The 24 images are compiled in a spineless book format and held together by a sleeve made of a random arrangement of lines. They range from images of tangible and conventional boundaries (line in sand, police line, fence), to slightly more metaphorical and intangible boundaries (linguistic, image/reality). The 22nd and 23rd images relate to the socially-constructed boundaries of gender and sexual orientation and challenge the audience to question their assumed naturalness.
A redefinition of my design process:
1. Delve into analysis and open up
2. Appreciate the colourful mess of data
3. Take a step back and organise the data
4. Select, trim & reduce
5. Formulate a clear & concise message
A solid understanding through research is only the first step.
By compiling a mass of data, one creates the ideal environment in which a message can emerge, sparks can occur and a realisation can take place. But as a designer, one should not stop here.
A designer needs to possess the confidence and ability to simplify, distil and extract the essence. The intricate ramifications of analysis have to be trimmed and pruned, thus giving them a discernible, clear and concise form. The output of this process (i.e. a laboriously edited and polished message) is the input for the actual design process. Therefore design becomes an effective articulation of the output of the research process. All the decisions about form (how the message is conveyed to an audience) must not be arbitrary but should look inevitable.
Rather than focusing on creating a unique solution, look for something unique about the problem. Getting the problem right (defining what one wants to say) is the hardest part, but a major part of the graphic design process. This gives design a completely new meaning: it becomes the harmonious integration of content and form.