I ran my own business for many years working across editorial design, branding, online and new media, exhibition design for clients such as Glaxo Welcome (now GSK), Canon UK, Rohm and Haas, amongst others. I have taught pretty well throughout my career either part-time or full-time – I went full-time in 2003.
I have previously been Dean and then Director of the Graduate School and with oversight over the University's Research and Knowledge Exchange departments. I am now semi-retired (0.5 FTE) and am Course Leader for MA Graphic Design.
Currently teaching
Previously taught on
My research interests are focused on the application of theory from cognitive science to the understanding and practice of communication design. I have explored how the schematic structure of book form can be used meaningfully to blend with other meanings evoked by writing and imagery. I argue that the experiences of looking 'through' a book, or reading 'over' a text, for example, bring a spatial dimension to the activity of reading that can be exploited creatively in numerous ways.
Another project questioned what motivates the dynamic qualities of italic typography. In contrast to upright (Roman) lettering, italic and inclined letterforms are often imbued with the qualities of movement. This quality, I suggest, links ultimately to embodied experience and is an expression of the conceptual metaphor letter is body.
Other projects have applied ideas from Thing Theory to graphic design artefacts, and questioned the efficacy of mind maps as a tool for ideation.
I have written a book — Towards a Cognitivist Understanding of Communication Design (publication date, June 2024) — that identifies correspondences between communication design practice and theories from cognitive science. It starts from the assumption that —whether implicitly or explicitly — the practice of communication design involves a theory of communication. It then proceeds to work through the stages of the design process highlighting the explanatory power that cognitive science can potentially bring. A power that does not 'explain away' creativity and the spontaneity of art and design practice but rather, a power that should invigorate it.
I am interested in receiving applications from PhD students that approach creative practice from a cognitivist perspective. What can ideas from cognitive science tell us about the ways that we make meanings from artefacts, and how can such understanding be applied to creative processes for the purposes of communication? Theories that relate to such an endeavour include: Conceptual Metaphor Theory, Frame Theory, Conceptual Blending, Image Schema Theory, and Cognitive Grammar.
I have served as a panel member on three PhD Vivas.