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dc.contributor.authorWitehira, Johnson
dc.contributor.authorTrapani, Paola
dc.date.accessioned2016-05-11T22:58:13Z
dc.date.available2016-05-11T22:58:13Z
dc.date.issued2015-11
dc.identifier.isbn9788838674853
dc.identifier.urihttps://hdl.handle.net/10652/3368
dc.description.abstractThis paper presents a reflection on the design of the Whakarare typeface created by Johnson Witehira, a Māori visual designer. In this research Witehira was interested in exploring two areas of inquiry: customary Māori knowledge as a source of inspiration for contemporary Māori design, and Māori typography as a means of cultural resistance through engagement with post-colonial discourse. Starting with the observation that there are no authentic Māori typefaces, designed by Māori for Māori communities, Witehira traces the kaupapa Māori design process in which Māori cosmo-genealogy is transformed into structural characteristics of the Whakarare typeface. In Māori history, the world was created when the children of Ranginui (sky-father) and Papatūānuku (earth-mother), forcibly push their parents apart. The second part of the paper is a reflection on the “universal value” of such a design. Here we explore what kinds of ideas can be conveyed in different cultural contexts without loss, and what ideas are likely to be overlooked because of their cultural specificity. While the Whakarare typeface is designed to be Māori-centric, the authors demonstrate how the problem of designing forms that express the concept of compression and crushing, as a status immediately preceding an explosive expansion, is not specific to the Māori culture. Every designer in the world would face the same design challenge in a completely different context. The ability to design a form capable of generating that perception in the observer is not a trivial or easy task. On the contrary, its solution requires a very advanced knowledge of the psychology of perception and therefore has a universal, rather than local, significance.en_NZ
dc.language.isoenen_NZ
dc.publisherCumulus - International Association of Universities and Colleges of Art, Design and Mediaen_NZ
dc.relation.urihttp://cumulusmilan2015.org/proceedings/articles/abs-014-Nurturing/en_NZ
dc.subjectMāori designen_NZ
dc.subjectMāori typographyen_NZ
dc.subjectdesignen_NZ
dc.subjecttypographyen_NZ
dc.subjectWhakarare typefaceen_NZ
dc.subjectperceived causalityen_NZ
dc.subjectphenomenal causalityen_NZ
dc.subjectvisual perceptionen_NZ
dc.subjectvisual cognitionen_NZ
dc.subjectuniversal designen_NZ
dc.titleThe Whakarare Typeface Project : when culture-specific design brings elements of universal valueen_NZ
dc.typeConference Contribution - Paper in Published Proceedingsen_NZ
dc.rights.holderCumulus - International Association of Universities and Colleges of Art, Design and Mediaen_NZ
dc.subject.marsden120307 Visual Communication Design (incl. Graphic Design)en_NZ
dc.identifier.bibliographicCitationWitehira, J.G.P., & Trapani, P. (2015, November). The Whakarare Typeface Project: When culture-specific design brings elements of universal value. In McGraw-Hill (Ed.), The Virtuous Circle Cumulus Conference (pp.414-442).en_NZ
unitec.institutionUnitec Institute of Technologyen_NZ
unitec.publication.spage414en_NZ
unitec.publication.lpage442en_NZ
unitec.publication.titleThe Virtuous Circle : Design Culture and Experimentation 3-7 June, Milano, Italyen_NZ
unitec.conference.titleThe Virtuous Circle Cumulus Conferenceen_NZ
unitec.conference.orgCumulus - International Association of Universities and Colleges of Art, Design and Mediaen_NZ
unitec.conference.locationMilan, Italyen_NZ
unitec.conference.sdate2015-06-03
unitec.conference.edate2015-06-07
unitec.peerreviewedyesen_NZ
dc.contributor.affiliationUnitec Institute of Technologyen_NZ
unitec.identifier.roms58151en_NZ
unitec.identifier.roms58568
dc.subject.tukutukuMahi toimi_NZ
dc.subject.tukutukuMomotuhimi_NZ
unitec.institution.studyareaDesign and Visual Arts


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