A thesis presented by Qiwen Ju, in partial fulfillment of the requirements for the degree Master of Fine Arts in Graphic Design in the Department of Graphic Design of the Rhode Island School of Design in Providence, Rhode Island. 

Opening Apertures
Relevant Terms
Multiple Perspectives
︎︎︎ Stereotype
︎︎︎ Stop Asian Hate Poster
︎︎︎ On This Day
Interview with Yiyang Hei
Shifting Perspective
︎︎︎ Maze
︎︎︎ Alienation
︎︎︎ Moiré Typeface
Studying Perspective
︎︎︎ Reframing Story
My Perspective
︎︎︎ Escape From Reality
︎︎︎ El Lissitzky And Werner Jeker
︎︎︎ The Grid
︎︎︎ If You Could See What I Hear



A list of words relevant to my thesis and projects. Drawing from a variety of sources and contexts; some of the following words might vary from traditional definitions found in dictionaries.

Binary Opposition

In today's world, opposing extreme mental patterns has become the norm. When society imposes rigid definitions of right and evil, we lose our ability to express and converse freely. People are increasingly opting for silence to avoid unwanted arguments. However, binary opposition in its proper sense refers to an organized, complementary relationship, not a contradictory one. If you have no concept of what “bad” is, you have no concept of what “good” is.


Comparing two things requires finding their significant and comparable properties and then separating their similarities and differences. In my designs, I frequently compare several points of view, which I believe is a relatively sensible way to present. When readers evaluate different bits of information, they can visually assess their differences and select which one is more effective for their comprehension.


The strike of COVID-19 has worsened the global fracture, and people’s long-held grudges have poured out like a flood. We regard people of all cultures, languages, colors, and genders as adversaries, and we gradually lose our tolerance for the world's diversity.


Cultural plurality provides societies with additional lenses through which to view themselves and their problems. A monolithic cultural construct always results in the gradual development of extreme and warped nationalism in a society.

René Descartes

“Our project being, not to inspect the isolated natures of things, but to compare them with each other so that some may be known on the basis of others.” 1


I respect and embrace any point of view that differs from mine, reg-ardless of whether it is correct or incorrect. I am willing to learn the rationale and reasoning behind each point of view to improve my ability to see the world clearly.


Much of the epistemology I deal with in design stems from my vision. Also, I investigate empiricism, rationalism, and pragmatism in design as a subset of vision.

Unflattening and Multi-Dimension

My thinking and design language will not be confined to a two-dimensional plane. I believe that only through pushing the bound-aries of three-dimensionality will I be able to add more significance and depth to my work.


All of my work is inextricably tied to my experiences, which I view as a kind of textual knowledge; through recombining and arranging this information, a logical and well-thought-out design language finally emerges. A substantial amount of linguistic support is required to assist the reader in making connections between my experiences and my work.


Chinese and English have fundamentally different logical structures, and these two very different mindsets enable me to envision my ideas from various angles and raise questions. For example, how can I actually give voice to multiple perspectives through design actions?


“Particularly as knowers, let us not be ungrateful toward such reso-lute reversals of the familiar perspectives and valuations with which the spirit has raged against itself all too long… : to see differently in this way for once, to want to see differently, is no small discipline and preparation of the intellect for its future ‘objectivity’ — the latter understood not as ‘disinterested contemplation’ (which is a non-concept and absurdity), but rather as the capacity to have one’s Pro and Contra in one’s power and to shift them in and out so that one knows how to make precisely the difference in perspectives and affective interpretations useful for knowledge.” 2


“The way of seeing put forth are offered not asset steps to follow, but as an attitude, a means of orientation, a multidimensional compass, to help us find our way beyond the confines of ‘how it is,’ and seek-ing out new ways of being in directions not only northwards and upwards, but outwards, inwards, and in dimensions not yet within our imagination.” 3

Prejudice and Label

Familiar to most Chinese is the idiom, “Be prejudiced by first impres-sions.” Though packed with wisdom, it is hard to achieve. Once intro-duced to a perspective, an initial impression commands certainty.

Rationality and Sensibility

I make an effort to design rationally, but I ultimately discover that the inspiration and ideas that propel me forward are impacted by my sensibility. Sensibility provides me with the passion necessary to create, and reason provides me with the logic necessary to convey.


I believe that in today’s culture, designers must assume a greater level of responsibility and advocate for the proper principles.


Vision is often one of the most basic senses in our perception of the world. But have we ever asked ourselves if the images we see are real?

1) Descartes. “Rules for the Direction of the Mind,” in Phiolsophical Writings, pp. 19, 21.
2) Anderson, Lanier. “Friedrich Nietzsche,” in Stanford Encyclopedia of Philosophy, 2017.
3) Sousanis, Nick. Unflattening, 2015, pp. 58