Erin Secosky

Erin Secosky is an exhibitions and publication designer from Raleigh, North Carolina.

      Currently inspired by randomness, the process of design, and using design to question society though a blend of graphic design, 3D modeling, analog techniques, and research practices. Anti “user”, pro people, and always wanting to spark community and connection through graphic design.












This process is music, is science, is language, is design, is clothing, is thought, is fingernail, is gesture, is flora, is fauna, etc. etc..

- Cargo Newsletter 357




The Student Publication:
Volume 40*





*A publication design to further AI education
  • Timeline: May-August 2024
  • Team: Stephen Nohren (editor), Erin Secosky (graphic designer), Tania Allen (faculty advisor)

  •      The Student Publication (est. 1950) is North Carolina State University’s design publicaiton, devoted to evaluating emerging themes that will affect how we process, think, and design. Volume 40 is “Artificial Apotheosis”, the intersection of emerging technologies and spiritual values (altruism, divinity, and emotional richness) to shape the human spirit.

How might we use layout design to challenge our preconceived ideas of creativity, authenticity, and artificial intelligence?

Do you think AI will be a force for good within society and the world?

We are at a crucial moment of transition. Gen Z is at a turning point in their opinion of artificial intelligence in the midst of a generational panic over what this technology means for our careers, personal lives, and creativity. The Student Publication seeks to use design to question what we think we know about AI to give this 62% of “maybes” a space to explore AI’s limitations, capabilities, and impacts on design.





The Concept: Feedback

 Early visual ideation, pagination, and research


As graphic designer, I wanted to build a machine-nature feedback loop as the visual identity for Volume 40. This process began with covers or photography from previous volumes, then feeding that through visual AI interfaces (Krea and Recraft), then editing this in photoshop, printing onto transparency film, creating a cyanotype with prints and plants, then feeding this into ASCII generators and editing further. This process seeks to obscure the role of the machine and question how we view originality within the design process.



AI process (Volume 16, Krea generation, cyanotype exposure)

Cyanotype exposures using feedback method


Transparency of Method




Each chapter features an image credits, bringing transparency to the image creation process. All readers have the power to know which images are crafted using AI and how these images have been modified.







Web Presence +
Archiving

The student publication was reimagined as a streamlined, accessible website to improve usability and better archive past editions. The existing site was clunky and difficult to navigate, making it hard for users to engage with the content. The redesign focused on simplicity—bringing all past editions into a cohesive, easy-to-browse archive while enhancing readability and visual hierarchy. 





Promotions

The student publication saw significant success, reaching an engaged readership of over 150 people and sparking interest among the design community. Its impact extended beyond readership, attracting 12 new students eager to continue the project and expand its reach. This growth not only reinforced the publication’s relevance but also ensured its longevity as a platform for critical discussions on design and AI.












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