This is how I typically lead and engage students at GWU and GMU: through a series of questions, explorations, and examples—including my own demonstrations of various directions and approaches—alongside discussions before diving into gestalt theory, color theory, semiotics, typography, branding, and design history. This approach is essential for all classes, particularly for those who view design as merely decoration rather than a means of shaping culture. By fostering this understanding, students can explore innovations by examining both principles and exceptions, deepening their understanding of design.
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Course Introduction (Level 100-200)
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What do you see? Dots?
How about now? Just lines or a story?
Dots and Lines
Class Discussion Assignment 1.
Create a story using lines to connect dots (the image provided in the class) for a discussion.
What do you see through? Analyze.
What can you see?
Relationships
Class Discussion Assignment 2.
Explore relationships of shapes using the grid pattern (the pattern provided in the class) for a discussion.
What do you see?
What do you see?
Forms and Spaces
Class Discussion Assignment 3.
Explore spaces (negative space– Ground, positive space–figure) around a letterform for a discussion.
This is Togu Na, a place for meetings.
All must sit due to the low ceiling.
Form Follows Function
Class Discussion Assignment 4.
Discuss how we should see functions.
IIII vs. IV for Visual Balance
IV vs. IIII for Consistency
Purpose and Execution
Class Discussion Assignment 5.
Discuss what truly matters, as our practice goes beyond simply doing what is right.
What do you see, a door or a wall?
Does it show an access or a block?
Design and Branding
Class Discussion Assignment 6.
Discuss how we should define what we need to convey.
What do you read?
What do you read?
Details are Design
Class Discussion Assignment 7.
Discuss the importance of detail in conveying a message.
My role has been to encourage students to strengthen their willingness to pursue their dreams. This involved consistently reminding them to focus on what to do with what we knew, rather than just how to do it—this didn’t mean I neglected the how-to; while I emphasized the importance of vision, I also provided ongoing demonstrations that inspired them to explore their own methods and approaches.
Everyone faces challenges. It doesn’t matter how much knowledge a person has; life tests us all, and struggles are inevitable. Those without willingness often find excuses to give up, while those with determination seek ways to overcome obstacles. Challenges prompt us to identify what truly matters and what works best, rather than simply what is right or wrong. Therefore, designing every course with challenges is essential to help students confront their limitations and appreciate the value of questioning.
Over the past decade, witnessing students learn to transcend obstacles with growing willingness has been incredibly fulfilling. This respectful process has also provided me with opportunities to unlearn and relearn the values of who we are and how design can positively shape our lives through education.
Often, I encounter questions from business professionals, particularly those focused on efficiency in fast-paced environments, such as, “How come schools are not teaching anything about real practice?” While I understand their concerns, I believe that academic practices emphasize processes that encourage questioning and exploration of new directions, whereas common practices often prioritize finding answers that satisfy immediate demands based on past experiences.
Regarding how I inspire people to consider branding as storytelling, here is one of my lectures to students.
What if I tell you that cows and oxen on prehistoric cave walls are not just visual depictions of animals, but the beginning of branding, communication, mathematics, and civilization? Can you imagine?
Consider these facts: Many of these cave paintings, some stretching up to 16 feet, are found deep within remote caves like those at Lascaux. Ancient artists favored red, yellow, and black pigments—red derived from hematite mixed with red clay or ochre, yellow from iron oxyhydroxides, and black from coal or manganese oxides. These early humans meticulously depicted animals, relying solely on their memories and keen observations. Created in absolute darkness, these artworks were illuminated only by torches and stone lamps fueled by animal fat. What's remarkable is that the spots where these cave paintings were made echo sounds exceptionally well, suggesting they functioned as significant gathering places.
Moreover, ponder this: Evidence indicates that the iron oxyhydroxides essential for yellow pigment weren't found near Lascaux; instead, they were procured from the central Pyrenees, a challenging 155 miles away—necessitating a round trip of about 310 miles on foot. As we reflect on their motivations, we must consider what drove them to undertake this journey some 38,000 years ago, amidst harsh winters and predatory threats. These are well-documented facts.
Now, envision yourself hiking through pitch-black tunnels hundreds of yards long, carrying torches fueled by animal fat, minerals for pigments gathered from a round trip of about 310 miles on foot, and tools crafted from moss or animal hairs. Would you undertake such a journey without a strong reason? Probably not. But imagine this scenario: a host delivering speeches amid flickering torch flames illuminating animal paintings, accompanied by echoing music to heighten the drama...
Perhaps prehistoric hunters drew hope and motivation from these scenes, turning painted images into messages: 'Let's venture out for food!'
To me, cave art transcends mere drawings on walls; it was a profound message urging ancient people to emerge from caves and devise strategies for survival. This early form of communication laid the groundwork for civilizations that shaped our world today. It also reflects the origins of mathematics: X=Y, where X represents 'what,' = signifies 'is,' and Y denotes 'what.' For instance, 'Cow (X) is Good (Y)' implies that to acquire it (X), 'We need to act (Y).' This essence illustrates how cave art marked the dawn of branding.
Anyone can create contents—like Paris, Alex, Restaurant, Sunny, Vacation—but without grammar, clarity is lost. What connects the content matters. That’s how branding works. It connects contents and enhances meaning, much like grammar does.
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