Contribute an Essay for Our Discipline Now 2021, UDA Annual 2020
Choi, A. Y. (2021). “Our Path Together as Designers for the Next Generations.” 2020 UDA Annual, Jan 2021, 42-45.
2020 UDA Annual
Our Path Together as Designers for Future Generations
I found myself in an elevator with three event attendees and an ordinary-looking woman, and an unspoken connection formed as we descended from a high floor to the ground. Without much thought, one person broke the ice with a friendly “Hi!” we all quickly followed suit, exchanging greetings. The moment felt delightful—a brief instance of camaraderie. Then, the woman noticed our conference badges and asked, “What kind of conference is TypeCon?” A cheerful attendee replied, “It’s about type.” The elevator then fell silent, leading to an uncomfortable pause. Finally, the elevator chimed, “Ding!” signaling our arrival. We exchanged casual goodbyes, wishing each other to “Have fun.”
This experience reflects my time at TypeCon in Minneapolis in 2019. The woman’s response reminded me of how those unfamiliar with design often react, while the designer’s cheerful reply highlighted a typical attitude within our community. This dynamic has persisted throughout my 30-year career in design. Despite our field’s remarkable talent and innovations over the past century, design often struggles for societal recognition. As a designer, educator, and researcher, I feel responsible for confronting this ongoing challenge, and I hope to ignite interest in my perspectives.
PROBLEMS
Why do designers struggle to collaborate as effectively as scientists and historians? There are three fundamental reasons for this. First, we often let our egos get in the way. Many designers lack respect for their peers and prioritize client demands above all else. We mistakenly believe we have complete control, yet we remain overshadowed by the dual forces of creativity and business. Second, we fail to establish precise, standardized terminology and concepts. While we use phrases like “Problem-solving,” “Visual Thinking,” and “Strategy,” we often overlook that these terms, though widely understood, lack uniqueness. Similarly, when we talk about “typeface,” “font,” “typography,” and “type family,” these concepts can seem insignificant without proper context. Our attempts to define them can leave others feeling disengaged. The third—and perhaps most crucial—reason is that many designers do not fully understand what ‘design’ entails, frequently blurring the distinctions between different disciplines. We miss the opportunity to elevate our work by failing to recognize the differences between Poster Art and Poster Design, Logo Design, Symbol Design, or Commercial and Experimental Design. This lack of understanding highlights a significant gap in our field that must be addressed for effective collaboration to thrive.
SOLUTIONS
I have always held a deep respect for designers across various countries, demonstrating my commitment to collaboration in design, education, and research. I welcome all suggestions and encourage the exchange of innovative ideas. You can explore my vision further at www.albertyoungchoi.com. Additionally, I founded the United Designs Alliance (UDA) to honor designers worldwide, including UDA members, competition winners, design students, and recipients of UDA Medallions.
My research focuses on standard design terminology and theories that enhance communication in design. These frameworks prioritize consumers and cultural contexts in branding services and products, earning recognition in numerous research publications. I have guided undergraduate students in applying my theories to create coherent and impactful designs. Meanwhile, graduate students have engaged with branding strategies that emphasize the significance of consumers and culture in establishing effective commercial design methodologies. I enthusiastically welcome those eager to explore my methods and join the ranks of YoungGamm—individuals who embody “passion and a sense of youthful sustainability in design.” (For more about ‘YoungGamm,’ visit http://albertyoungchoi.com/brand-younggamm/).
My experience includes many international, national, and local branding projects in the USA, China, and Korea. With this expertise, I teach the vital balance between theory and commercial design. I strongly advocate for students to choose the right educational path to maximize their design experience. For instance, if you aspire to become a prominent commercial designer, pursuing design education in developed countries—known for their high industrial outputs—can provide abundant opportunities for responsible and impactful design careers. Conversely, suppose your interest lies in becoming a poster artist. In that case, you may gain valuable experience from institutions in developing or least developed countries, which can offer a different but equally enriching educational experience.
NOW AND FUTURE
As I expand my knowledge and experience with each design project and passing year, I actively seek effective systems to incorporate my design principles and theories. My quest for understanding is ongoing. In this journey, I am here to support and uplift you, the emerging designers of tomorrow. Do not hesitate to reach out if you need guidance or assistance.
OTHER CONTRIBUTORS
Design as a Catalyst for Change
KELLY SALCHOW MACARTHUR
PRESIDENT
“I’m no longer accepting the things I cannot change… I’m changing the things I cannot accept.”
A Challenging Legacy
ROBERT HOWER
VICE PRESIDENT DESIGN EDUCATION
“When the World has Returned to its Pre-COVID State….”
Our Path Together as Designers for the Next Generations
ALBERT YOUNG CHOI
PRESIDENT EMERITUS
“Handing from me to you, we can make a difference in the design discipline, society, and humanity.”
ABOUT OUR DISCIPLINE NOW
The design is not just how we create visuals, objects, or concepts, but significantly, the design is closely related to society, culture, and people. We experience the power of design every day: design influences us by sending appropriate messages. Thus, the design must incorporate marketing, psychology, anthropology, sociology, semiotics, and other disciplines in developing compelling messages.
A new generation of design educators and practitioners investigate a new design position in a new direction. Hence, UDA’s activities, such as ‘about our discipline now,’ share valuable thoughts with colleagues worldwide.
