The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.

Thesis (M.Tech. - Graphic Design, Dept. of Visual Arts and Design, Faculty of Human Sciences) -- Vaal University of Technology / An exploratory study was undertaken at three campuses of the Vaal University of Technology in response to weak examination results in one of the subjects of the graphic design curriculum. The aim of the study was to investigate visual learning strategies as used in conjunction with co-operative learning approaches in a higher education setting and to asses the appropriateness of these learning approaches in the discipline of graphic design at first-year level. The research questions that guided the study focused on how first-year graphic design learners experience (a) visual learning strategies, (b) a cooperative learning environment, as well as (c) the combination of these. The literature review component of the study covered (1) the fundamentals of visual learning, including the concepts of visual literacy, visual semiotics and visual culture; (2) graphic design education, especially in a South African context; and (3) principles of co~operative learning, including Avenant's requirements for successful group work. In the field work component of the study, multiple-choice questionnaires, open-ended questionnaires and focus group interviews were used as the main data collection methods. The results of the study did not indicate that first-year learners enrolled in the discipline of graphic design are likely to benefit from a combination of visual learning and co-operative learning strategies. Therefore, the implementation of a combination of the above-mentioned teaching strategies is not recommended in this setting.

Today’s society is characterised by the production of massive amounts of information— freely transferred—and instant access to knowledge. This current overproduction of data is translated into complex diagrams to enhance the clarity. Nevertheless, it is commonplace in information design practice to find diagrams that are not communicating the intended messages. The act of conceiving the diagram takes place during conceptual design. This can be where misleading analysis and superfluous information organisation actions may lead to ill-conceived conceptual design, and therefore to ill-conceived diagrams, i.e. overloaded, unintelligible and disorganised. Existing tools for conceptual design of diagram creation do not properly meet design practitioners’ needs in that they tend to be excessively time-consuming to implement. This indicates a need for the exploration of new design methods focused specifically on the conceptual design stage of the process of designing diagrams. This practice-led thesis presents one such possible design method, i.e. MapCI Cards, aimed at guiding experienced graphic and information design practitioners in the preparation of complex diagrams. MapCI Cards presents a collection of guidelines that make use of prompts and questions, in order to assist the conceptual design stage of diagram creation. The use of the proposed design method does not guarantee the production of outstanding outputs. The purpose of MapCI Cards is not to create aesthetic design; rather, it is to increase an understanding through guided content analysis and organisation of the information to be conveyed. Lists, draft diagrams, mind-maps and sketches are some of the possible resulting outputs of using the MapCI Cards. In short, the cards assist the development of the conceptual idea of the potential final diagram that will be developed in the prototype design stage. The first stage of this research investigates how complex diagrams organise information, using the London Underground diagram as a case study. Analytical relational surveys are used to explore diagram creators’ decision-making processes. Sets of studies of diagram structures (Walker, 1979a; Tufte, 1983), design processes (Wurman, 1989; Jones, 1992) and information organisation (Wurman, 2001; Shedroff, 2003; Roam, 2008) are examined and combined. After this, the data collected are analysed using qualitative visual methods, and rearranged to develop the content in MapCI Cards. Two pilot workshops are designed as the revising and optimising methods. Then, five self-documentation cases drawn from practising information designers in the UK are conducted to test MapCI Cards within professional practice. The performance of the proposed guided approach to conceptual design is measured through an interpretation model, and key informants’ insights are used to delimit its conditions and limitations.

Au croisement des champs du design graphique, des visual studies, et de l’épistémologie, cette thèse interroge la dimension politique du regard, au travers d’une histoire critique de la modernité en design graphique. Empruntant à Bruno Latour ou Philippe Descola, cette histoire permet de faire apparaître comment le design graphique s’est constitué, à l’époque moderne, comme discipline consacrée au travail de la représentation. À l’image des sciences, le visible a lui aussi fait l’objet d’un « Grand partage », contribuant à construire et à structurer notre espace visuel, en imprégnant le regard moderne de ses préjugés et de ses inclinations. Les catégories qui se présentent alors sous une forme visuelle semblent bien pouvoir, par la métaphore, recouvrir des distinctions épistémologiques plus fondamentales, permettant d’une certaine manière de considérer que les principes de vision (les manières de voir) sont aussi des principes de division (des manières de comprendre et de connaître). / From the intersection of the fields of graphic design, visual studies and epistemology, this thesis explores the political dimension of the gaze through a critical reading of modernity in graphic design. In this history, which borrows from Bruno Latour and Philippe Descola, graphic design emerges as a discipline that, in the modern period, has been devoted to the work of representing. Like the sciences, the visible has been subjected to a “Great Divide,” which has participated in how our visual space is constructed and structured by imbuing the modern gaze with its biases and inclinations. Categories that now appear in visual form seem to be able, through metaphor, to contain more fundamental epistemological distinctions. They also allow us to see how the principles of vision (ways of seeing) are in some sense also principles of division (ways of knowing and understanding).

This research investigates the position of creativity within graphic design education in general, and within the Omani educational context specifically. It situates itself among three realms: education, design, and creativity, investigating the relationships, effectiveness, and interrogations among these three topics. Creativity is defined within this research and in relation to graphic design education as problem solving , which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as wicked problems , which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from an educational point of view. The research problem is that the Omani design education system lacks a framework that recognises creativity as an important concept in education. Such a lack creates a twofold problem: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programmes that can enhance students creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general. Traditional education usually does not support creative thinking in design students, which consequently minimises their roles in social and cultural change. Based on the above, this research aims to develop a pedagogical model that can enhance and promote creative potential within Omani graphic design students. This aim can be achieved through re-establishing the position of creativity within Omani design education and valuing creativity as integrated part of graphic design. It proposes that the pedagogical model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Therefore, this research, and the proposed model, is the first step towards improving the position of creativity in Omani design educational systems in general. The model would propose to help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural wicked problems faced in Oman, such as the increased rate of car accidents nationally). The model will contain some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The relevant literature has been reviewed to study the techniques and strategies used internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used to answer the research questions and fulfil the aims. A survey approach was used for this research, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, How, and by which techniques and strategies? Which curriculum contents are most suitable and effective? And how to assess creativity within graphic design education?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The participants in these interviews were local lecturers who teach graphic design courses at six Omani institutions. All of the collected data were analysed by a thematic analysis method, by coding and categorising them according to different themes that had been extracted earlier from the literature. The contribution of this research is in defining the concept of creativity through scientific research; more specifically by practical research conducting an international survey and local interviews. Through this approach, this research has collected ideas, insights and trends about creativity in graphic design and how it can be developed. Also, this research has advanced knowledge of the relationships among graphic design, creativity, and education, specifically in the Arabic region. It is an attempt to emphasise this new field. Moreover, this research has given a snapshot of differing views regarding creativity in design education as perceived by international lecturers versus Omani lecturers, through conducting a cross-cultural study by asking these two groups the same questions, which was an interesting comparison. Finally, the collected data were utilised to develop the proposed pedagogical model designed for graphic design lecturers who teach design courses within Omani design education. The pedagogical model is the main contribution of this research. It would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.

Des premières fascinations des graphistes pour les notions de systèmes, en passant par l’introduction des approches liées au « corporate design » et à la « corporate identity », le renforcement progressif du « marketing », puis le basculement vers le « branding » et la mise en valeur artificielle des marques, la recherche rend compte de l’évolution des représentations d’institutions, d’événements et de collectivités publics, entre les années 1970 et 2010. Cette chronologie des approches dominantes est analysée en écho à celle d’une série d’expérimentations personnelles liées à une approche qui se veut plus civique du design et qui permet de penser de réelles méthodes alternatives. En analysant les relations entre identification et identité, est proposé un déplacement du focus des questions de visibilité et de mise en valeur des marques vers des approches qui, à l’aide de langages visuels partagés, placent en leur centre : - l’intelligibilité des structures complexes, - la représentation des pluriels, des évolutions et des relations, - l’intégration au contexte, - la coordination des expressions multiples. / Research documenting the evolution of visual representations of institutions, events and public bodies between 1970 and 2010, from designers’intitial fascination with the concept of « corporate design » and « corporate identity » systems, the progressive reinforcement of « marketing », then the switch to « branding » and the artificial values attached to brands is chronologically analysed through a series of personal experiments related to an intentionally more civic design minded approach that permits the creation of real alternative methods. Analysing the relationship between identification and identity sees a proposed shift in focus concerning brand visibility and enhancement towards approaches that, with the help of shared visual languages, places at the centre – the intelligibility of complex structures – the representation of plurality, trends and relationships, - the integration of context – the coordination of multiple expressions.