The definition of any word, thing, phenomenon or happening is a manmade version. Definitions have neither come from heaven nor are they part of any religious texts that ordinary humans are not allowed to change. In fact, a definition has to be something that describes the subject holistically. However, it is not an essay since a definition has to be concise, limited to a few words to give the precise meaning. It is a perception of what people understand. Interestingly, the perception of every person differs. Hence it is obligatory that a definition, with minimum words, must convey the correct meaning through inputs for the right perception. A researcher therefore has made an attempt to define illustration as acceptable to the stakeholders from every cross-section. A researcher was associated`for 10 long years with the academic institute which teaches graphic design and advertising campaign; after spending 25 years in the industry as successful Creative director and Art Director. During these years he had wholeheartedly served for well-known Advertising Agencies & Publication Houses in Mumbai. He is also aligned with the upcoming demands of online activities run by university. " Definition is a meaningful expression, presented precisely, which is holistic yet concise. "

Researcher believes in visual art and it is more important than mathematical calculations, because in illustration visual language is used. It retains the audience attention for some time and creates a favorable image in his mind, touches his heart and then creates its own impact. In this process illustrators’ skills, his ability to draw or create it plays a significant role. It is something about holistic approach. The researcher defines illustration as a non-verbal artistic expression using a suitable media to facilitate desired communication to the target audience. So here, the limitations posed by previous calculative decisions are surpassed and a holistic idea based on practical approach emerges wherein there is no boundary of idea or space. Through which we may be able to glimpse within and will continue to evoke ideas and emotion in its viewers.

This master’s thesis explores the factors that play crucial roles in advertising agency’s workflow and creative processes. It conducts an empirical qualitative case study on Asiatic MCL, Dhaka. Review of the literature suggests that, the area of internal communications and interactions in organisations is not a novelty research. There had been a significant number of researches conducted on importance of organisational communications, but the numbers of studies specific to media firms or advertising agencies are limited. Most of the communication based researches are focused on manufacturing firms or corporations and on the other hand most of the media organisation researches are too focused on the creativity aspect. In other words, the importance of managing communication and interaction processes in media organisations is still relatively unexplored. And research is even narrower in the specific industry of advertising and in the context of Bangladesh. This thesis expects to bring attention to this issue and wants to explore the roles of communication processes in advertising agency's creative processes and outputs. The case study illustrates the following issues: the communication and interaction processes among major departments, the influence of organisational structure in shaping communication channels, the influence of organisational culture on the internal communication style and the impact of inter-departmental communication on final outputs. Some key issues were raised by the study, such as perceived gaps between management and employees, lack of motivation within employees and flawed policies. A number of barriers to communication effectiveness were also identified, including high workload, timing of communication, lack of coordination of communication, lack of technology based management mechanisms, and employee cynicism. It also reveals some positive consequences of a change action undertaken by the management.

The systemic nature of cultural production implies that designed objects are made desirable (or acceptable) by tastemakers who endow objects with forms of social distinction. Social distinction highlights or diffuses status and reveals self-perceptions of consumers’ identities. In this way, design becomes a form of tastemaking, invested in the construction of identity and is therefore a form of cultural production rooted in consumption. The role of the designer in facilitating conspicuous consumption is therefore critical in the context of social distinction, cohesion and identity. This practice is potentially unethical when cultural production is undermined as a cyclical fashionable commodity in which conspicuous consumption is utilised to indicate who is ‘in the know’. This may lead to a wasteful practice. While conspicuous consumption may be perceived as unethical and superficial, or at least contributing to environmental and social degradation, the ethical contributions of design in this context cannot be disregarded. The aspirational nature of conspicuous consumption is evident when individuals in developing economies are pressured to indulge on aspects of consumption before their basic needs are met; the implication is that consumers in all classes and incomes have the desire to express or improve their social status (O’Cass & McEwen, 2004:29). It may be argued (following Mangold, 2014) that socially responsive design prioritises the user’s needs over the aesthetics; however the role of aesthetics in tastemaking reinforces social patterns. Tastemakers are individuals who attained enough cultural capital to empower them to determine which new novel ideas, artefacts, or creative acts are recognised as valid and made available for cultural production at large. Their decision making has the potential to influence cultural ethics on a larger scale. In this understanding, consumerism is explored as having the potential to be a meaningful and viable means of generating identity. It is here that the ethical responsibility of the tastemaker becomes relevant. The paper will, through a focus on the links between consumerism and design, attempt to disrupt the perception that conspicuous consumption is a superficial practice to indicate that consumption can be an ethical practice.

There is no doubt that the role of product designers has changed considerably, not least with the rise of human-centred design. While Papanek’s 1971 “Design for the Real World: Human Ecology and Social Change” seemed radical at the time, his ideas seem entirely at home in the 21st century, including his call to adopt more social responsibility in design. These views are echoed in the contemporary findings of professionals and researchers associated with ICSID, the International Council of Societies of Industrial Design. The focus has shifted, from the designer as the expert to the user, or community, as the expert in their own environment; and Co-design, Participatory design, and Universal Design are but a few examples of such people-focussed design approaches. And, as design is increasingly used as a tool for social development, the exposure of designers to vulnerable individuals and communities has increased. While research fields such as the social sciences have a long history of developing a code of ethics that is explicit, younger fields such as human-centred design and design research do not. While design and design research have adopted many social sciences methodologies (such as ethnography), the issue of ethics and accountability in design remains largely undiscussed. The increasing importance of understanding the user in the design process is a key feature of human- centred design. Empathy is often described as “stepping into someone’s shoes”, however the full value of this process is described in Empathic Design. This deep understanding of the user’s circumstances is temporary, and the designer then steps back out, with an enriched understanding of the user, enabling better design solutions. However, the interactions with the user - in order to gain this deep understanding - can also raise ethical concerns at stages during the design process. The aim of this position paper is to explore the interaction moments, between designer and user, or designer and community within the design process. The Double Diamond design process will be analysed with a view to looking at characteristic tools in each stage, in order to reveal activities that require empathetic considerations. The contribution of this research will be an empathy map of the double diamond design process, with ethical implications. The significance of the analysis will be to highlight ethical concerns for individual designers, design researchers as well as those in Design Education.

A history of advertising education, with a primary focus on the United States.

In March 2015 the South African Council for the Architectural Profession (SACAP) announced its intention to register new professional categories for interior designers. This will provide statutory recognition for the professional status of the interior design occupation and it will allow interior design occupational closure, a state where both the practice and title of the occupation will be regulated. To reach this milestone interior design’s practical and scholarly endeavour was focussed on the professionalisation of the discipline; a lacuna was produced in which the discipline did not adequately consider a separate identity for interior design. The pursuit of a stronger discrete identity could provide a stronger professional identity (Breytenbach, 2012). If interior design reaches the professional status it pursued it faces two consequences: firstly the discipline arrives at an ethical dilemma; secondly energy previously spent in the pursuit of professionalisation would be at large to deliberate discrete knowledge areas. The ethical dilemma is located in professionalism itself. When an profession reaches occupational closure it succeeds in establishing a monopoly of service which is based on its technical authority which links skill and practice to provide services to the public which are uniquely trustworthy. Professions are technical and adhere to norms and standards. These norms and standards have an ethical dimension: they must service the greater public good (Wilensky, 1964). As an industry, the interior design occupation must focus its intentions, efforts and influence toward 'that which ought to be'. This represents a normative position for interior design in which the discipline must clearly state what its obligation to society is, and how it will be met. Currently interior design is offered the opportunity to redirect its scholarly endeavour in the pursuit of ethical and discrete knowledge areas. This paper will argue that interior design can face both consequences simultaneously, and that these can be addressed through its mimetic production. During this emergent and developmental phase interior design can expand its practice and scope of expertise in an ethical manner. This paper aims to present some of these opportunities: interior design is uniquely placed in the built environment to denote occupation, inhabitation and identity; further, interior design is a tangible vehicle for the expression of intangible cultural practices that are expressed as public rituals (e.g. casual encounters and the conducting of conversations and other opportunities of exchange). Interior design contributes to the establishment and expression of identities which could support social cohesion; this is relevant in the establishment of a principledriven and human centered profession. The professional accountability and social responsibility lies in interior design’s contributions in the cultural realm.