University of Southern California Dissertations and Theses

Pushing design limits: expanding boundaries of graphic design

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Pushing design limits: expanding boundaries of graphic design

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PUSHING DESIGN LIMITS:
EXPANDING THE BOUNDARIES OF GRAPHIC DESIGN

by

Nuo Zheng

A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirement for the Degree
MASTER OF FINE ARTS
DESIGN

May 2023

Copyright 2023 Nuo Zheng

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TABLE OF CONTENTS

Table of Contents ....………………………………………………………………………………ii
List of Figures …………………………………………………………………………………....iii
Abstract…….……………………………………………………………………………………..iv
Introduction………………………………………………………………………………………..1
Chapter 1. Expansion of Traditional Design Boundaries…………………………………………3
Chapter 2. “Branching Out”: Process, Material, Method…………………………………………7
Chapter 3. “Typeform Landscape” Taking Typography to a New Height………………………17
3.1 Saussure and Semiotics……………………………………………………………...17
3.2 How Saussure's Theory Relates to Typography…………………………………… 18
3.3 Typeform Landscape………………………………………………………………..20
Chapter 4. Conclusion: What I should Consider When Expanding Design boundaries………....23
4.1 Reflection…………………………………………………………………………... 23
4.2 My Future Design Approaches……………………………………………………. 24
4.3 The Overlap of The Art and Design Worlds...……………………………………. 25

Bibliography……………………………………………………………………………………. 27

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LIST OF FIGURES
Figure 1 Dozens of Eggs…………………………………………………………………………. 5
Figure 2 A Plus……………………………………………………………………………………6
Figure 3 Botanist…………………………………………………………………………….........8
Figure 4 No Title…………………………………………………………………………………10
Figure 5 Process of making mulberry fibers……………………………………………………..13
Figure 6. Branching Out…………………………………………………………………………14
Figure 7. Detailed texture of mulberry bark fiber……………………………………………….15

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Abstract
I have been taught structures and forms, typefaces and hierarchy and how to use certain
formulas to create desired outcomes. The structures I learned in design encompass a rigid grid
system, modernist’s typography and additional elements such as color theory and composition to
accomplish a clean and minimalistic design style. My current thesis work is a reaction to some of
these structures and formulas. I want to explore the possibilities of what design can be and create
artwork that is not bound by traditional design principles. These principles are an integral part of
the education process but as my work continues to develop, I have also found myself restricted.
As a result, my current work explores alternative methods and uses unexpected materials to
create pieces that challenge the traditional graphic design expectations that I have been taught.
Instead of being limited by a computer screen or a piece of paper, my work focuses on alternate
mediums to create pieces using physical materials, such as materials from nature. I am interested
in creating large-scale installations to establish an immersive experience for viewers, and to
showcase how my work can be an expansion of traditional screen-based design. I am also
intrigued by the potential of humor to alter traditional narratives surrounding typography
principles in graphic design, through experimenting with 3D typography and intentionally
breaking typographic rules and conventions. My exploration of these topics has illuminated my
own struggle to divide my brain as both a designer and an artist. Thus, my work has become an
experimental process to test what is the best way for me to design—traditional, experimental,
experiential or abstract. Can we communicate the same message when showcasing design in a
more experiential way? Can innovative methods of design uproot or even dismantle ways of
knowing myself as a graphic designer? These are the questions that I ask myself during my
process of research and making.

1

Introduction
Traditional graphic design is usually referred to print and digital design for example
posters, book covers, magazine layouts, advertisements, package design, as well as logo and
branding. Essentially, graphic designers take visual content like illustrations or photography and
combine them with typography to communicate a message. As a graphic designer, I have been
taught to adhere to universally accepted design principles, including International Swiss Style, to
achieve precision and clarity in visual communication. These principles encompass the
appropriate use of alignment, hierarchy, balance and repetition to create well organized designs
that ensure precision and charity in visual communication. The more I delved into the design
field, however, the more I found myself impeded by those same principles. I became intrigued by
the mysteries that existed outside the realm of conventional design practices. Eventually I began
to feel that design should be a way of conveying ideas without being bounded by these
traditional formats.
I believe that there is no single correct way of doing graphic design. Graphic Design is a
highly creative field that allows for a wide range of interpretation and personal expression.
Different designers will approach a project with different ideas and techniques, and what works
well for one designer may not work for another. During a talk and interview at USC Roski
School of Art and Design, Paula Scher—the principal of Pentagram and one of the world's most
influential graphic designers—stated that “a graphic design project cannot be evaluated as
perfect or correct, sometimes, you just need to let your intuition and feeling tell you what feels
right.” Hearing her say this validated my burgeoning idea about the flexible nature of design
work.

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Ultimately, what is most important is that the design is effective in communicating its
intended message. Whether this is done through a traditional approach or a more experimental
one is up to the individual designer. Thus, I believe that designers should be encouraged to push
the limits of what is possible. Expanding beyond traditional design boundaries is important
because it allows for innovation and creativity in design. This can lead to the development of
new design techniques, styles, and materials. It also allows for the creation of unique and
visually striking designs that can stand out and make a lasting impact. The field of design is
constantly evolving and advancing, and this is especially true when it comes to the materials
used in design. Diverse materials should be available to designers, as well as an increase in the
ways in which these materials can be used and manipulated. Designers can challenge societal
norms and push for change.
Everyday new technologies and methods emerge and evolve, affecting the way we
communicate and deliver messages. For this reason, I think it is important for me as a graphic
designer to be able to understand the basic principles of design and effectively apply them to any
media. This can be done without completely discarding traditional practices but expanding on the
formality of those structures. My intention with this thesis is to analyze the way I work in the
design process, to acknowledge my influences, and to explain my specific decisions based on
different media. To illustrate these concepts, I will discuss the body of work presented in my
thesis exhibition: ‘Branching Out’ and ‘Typeform Landscape’.

3
Chapter 1.
Expansion of traditional design boundaries.
Expanding traditional design boundaries means pushing the limits of what is considered
typical or conventional in design. This could involve exploring with unconventional materials
such as natural fiber to create unique texture and achieve an organic feeling in my design work. I
can also test unusual and interactive forms of typography by making sculptural 3D designs that
involve overlapping and non-liner arrangements, breaking away from 2D fundamental grid
system that often involves arranging text on a series of columns and rows. I believe expanding
traditional design boundaries allows for greater creativity and innovation in design. By breaking
out of established conventions, designers can create unique and unexpected solutions to
problems. It also allows designers to address new and emerging challenges. Furthermore, it
allows designers to explore new mediums, technologies, and ways of interacting with their
designs that can lead to new ways of thinking, living, and working. Overall, expanding design
boundaries and challenging existing design norms can lead to more effective, efficient, and
impactful design that can better serve the needs of individuals, communities and creativity. The
creative use of materials and methods such as physical materials, unconventional grids, and
transforming 2D planes into 3D space can help graphic designers to push the boundaries of what
is possible and interpret experimental design approaches to communicate messages in more
dynamic ways. For example, in the book “Graphic Design New Basic” by “Ellen Lupton” and
Jennifer Cole Phillips”, designers at “Jennifer Cole Philipps” MFA Studio created “One Hundred
Iterations”. This exercise asks designers to choose one subject and visually interpret one hundred
ways. This exercise allows designers to delve into all obvious solutions and get to a fresh and

4
innovative territory of their minds. Designer Jackie Littman choose to create one hundred egg
iterations (figure 1). Her project demonstrates that:
basic semiotics modes of representation helped probe the subject from multiple angels.
Indexical signs, such as the nest, shell, sperm, and carton, point to the subject, white
icons, such as photographs and illustration of effs, resemble the subject. Symbols, such as
Humpty Dumpty, rely on shared cultural understanding.
1

Another designer, “Yingxi Zhou” created a hundred diverse version of letter A (figure 2). This
explored how traditional typography could be explored and showed in an innovative way. When
creating a hundred version of letter A, she expanded the tradition perception and method of how
typography should appear on a page and “paid attention to the distribution of color, texture,
depth of filed, and gesture in order to engage the viewer’s eye throughout the composition.”
2

1
Ellen Lupton and Jennifer Cole Phillips, Graphic Design: The New Basics (New Jersey: Princeton Architecture
Press, 2014), 13.
2
Lupton and Phillips, Graphic design: The New Basics, 14.

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Figure 1 Dozens of Eggs – Design by Jackie Littman. Graphic Design: The New Basics

6

Figure 2 A Plus– Design by Yingxi Zhou. Graphic Design: The New Basics

I believe that the expansion of traditional design materials beyond computer software, paper,
or paint has provided designers with a wider range of options and has opened new possibilities
for innovation and creativity in the field, including the ability to create physical design using

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materials such as wood, fiber or other natural materials. I seek to create new solutions to
complex problems by bringing together different perspectives and knowledge of art and design.
I wish to use my design to go beyond these traditional boundaries and explore the
possibilities of unexpected materials and scale in design. My first project, “Branching Out”
explored in 3D and immersive scale, using mulberry tree fiber, natural materials used in design. I
believe that design can stay out of paper and screen. This project discusses how the exploration
of materials and how materials are important to designers when creating design. In my second
project, “Typeform Landscape”, I push the boundaries of typography by exploring how it can be
transformed into an installation. By stepping outside the confines of traditional 2D typographic
design and hierarchy, I strive to achieve an awe-inspiring and impactful result.

Chapter 2.
“Branching Out”: Process, Material, Method
The inspiration for my project ‘Branching Out’ stems from work I did on a previous
project called “Botanist” (figure 3). I have always been interested in the inner structures of
plants. I noticed that plants have always existed; however, they have been increasingly less
valued. Plants are rooted to the fixed ground, germinating, blooming, bearing fruit, withering,
and eventually silenced. However, my curiosity arises from these plants. I created a series of
three graphic design posters to examine microscopic elements of plants. I believe that these less
valued plants and structures have so many more secrets to be discovered.

8

Figure 3 Botanist- series of three graphic design posters to examine microscopic elements of plants

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I wondered why I needed to stay on screen. I believe installation pieces can be powerful
to engage the viewer in a more immersive and interactive way. For example, artist “Eva Hesse”
transformed large paintings into large scale 3D spaces made from an abandoned textile factory
filled with discarded rope, cord, and electrical tubing (figure 4). Her experiments unlocked her
new potential and became a successful way to push the boundaries of what was traditionally
correct. Evan Hesse states that “she learned to embrace the absurd and practice fearlessness”. I
think the most important concept is that Hesse is willing to expand onto her previous rules and
guidelines. Hesse said that “If the material is liquid, I just don’t leave it or pour it. I can control
it, but I don’t really want to change it,” she said.
3
“There isn’t a rule. I don’t want to keep any
rules. In that sense processing the materials becomes important because I do so little with them.”
In addition, the famous Kusama’s infinity room is an exemption from her earlier
paintings. Suggesting the same meaning, but the infinity room has more power to challenge the
viewer's perceptions and assumptions. This can lead to a more thought-provoking and
memorable experience, as the viewer is forced to reconsider their own beliefs and perspectives.

3
Alexxa Gotthardt, “Eva Hesse on How to Be an Artist,” Artsy, December 13, 2019,
https://www.artsy.net/article/artsy-editorial-eva-hesse-artist.

10

Figure 4. No Title– Installation by Eva Hesse, 1970

Being inspired by Eva Hesse and Yayoi Kusama, I wondered how I, as a designer can find an
innovative way to incorporate physical space and materials in my design work. With my interest
in plant inner structures, I questioned if I could expand my 2D design project “Botanists” into an
immersive space and large-scale installation. This led me to question the relationship that exists

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between materials and designers. Why does design need to stay on 2D paper? I asked myself if I
can use space to create stronger connection with my audience, a 3D design work that creates a
more meaningful for experience for the audience. I realized that designers and materials are
closely linked because materials are an integral part of the design process. As I thought about it
some more, I began brainstorming how to bring my ideas to life by using innovative materials.
This helped me see how I might use unorthodox methods to create a design that could impact its
audience in a new way.
Nature can be the best artist, and within plant’s aesthetic and mathematical structures,
some are like bones, others are like the flow of nerves, matter, and energy, supporting these vivid
lives. Among these structures, some are like bridges and road networks, some are powerful grids
and patterns. I saw how some design principles also exist in many structures of plants. Thus, I
decided to use materials from nature to create a 3D immersive experience, fiber sculptures that
can be physically touched to create a visual and tactile world for the audience. I believe that the
complex plant structures provide us with an endless source of imagination. My installation
“Branching Out” is made of raw mulberry bark fiber that has been cooked from raw mulberry
tree bark, inner bark of mulberry plant. Each sheet of unrefined raw mulberry fiber is made from
the inner bark of the mulberry plant. The process of making mulberry fiber first entails peeling
mulberry branches and soaking them, before boiling them in water. Then the softened inner
wood must be beaten evenly with a mallet to let the fibers slowly extend and expand. (figure 5).
This is the part of the design process that is most unpredictable; while I was able to visualize the
intended outcome, I wasn’t able to control its shape. Instead, I needed to allow the materials to
take their own form.

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I decided on mulberry bark fiber for this creation because of its unique properties. For example,
the inner fiber naturally dries into cobweb-like extensions after the boiling and beating process.
Nevertheless, the fibers take on a life and form of their own as they are stretched and hung to
dry. For my final product, I have turned the resulting fiber tissue into a large-scale installation.
Portions of the tissues are hung from the ceiling while others are attached to the wall to mimic a
sense of natural growth (figure 6). With this project, I hope to expand a design not limited to a
2D surface and to push my design practice beyond traditional principles and materials (figure 7).
Expanding my previous project to an immersive 3D scale extends my traditional design
boundaries and explores the possibilities of unexpected materials and scale. My goal of
“Branching Out” is to allow the audience to connect with nature in a profound way. I imagine
this 3D design work create emotional connection to the inner structures of plants. Plants have
long been overlooked and undervalued in our society; I hope my 3D design work, “Branding
Out”, encourages deeper appreciation for beauty and complexity of the natural world. Overall,
my work chooses to push beyond screen-based design by using physical materials and exploring
micro level of botanical forms. My work shows the audience how plants have a sophisticated
system that enable them to beautifully thrive in our world.

13

Figure 5. Process of making mulberry fibers

14

Figure 6. Branching Out– Installation

15

Figure 7. Detailed texture of mulberry bark fiber.

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The experimentation with physical materials can be an important tool for me to bring
back design elements that have become less common with the rise of digital technology. Physical
materials offer unique properties that cannot be replicated in a digital environment, such as
texture, weight, and tactility. I believe that by exploring these materials and their properties,
designers can gain inspiration and create designs that incorporate elements that are not possible
with digital tools alone. Physical materials can help to provide a new level of creative expression
and visual interest to design work. Making this project also involves choosing materials,
planning, public display, such as what goes into the space, the sense of play and being willing to
fail. These are all skills and tools of design that we often neglect. These explorations open up my
design world and tell me that there’s a very fluid wall in that art and design world. While art is
often seen as a way of creative expression, design is seen as address specific message. However,
there could be very creative and experimental way of designing that can still communicate its
intended message. When designing, there is no reason to bound ourselves in certain limits. The
boundary of art and design is fluid depending on its context and the goals or specific artist or
designers. Ultimately, the boundary is very subjective. The art and design fields also work
collaboratively as a decision influenced by culture, context, or personal.

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Chapter 3. “Typeform Landscape”
Innovative 3D Typography: Taking Design to a New Height

3.1 Saussure and Semiotics
In the book Semiotics, The Basics, author Daniel Chandler explains Ferdinand de
Saussure’s theory:
in semiotics, a sign is traditionally defined as something which ‘stands for’ (or
represents) something else. It can take any form – a word, an image, a sound, an odour, a
flavour, an action, an event, an object, or whatever.
4

Our entire world is made up of signs to communicate language and ideas. Chandler also states:
Saussure rejects the common sense (naïve realist) assumption that there is a natural
relationship between words and things. Counter-intuitively, words do not ‘refer to’,
‘correspond to’, or ‘stand for’ things. Language is not based on the mimetic
representation of independently identifiable ‘things. There is nothing tree-like about the
word ‘tree’.
5

This means that there is no inherent, essential connection between the signifier and the signified.
Saussure’s theory of semiotics inspires my installation project mentioned later in this
paper. The signifier is the physical form of a sign, which could be a word or image. According to
Saussure, signs are made up of both signifiers and signified. For example, the word "tree" is a
signifier that represents a certain meaning. The signified is the mental concept or meaning
associated with the signifier. Using the same example, the signified of the word "tree" could be a

4
Daniel Chandler, Semiotics: The Basics (New York, NY: Routledge, 2022), 14.

5
Daniel Chandler, Semiotics: The Basics, 25.

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tall, woody plant that is often grown in nature. In other words, the signifier is the perceptible
aspect of a sign, while the signified is the abstract aspect of a sign that it represents or refers to.
However, it is important to note the relationship between a signifier and a signified is arbitrary
since various signifiers can be used to indicate the same signified concept. An arbitrary pairing
of signified and signifier refers to the idea that there is no inherent connection between a word or
symbol and the concept or meaning it represents. In other words, the relationship between a
signifier (a word or image) and its signified (the concept it represents) is not fixed in logic, but
rather established by usage and cultural context. For example, there is no reason why the word
"tree" should refer to the tall, woody plant that grows outdoors. The connection between the
language and its meaning is established by an agreement among speakers of the language. At one
point, the word “tree” was given the letters T-R-E-E, and subsequently, society has upheld the
configuration of this word. While most modern languages are relatively fixed and stable—and
our basic understanding of a tree conjures up a tall, woody plant—what isn’t fixed and stable is
the exact vision of a tree from one person to the next. My initial vision of a tree (a cedar, native
to the pacific northwest) could differ drastically to a colleague’s vision of a tree. Thus, the
flexibility and slippery nature of the signified caught my attention because it offers a rich
examination of the abstract realm of our mental and emotional faculties.

3.2 How Saussure's theory relates to typography
Typography does far more than simply display text on a page. This led me to connect Saussure’s
theory to typography. In typography, the signifier refers to the visual appearance of the text, such
as the font size, color, and other visual forms that create a visual outcome. The signified in
typography refers to the concept that results from seeing the typography, such as an emotion. For

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example, the word "sadness" could be a signifier that is represented visually through a certain
form of typeface and color that conveys a sense of quiet and emptiness. The visual appearance of
the text can greatly influence the interpretation of the message. For example, different fonts, font
sizes, and colors can arouse different emotions and feelings.
Another point to keep in mind is the arbitrary pairing of the signified and signifier in
typography because it gives designers more room for freedom. Because the meaning of a word or
phrase is not inherently connected to its visual appearance, designers have the freedom to
experiment with typography. For example, I can intentionally use a giant 3D font that contradicts
with the content of text to create a playful sense of irony (a clean white font that says “dirty”, for
instance). When a signifier says one thing and the signified is saying another it creates an
opportunity for a visual impact and a mental impact because it goes against our sense of order.
The arbitrary nature of the signifier and signified also becomes an opportunity for me to establish
an innovative visual approach toward typography. For example, my project “Typeform
Landscape” is a response to my understanding of the arbitrary nature of the signifier and
signified pairing. It allows me to push the boundaries of typography and create design work that
challenges conventional expectations while still conveying what traditional typography delivers.
In the end, my goal of this 3D typography project is to create a visual representation of language
that goes beyond the limitations of 2D typefaces.

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3.3 Typeform Landscape
Inspired by the arbitrary nature of Saussure’s theory, I decided to move away from the
2D surface typefaces and to create a 3D visual representation of language to achieve a unique
visual impact. What I have learned in typography classes involves the careful selection of
typefaces, the arrangement of type on a page, and the use of typographic elements such as
lines and spacing to create a clear and readable composition. Traditionally, a graphic designer’s
goal is to create a harmonious balance between the text and the surrounding design elements,
making the message clear and easy to understand. In order to create a more powerful experience
to convey my intended message to the audience, I wish to challenge the rules of typography by
using 3D letters and typefaces.
I created an installation “Typeform Landscape” with 3D letters and typefaces, some
broken, some melted, others hung on the wall, and this completely breaks the typographic rules.
These giant 3D typefaces of my installation spell out “lorem ipsum”, a placeholder text
commonly used to demonstrate the visual form of a document or a typeface without relying on
meaningful content. “lorem ipsum” is often used in the early stages of a design project, when the
content is not yet available or when the focus is on the visual design rather than the content. It
allows designers to experiment with different typefaces, font sizes, line spacing, and other
typographical elements without having to worry about the content of the text. Furthermore,
“lorem ipsum” has no intelligible meaning. It is simply a display of letters to be viewed as a
sample alongside given graphical elements. In my installation, these broken, and melting 3D
typefaces forming meaningless paragraphs, describing nothing, creates a powerful visual impact
and challenges the audience to think more. What do these words mean, how do they relate to the
design, and what do the design choices convey?

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Moreover, using “lorem ipsum '' creates a humorous and satirical effect. By using this
meaningless placeholder text, I am showing that the text content itself is not important. This is
ironic since the context of typographic design is meant to communicate a message. “Lorem
ipsum” comes from Latin, a dead language that had its meaning, but has long been used in the
design industry as a meaningless standard dummy text. Using the fact that has no meaning, the
audience can ascribe meaning through creative interpretation and association with their own
context. In the end, my project “Typeform Landscape" is infusing a signifier and inviting the
audience to form their own signified, to create their own meaning or interpretation. My project
serves as a signifier in a way that is open to multiple interpretations, rather than being tied to a
specific or fixed meaning. This project invites the audience to play with their sense of order
around type and language and how our language appears to us. It also speaks to how designers
are bound by the rules and conventions of the design world, which can impede creativity.
Additionally, my choice of color in this installation is white—a neutral color that
prevents the audience from being distracted when looking at the sculptural components. The
absence of colors allows the audience to focus on the form itself, therefore creating their own
signified and interpretations. I deliberately chose materials such as plaster and wires, which are
foundational materials used in creating sculptures. Similarly, typography is a fundamental
element of graphic design, and the signifier and signified is fundamental to the study of
languages. Overall, these comparisons highlight that while the foundational materials and
concepts are important in art, design, and language, the ultimate meaning of the final work is
determined by the audience. In other words, the signified of a piece of work will be shaped and
influenced by any viewer who interacts with it.

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Noticing the similarities between art, design, and language has inspired me the flexibility
in many aspects around our lives. Traditional education cements concepts and constraints, and
this can be quite limiting for a creative designer. Wishing to find the fluidity and freedom within
a binary world I am willing to take risk to explore its freedom. The risk is that everything is
controlled in the eyes of the audience, and this could run the risk of meaning nothing. Will this
bring about chaos or totally different ways of viewing the design world? I am utilizing satire to
shed light on an issue in society that requires change. Specifically, I am questioning our reliance
on binary thinking and highlighting the need for more nuanced perspectives and understandings.
Playing with what typography does and how we use it, my installation becomes an invitation to
audience to think critically about the binary that controls our world. This project also challenges
me as a designer to be more, to create more than just typographic grids or text on the traditional
medium of paper. I am able to break free from that constraint by breaking apart the typical
notions of type form.

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Chapter 4
Conclusion: What I should consider when expanding design boundaries

4.1 Reflection
As a designer, I often find myself facing limitations that restrict my creativity. This often
occurs when confronted with design principles such as the expected guidelines for balance,
contrast, hierarchy, alignment and consistency. While these structures are intended to provide
guidance, I often find them like constraints that hold me back from developing new design
approaches. For example, adhering strictly to principles of symmetry and balance can prevent me
from creating playful, fun and engaging design work. In order to expand the limitations of design
I’ve learned to consider several important factors. First, it is important to take time to research
and learn about possible design tools, including both digital and physical tools. This can help to
explain my future projects’ possibilities and constraints that could be explored or expanded. For
example, experimentation with new tools and techniques such as using natural materials in
design. Second, it is also crucial to learn from others. For example, collaborate with artists or
designers from various field and learn how their artistic practice could bring new perspective to
help push my own design boundaries. Lastly, expanding graphic design boundaries such as the
industry’s expectations related to the use of colors, fonts, layouts and style, often requires
stepping outside my comfort zone. New things may not always work, so I need to remind myself
to take risks and remember that failures can also be a valuable learning opportunity. It is also
important to understand that when trying new design methods, things don’t always work as
planned and it is acceptable for the design to take on its own shape. While it may be tempting to
force design into a plan, allowing it to evolve on its own could lead to unexpected and exciting

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results. Embracing the risks and challenges that come with expanding design boundaries allow
me to discover new design possibilities.

4.2 My future design approaches
I believe that by staying true to my own creative vison, as well as being open to
experimentation and taking risks, I can broaden the scope of my future work and create design
by incorporate both physical materials and using emerging digital technology.
I realized that my approach of designing with physical materials in many ways aligns
with the values of the rise of crafts in design, which emphasis on hand-made process, natural
materialism and methods to create unique design. In the book “The Craftsman”, the author
“Richard Sennet states that, “craftsmanship names an enduring basic human impulse, the desire
to do a job well for its own sake.”
6
The idea is that craftsmanship is not just making thing but to
do a job well for the desire of doing it well. In the context of design, the rise of craft in design
represents a shift away from purely functional design towards design that values the process of
creation and use of materials. It emphasizes the importance of well-crafted object and celebrates
the beauty of uniqueness. This aligns with my design approach. By researching and
experimenting design methods with physical material, I also strive to create design that are
unique and reflective of my own vision. Just like the rise of crafts that value artisanal techniques
and tactile materials, I wish my future work of design can continue to have connections to the
physical world and to work with unique qualities of materials such as wood, fiber, ceramics and
textiles to convey a sense of warmth and authenticity.

6
Richard Sennett, The Craftsman (New Haven: Yale University Press, 2008), 9.

25
Additionally, as technology continues to evolve, I believe that it is important for designer to be
open to new design spaces, such as virtual reality and to approach them with the same
excitement of experimentation and risk-taking. I see the potential to incorporate VR into my
installation. I can create immersive experiences beyond screen-based design and even beyond the
limitations of traditional gallery setting. It is exciting to see the potential to venture into new
design spaces, embracing the unknown and to further explore how to challenge design
limitations.

4.3 The overlap of the art and design worlds

Through making the work I’ve made, I realized that although art and design may have
different aims, the goal should be for each individual’s unique creative lens rather than
conforming to a uniform objective. My creative process taught me that while it is important to
have a sense of purpose and set up certain constraints when doing design, it is also important to
acknowledge that my creative journey and aspiration are unique, and it is important to stay true
to my own vision and goals as artist and designer.
I also realized that there’s a very fluid wall between art and design world. At beginning I
am rustling between art and design world. I have finally come to conclusion and realization that I
can be both an artist and designer. It's also important to recognize that limitations are often a
product of my own perceptions, and that by challenging these limitations. The limitations are
only limitations I put on myself and I can expand my creative abilities and achieve our full
potential. I believe that the fields of art and design are not mutually exclusive, and that a
successful designer can incorporate artistic elements into their work. By embracing both art and
design, I can leverage my own creative abilities to develop more innovative and impactful

26
designs that stand out from the crowd. Furthermore, by understanding the overlap between art
and design, I was able to create projects that are fulfilling, challenging, and allows me to express
my passion to the fullest. I believe that I can push my self-imposed limitation and incorporate
artistic elements in my future design work. If there is any difference I wish to make towards the
world, I believe it will always couple with the potentials of creativity.

27
Bibliography
Chandler, Daniel. Semiotics: The Basics, 4
th
ed. New York: Routledge, 2022.

Gotthardt, Alexxa. “Eva Hesse on How to Be an Artist.” Artsy, December 13, 2019.
https://www.artsy.net/article/artsy-editorial-eva-hesse-artist.

Lupton, Ellen and Jennifer Phillips. Graphic Design: The New Basics. New Jersey:
Princeton Architecture Press, 2014.
Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.

Abstract (if available)

Abstract I have been taught structures and forms, typefaces and hierarchy and how to use certain formulas to create desired outcomes. The structures I learned in design encompass a rigid grid system, modernist’s typography and additional elements such as color theory and composition to accomplish a clean and minimalistic design style. My current thesis work is a reaction to some of these structures and formulas. I want to explore the possibilities of what design can be and create artwork that is not bound by traditional design principles. These principles are an integral part of the education process but as my work continues to develop, I have also found myself restricted. As a result, my current work explores alternative methods and uses unexpected materials to create pieces that challenge the traditional graphic design expectations that I have been taught. Instead of being limited by a computer screen or a piece of paper, my work focuses on alternate mediums to create pieces using physical materials, such as materials from nature. I am interested in creating large-scale installations to establish an immersive experience for viewers, and to showcase how my work can be an expansion of traditional screen-based design. I am also intrigued by the potential of humor to alter traditional narratives surrounding typography principles in graphic design, through experimenting with 3D typography and intentionally breaking typographic rules and conventions. My exploration of these topics has illuminated my own struggle to divide my brain as both a designer and an artist. Thus, my work has become an experimental process to test what is the best way for me to design—traditional, experimental, experiential or abstract. Can we communicate the same message when showcasing design in a more experiential way? Can innovative methods of design uproot or even dismantle ways of knowing myself as a graphic designer? These are the questions that I ask myself during my process of research and making.

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Asset Metadata

Creator Zheng, Nuo (author)

Core Title Pushing design limits: expanding boundaries of graphic design

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2023-05

Publication Date 04/05/2023

Defense Date 04/04/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag expanding graphic design boundaries,experimental design,graphic design beyond traditional methods,OAI-PMH Harvest,pushing design limits

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Ellenburg, Jason (committee member), Mayerson, Keith (committee member)

Creator Email nuozheng@usc.edu,zhengnuomm@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC112932410

Unique identifier UC112932410

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Legacy Identifier etd-ZhengNuo-11568

Document Type Thesis

Format theses (aat)

Rights Zheng, Nuo

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Source 20230405-usctheses-batch-1016 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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