The authenticity of museum displays has been a hotly debated topic for many years. While digital visualisation methods are now commonly employed in a range of humanities contexts it is increasingly recognised that there is a need to ensure that such work is intellectually and technically rigorous. Faced with this challenge researchers Drabsch, Howells and O’Donnell were asked to digitally re-colour a high-definition 3D scan of the 2600-year-old faded timber sarcophagus of Mer-Neith-it-es and to produce an educational animation for museum display at the new Chau Chak Wing Museum, Sydney.
Although being increasingly valued and demanded by consumers, sustainability qualities regarding both product and packaging are not always transmitted effectively.In many packages we find contradictory messages because the texts, graphics and materials do not communicate the same about sustainability.To improve the communication of sustainability through the graphic elements of the packaging, this research seeks to determine which visual variables (color, fonts and images) better convey the concept of sustainability to consumers and if socialdemographic factors (age and level of education) influence consumers' perception.The research is two-phased: first, semi-structured interviews with expert packaging graphic designers; and second, a survey of 544 consumers.The results state that color is the element that communicates better sustainability in packaging and that the graphic design that transmits a sustainable look is the one that bets on strategies that entail saving on resources: fewer inks and images, or backgrounds without dyeing.In turn, age and educational level influence the communication capacity that graphic design has to transmit a product's sustainability.The research conclusions constitute a guide to improving the communication of the concept of sustainability, achieving that the visual elements will connect with the structural and verbal elements of the packaging.
This photo essay introduces a pilot urban design project focused on the design of sets of interactive âhengesâ across three central Newcastle (New South Wales, Australia) city locations. Developed through a collaborative design process with the city council and other local Smart City stakeholders, these henges feature site-specific digital and sensor-based forms of interaction. They represent an innovative approach to shifting patterns of night-time anti-social behavior within specific locations by re-imagining these sites as arenas for individual and social play. The henge sites aim to prompt discussion with city communities over the value of play within urban design and engage citizens in future Smart City initiatives. This essay discusses the challenges of collaborative research involving multiple urban stakeholders, and of developing innovative social design using interactive technologies.
