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Month: May 2023

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Show Case 2023

Transgenerational perceptions on fashion sustainability and traditional weaving, from past to present days

Transgenerational perceptions on fashion sustainability and traditional weaving, from past to present days

Dr. Pathitta Nirunpornputta

Introduction :

The project has focused on how fashion and textiles people from then (2008) and present days (2023) had been taken reactions on the context of fashion sustainability and local cultural heritage skills. The project aims to present personal experiences and thoughts how people who have been part of fashion and textiles industry had shared their perspectives relating to sustainable fashion. The project use practiced-based method, autoethnography gathering with observations.

In the past, back in 2008, when I was still a fashion student, people in fashion and textiles industry, particularly in Thailand, rarely focused on fashion sustainability and had negative perception of using unwanted or trash materials. At the time, the definition of ‘eco-fashion’ or ‘sustainable fashion’ did not have a proper translation from English into Thai. Thai fashion designers considered using unfashion materials on making design garments is unappropriated in fashion design industry, as those materials should only be used as a Do-It-Yourself (DIY), rather than be part of fashion garments. Also, environmental issues should not be part of fashion context as fashion designer was not an environmentalist. Furthermore, I used Thai silk as a main material of the collection, in which at the time, a few fashion students rarely used local cultural material as part of modern fashion design resulting in a negative feedback on using material that refers to unfashion.  

Nevertheless, for the past 5 years until the present days (2023), both fashion sustainability and safeguarding cultural heritage textiles have been raised and used as part of fashion and textiles industry. When younger generations started questioning, while older generations 

started considering social problems, it seems a right time to change perceptions.  

Finally, the project created a piece of handwoven textiles with contexts behind of transgenerational perceptions on fashion sustainability and traditional weaving, in which I used the same technique and materials in 2023. However, it is presented in a different place, and time, and social issues.  

Objectives:

1. To reflect my thoughts and opinions through personal experiences  

2. To recreate handwoven textiles following my method in 2008, but with different contexts behind the textile piece.  

Methodology:

The project presents as a practiced-based project, and using autoethnographic method gathering with observations. Therefore, the project presents as a piece of handwoven textiles using traditional weaving methods, intertwined between traditional silk from Northeastern Thailand and local deadstock fabrics from one factory based in Thailand, in which the same method as used in 2008 created by myself. However, I recreate with different design of making textile for this project.  

The idea of using my technique and design to recreate a new textile piece came from how people took reaction on my work in these past 5 years were different from how people had opinions on the same piece of my work. I weaved Thai silk combining with stripped pieces of deadstock fabrics by using local traditional loom. I selected and grouped colours of those stripped pieces of fabrics and designing to weave as a stripe pattern, portraying as TV colour bars with noise signals, which I use them as a symbol of Transgenerational object. 

Techniques and Materials:

Textile  

The handwoven textile will be put in a frame, therefore, it will be presented on the wall. However, if there is enough space, I would prefer to show as about 2 metre long piece of textile.  

Conclusion:

It is a great opportunity to reflect my thoughts while recreating this work project. Reflexivity is a great tool and can be presented in various forms, from writing to making objects. In this project, I conclude that to understand social contexts have always been changing, and how people had been involved, it is essential to understand and observe each generation with open-minded. It took time, from generations to generations, to start changing perception of people in fashion and textiles industry, how fashion people consider in sustainability, and looking at our own root, local cultural heritage skills, as part of modern fashion. In present days (2023), it is matter to listen voices from different generations, and started questioning in how and why they have those opinions. While fashion people who worked in between 70s and 90s, fashion industry was on a high peak era, and only focus on fashion aesthetics. People from newer generations (who was born after 90s) has focused on social contexts along with aesthetics, as there were countless issues they have been through, as well as have been seen through digital media. Therefore, fashion or textiles aesthetics is no longer the only method to create fashion pieces, those design objects should have social contexts behind their design.  

References:

– Black, S. (2019). Sustainability and Digitalization. In A. Geczy & V. Karaminas (Eds.). The End of Fashion: Clothing and Dress in the Age of Globalization (pp. 113–132). London: Bloomsbury Visual Arts. Retrieved March 6, 2023, from http://dx.doi.org/10.5040/9781350045071.ch-009 

– Fletcher, K. (2013). Sustainable fashion and textiles: design journeys. London ; Sterling, VA, Earthscan. 

– Introduction. (2019). In A. Gwilt, A. Payne & E.A. RüThschilling (Eds.). Global Perspectives on Sustainable Fashion (pp. vii–viii). London: Bloomsbury Visual Arts. Retrieved March 6, 2023, from http://www.bloomsburycollections.com/global-perspectives-on-sustainable-fashion/introduction 

– Mahrs, M., & Berthem, F. (2022). Sustainable Fashion.: A Generation Z Perspective (Dissertation). Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-57151 

– Muposhi, A. and Chuchu, T. (2022), “Influencing millennials to embrace sustainable fashion in an emerging market: a modified brand avoidance model perspective”, Journal of Fashion Marketing and Management, Vol. ahead-of-print No. ahead-of-print, pp. 1-21. https://doi.org/10.1108/JFMM-07-2021-0169 

– Nirunpornputta, P. (2022) Thesis, An exploration of safeguarding cultural heritage textiles in Thailand: the perspectives from expected and unanticipated preservers courses PhD thesis, Galashiels: Heriot-Watt Univ. 

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Show Case 2023

A Creation of Textile Design for the Solar Decathlon Europe 2021- 2022 Team Uniform Design

A Creation of Textile Design for the Solar Decathlon Europe 2021- 2022 Team Uniform Design

Assist.Prof.Dr. Thanotai Mongkolsin

Introduction :

Solar Decathlon Europe 2021-2022 (SDE 21-22) was a competition on designing and constructing energy-saving houses in Wuppertal, Germany.  Architecture  students  from  Bangkok  University  ( BU) participated and represented Thailand while the Fashion Design Department was responsible for providing functional uniforms with a textile pattern with Thai identity specifically designed for the competition.

Therefore, the focus of this study is to design a new BU architecture team’s textile pattern through the integration of the local wisdom of “Pha Khao Ma” (Thai loincloth) into the team uniforms. In this research, a new loincloth pattern was developed to be more contemporary. In addition, the researcher could exchange knowledge of weaving wisdom with local craftsman  community.  Both  processes  were  conducted  under two sustainable fashion and textile approaches: 1) “Recreate” is to creatively redesign from the existing design concept by developing a new loincloth pattern and employed villagers in Ban Suan Por women’s group, Roi Et province to provide them with income and careers, and 2) “ Longer Lasting Fashion” is to design using high quality materials and craftsmanship.  Design  makes  the  product  beautiful,  precious  and timeless, as well as creating a deeper emotional bond with consumers further than its utility ( Fletcher & Grose, 2012) , resulting in a transgenerational outcome. Moreover, this research uses the Theory of Fashion & Textile Design Elements which consists of four key elements: Colour, Silhouette or form, Detail & Technique, and Material (Seivewright, 2012). The study methodology was divided into three parts. Firstly, the researcher acknowledged the regulations and restrictions of the SDE 21-22 competition and collected the information about Thai loincloth  for  inspirations.  Secondly,  the  researcher  interviewed architecture students and lecturers about their preferences of team uniform’ s textile pattern. Finally, a new loincloth pattern was designed, produced and incorporated in three sets of team uniform; 1) work wear, 2) business casual attire, and 3) tailored suit for BU architecture team in the competition.

Objectives:

1.to create a new textile pattern on Thai loincloth for BU Architecture team uniform for Solar Decathlon Europe 2021- 2022 (SDE 21-22)

2.To transfer knowledge between three groups of contributors; BU architecture team, fashion design lecturer, and local craft community

Methodology:

1.Concept: “ To design a new BU architecture team’ s uniform textile pattern with Thai identity through the integration of Thai local wisdom “ Pha Khao Ma” (Thai loincloth) for SDE 21-22”

 

2. Methodology: A Creation of Textile Design for the Solar Decathlon Europe 2021- 2022 Team Uniform Design is a qualitative research and a creative work. It used a qualitative methodology to collect information about the inspiration, SDE 21-22 team uniform regulations, and Thai local textile to define the research method and create Thai loincloth with the new pattern. It can be divided into three parts as follows:

2.1 Literature review 

2.2 Target group interview 

2.3 Design and conclusion

 

2.1 Literature review : In order to collect information for A Creation of Textile Design for the Solar Decathlon Europe 2021-2022 (SDE 21-22) Team Uniform Design, the steps are as follows:

2.1.1 Study the SDE 21-22 concepts and team uniform regulation from secondary sources such as documents, electronic media and related research to identify the background, restrictions

and definitions.

2.1.2 Study the concepts and theories about Thai loincloth

(Pha Kao Ma) pattern design by local craft community interviews and revision of secondary sources such as documents, books, textbooks, electronic media and related research.

2.1.3 Study concepts, theories, principles and Fashion and Textiles design elements from secondary sources such as documents, textbooks and related research to create a framework

for a new loincloth pattern in this research topic.

 

2.2 Target Group interview : At this stage, the research process is qualitative. Delphi technique was used to collect data from BU Architecture team in order to lead the creative design process further. Opinions from team members on relevant issues were synthesized to find a unified design conclusion (Wadecharoen, Lertnaisat, & Teekasub, 2017) in this research topic.

 

2.3 Design and conclusion : During this period, the researcher designed the pattern motifs to be a guideline with Delphi technique data collection. The researcher divided this process and summarized the results as follows.

2.3.1 Creating pattern motifs

1. Drafting pattern motifs and bringing them to the BU architecture team for selection

2. Weaving experimentation of the designed pattern to see the possibilities and weaknesses before proceeding with the improvement.

3. Weaving loincloth with the finalized pattern.

Summary and discussions including suggestions for further research

Satisfaction was assessed by the evaluation of the final

textile design by BU architecture team. The conclusion was summarized and suggestions for further research were discussed together.

Techniques and Materials:

A textile design with the local wisdom weaving / Recycled plastic bottle fibre

Conclusion:

The researcher received information about SDE 21-22 team uniform design to use as a reference to develop a new Thai loincloth pattern for BU architecture team. The above information was analyzed

with the following research results.

 

A table showing results from target group interview for BU architecture team’s textile design.

 

Fashion & Textile Design Elements

Colour > White, Yellow, and Dark blue

Form > Line stripes

Detail & Technique > Local wisdom weaving

Material > Recycled plastic bottle fiber

The researcher used this analysis as a guideline for designing the Thai loincloth pattern. The outcome is three line stripes, each of which measures one centimeter with three colours which are white, yellow

and dark blue as shown in the picture. The researcher then requested

a community of Thai loincloth weaver to produce the textile with recycled plastic bottle fiber. The woven product size is an 80 centimeters wide and 10 meters long textile which to be used for BU architecture’s team uniform in the SDE 21-22 competition.

References:

Broz, D. (2018). Northwestern University Common Spaces Design, SEGD Global Award, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/northwestern-university-common.spaces-0. 

Harvard Medical School (2023): News on Positive Psychology, Harvard Health Publishing website. Retrieved March 3, 2023 from https://www.health.harvard.edu/topics/positive-psychology. 

Minning, L. (2021): BrandCulture: The Future of Built Environments After COVID-19, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/blog/brandculture-future-built.environments-after-covid-19. 

Nelson, G. (2020): How Will Buildings and Places Communicate Following the Pandemic, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/blog/how-will-buildings-and-places.communicate-following-pandemic. 

Seligman, M. (2018): PERMA and the building blocks of well-being, The Journal of Positive Psychology, DOI: 10.1080/17439760.2018.1437466. 

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Show Case 2023

Wearing Timeless

Wearing Timeless

Asst. Prof. Ranee Sa- ngiam

Introduction :

Clothing creations by “Wearing Timeless” express ageless fashion. People in each generation have their style of dress, but designs incorporating vintage bead embroidery, floral patterns, and shimmering embellishments can be adapted to fit contemporary trends. 

Objectives:

Clothing is an essential component of human life. Throughout human history, various designs for garments have been developed and worn to cover the body. The styles of these costumes have varied depending on the era and have been influenced by social and environmental factors. Kurovat (1997) defines the term “clothes” as items used by humans to cover their bodies. The dress of each human race can be traced through literary and historical sources, such as the ancient Egyptians, with evidence such as inscriptions of events on stone tablets, paintings on cave walls, and hieroglyphics on papyrus paper. These evidence suggest that the way people dress reflects the human condition in the modern era (Nuanyang, 2019). The type of clothing worn often varies depending on the location and changing climate of the environment. As time progresses, clothing styles are updated to fit the current age. The concept of vintage style in fashion draws from the French word of Vendage, which translates to ‘grapes harvested in season’. As such, looking back to the past is consistent with this concept. The longer a grape wine is aged, the more unique its flavor and value become, creating a distinct experience. Vintage style in fashion thus takes cues from retro clothing styles. During the 1960s, retro fashion style was revived, bringing old-fashioned clothing back into the spotlight and providing classic, unique looks (Nantamanop, 2019). The designer then proposed the concept of creating clothing that can be worn for various durations, such as transitioning from day to nightwear or adapting older garments for younger generations. Therefore, it was proposed to bring the shirt that was worn in the past and incorporate it into the new style to add value and extend the life of the clothes. This is the beauty of the experience. Floral patterns printed on fabric can bring life to life by hand-embroidering colorful beads onto the lace fabric and creating a new shirt that can bring out the beauty of each special moment in life, no matter its infancy, full bloom, or last glowing age. Even after the moment passes, this shirt will continue its journey endlessly. 

Methodology:

1. Utilizing expressions to create clothing without age restrictions.  

2. Gathering data to determine the most suitable patterns, color schemes, and materials for the garment.  

3. Outlining the design in a 2D format.  

4. Sewing, adjusting, adding components such as lace, and choosing beads to embroider by hand according to the design. 

5. Producing clothing suitable for both teenagers and adults and taking photographs for presentation purposes.  

6. Summarizing the results to ensure they are in line with objectives. 

Techniques and Materials:

Costume design with beads 

Conclusion:

This white, loose-fitting shirt is designed to provide a more modern look and a comfortable fit for the wearer. Embroidered bead decorations can be crafted into the shape of a flower, creating a visually appealing appearance. The gold-colored, jointed beads can reflect light, producing a stunning play of light. This shirt is suitable for both work and evening events. 

References:

Kurovat, P. (1997). Handbook of Costume History, the Revised Edition. Bangkok: Ruamsarn (1977).

Nanthamanop, P. (2019, March 30). What Is Vintage Dressing? Which Style Is Called Vintage? 30 Vintage Dress Ideas. Retrieved from DigitalMore: https://digitalmore.co/

Nuanyang, N. (2019). The Evolution of Dress Culture from the Past to the Present in the South. The 2nd National Academic Conference on Humanities and Social Sciences “Humanities and Social Sciences Social Creative Innovation” (pp. 15-30). Songkhla: Songkhla Rajabhat University. 

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Show Case 2023

Back to the Roots

Back to the Roots

Dr. Chamaiporn Mitinunwong

Introduction :

“Back to the Roots” referred to clothing design based on the concept of circular fashion for working age of ≥ 25 years by introducing clothes under the new concept applying natural color printing, tie-dye from local plants in Nan Province, and craftwork by patchwork. This concept described the new world totally different from the original one and beauty from the combination between 2 generations, i.e., the elderly in communities like local sages skillful in craftwork, and young urban generations at working age with environmental concern. Clothing in this research was designed as the combination between urban style and natural color printing. The implementation was divided into 3 phases, i.e., Phase 1: Collecting the theories of circular fashion and eco fashion; Phase 2: Collecting data from 2 the target groups, i.e., community sages in Nan Province and young urban generations with environmental concern; and Phase 3: Experiment and conclusions. According to the results, clothing was design into work outfits consisting of a suit and shorts for easy wear and non-formal like casual business, with a natural color of earth-tone for frequent wear. The material was 100% hand woven cotton. The techniques included natural color printing, tie-dye, and patchwork; implying the world in the new era that does not need ideal perfection.

Keywords: Circular fashion, Eco Fashion, Craftwork, Patchwork

Objectives:

The COVID-19 situation during the past 2-3 months has affected the world to step into the New Normal, which changes the living system for urban and rural inhabitants to work from home and spend their life in a social dimension less than usual. As a result, the sales volume of the fashion textile market has reduced because consumers spend less money on clothes and shoes. They rather turn to focus more on expenditure and need quality products that can be used over a period of time and eco-friendly (Prachachat, 2021). Simultaneously, the trend of slow life and slow fashion has played key roles in society and brought the connection between old and young generations through stories and craftwork skills that finally expand the customer base from a larger number of young generations to the elderly with environmental concern (Maneechot, P. , 2023). The driven concept of ecology connects the society and environment altogether. The concept of a world-saving trend plays a huge role in the world of fashion, which motivates a lot of people to turn to concern and use eco-friendly products. Such driving brings the trend of sustainability concepts, e.g., recycling old clothes and natural color printing to reduce tons of textile waste. Although the fashion industry has currently driven the recycling concept, a few textiles have been recycled at only 1-30% so far. Some of them are recycled by transforming them into new textiles for decoration and for being used in other contexts, e.g., decorative fabrics for furniture and cleaning clothes. A large number of textile wastes up to 55 ,500 – 74 ,000 tons were disposed of until they overflew the Dandora dumpsite in Nairobi, Kenya ( Wohlgemuth, 2565). The total number of nonrecycled textile wastes in the world is up to 98 million tons, with the benefits as aforementioned. Thus, textile waste management should start by supporting natural woven fibers, eco fashion, and using textiles with long and worthy manufacturing processes as well as consumption in accordance with the concepts of circular economy and circular fashion (Jankhao, S., (2022) in order to reduce wasted resources and garbage.

According to these concepts, the designer applied the concept of using textiles from natural fibers and natural color printing (Eco print) to fashion design for young generations by combining craftwork and patchwork from waste cotton clothing to eco print design, and tie-dye of natural colors to patchwork. The objective is to present a perspective of applying clothes and waste residues for the highest benefits in accordance with the concept of circular fashion. Moreover, the trend of modern fashion currently relies more on craftwork. This leads to a design process for

young generations with environmental concerns. Handicraft also partly supports young generations to drive the identity value of handcrafts from community inhabitants as well as the elderly as folk sages full of valuable skills.

Methodology:

1. The study and analysis of relevant data

1.1 The theories of circular fashion and eco fashion

1.2 Local plants in Nan Province that could be used in hot dye and natural color printing

1.3 Community craftwork Nan Province

1.4 Data collection from the target, i.e., 1) community sages in Nan Province and 2) young generations with environmental concern

2. The study and analysis of techniques, styles, materials, and process

2.1 natural color printing (Eco print)

2.2 Tie-dye of natural colors (hot dye technique)

2.3 Patchwork

3. Experiment

3.1 Eco print from local plants in Nan Province

3.2 Tie-dye of natural colors (hot dye technique)

3.3 Craftwork decoration

4. Conclusion and the development of the prototype

5. Publicity

Design Process:

Phase 1: Natural coloring by eco print and tie dye.

Eco Print

1. Hand-woven cotton fabric was boiled to remove powder and dirt.

2. Pre-mordants – The dry fabric was soaked in oat water and left for 1 night for better absorption of plant color into the fabric.

3. The soaked fabric was half-dried. Then, it was soaked in rusty water for 5 minutes. After that, it was dried under shade, and prepared to place leaves.

4. Plants were soaked in rusty water for 30 minutes, i.e., Candelabra leaves, eucalyptus leaves, cotton leaves, and Indian trumpet leaves. Then, they were dried.

5. The fabric was laid on the table. Leaves were placed on the fabric. The fabric was rolled tight, tied up with plastic that covered the rolling stick, and tied up with a rope as tight as possible at the final step.

6. The rolling stick was steamed for 3 hours, and then dried outside for another 1 day so that the colors from leaves could stain on the fabric as much as possible.

7. The plastic was unwrapped, followed by post-mordants, i.e., the fabric was soaked in an aluminum sulfate solution for 15 minutes. Then, it was rinsed off with clean water and dried in a windy space.

Tie-dye of natural colors

1. Golden shower pods were cracked off and soaked in water for 1 night.

2. The soaked pods were boiled for 1 hour. Then, they were added with salt and boiled further for another 1-2 hours. Next, golden shower pulps were taken out. Only their color water remained for preparing hot dye.

3. The fabric soaked in oat water was tied up with a long rubber.

4. The tied-up fabric was boiled in golden shower pod color boiler for 1 hour, and dried up.

5. The rubber was removed. Then, the fabric was brought for post mordants by soaking it in aluminum sulfate solution for 15 minutes. Then, it was rinsed off with clean water, and dried under windy shade.

Phase 2: Craftwork creation by patchwork (fabric connection and sewing lines by hand).

Phase 3: The prototype of the outfit was developed using cotton with natural color. Then, the fabrics from eco print and from tie-dye were used for outfit decoration by hand sewing.

Techniques and Materials:

1. 100% hand-woven cotton

2. Cotton fabrics with natural colors

3. Local plants in Nan Province, i.e., Candelabra leaves, eucalyptus leaves, cotton leaves, Indian trumpet leaves, and golden shower pods

4. Mordants, i.e., rusty water, aluminum sulfate solution, and oat water

5. Tools for tie-dye and eco print

Conclusion:

For the outfit decorated with craftwork, eco print, and hot tie-dye, the pattern of leaves remained on it with a rather lasting color. To clarify, the edge of the pattern was sharp, possibly because of the pre- mordant using oat water that created the sharper edge than other solutions. The pattern of leaves from rusty water created more blackish leaf color, resulting in an olive green fabric pattern in different shades depending on leaf shapes due to different tannin concentrations in each type of leaf. High concentrations of tannin would create darker color for eco-printed fabric than low concentrations of tannin. Aluminum sulfate solution used in pre-mordant for tie-dye created dark brown fabric, with the sharp cosmos-like pattern.

Patchwork (fabric connection and sewing natural colored lines by hand) was more prominent, particularly on the outfit with the light beige structure that created the feeling of simplicity. The designer developed the outfit structure as a suit, followed by hand patchwork to imply the difference between communities and young generations in the sense that despite their modern perspectives and modernization of the New Normal, the world could still connect all generations boundlessly.

References:

Jankhao, S. (2022, August 5). Circular Fashion: The Revolution of Clothing Circle, Take Waste Residues to Runwasy. Retrieved from PETROMAT: https://petromat.org/2022/circular-fashion/

Maneechot, P. (2023, February 25). Handicraft Industry and Return to Locality. Retrieved from Creative Economy Agency: https://www.cea.or.th/th/single-research/crafts-industry-covid-19

Prachachat. (2021, August 4). Prachachat “Circular Fashion,” a Big Trend for the Concept of Circular Economy: https://www.prachachat.net/economy/news-731039

Wohlgemuth, V. (2022, May 13). Countries in the Southern Hemisphere are Undergoing the Problem of ‘Textile Wastes,’ an Impact of Fast Fashion Industry. Retrieved from Greenpeace: https://www.greenpeace.org/thailand/story/23608/plastic-over- consumption-global-south-textile-waste/

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Show Case 2023

Tracing Radiance: A Stellar Visualization of Thai National Artists

Tracing Radiance: A Stellar Visualization of Thai National Artists

Dr. Prang Tharawanich

Introduction :

Data visualization is a crucial tool for analyzing big data, utilizing visual elements like graphs and charts to represent complex data relationships and provide insights. It simplifies the understanding of data that would otherwise be challenging to comprehend. Given the COVID-19 pandemic’s impact on visual communication through screens, advanced data visualization technologies are necessary to enable effective communication of complex data for a new generation. 

While data visualization is relatively new in the art industry, some sectors have adopted it to analyze artistic data, such as art conservation in museums and galleries, art curators and historians analyzing art history, and the creation of interactive art installations. In Thailand, data visualization is also used in various design and art areas, such as graphic design, and by the government to develop more effective policies and plans. 

This study explores the National Artist Project’s data of The Office of the National Culture Commission, including visual communication types, the design process, and implementation concepts for data visualization design. The case study uses the National Artist data, examining qualitative information of the artists and the categories data set from 1984 to 2020. The study incorporates a range of perspectives to balance design in explanatory, conceptual, declarative, and data-driven information. 

The researchers utilized the metaphor of an artist as a star, commonly used in the art world, to describe an artist’s fame or celebrity status associated with recognition and renown. The 

researchers applied this metaphor to the qualitative information to create a conceptual data visualization that describes an artist’s creativity using symbols of inspiration and imagination.

Objectives:

The primary aim of this project is to explore the data of the National Artist Project of The Office of the National Culture Commission, spanning qualitative information from 1984 to 2020. Additionally, it also aims to encourage younger generations to appreciate and understand this data, irrespective of their level of expertise. As the younger generation often finds an excessive amount of information in textual form unappealing, the project uses data visualization to make the data more accessible.

While traditional education emphasizes a clear division between creative storytelling and technical analysis, the modern world values those who can integrate these two disciplines. Data visualization, which sits at the intersection of analysis and visual storytelling, is a prime example of this. 

Methodology:

For this study, a literature review was conducted that examined the history of data visualization, its advantages and disadvantages, and different types of data visualization. Additionally, information was collected regarding The National Artist Program of The Office of the National Culture Commission, including its purpose, criteria, and categories. The study also included a comprehensive list of artists who have received national recognition under the program, covering past and present honorees. 

Following the completion of the literature review, the next step involved procuring data from a reputable and reliable source, namely the Open Government Data of Thailand, which is made accessible by the Digital Government Development Agency (Public Organization) (DGA). The data obtained covered information related to National Artists from 1984 to 2020, as part of The National Artist Program of The Office of the National Culture Commission. As the data was in a raw format, it was necessary to clean and process it for analysis. Cleaning involved the elimination of duplicates, error-checking, and ensuring consistency in the data. Once the data had been cleaned, it was organized and formatted in a manner that enabled straightforward analysis and visualization. 

After completing the data preparation phase, the next step involved selecting the most suitable data visualization type. Given the nature of the National Artist data and the research objectives, a circular dendrogram was deemed the most effective visualization type. This choice was based on the data’s characteristics, as well as the ability of a dendrogram to display hierarchical relationships among data points, which was important for the analysis. Once the visualization type was determined, the creation of the visualizations could commence. 

Following the selection of the circular dendrogram as the optimal data visualization type, the subsequent step entailed creating the shape utilizing the rawgraphs.io platform. This web-based platform was chosen for its user-friendly interface and capability to generate high-quality visualizations. The National Artist data was uploaded to the platform, and the relevant parameters were configured to construct the circular dendrogram. Upon completion of the shape, it was exported in a suitable format to facilitate further analysis and interpretation. 

Once the circular dendrogram was exported, the visualization design and implementation process were initiated. The circular dendrogram was imported into a graphic software, where colors were applied to the data plots. The color palette was selected to enhance the visual appeal of the visualization and to emphasize significant data points. Additionally, the star chart concept was incorporated into the circular dendrogram layout, with the data plots resembling the shape of a star chart. This approach was chosen to symbolize the artistic creativity of the National Artists and to highlight their significant contributions to the nation’s cultural heritage.  

The final stage of this case study involved producing the works in a digital format, following the design execution process. 

Techniques and Materials:

This methodology involved a combination of data collection, cleaning, and visualization using rawgraphs.io, as well as customization in graphic design software. The study placed a strong emphasis on the effective communication of data through conceptual design. 

The process consisted of the following steps: 

Data collection: The study collected data on National Artists of The Office of the National Culture Commission from 1984 onwards. 

Data cleaning and organization: The data was carefully cleaned and organized to ensure its accuracy and consistency. 

Data visualization using rawgraphs.io: The cleaned data was uploaded to rawgraphs.io, an online tool used to create dynamic data visualizations. 

Graphic design software customization: The rawgraphs.io visualizations were refined and customized using graphic design software. 

Design: The visualizations were designed with a focus on explanatory, conceptual, declarative, and data-driven information, using a star map concept applied to the layout. The circular dendrogram contains several inner and outer rings, each represented by a different set of dots. The first inner ring is dedicated to representing genders; male and female, with a single dot used to represent each gender. The second inner ring features dots that correspond to the number of categories, while the third to fifth rings contain dots that represent sub-categories. Finally, the outermost ring is used to represent the number of artists. In addition, only female artists and their categories were given distinct colors for easy identification. 

Export: The final designs were exported to a digital format for easy sharing with the intended audience. 

 

Conclusion:

This case study has demonstrated the effective use of data visualization techniques in exploring and communicating complex information in the field of art. By utilizing the circular dendrogram and incorporating the star chart concept, the National Artist data was effectively visualized in a way that was both aesthetically pleasing and informative. This study has provided valuable insights into the process of creating effective data visualizations, including data preparation, selection of appropriate visualization types, and implementation. The findings of this case study may serve as a valuable reference for other researchers and practitioners seeking to use data visualization in the arts and cultural industries. 

In addition to the insights gained from the process of creating a circular dendrogram using the National Artist data, further analysis revealed interesting information regarding the representation of Gender balance in the National Artist population, as well as the unequal distribution of artists across the different categories. This case study sheds light on these issues and provides valuable information for future research and policymaking in the art industry. 

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Show Case 2023

Thai FRUITOPIA; Transgenerational approach to happiness with a series of AR fruits’ party banners

Thai FRUITOPIA; Transgenerational approach to happiness with a series of AR fruits’ party banners

Dr.Dynaya Bhutipunthu and Asist.Prof.Dale Konstanz

Introduction :

The world of the post-pandemic is a totally new experience for students, a “Transgenerational” time, especially when it comes to 100% real on-site, on campus physical interaction and full-on required engagements and activities. Some of the students found this to be a great challenge and had difficulty adjusting and adapting to fit into this way of studying. At Mahidol University International College (MUIC), with new strategic planning in place for 2023-2027 (Figure 1) which includes creative approaches to teaching and learning, innovative thinking and problem solving, sustainability as well as students’ well-being, we found the need to create a tool using visual language that is easily understood and one they are familiar with to help communicate the message to students. The series of AR banners is the appropriate tool selected to help with the communication of the key message to students that “campus life is fun and worth it, even though it’s challenging sometimes.” 

The series of AR banners created by the researchers integrate the research of Positive Psychology (Seligman, M., 2018), MUIC strategic planning, the design of an existing way-finding system on the 5th and 6th floors of the International College’s Aditayathorn building where the studio spaces are located in the building, and lastly in areas of study in the Fine and Applied Arts Division (FAA) through the very fun and approachable theme of “Thai Fruitopia.” Using well-known Thai fruit such as rambutan, mango, durian, mangosteen, and papaya with the conceptual headings related to the selected fruits that reflect students’ pain points and challenges of coming back to campus. These banners not only aim to communicate a series of encouraging messages cheering up the students and hopefully putting a smile on their faces, but also creating a positive learning environment among students and faculty. 

Objectives:

 To create a tool using visual language, a series of AR banners, replying to their post-pandemic campus experiences, pain points, and challenges, which helps communicate the key message to the students that “campus life is fun and worth it, even though it’s challenging sometimes.”

Methodology:

The process/methodology of this project covers; 

1) Literature Review which includes the topics of; 1.1) Positive Psychology (PERMA model); the building blocks of well-being addressed by Dr.Martin Seligman (Seligman, M., 2018) to apply the PERMA model; Positive Emotions, Engagement, Positive Relationship, Meaning, and Accomplishment, into practice in the design process, especially in the creation of headings of all banners. 1.2) Vision / Mission and strategic planning of MUIC: the researchers looked into the vision / mission and strategic planning shown below in Figure 1, to be able to draw linkage to the overall concept of the design of each banner including choices of Thai fruit, headings, typography and lettering selections, color scheme, layout designs, and the movement of lettering in AR clips, as shown in Table 1. 

2) The review of Best Practice projects of Environmental/ Experiential Graphic Design (EGD) from the Society for Experiential Graphic Design (SEGD) which is an online organization created as a platform for environmental / experiential graphic designers to showcase their works and be recognized through peer review global award-winning projects, as well as acting as a platform for open discussion, academically (https://segd.org/). Selected and award-winning projects that the researchers examined include “Northwestern University Common Spaces” designed by David Broz (head of the team) from Gensler. This project identifies how the design team systematically upgraded and unified the university’s diverse common spaces, focusing on a student-centered approach. The team developed a model to prioritize the usage of the spaces based on the analysis between the current and students’ desired state of the spaces on campus (SEGD, 2018). The researchers also reviewed two academic articles: one by Greg Nelson from the Altitude Design Office on “How Will Buildings and Places Communicate Following the Pandemic?” (Nelson, G., 2020) and another from Leigh Minning on “BrandCulture: The Future of Built Environments After COVID-19” (Minning, L., 2021) to analyze and understand the practices, as well as integrate what is essential to this project. 

3) In-depth interviews with selected students and faculty members were conducted to gain knowledge on their pain points and challenges of fully coming back to campus, including how onsite teaching and learning are conducted and applied using the analysis of results leading to part of the conceptual / theme development and the design direction and execution of the works. 

Design Process:

As part of the existing way-finding signage on the 5th and 6th floors of the International College’s Aditayathorn building which, in the making, has already focused on applying the visual representation of the architecture and areas of studies in the Communication Design Program (CDP) and the Fine and Applied Arts Division (FAA), as well as the vision / mission and strategic planning of the college as shown in Image 1: The existing way-finding signage and the overall view of the existing spaces. The design process includes the development of the use of customized typography, colors (FAA brand colors), graphic elements, layout design and super graphics.

The key message of the development of this series of AR banners is “campus life is fun and worth it, even though it’s challenging sometimes”. The researchers created a fun and approachable design theme from the key message above “Thai Fruitopia” using bright colors with a specific style of Thai fruit that includes pen-drawn images and acrylic paintings along with customized lettering from various typefaces (Google Fonts, 2023). The banners were then executed with AR lettering clips embedded as displayed in Image 2: Design elements sketches and Image 3: Example of storyboard of the AR lettering clip below.

The selection of Thai fruits and headings which have a linkage to the college’s vision, mission, and strategic planning expressed through visual language (design elements) the theme of the banners, are listed below: 1) Banana with the heading, “Take It Easy!” links to the college’s mission of inspiring life-long learning through liberal arts education, 2) Durian and Mangosteen with the heading, “Opposites Attract” reflects the strategy of the Integration of arts and sciences, local and global, in an international environment (Foster global citizenship), 3) Pineapple with “Pineapple Of Our Eyes” connects to the college’s vision; Enriching students’ lives, Expanding their potentials, and Shaping their futures, 4) Papaya with “Glad To See Ya!” links to one of the strategies of enhancing creativity and innovation through campus experience. 

5) Lime with “Be Bold!” heading leads to the college’s vision; Enriching Lives, Expanding Potentials, and Shaping Futures, 6) Rambutan with the heading “Inner Beauty” to reflect the inspiration of using innovation to foster human potential, research and service to answer the needs of society and to the benefit of humankind, 7) Jackfruit for “Jack Of All Trades” to illustrate life.long learning inspired through liberal arts education and the capitalization of diverse expertise and distinction through collaboration, and 8) Guava with the heading “Go Global!” to captures the development of a global mindset that embraces diversity in culture, heritage, and background, and 9) Mango with the heading “Takes 2 To Mango” to reflects the foster of being a global citizen with multicultural engagement and collaborations as shown in Image 4-5: Display of banners in the actual environment). 

Techniques and Materials:

Graphic design and AR, hand-drawn line art and acrylic painting illustrations with customized lettering that reflects the heading of each banner. Creating AR clips to emphasize the heading of each banner with the “Artivive” application scan as shown in storyboards (Image 3). 

Conclusion:

The final work created is the result of a collaborative effort by the researchers who brought together playful hand-rendered images of Thai fruit with creative lettering. In addition, the AR technology that was added and will be utilized by the viewers aims to make the work more dynamic and more interactive, especially considering that this series was created for the MUIC community, in particular the students and other faculty members. Conceptually, the specific location, including the existing way-finding signage was taken into account, and the adapted interpretation of the college’s mission and vision will help link the project to the environment where the work is displayed. The researchers anticipate that this colorful series can make the existing spaces on the 5th and 6th floors of the Aditayathorn Building more interesting and fun. The ultimate goal is to communicate the idea that others truly care about students and that their well-being is important in the post-pandemic transgenerational world. 

References:

Broz, D. (2018). Northwestern University Common Spaces Design, SEGD Global Award, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/northwestern-university-common.spaces-0. 

Harvard Medical School (2023): News on Positive Psychology, Harvard Health Publishing website. Retrieved March 3, 2023 from https://www.health.harvard.edu/topics/positive-psychology. 

Minning, L. (2021): BrandCulture: The Future of Built Environments After COVID-19, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/blog/brandculture-future-built.environments-after-covid-19. 

Nelson, G. (2020): How Will Buildings and Places Communicate Following the Pandemic, Society for Experiential Graphic Design (SEGD). Retrieved March 3, 2023 from https://segd.org/blog/how-will-buildings-and-places.communicate-following-pandemic. 

Seligman, M. (2018): PERMA and the building blocks of well-being, The Journal of Positive Psychology, DOI: 10.1080/17439760.2018.1437466. 

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