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By Esther Dudley, Stuart Mealing

Featuring an research into key affects on designers as they boost from scholars into practitioners, this article brings jointly contributions from specialists in layout schooling, perform, study and idea.

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E. more and more art has been transformed into material culture. More of us have gained access to these ‘art objects’ via manufacturing and therefore the nature of these objects has changed because of a wider range of meanings. This ‘democratizing process’ does not prevent art from remaining nonreproducible desıgn for lıfe: the lastıng contrıbutıon of Wıllıam Morrıs and valuable in this traditional way but it does and has greatly increased the overlaps between the motivations of designers and artists and also affected the meanings placed upon these objects by us as consumers, alongside whatever aesthetic posture we may strike.

Design and Enterprise in Victorian Britain, Manchester Univ. 41 8 ibid. 95 36 desıgn for lıfe: the lastıng contrıbutıon of Wıllıam Morrıs 9 ibid. 111 10 ibid. 228 11 Heywood, Andrew. in The Journal of the William Morris Society. 43/4 12 MacCarthy, Fiona. 24 13 MacCarthy, Fiona. William Morris. vii 14 Marcuse, Herbert. 5 16 ibid. 5 17 Morris, William. Hopes and Fear for Art. Five Lectures, 1921 edtn. 1882) Longmans, Green & Co. 18 Morris, William. 113 19 Morris, William. (in ICA Exhibition publication 1984) 20 Morris, William.

If, in studying the context for their work, students choose to reject convention for the sake of experimentation, then so much the better. The choice should be an 11 informed one. Experimentation has a rich contextual history. Jonathan Barnbrook, whose inventive and sometimes controversial designs include the typefaces Exocet and Manson, states that his work refers to the tradition of type as an important learning reference. People should experiment, but they must know the craft first; otherwise there is no experimentation – there is nothing to work against.

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