Triggers was a 16-week classroom investigation into how to use communication design to change hab... more Triggers was a 16-week classroom investigation into how to use communication design to change habits. Students in this graduate-level class partnered with a classmate, identified habit loops, prototyped and tested possible solutions that could bring awareness to the problem (making design changes as needed), tracked the quantitative and/or qualitative changes, and measured how behavior changed. Topics ranged from procrastination, creative confidence, eating less meat, calling your mom more often, doodling in more productive ways, and grinding your teeth less. Students focused on a human-centered, holistic, and empathic approach, and applied Design Thinking methodologies to their challenge. Students had an adequate amount of time to understand how design can change behaviors and some outlined their methodology in the form of a toolkit that others might use to change their habits.
This newest title in the design briefs series is a compact, hands-on guide for graphic design pro... more This newest title in the design briefs series is a compact, hands-on guide for graphic design professionals who want to start helping communities and effectuating social change in the world. Author Andrew Shea presents ten strategies for successful community engagement, grounding each one in two real world case studies. The twenty projects featured in the book are by both design professionals and students and range from creating a map of services for the homeless community in Santa Monica, helping Chicago's Humboldt Park community by designing a website where donors can buy essential items for community members, to encouraging LA's Latina community to go for an annual PAP exam in an attempt to prevent cervical cancer through carefully designed posters, murals, and other material. Designing for Social Change is both an inspiration and a how-to book that encourages graphic designers everywhere to go out and do good with their work, providing them with the tools to complete suc...
Creative Statement: “There are those who see Planet Earth as a gigantic living being, one that fe... more Creative Statement: “There are those who see Planet Earth as a gigantic living being, one that feeds and nurtures humanity and myriad other species – an entity that must be cared for. Then there are those who see it as a rock full of riches to be pilfered heedlessly in a short-term quest for over-abundance. This ‘cradle to grave’ mentality, it would seem, is taking its toll (unless you’re a virulent disbeliever in climate change). Why not, ask artists Priscilla Bracks and Gavin Sade, take a different approach? To this end they have set out on a near impossible task; to visualise the staggering quantity of carbon produced by Australia every year. Their eerie, glowing plastic cube resembles something straight out of Dr Who or The X Files. And, like the best science fiction, it has technical realities at its heart. Every One, Every Day tangibly illustrates our greenhouse gas output – its 27m3 volume is approximately the amount of green-house gas emitted per capita, daily. Every One, Every Dayis lit by an array of LED’s displaying light patterns representing energy use generated by data from the Australian Energy Market. Every One, Every Day was formed from recycled, polyethylene – used milk bottles – ‘lent’ to the artists by a Visy recycling facility. At the end of the Vivid Festival this plastic will be returned to Visy, where it will re-enter the stream of ‘technical nutrients.’ Could we make another world? One that emulates the continuing cycles of nature? One that uses our ‘technical nutrients’ such as plastic and steel in continual cycles, just like a deciduous tree dropping leaves to compost itself and keep it’s roots warm and moist?” (Ashleigh Crawford. Melbourne – April, 2013) Artistic Research Statement: The research focus of this work is on exploring how to represent complex statistics and data at a human scale, and how produce a work where a large percentage of the materials could be recycled. The surface of Every One, Every Day is clad in tiles made from polyethylene, from primarily recycled milk bottles, ‘lent’ to the artists by the Visy recycling facility in Sydney. The tiles will be returned to Visy for recycling. As such the work can be viewed as an intervention in the industrial ecology of polyethylene, and in the process demonstrates how to sustain cycles of technical materials – by taking the output of a recycling facility back to a manufacturer to produce usable materials. In terms of data visualisation, Every One, Every Day takes the form of a cube with a volume of 27 cubic meters. The annual per capita emissions figures for Australia are cited as ranging between 18 to 25 tons. Assuming the lower figure, 18tons per capital annually, the 27 cubic meters represents approximately one day per capita of CO2 emissions – where CO2 is a gas at 15C and 1 atmosphere of pressure. The work also explores real time data visualisation by using an array of 600 controllable LEDs inside the cube. Illumination patterns are derived from a real time data from the Australian Energy Market, using the dispatch interval price and demand graph for New South Wales. The two variables of demand and price are mapped to properties of the illumination - hue, brightness, movement, frequency etc. The research underpinning the project spanned industrial ecology to data visualization and public art practices. The result is that Every One, Every Day is one of the first public artworks that successfully bring together materials, physical form, and real time data representation in a unified whole.
Triggers was a 16-week classroom investigation into how to use communication design to change hab... more Triggers was a 16-week classroom investigation into how to use communication design to change habits. Students in this graduate-level class partnered with a classmate, identified habit loops, prototyped and tested possible solutions that could bring awareness to the problem (making design changes as needed), tracked the quantitative and/or qualitative changes, and measured how behavior changed. Topics ranged from procrastination, creative confidence, eating less meat, calling your mom more often, doodling in more productive ways, and grinding your teeth less. Students focused on a human-centered, holistic, and empathic approach, and applied Design Thinking methodologies to their challenge. Students had an adequate amount of time to understand how design can change behaviors and some outlined their methodology in the form of a toolkit that others might use to change their habits.
This newest title in the design briefs series is a compact, hands-on guide for graphic design pro... more This newest title in the design briefs series is a compact, hands-on guide for graphic design professionals who want to start helping communities and effectuating social change in the world. Author Andrew Shea presents ten strategies for successful community engagement, grounding each one in two real world case studies. The twenty projects featured in the book are by both design professionals and students and range from creating a map of services for the homeless community in Santa Monica, helping Chicago's Humboldt Park community by designing a website where donors can buy essential items for community members, to encouraging LA's Latina community to go for an annual PAP exam in an attempt to prevent cervical cancer through carefully designed posters, murals, and other material. Designing for Social Change is both an inspiration and a how-to book that encourages graphic designers everywhere to go out and do good with their work, providing them with the tools to complete suc...
Creative Statement: “There are those who see Planet Earth as a gigantic living being, one that fe... more Creative Statement: “There are those who see Planet Earth as a gigantic living being, one that feeds and nurtures humanity and myriad other species – an entity that must be cared for. Then there are those who see it as a rock full of riches to be pilfered heedlessly in a short-term quest for over-abundance. This ‘cradle to grave’ mentality, it would seem, is taking its toll (unless you’re a virulent disbeliever in climate change). Why not, ask artists Priscilla Bracks and Gavin Sade, take a different approach? To this end they have set out on a near impossible task; to visualise the staggering quantity of carbon produced by Australia every year. Their eerie, glowing plastic cube resembles something straight out of Dr Who or The X Files. And, like the best science fiction, it has technical realities at its heart. Every One, Every Day tangibly illustrates our greenhouse gas output – its 27m3 volume is approximately the amount of green-house gas emitted per capita, daily. Every One, Every Dayis lit by an array of LED’s displaying light patterns representing energy use generated by data from the Australian Energy Market. Every One, Every Day was formed from recycled, polyethylene – used milk bottles – ‘lent’ to the artists by a Visy recycling facility. At the end of the Vivid Festival this plastic will be returned to Visy, where it will re-enter the stream of ‘technical nutrients.’ Could we make another world? One that emulates the continuing cycles of nature? One that uses our ‘technical nutrients’ such as plastic and steel in continual cycles, just like a deciduous tree dropping leaves to compost itself and keep it’s roots warm and moist?” (Ashleigh Crawford. Melbourne – April, 2013) Artistic Research Statement: The research focus of this work is on exploring how to represent complex statistics and data at a human scale, and how produce a work where a large percentage of the materials could be recycled. The surface of Every One, Every Day is clad in tiles made from polyethylene, from primarily recycled milk bottles, ‘lent’ to the artists by the Visy recycling facility in Sydney. The tiles will be returned to Visy for recycling. As such the work can be viewed as an intervention in the industrial ecology of polyethylene, and in the process demonstrates how to sustain cycles of technical materials – by taking the output of a recycling facility back to a manufacturer to produce usable materials. In terms of data visualisation, Every One, Every Day takes the form of a cube with a volume of 27 cubic meters. The annual per capita emissions figures for Australia are cited as ranging between 18 to 25 tons. Assuming the lower figure, 18tons per capital annually, the 27 cubic meters represents approximately one day per capita of CO2 emissions – where CO2 is a gas at 15C and 1 atmosphere of pressure. The work also explores real time data visualisation by using an array of 600 controllable LEDs inside the cube. Illumination patterns are derived from a real time data from the Australian Energy Market, using the dispatch interval price and demand graph for New South Wales. The two variables of demand and price are mapped to properties of the illumination - hue, brightness, movement, frequency etc. The research underpinning the project spanned industrial ecology to data visualization and public art practices. The result is that Every One, Every Day is one of the first public artworks that successfully bring together materials, physical form, and real time data representation in a unified whole.
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