Ohio University Graduate Class of 2012

Darren Baker



This is a book. This is not a book.

Abstracted from Darren’s Thesis Document:

“In the broadest sense, the definition of a book ranges from any drawn, written or printed text, reproduced by any means and circulated publicly. This expansive definition can include Phoenician bills of lading, letters from Emily Dickinson and the latest evolution in electronic book development, book-as-application. Scholarship tends to focus on the significance of a book through its conventional, objective relationship, contending that printed books have certain desirable qualities that have been honed over time, namely resolution, tactility, collectability, while electronic books have distinctions of their own (economy, searching, interlinking). Though not wholly incompatible, overlaying these characteristics creates a tension based in the notion that all books (printed, electronic, audio, etc) should adhere to a single, objective concept. Shifting the discussion from an objective book definition to a subjective book definition by focusing on the largely ignored non-textual uses of the book, I was able to uncover the influences that these non-conventional practices have on the book’s iconic status and it how these contribute continuely to the shifting terrain of the book in an electronic environment.”

Baker, Darren, June 2012

Darren’s research included an app of a Bible on which the courts could record the oath of anyone testifying in court. A recording of the oath and a scan of the hand is activated as the person testifying places his or her palm and all fingers onto the device showing an image of the Bible.

USA, Ohio

Dejan Mraović


Graphic Ambassadors of a Country (Redesign of Serbian Banknotes and Coins)

Abstracted from Dejan’s Thesis Document:

Banknotes and coins act as ambassadors for every country… These graphic ambassadors help to establish the branding of the country. Therefore, before the process of design, the originators, or those in control of creating this voice, must consider what personifies the country, which personalities, and which motifs are appropriate for applying onto these valuable graphic ambassadors... It is necessary to show motifs that will cover as much as possible of the history, geography, culture, art, and politics. In that way, the banknote or the coin is able to show a long tradition of one country and its historical heritage…

… Since the mission of the National Bank of Serbia is to maintain a stable currency, my goal, as an artist, was to (re)design banknotes and coins in order to (re)gain trust of Serbian citizens in the dinar. During the dictatorship of President Slobodan Milošević in the 1990’s, the dinar was an “anemic” currency: the countless notes issued look very weak, almost amateur. Can the people of Serbia be proud again of the appearance of their money? Could a new design symbolize a new Serbia, stable and prosperous? These questions were essential for my design thinking…

… As a measure of protection for this currency, a completely new, sans-serif font entitled Serbiana was designed. Serbian is the only language in the world that uses both the Latin and Cyrillic alphabet: I included both alphabets for this font project…

…a redesign required attention to every detail. Serbiana, designed by a Serb, holds a unified visual voice regardless of having the message in a Latin or Cyrillic alphabet. Both share a unified aesthetic. My primary mission was to affirm a unified trust in the Serbian vehicle of monetary exchange, and to infuse it with pride. The final series of Serbian banknotes and coins was submitted to the National Bank of Serbia for consideration and possible implementation.

Mraović, Dejan, June 2012


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Sebastien Biot

biot ice


Annotative Design: A Study of Everyday Signs, Anonymous Notes, and Annotative Practices

Abstracted from Sebastian’s Thesis Document:


The first term of this series, visibility, is of particular interest as it addresses directly the notion of visualism. Where visualism describes a system centering on the visual and spatial ordering of knowledge and its modes of graphic representation, vision and visibility naturally play an important role. The kind of visibility Certeau describes, however, is qualified by its relationship to space and the spatialization of the gaze. For him, strategies produce visibility, their own and that of objects they seek to control. They create the conditions in which they can see and be seen, and through which they can be interpreted. Referencing Foucault, Certeau calls it a “panoptic practice” which “proceeds from a place whence the eye can transform foreign forces into objects that 63 can be observed and measured, and thus control and ‘include’ them within its scope of vision” (Certeau, 1984, p. 36). Strategies do this by aligning with the hierarchical geometry of abstract spaces and with its projections onto physical spaces created by architecture and design for instance. This visibility describes, therefore, an ability to be seen by the sight which dominates the world ruled by spatialized knowledge. By contrast, for Certeau, invisibility is the inability to mobilize this same sight. Drawing on his central military metaphor, he explains that, unlike a strategy, a tactic is “a maneuver ‘within the enemy’s field of vision’,” “a form of legerdemain” (p.37). If it is visible, it is only as trace — echoing Lefebvre’s ideas of traces, gestures, and tracks — camouflaged form, “multiform and occult postulate of productive activity” (p. 35). Its ability to be seen is in fact so tenuous that it may “become invisible in the universe of codification and generalized transparency” (p. 35). ”

Biot, Sabastian, June 2012

France via Brazil and now USA