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27-04-2014 -  Sean Nelissen
    WDKA Design Research 2014
    As design students we are very much influenced by the school we are going to. Assignments, teachers, workshops and the overall work mentality shape our work and the designers we are becoming. Within the Design Research Assignment Digital Publishing we decided to have a closer look and research Art Schools tendencies towards digital or analogue working.By looking at different Art Schools all over the globe we discovered significant differences. For each school we analyzed the digital representation (web identity, displayed work of students, etc.) and the analogue reality.

    For the final outcome we decided to make use of the concept of the Anonymous Press, which generates booklets with images found on the web and displays them in a library inspired layout. We take on the idea that the booklet on the website displays a summary of the schools on the web, “the digital face”. By allowing print on demand, we give ourselves the opportunity to change the content of the book and print “the analogue face” of the Art Schools.

    Obviously the digital and analogue booklet will show differences, which one sees if the booklet gets printed. By showing those two layers with different content we want to show how in some cases the digital presentation and analogue reality are completely disconnected.

    To see our end result:
    Group: Shirin, Sarah, Marielle and Sean.

23-04-2014 -  Niermala B. Timmers

Future of the cover.

What are eBooks?
eBooks are basically almost the same as printed books, the only difference is the medium. For a traditional printed book the medium is paper. On the other hand, is an eBook a digital representation of the printed material (printed book). The medium can vary from a laptop/computer to digital eReader, PDA, smart phone, or even through a desktop printer on traditional paper. The content is usually available in PDF or HTML format, but it could also be plain texts or XML formats, which makes the content much more multidimensional and flexible than the traditional printed book. These features enable eBooks to be fully indexed.[1] This means that the content of the book can be systematic arranged. These entries are designed to enable users to locate information in a document, for example headings and subheadings or curtain keywords.[2]
The ocean flows of online information are all streaming together, and the access tools are becoming absolutely critical. If you don’t index it, it doesn’t exist. It’s out there but you can’t find it, so it might as well not be there.
Barbara Quint, Editor, Search Magazine. 1994[3]

But readers can also find these books through search engines such as Google, the library catalogue or publishers platform. This means that the primary difference between printed books and eBooks is that eBooks are exposed and visible to a larger audience. In general people have less availability to the traditional paper subscription model. Printed books can mostly be read by physically going to a library/store while through the internet, basically the whole world can have access to the content at any time of the day. [4]

Of course, there are nowadays also other possibilities of obtaining printed books online. For example, in some cases books are scanned and made ​​available by releasing them online. Google Books is an example of this. Even though the books are officially printed, they are made digitally by Google books or an external group and indexed to be used in the digital field.

Electronic books can do certain things that printed books cannot, and there in lies their value. Because of this, electronic books are changing the definition and expectations of books.[5]

Printed Books
Printed books have a material quality that electronic books have not. For many of us, the intimacy of cradling a book close to our chest, hanging our head over it and shutting out the real world is a sacred ritual. The smell and feel of paper can never be replicated by a cold hard (digital) screen. Browsing a bookstore or library and flicking through books is a social, embodied experience. Clicking on a screen is not. Even dough we might think that way sometimes with social media. has a complex algorithm to suggest books you may like based on previous purchases. But what if you would rather have a librarian or bookseller make suggestions based on their expertise? Or if you would like to have a conversation? Or walk out holding the book? The tactile differences between page and screen will always be an issue for those of us raised on ink and paper.[6]
But watch how a toddler tapping stubbornly at a magazine becomes annoyed that the image isn’t changing. That child is unlikely to feel the same nostalgia for print as her parents, because her understanding of “book” will be significantly different then theirs.

The technology we use to present and consume information has changed. The toddler, who understands that tapping a glassy surface should make an image change, demonstrates that technology is developing at an unprecedented rate.[7]


Because of this extremely fast developing technology the cover of the book is under attack. Critics believe that the book cover might be dead because of the way we touch digital books is different than the way we touch physical books. But if we really acknowledge that, useful conclusions can be made.[8] If a book’s cover is the first thing a potential reader sees, it can make a lasting impression. Our brains are wired to process images faster then words. A great cover can help the reader instantly recognize that this book is for him. He thinks twice before accepting or buying a book with a bad or cheap looking cover. If the cover seems to be nothing more than a catalogue photograph with block letters, people bypass it. If the author did not care enough to dedicate time to his cover, we will wonder how much time they put into the book itself.[9] But how do we approach this in the e-publishing landscape? When covers are not as important anymore. Can we reinvent the digital book cover? We jump in and out of digital texts with little to no procession. In contrast, every time you set down a physical book, the cover is staring right at you. And every time you pick it back up, you have to go ‘through’ the cover to get to the text. Do that five times and you will never forget the title or author. And as certain books become applications, their covers become icons. When you see the book online, it’s always accompanied by lots of text. You read the text on the screen, the cover is the icon. The classic notion of a cover made digital is more like a books favicon rather than a gateway into the text. The cover of a printed book is a protector of the signatures and the binding. It allows the books to fly in and out of the stacks a thousand times, and still be usable. In the digital world, our books are protected by ubiquity.Jump into the eBook and any of these chapter-opening images could be a cover. On the most base level, within the constraints of our current eBook systems, distributed the cover throughout his entire book. The reality is, entire books need to be treated as covers to treat an entire book as a cover, means to fold the typographic and design love usually reserved for covers onto everything. The lack of platforms is what makes many iPad magazine apps helpless. They end up in no better position than a printed magazine. There are no routes by which you can directly get their content. You cannot point in. You are forced to go through the ‘front door’ to get anywhere. And it’s a door usually weighing several hundred megabytes and difficult to unlock.[10]

Craig Mod disagrees with how the cover no longer serves a function to sell. Book recommendations do weigh heavenly in the book selection, however, when you look at a book at Amazon or wherever, one of the first impressions is still with the cover. Does it look professional? Does it have a personality that conveys what I want to read? The book cover is not just some technical piece of information. There is an art to the cover that leaves us with an emotional response, whether it is a good emotion or a bad emotion.[11]

There is a clear connection between great covers and great sales.
In addition to promising what a book will deliver, the cover image also promises that the author is a professional and that the book will honour the readers time.[12]
The finest books boast strong, well-written stories. But to rise to the top, to gain traction with readers, even the best book needs a dynamic cover.[13]
“I’m blown away by the great covers on books by indie authors,” says Smashwords founder Mark Coker. “The quality of cover design today is head and shoulders above what it was just a few years ago.”[14]

It is disappointing that we should answer the question what the future of the book will be electronic/digital or manual? Does it really have to be an either / or mentality?[15] In my knowledge the two should live next to each other with both different purposes and functions, both working together, complimenting each other.

[1] Wouter van der Velde, Olaf Ernst, (2009) “The future of eBooks? Will print disappear? An end-user perspective”, Library Hi Tech, Vol. 27 Iss: 4, pp. 570 – 583
[2] The American Society for Indexing, Inc. (ASI), What is Indexing?,
[3] Leverage Technologies, Inc. Professionally Created Indexes for Publications Enhance Usability
[4] Wouter van der Velde, Olaf Ernst, (2009) “The future of eBooks? Will print disappear? An end-user perspective”, Library Hi Tech, Vol. 27 Iss: 4, pp. 570 – 583
[5] What is a book in the digital age? Zoe Sadokierski, 11 November 2013.
[6] What is a book in the digital age? Zoe Sadokierski, 11 November 2013.
[7] Idem.
[8] Hack the Cover, Craig Mod, May 2012
[9] Yes, We Really Do Judge Books by Their Covers, May 29, 2013
[10] Hack the Cover, Craig Mod, May 2012
[11] Hack the Cover, Craig Mod, May 2012
[12] Yes, We Really Do Judge Books by Their Covers, May 29, 2013
[13] Idem
[14] Idem
[15] What is a book in the digital age? David Hopkins, March 3, 2014

After effects experiment whereby the program distorts the original image in a sequence.
Could possibly be the cover of the book.

One of the outcomes transformed into Bitmap to enhance the digital feeling.

What happends with gradients on eReaders.
You can play with the transition of different pages when the ink fills the screen.

Video – Gradient Test on eReader

Other experiment with different covers for the book: ‘The Little Prince’. Trying out very thin lines and thin typography to see what is possible on the eReader.


UnderCover youtube

23-04-2014 -  Jim Jansen
My and Jeroen’s research focusses on applications. We started with the following research questions:

## 1
1. How have applications created for print design changed to include digital functionality?
1. Look at earlier versions of the program, updates and new functionalities and patch updates.
_visual outcome_
1. Timeline.
## 2
2. When looking at applications updated in a similar timeframe, taking into account customer and industry demand, how do the changes made to the applications compare to each other and why?
2. Comparing the different applications and their updates through patch notes and analysing their user interface.
_visual outcome_
2. Infographic (graphs etc.).
## 3
3. Are there applications which changed drastically when their focus shifted from print to digital and in what way did they change?
3. Find 2 programs which changed in noticeably different ways. Compare patch notes and analyse user interface.
_visual outcome_
3. Infographic (graphs etc.).
## 4
4. Are there any applications created purely for digital publishing and how are they different from those created for print?
4. Research the essence of these programs and compare several of these programs to each other by testing them in hands-on capacity. Specifically by trying to come to the same outcome with several applications.
_visual outcome_
4. The outcomes of the hands-on testing.
## 5
5. How did the interfaces from applications change overtime and how did this affect the skeuomorphic qualities of the interface?
5. Go in depth on one or two applications. Take/gather screenshots from the different versions and compare them in a timeline.
_visual outcome_
5. Timeline with images/text.
In the end, we went with answering questions 1 and 5, as they’re closely related to each other and we felt they’re the most relevant questions. We were struggling a bit with what kind of visual outcome our research would have. We considered a timeline, but thought this wouldn’t yet make our idea clear enough. Or at least, maybe it would be clear enough, but not too original or inventive for research.
We also tried some other experiments, like a gif animation showcasing the skeuomorphic qualities in Photoshop. But we felt it moved to fast to show it all nicely, and doesn’t really allow any room for observation.
After all that, we were still having trouble wrapping our heads around what we were actually going to produce. We tried a physical research to see where that got us. It focussed on the splash screens of different programs throughout the years. This was a complete mess to look up and finding all images would’ve taken ages, if we hadn’t found a very nice Graphical User Interface Database, which featured extensive documentation of several important programs. Most prominently, Photoshop.


Near the very end, the idea came up to create an actual application out of it, showcasing changes in the application. We went for Photoshop only, since it’s a program that accommodates both digital and print, and has gradually evolved to become more suited for digital design. Or at least, that’s our idea. We came to create an interactive pdf, showcasing changes in the program, skeuomorphic qualities and notes.

04-04-2014 -  Rianne Kosterman


26-03-2014 -  Sarah Baehler

Overall Question:

- What impression does the schools website give?
- website, identity (first impression)
- What kind of work do the students do? Digital,  analogue?
- What is the prefered work methode?
- How did the school websites develop over time until now?

Analyze and compare Dutch schools:
St. Jost

- What do the regular students say about the digital/analogue menthality of their school?
- How do exchange students experience their exchange school in comparison to their homeschool?
- On a daily basis, what way of working is more common among the students?

- Sean, Shirin, Sarah, Marielle -

14-03-2014 -  Clara Silva

In Loving Memory of the Not Emminent Death of Paper || presentation

video + funeral installation + A6 booklet

26-02-2014 -  wuasa

Print vs. electrons

“The traditional role of print is unmistakably being threatened by the new digital world; but it is also, paradoxically, being revitalized. Both media share a certain number of characteristics, and yet they are fundamentally different – and they also fulfill different needs (for example, digital is built for speed, while print ensures stability)” – Post digital printing, by Alessandro Ludovico.

In the Design Research class, you will conduct functional, historical and critical research on post-digital publishing. We will be inquiring into general questions such as; What are the similarities and the relationships, how has one changed the another? Is it useful to say that one replaces the other or redefines the other? How is knowledge and access affected by digitalization?, to more specific experience related questions like; What is a first impression of a online book versus a offline book? do we read more or less? What is screen based reading behaviour? Do we read linear or non-linear?

From the preliminary research phase, which will consists of a series of lectures and independent learning, each student will develop a few research questions that is of interest to them. From this basis, groups will be formed accordingly. As a collective of 3-4 students, you will further develop a coherent set of research question(s) and each group will develop and experiment with various methods based on the questions. The final design should encapsulate and embody the research meaningfully, logically or self-reflectively.

Whether you decide paper or pixel or hybrid, it should appropriately reflect the chosen research question and method.

Learning goals
- students learn contextual/historical background on discourse.
- students develop own research question(s) and sub question(s).
- students experiments and develops design methods.

Assessment criteria
The assignment will come to you in fragments, but overall the criteria are:
- the student is able to formulate interesting research questions.
- the student is able to answer these questions with appropriate research methods.
- the student comes up with new acquired knowledge by means of thorough testing and

Lesson format
Lectures, in class experiments, tutorials.

A vision of the book reader of the future (from Everyday Science and Mechanics magazine, 1935)

05-06-2013 -  wuasa

* Politics and marketing alike, both benefit from the nature of viral- to spread an idea, sell an idea quickly. The Century of Self is a documentary by Adam Curtis that explores the idea of how the public relations of mass consumption was engineered based on strategies of propaganda.
* Collective and Connective action.
* Self organizing vs. organizationally arranged networks.
* What is viral marketing? campaign? How does it relate to meme’s. What are the do’s and don’ts? e.g. Eight things killing the Harlem Shake

Exercise in class.
Today we will exam viral strategies.
1) Read text about viral marketing –> Groep02_Viral Marketing
2) Either:
A) Trace the origins of peoples tactics/memes (mash-ups, remixes, copies, etc. ) and how it gets taken by corporate strategy.
B) Trace how people have taken corporate strategies and applied their tactics (mash-ups, remixes, copies, etc. ) to appropriate/subvert its content and message.
3) Give short presentation on findings.
4) Post results onto design research blog.

03-06-2013 -  Lysanne de Water

Original image that I got from Maartje.

Remix made in class

29-05-2013 -  0850665

Original :

Remixes :

Clever people who upload their images in law quality and say they give it for free, but in fact it is a way to put a copyright on it.

Flickr makes you think you can take the picture in Hi-Res because you see them but in fact they are protected behind a spaceball.

Remix from the previous meme showing that this spaceball security system is really easy to crack for someone who knows a bit of code (like people from anonymous).

In the original meme, Vandetta=Anonymous and Robin=Flickr or Flickr users, so the slap can be similar as a DDoS attack and here is the diagram.

Flickr is making jokes all over the website and even in error messages…. this is annoying because for some people you don’t understand it and then you don’t know what’s wrong (and it’s not funny…)