"The International Journal of Design is a peer-reviewed, open-access journal devoted to publishing research papers in all fields of design, including industrial design, visual communication design, interface design, animation and game design, architectural design, urban design, and other design related fields. It aims to provide an international forum for the exchange of ideas and findings from researchers across different cultures and encourages research on the impact of cultural factors on design theory and practice. It also seeks to promote the transfer of knowledge between professionals in academia and industry by emphasizing research in which results are of interest or applicable to design practices."
(International Journal of Design)
"Icograda is pleased to introduce to you our newest initiative, Iridescent: Icograda Journal of Design Research. With the launch of this peer-reviewed journal, Icograda continues to support the development of communication design education in theory, practice and research.
This online platform seeks to engage the global design community as a whole in much-needed critical commentary on the state of our profession. Scholars and researchers from each region of the world are able to share their insights in any of the six United Nations languages and we hope to reveal new voices to the international design discourse through this inclusive approach.
By attracting original content across all design disciplines and setting a standard for innovative research, Icograda hopes to inspire and encourage new and unconventional approaches to design research."
(Omar Vulpinari, Editorial Director)
2). Download Iridescent, Volume 1 [PDF - 8.5 MB]
"Graphic design as a discrete discipline has changed greatly during its lifetime and continues to change. It changes with the society it practices within, with technology and with its own internal growth as a practice. These changes to practice have included the move into new media as they have arisen or developed with technology; print, motion, interactive, and environmental. This move into multiple media and areas of discourse has challenged the discipline, asking designers to adapt to numerous new areas and yet continue to maintain standards of education and professional practice. Along with these challenges, which appeared largely due to the advent of affordable digital capabilities in the late twentieth century, new opportunities for growth and development in the practice have become possible.
The movement into multiple media has led to a non-media-specificity in practice. Graphic designers no longer work just in print, or even just visually. Dimensions of time, interactivity, space and sound have entered the discipline. Beyond the release from media specificity this has led to a separation from media. No longer the focus of the practice, the design artefacts, and the media that support them, have become the vehicle through which the work of the discipline is materialised. This has allowed the practice to become aware of itself in a completely different way, bringing into mindfulness its broader role and the broader concerns of that role. In an era of ubiquitous access to the means of production, the discipline has been forced to ask itself what it offers beyond the production of the designed artefact. This, along with a maturation of the self image, has led to the sense that the term ‘graphic’ might no longer have a broad enough scope to describe the practice."
(Neal Haslem, p.22)
2). Haslem, N. (2009). "Communication design: towards a ‘socially-situated’ practice." Visual:Design:Scholarship Research Journal of the Australian Graphic Design Association 4(1): 20-28.