and short films). Many of his poetic typographical projects, like short films, film poems, documentary films, typographical books, and typeface designs, are based on his research. It goes beyond the idea of a portrait as just a picture of a person by combining typography, narrative, location images, sound, and paralinguistics. By doing this, it shows how some aspects of graphic design can be used to bring attention to the human situation. In a creative way, it goes beyond the idea of typography as emotional by looking at how the wear and tear on letterforms can create new meaning. After doing more research, people are now exploring animated typography to show how people live, whether it's in the form of film titles, animated monologues, or political comments on the decline of cities.

Talita Tolutau

Talita Tolutau's project for her PhD thesis, Veitalatala: Matala 'o e Talanoa, is about representation. It looks at Veitalatala, a culturally situated form of storytelling, and how it has been creatively translated into film and Ngatu prints. The project's goal is to look at the stories of Tongan women who left their home country to live in other countries. The piece is a creative combination of those women's talanoa into a new type of documentary and Ngatu prints that are meant to show how their stories have cultural and emotional meaning for people. Matala 'o e Talanoa combines photography, animation, sound design, filmed footage, and a lot of study done after the fact to create a one-of-a-kind text that tries to expand the definition of documentary beyond the visual interview. To do this, the study uses Tongan ways of telling stories and showing things a lot.

Associate Professor Marcos Mortensen Steagall works in the Communication Design department at the Auckland University of Technology (AUT). He has been there since February 2016 and is an associate professor. In Year 3, he is in charge of communication design and interaction design as the programme leader for communication design and interaction sign. He got his Master's and PhD in Communication and Semiotics from the Pontifical Catholic University of Sao Paulo, Brazil, in 2000 and 2006, respectively. In 2019, he will get his PhD in art and design from Auckland University of Technology. I'm interested in visual semiotics, practice-oriented research methods in art, design, and technology, making images with lenses, and indigenous ways of knowing. I've seen both Master's and PhD students through to the finish as a supervisor.

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Missing part： lecture- design research-Methodology and methods behind creative practie

This lecture taught me about the METHODOLOGY + METHODS BEHIND DESIGN RESEARCH. The process is like when you make a cake; you need to have all the materials, which is your work. In the process of making, we can use different ways and methods, and we can also replace materials; the whole process is equal to your creative practice. When you're done, you build up your own methodology programme, which is your methodology.

RESEARCH PARADIGM = THE REASONS BEHIND

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Missing part：WK04 LECTURE

The creative communities • Who are the local and global creatives, designers, illustrators, and photographers that you want to connect with?

These are the five creative communities I want to participate in. They're my school, Animal Protection Rescue Centre, my Auckland city building, and my favourite video site, YouTube.

Because I don't have many business aspirations or research projects, I just hope that my artistic design works can help more people and spread more goods throughout the world.

Each teacher talked with us about their own creative communities through lectures, and I discovered that these groups might have a variety of options. It might be friends in the field, organisations relating to your cultural background, any company or organisation for which you have volunteered, or a company and designer of your choice.

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Missing part：WK04 SDL

This is about my 20 objects, they come from my life, my tools, and my favourite food.

There are other things that make sense to me, like my toys and my Lego. I think they all represent my personal style and preferences.

This is my curiosity map; I enjoy all of my favourite artists and creative designers; they're all curative and cute series, certainly.

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Missing part：WK03 SDL

Creatives wanted, more alive than dead..

• What excites you in the design and creative communities you are investigating?

Hayao Miyazaki. His studio, his illustrations, animated design, film design.

• Who would you want to share a meal with?

Hayao Miyazaki.

• Who would you want to work with?

Members of Studio Ghibli.

• Who would you want to mentor you?

Hayao Miyazaki.

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Missing part: Poetry exercise to visual the look behind creating the visual map or poster

This is about my own visual map, because I'm an international student from China, so my design style is deeply influenced by Asian culture. Most come from Japan and Korea, and I personally like cartoon, healing-style illustrations. When I came to New Zealand, I found the work of an artist, Giselle Clarkson, which I liked very much because she was an illustrator for children's reading.

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Week02 Fiona spoke about creative communities in Aotearoa

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1.What is material thinking?

This comprehensive examination delves into the process of transforming ideas into various forms of artistic expression, such as dance performance, cinema, sound installation, sculpture, and painting. It explores how the tangible manifestation of artistic concepts fosters fresh insights into the lives of individuals, their historical backgrounds, and the societies they are part of.

collaboration

objects and artists obsessed with the material as a means to an end

2. Choose one of the creatives from the lecture and describe their material thinking?

Tatiana Tavares' work is incredibly impressive to me because she creates artwork using cutting-edge augmented reality technology. It can communicate effectively via electronic devices, voice, and readers. Her material thinking, I believe, is based first and foremost on her enormous, in-depth research on the cultural context of the story itself, the religious background, and the deep study of the ideas that she wishes to express. Then, communicate the key information in the form of spelling, and use the touch and link of current technology and music to portray artistic concepts in a very brilliant narrative approach.

3. How can material thinking be seen through your own work？

Before I start my own creation, I use the web to get inspiration, using my iPhone, iPad, or laptop. Then I use Procreate to create illustrations based on sketches. Then edit in Photoshop or AI software. I think this is how I use materials to create.

4. How would you reference the reading from today?

“Material thinking is the handling magic. ”

Because our creativity must begin with a variety of materials, we have no method for creating without concrete reality material; without it, we can only create fiction.

I believe that material consideration is crucial to artistic production, as various fabrics can provide readers with different experiences, and as designers, we are more likely to be inspired during the creative process. Attempt to communicate work-related concepts efficiently

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How to find credible sources — 20:20 vision

Find 20 different kinds of credible sources through a range of library data bases. Sources can be images, texts, etc. Include key ideas, context and subject specific terrain of the creatives / designers / illustrators / photographers, etc.,

Look for:

• Specific techniques and crafts x 5 • Keythemes,ideasandconversationsx5 • Specialistsubjectknowledgex5 • Creativesworkingintheenvironmental,social,cultural,sub-cultural,andpoliticalcontextsx5

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Create a visual map of your creative interests and practice (use any app)

I identify myself as an illustrator who utilises the digital drawing application Procreate, drawing inspiration from various web-based artists' blogs and social media platforms such as Instagram and Facebook. Personally, I will identify my preferred artistic style and colour palette and afterwards endeavour to replicate them in a manner reminiscent of my favourite artist. I have a strong affinity for the subtle hues of many colours. The topic of discussion pertains to the colour pink as well as fashions that are perceived as attractive, particularly in relation to girls. My objective is to provide healing to individuals.

My previous works

My favourite artists work

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SDL: Pohewa Pāhewa: a Māori design kaupapa

Desna Whaanga-Schollum

MĀTAURANGA MĀORI / SCIENCE COMMUNICATION / INDIGENOUS DESIGN & ART

The way Desna's work approaches and discusses national identity ties it together. She works on projects with people from many different communities, business and design professionals, artists, and academics to get results that improve people, practises, and places. Desna is involved in Mori identity design, discourse, and stakeholder involvement in Aotearoa through design consulting, study, exhibitions, wnanga, speaking engagements, and governance roles.

Tyrone Ohia

Tyrone Ohia is a designer working out of Tmaki Makaurau. He is of the Ngti Pkenga and Ngi Te Rangi iwi. He grew up in Whanganui but was born in Tauranga, and now he runs the award-winning design business Extended Whnau out of Tmaki Makaurau. The studio is motivated by the desire to elevate and promote all parts of Te Ao Mori through design and, as such, works on a wide variety of projects with a wide variety of collaborators.

Graham Tipene

“I grew up in Auckland at a time when the only place to see Māori representation in art was in the museum or the statue in downtown,” he says, referring to Molly Macalister’s 1967 bronze sculpture A Māori Figure in a Kaitaka Cloak. "I thought it wasn’t good enough and we needed to do better for our kids who don’t see themselves in their environment.”

Graham Tipene's art can be seen all over Tmaki Makaurau, from the impressive concrete panels in the Waterview Tunnel and the beautiful Tirohanga Whnui walking and cycle bridge in Albany to the Central City Library and the Te Ao Mrama (South Atrium) at the Auckland War Memorial Museum Tmaki Paenga Hira.

The carving behind him shows Kane Nepu Paora, the grandmother, and Mere Paea Tipene, the granddaughter, coming together in a hongi. This shows the tuakana-teina bond between the two women.

Below them are two manaia who live in the water on either side of the Tmaki Isthmus. Their names are Kaiwhare and Horotiu. They show an old, intangible link between each river and the value of the two waterways for getting from east to west. They are guardians, or kaitiaki, who keep us safe and help us understand their job through stories.

Johnson Witehira

Johnson Witehira is of Tamahaki and Ngi T-te-auru origin. He is an artist, a designer, and a professor. He helped start both Waahi Wairua and Indigenous Design and Innovation Aotearoa (IDIA).

Since he got his PhD in Mori Visual Art in 2013, Johnson has been on a journey to bring Mori culture into every part of life in New Zealand. He was responsible for developing Mori designs for the Auckland City Council, TVNZ, the Auckland International Airport, and Waka Kotahi, the New Zealand Transport Authority. Other essential design projects include making the first set of Mori alphabet blocks, co-designing the PAKU gardening tools for kids, and making the first usable Mori-specific typeface.

Zoe Black

Zoe Black is the deputy head of Objectspace in Auckland, Aotearoa, New Zealand. She is Ngpuhi, Ngti Hine, and Pkeh. Since 2008, she has been working in art spaces. Her organising work has been mostly about building up communities and speaking up for craft and object art forms that don't get enough attention. She is the director in residence at Norwegian Crafts (2020–2022), where she works on projects that bring together the ways that Indigenous people in Aotearoa and Sápmi make things. Zoe Black helped put together the Embodied Knowledge issue of The Vessel, which was the third issue.