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Integrating evidence
At postgraduate level you are expected to refer to a wide range sources as evidence of the depth of your reading.
It takes practice to integrate multiple ideas and information into your writing. Every source you cite should support your argument, therefore the skills of summarising and synthesising are also important.
Direct quotations and paraphrasing
Use a mix of direct quotations and paraphrasing.
- Direct quotations are when you use the author’s exact words. These require quotation marks and in-text references. Direct quotations should be used sparingly.
- Paraphrasing is the restatement, in your own words, of other authors’ works. These also require in-text references. Paraphrasing allows your own ‘voice’ to be heard in the text.
The example below uses Harvard style from EasyCite.
Click on the in-text citation buttons below to view the original article text
Weingart believed that for a designer to truly realise their personal typographic ideas, they must first explore all potential design paths via experimentation. However, to do so, typographers needed to understand basic design principles and processes to find solutions to design problems (;;).
Heller, S 2005, Wolfgang Weingart: making the young generation nuts, AIGA - the professional association for design, viewed 1 July 2015, <http://www.aiga.org/wolfgang-weingart-making-the-young-generation-nuts/>.
Paras 8-11
Heller: What has been significantly gained or lost with digital-based typography?
Weingart: You can compose micro-typography much better than in hot metal types. But you still have to know the existing rules exactly, even the ones from hundred years ago.
Heller: Twenty years ago in Design Quarterly, your principles of typography were published … Have these principles changed for you in any way since that first publication?
Weingart: That Design Quarterly in 1985 was one of the statements I’ve made about my activities in typography. Since the late sixties, you will find I radically changed many things, yet the principles are the same.
Paras 8-11
Heller: What has been significantly gained or lost with digital-based typography?
Weingart: You can compose micro-typography much better than in hot metal types. But you still have to know the existing rules exactly, even the ones from hundred years ago.
Heller: Twenty years ago in Design Quarterly, your principles of typography were published … Have these principles changed for you in any way since that first publication?
Weingart: That Design Quarterly in 1985 was one of the statements I’ve made about my activities in typography. Since the late sixties, you will find I radically changed many things, yet the principles are the same.
Kelley, G 2015, Wolfgang Weingart, GregoryKelley, viewed 1 July 2015, <http://www2.palomar.edu/users/gkelley/Weingart.html>.
Paras 1, 3-4
In his work, Weingart demonstrates his mastery of typographic rules and the meaning achieved in breaking them … His vision was to breathe new life into the teaching of typography by re-examining the assumed principles of its practice. The only way Weingart was able to break the rules of typography was to know them ...Weingart’s success … as a designer stems from both joy and judgment. His evident pleasure at discovering new possibilities … is matched only by his knowledge of the technical aspects of his craft. Weingart is an example of how knowledge and imagination can work together creatively.
Paras 1, 3-4
In his work, Weingart demonstrates his mastery of typographic rules and the meaning achieved in breaking them … His vision was to breathe new life into the teaching of typography by re-examining the assumed principles of its practice. The only way Weingart was able to break the rules of typography was to know them ...Weingart’s success … as a designer stems from both joy and judgment. His evident pleasure at discovering new possibilities … is matched only by his knowledge of the technical aspects of his craft. Weingart is an example of how knowledge and imagination can work together creatively.
Schwemer-Schebbin, Y 1991, Reputations: Wolfgang Weingart, Summer edn., Eye, viewed 1 July 2015, <http://www.eyemagazine.com/feature/article/reputations-wolfgang-weingart>.
Para 31
Weingart: For me technology is the ultimate challenge … But I’ll never be completely under its control, because I know how to do things by hand, how to draw. If you know about only the technical side, you’ll never produce a complete design.
Para 34
Weingart: The PC represents the second big revolution … but to take full advantage of it you still require a thorough, basic classical training in design. People who haven’t mastered the conventional graphic techniques won’t be any better ...
Para 31
Weingart: For me technology is the ultimate challenge … But I’ll never be completely under its control, because I know how to do things by hand, how to draw. If you know about only the technical side, you’ll never produce a complete design.
Para 34
Weingart: The PC represents the second big revolution … but to take full advantage of it you still require a thorough, basic classical training in design. People who haven’t mastered the conventional graphic techniques won’t be any better ...
Weingart’s philosophy was that designers ‘should be guided in developing their abilities to independently search for knowledge and personal values’ ().
His teaching style at the Schule fur Gestaltung (Weingart 1985) was process-oriented, with a conscious focus on active, iterative design. He encouraged his students to continue this practice, to use whatever tools or technology were available to them to find new ways of creating images. Weingart’s 1973 TM cover design for Issue 2 (TM RSI SGM 1960-90 n.d.b) used Ruder’s ‘Grotesque’ type design, but gave it movement and perspective, turning words into images. His ‘idea was to teach more than typography...I had to bring graphic design … I created a bridge between typography and graphic design’ ().
The inclusion of graphic design introduced new, expressive elements to typography.
Weingart, W 1985 ‘My typography instruction at the Basle school of design/Switzerland, 1968 to 1985’, Design Quarterly, no. 130, pp. 1-20, viewed 1 July 2015, JSTOR.
Page 16
It is important for society that school be a place for experimentation. Students should not be given irrevocable truths or absolute values, but instead should be guided in developing their abilities to independently search for knowledge and personal values. Graphic design education at the Basle School of Design is characterized by a specific teaching approach … We teach students to explore constantly and to build upon new possibilities by creating differentiated design solutions … who, upon entering the profession, have a firm grasp of the design process - the ability to analyze, explore, conceptualize, recognize, apply and execute solutions to a vast range of design problems.
Page 16
It is important for society that school be a place for experimentation. Students should not be given irrevocable truths or absolute values, but instead should be guided in developing their abilities to independently search for knowledge and personal values. Graphic design education at the Basle School of Design is characterized by a specific teaching approach … We teach students to explore constantly and to build upon new possibilities by creating differentiated design solutions … who, upon entering the profession, have a firm grasp of the design process - the ability to analyze, explore, conceptualize, recognize, apply and execute solutions to a vast range of design problems.
Paradis, L 2011a, Interview with Wolfgang Weingart, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/interviews/wolfgang-weingart/>.
Para. 126
LP: What about the new generation? Is there anyone?
WW: Martin Woodtli, I didn’t like his last work so much, but in general I like it. But the new generation is not mine. My idea was to teach more than only typography. Everybody thought typography was boring, stubborn, made your hands dirty. I had to change all these kind of negative feelings in many students. I had to bring graphic design. So I created a bridge between typography and graphic design. That was one of my so-called tricks.
Para. 126
LP: What about the new generation? Is there anyone?
WW: Martin Woodtli, I didn’t like his last work so much, but in general I like it. But the new generation is not mine. My idea was to teach more than only typography. Everybody thought typography was boring, stubborn, made your hands dirty. I had to change all these kind of negative feelings in many students. I had to bring graphic design. So I created a bridge between typography and graphic design. That was one of my so-called tricks.
Integrating visual references
Referring to visual images in your essay means you will need to reference these images as you would reference other evidence.
The examples below have used the RMIT Harvard referencing guide. Note how the examples also include a reference to the thumbnail images (Figure 1 & Figure 2).
Example 1
By 1968, demand for changes ... contributed to a global expectation of rebellion ... socio-political tensions surrounding the Vietnam War emerged (Paradis et al. 2013). Weingart started using more organic and emotional shapes, such as the Issue 11, 1973 cover for TM (TM RSI SGM 1960-90 n.d.c), where the typography is all but obscured by spaces which could be interpreted as bullet holes (Figure 1). The increasing awareness of global complexity and social turmoil encouraged experimentalism ...
Example 2
Weingart believed that for a designer to truly realise their personal typographic ideas, they must first explore all potential design paths via experimentation … Weingart’s 1973 TM cover design for Issue 2 (TM RSI SGM 1960-90 n.d.b) used Ruder’s ‘Grotesque’ type design, but gave it movement and perspective, turning words into images (Figure 2). His ‘idea was to teach more than typography...I had to bring graphic design … I created a bridge between typography and graphic design’ (Weingart cited in Paradis 2011a, para. 126).
Visual images (such as a thumbnail images) incorporated into your essay also require a caption that includes the figure number, the title or a description of the work and an in-text citation. Include a full reference to the thumbnail image in your reference list.
The RMIT Harvard referencing guide for visual material was used in the examples below.
Figure 1: Cover design by Wolfgang Weingart for Typografische Monatsblatter, Issue 11, 1973 (TM RSI SGM 1960-90 n.d.c).
Figure 2: Cover design by Wolfgang Weingart for Typografische Monatsblatter, Issue 2, 1973 (TM RSI SGM 1960-90 n.d.b).
Bibliography and reference list
Your reference list is placed at the end of your assignment, on a separate page(s). Only include in the reference list all of the references that you have cited in the text of your assignment.
The example below uses the RMIT Library Harvard referencing guide, note how:
- the reference list is arranged alphabetically by author's surname
- the format for each entry depends on the location of the source, e.g. article, book, website
Reference list
Aynsley, J 2001, Pioneers of modern graphic design: a complete history, Mitchell Beazley, London.
Berman, F 1963, ‘Uber das zeitgemase’, Typografische Monatsblatter, vol. 32, no. 6/7, p. 446.
Burton P 2013, Wolfgang Weingart, AIGA - the professional association for design, viewed 1 July 2015, <http://www.aiga.org/medalist-wolfgang-weingart/>.
Heller, S 2004, Cult of the ugly, Typotheque, viewed 1 July 2015, <https://www.typotheque.com/articles/cult_of_the_ugly>.
Heller, S 2005, Wolfgang Weingart: making the young generation nuts, AIGA - the professional association for design, viewed 1 July 2015, <http://www.aiga.org/wolfgang-weingart-making-the-young-generation-nuts/>.
Hollis, R 2006, Swiss graphic design: the origins and growth of an international style, 1920-1965, Laurence King Publishing, London.
Kelley, G 2015, Wolfgang Weingart, GregoryKelley, viewed 1 July 2015, <http://www2.palomar.edu/users/gkelley/Weingart.html>.
Meggs, P & Alston, P 2011, Meggs’ history of graphic design, 5th edn, John Wiley & Sons, Hoboken, New Jersey.
Paradis, L 2010, Interview with April Grieman, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/interviews/april-greiman/>.
Paradis, L 2011a, Interview with Wolfgang Weingart, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/interviews/wolfgang-weingart/>.
Paradis, L 2011b, Interview with Helmut Schmid, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/interviews/helmut-schmid%E2%80%8A/>.
Paradis, L, Fruh, R, Rappo, F & Ecole Cantonale d’Art de Lausanne 2013, 30 Years of Swiss Typographic Discourse in the Typografische Monatsblatter: TM RSI SGM 1960-90, 1st edn, Lars Muller Publishers, Zurich.
Schwemer-Schebbin, Y 1991,Reputations: Wolfgang Weingart, Eye, Summer edn., viewed 1 July 2015, <http://www.eyemagazine.com/feature/article/reputations-wolfgang-weingart>.
TM RSI SGM 1960-90 n.d.a, 1972 Issue 5 - Cover design: Wolfgang Weingart, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/issue/1972-5/>.
TM RSI SGM 1960-90 n.d.b, 1973 Issue 2 - Cover design: Wolfgang Weingart, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/issue/1973-2/>.
TM RSI SGM 1960-90 n.d.c, 1973 Issue 11 - Cover design: Wolfgang Weingart, TM RSI SGM 1960-90, viewed 1 July 2015, <http://www.tm-research-archive.ch/issue/1973-11/>.
Villiger, C 2013, ‘Political violence: Switzerland, a special case?’, Terrorism and political violence, vol. 25, no. 5, viewed 1 July 2015, <http://www.tandfonline.com/doi/pdf/10.1080/09546553.2012.677878>.
Weingart, W 1985 ‘My typography instruction at the Basle school of design/Switzerland, 1968 to 1985’, Design Quarterly, no. 130, pp. 1-20, viewed 1 July 2015, JSTOR.