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ual: Iqbal Hasan


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01 TASK

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Information and Order 5


As a group we had to present all the objects we had in our bags and pockets. We had to group each items in different category by the order of LATCH.

“Information may be infinite, however…The organization of information is finite as it can only be organized by LATCH: Location, Alphabet, Time, Category, or Hierarchy.” – (Richard Saul Wurman, 1996)

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IERACHY

IME

L ICA

T ABE

LPH

OCATION

LATCH ATERGORY


Each picture is grouped by LATCH.

L - Place of living A - Name initals T - Size of shoe C - Material ordering H - Cost of jewelry

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For my further development on information and order, I have collected all of my ID, Banks & shopping cards to group them in the sector of catergory. I used a scanner to produce this peice of work.

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Mark Dion

New England Digs Shelf # 2, 2001

Mark Dion was born in 1961 in New Bedford, Massachusetts. He at first concentrated in 1981-2 at the Hartford Art School of the University of Hartford in Connecticut, which granted him a BFA (1986) and privileged doctorate in 2002. From 1983 to 1984 he went to the School of Visual Arts in New York and after that the lofty Whitney Museum of American Art’s Independent Study Program (1984-1985). He is a Honorary Fellow of Falmouth University in the UK (2014), and has an Honourary Doctor of Humane Letters (Ph.D.). Dion’s work analyzes the manners by which prevailing belief systems and open foundations shape our comprehension of history, information, and the characteristic world. The activity of the craftsman, he says, is to run contrary to the natural order of things of prevailing society, to challenge observation and tradition. Appropriating archeological, field nature and other logical techniques for gathering, requesting, and showing objects, Dion makes works that question the qualifications between ‘objective’ logical strategies and ‘abstract’ impacts.

Cabinet of Marine Debris, 2014 10

Men and Game,1998


Geometry Club is a progression of engineering photos that are indistinguishable in organization, giving us an interesting point of view to differentiation and look at the distinctions in shape, plan, and development of every exterior. Propelled in 2014, Geometry Club right now has more than 150 givers in excess of 30 nations. The task depends on supporters from around the globe to present their photos and join the club. Included photos are public on Instagram.

Geo metry Club

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02

TASK

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Visual Grammar

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Symmetry

Isloation

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I have arranged the strips aligned horizontally only on the grid in any order to produce one composition demonstrating each of the following three conditions: Symmetry, Isolation & Spatial depth


Spatial depth

Spatial depth 15


Isloation

Symmetry 16


Spatial depth

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Anton Stan kowski Ohne Titel, 1983

Anton Stankowski was born in Gelsenkirchen, Germany in 1906. He functioned as a decorator and church painter before pressing together his profession into visual depiction. Stankowski learned at Folkwang University of the Arts in 1927 to think about visual computerization. In 1929 Stankowski moved to Zurich, where he worked at the famous advancing studio of Max Dalang. This is the place he made ‘productive realistic workmanship’. Stankowski was a visual creator, craftsman and picture taker. He plans to delineate that are not 3D but rather attempt and make a fantasy with consiting of strong hues shapes. 1951 he built up his very own visual depiction studio on the Killesberg in Stuttgart.

Untitled, 1969 18

Baden Baden, 1981


Dynamic Circles, 1934

Sophie Henriette Gertrude Taeuber-Arp was a Swiss craftsman, painter, stone worker, material planner, furniture and inside creator, modeler and artist. She is viewed as a standout amongst the most imperative craftsmen of solid craftsmanship and geometric deliberation of the twentieth century. She examined material structure at the exchange school in St. Gallen in 1906. She at that point proceeded onward to the workshop of Wilhelm von Debschitz at his school in Munich, where she examined in 1911 and again in 1913; in the middle of, she considered for a year at the School of Arts and Crafts in Hamburg. She joined the Schweizerischer Werkbund in 1915. Taeuber-Arp is the main lady on the present arrangement of Swiss banknotes in Switzerland; her representation has been on the 50-franc note since 1995.

Sophie Taeuber -Arp

Moving Circles, 1934

Composition, 1958 19


03 TASK

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Type & Grids

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Exercise 1

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For this workshop I have arranged the strips of sentences aligned horizontally and vertically by using a grid to create composition to present the information in a clear and easily understandable manner and to emphasise hierarchy.


Exercise 2 23


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Using the typesetting and the grid supplied, we were are asked to design a book cover for one of a series of books on architecture. 25


Thinking with Type New York, NY: Princeton Architectural Press (2004)

Lupton, E. (2004) Thinking with Type New York, NY: Princeton Architectural Press

Ellen Lupton is a visual architect, guardian, essayist, pundit, and teacher. Known for her adoration for typography, Lupton is the guardian of contemporary plan at Cooper Hewitt, Smithsonian Design Museum in New York City, NY and the executive of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, MD, where she likewise fills in as chief of the Center for Design Thinking. She has composed various books on visual depiction for an assortment of gatherings of people. She is a supporter of a few distributions, including Print, Eye, I.D., Metropolis, and The New York Times.

In the wake of graduating, Lupton was offered a situation as custodian of the recently established Cooper Union Herb Lubalin Study Center of Design and Typography.This consolidated her long-standing interests recorded as a hard copy and structure in her first curatorial position.With an enthusiasm for the do-it-without anyone else’s help development, Lupton exploited restricted assets to outwardly build the historical backdrop of visual depiction, astounding companions in her capacity to merge the visual and verbal. This book incorporates the most recent data on templates for print and the web, the utilization of decorations and subtitles, lining and non-lining numerals, the utilization of little tops and amplified capitals, just as data on inscriptions, text style permitting, blending typefaces, and hand lettering. All through the book, visual models tell the best way to be creative inside frameworks of typographic shape - what the standards are and how to break them. Thinking with Type is a sort book for everybody: creators, journalists, editors, understudies, and any other individual who works with words. The prevalent friend site to Thinking with Type has been overhauled to mirror the new material in this second version.

Ellen Lupton 26


Helmut Schmid Helmut Schmid was conceived in Austria as a German resident, he was apprenticed as a typesetter. Amid the 1960s, he went to AGS Basel—Allgemeine Gewerbeschule (School of Design) contemplating under Emil Ruder, Kurt Hauert, and Robert Büchler.

When finished his examinations, he worked in West Berlin and Stockholm, at that point moved to Montreal to work at Ernst Roch Design, at that point Vancouver, and Osaka. From 1973 to 1976 he worked in Dusseldorf planning attention material for the German government and the chancellors Willy Brandt and Helmut Schmidt.

Typography Today (1980)

Since 1977 he lives and works in Osaka, Japan, concentrating on corporate plan, publication structure, and bundling. In 1981 he opened his own studio and structured a remarkable bundling character for OPC (Otsuka Pharmaceutical Co.), that is still being used today. In 1980 he altered and structured the effective “Typography Today” (Seibundo Shinkosha, 1980), republished in 2003 and 2015 with expanded pages and material. Since 1989 he distributes a progression of “Typographic Reflections”— presently at vol.11.

Schmid, Helmut (1980) Typography Today 27


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04 TASK

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Exercise 1

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Exercise 2

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Exercise 3


Exercise 4

This workshop has been an experience of working with editorial content across a number of double-page spreads. You will begin to discover how page structure and content are related, and how the editorial designer can create an information environment. 33


Josef MüllerBrockmann

Grid Systems (1996) Josef Müller-Brockmann (May 9, 1914 – August 30, 1996) was a Swiss visual planner and educator. He contemplated engineering, structure and history of workmanship at both the University and Kunstgewerbeschule Zürich. In 1936 he opened his Zurich studio represent considerable authority in visual computerization, display structure and photography. From 1951 he created show blurbs for the Tonhalle in Zurich. In 1958 he turned into an establishing manager of New Graphic Design alongside R.P. Lohse, C. Vivarelli, and H. Neuburg. The three-dimensional matrix is treated too. Put essentially: a manual from the calling for the calling. The advancement of authoritative frameworks in visual correspondence was the administration and the achievement of the delegates of basic and utilitarian typography and visual communication. 34


Roberts &Thrift

The Designer and the Grid, Rotovision (2002)

The Designer and the Grid uncovers the way to the shrouded main impetus behind practically all visual computerization: the matrix. The book starts by inspecting its pervasiveness in a social setting before focusing on the standards of the framework inside visual depiction. Contextual analyses and meetings at that point investigate what the framework intends to driving contemporary visual originators. Articles by a modeler, a musicologist, a screenwriter and a Web creator manage the network as an all inclusive thought; a well ordered take a gander at the scientific exactness of QuarkXPress uncovers the computerized network. Provocatively, the book closes with a dialog of the suggestions for matrix bound structure of the new CAD/CAM advancements. Do they spell the finish of the framework as we know it? The Designer and the Grid is luxuriously outlined, with combined visuals appearing both with and without their hidden frameworks. The most loved matrices of best fashioners, including Simon Esterson, Vaughan Oliver, Ellen Upton and Muller and Hesse are likewise highlighted in this one of a kind book.

Roberts, L & Thrift, J. (2002) The Designer and the Grid, Rotovision 35


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TASK


Structure and Deconstruction

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The images

As a group we started examining the newspaper pages provided in detail and considering ways to disassemble the images or text. Once we agreed on a particular individual category to work with, we used photoshop to remove everything apart from it, leaving only that component in place on the four pages.

The column 38


The shapes

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Brian Dettmer

Knowledge in Depth (2013)

Brian Dettmer (brought into the world 1974) is an American contemporary craftsman. He is noted for his change of prior media, for example, old books, maps, record collections, and tape tapes—to make new, changed works of visual artistic work. Dettmer’s present work includes the allocation and modification of media to change the physical frame and additionally to specifically expel and uncover substance to make new works of compelling artwork. Dettmer clarifies: “Old books, records, tapes, maps, and other media habitually fall into a domain that a lot of the present workmanship involves. Their planned job has diminished or expired and they frequently exist essentially as images of the thoughts they speak to as opposed to genuine transports of substance. … When an item’s expected capacity is short lived, the need for another way to deal with its shape and substance emerges.” (Valdez 2006).

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Interiors (2014)


Hole works (1990)

Makoto Orisaki is a japanese artist who carves objects with perfectly alinged shaped circles. The artist’s background and education is not public online which remains a mystery. By looking at his work it creates a optical illusion and creates the sense of Trypophobia as it has repetitive holes all over the objects.

Makoto Orisaki Hole works (1990)

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06 TASK

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Type Letterform

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Draft of designing on a grid

For this task, we have been provided a grid to create our own font by using the grid. Once we completed structing it, we used a website called - fontstruct to design and download our very own font. I created a font which involves curvy lines and bumps on some letters. I have named it ‘Bubble’ due to curves.

Draft of letter ‘Iqbal’ 46


Creating ‘Bubble’ on fontstruct.com

Proportioned font by lines

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We were told to provide A3 sheets with our designed font to share the rest of the class to see any simillarites or best one. As a class we discuss about each other work and how some fonts can be improved 48


Displayed designed font

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Lita &Steven Talarico, L & Heller, S (2011) Typography Sketchbooks

This book is a standout amongst the most educated and all around associated graphicdesign reporter, Steven Heller, this study gets into the psyches of fashioners who make typefaces, word-pictures and logos through their private sketchbooks. Organized by planner, it uncovers how about 120 of the universes driving architects and typographers persistently endeavor to discover new and energizing methods for conveying through letters and words, and gives captivating bits of knowledge into their work. Gone for each one of the individuals who use type, regardless of whether by hand or on screen, this noteworthy abstract burdens the significance of good typography when perusing propensities are changing, and commends an art that has persevered for quite a long time. 50

Front cover of Typography Sketchbooks (2011)


Typographie: A Manual of Design (1967)

Emil Ruder

This book is the inheritance of Emil Ruder, one of the originator of Swiss Style, celebrated all through the world for the utilization hilter kilter designs, utilization of a framework, sans-serif typefaces and flush left, worn out right content. His comprehensive methodology is as yet perceived as key for visual architects and typographers everywhere throughout the world. This volume speaks to a basic reflection on his instructing and practice and a real existence time of gathered information. Past that, it is a far reaching mas - terpiece found in its general structure: in the subjects exhibited, in the compari - child of likenesses and differentiations, in the extravagance of the outlines and the amicably embedded sorts. Behind the simply instructive instances of correct extents, a rich, philosophical reasoning radiates through. Today, over forty years after this book was first distributed, it is still generally utilized and referenced.

Typographie: A Manual of Design (1967)

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Critical Analysis

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Critical Analysis I have been given a task to create a book for the principles project - ‘Visual Summary’. As I started to create the cover, I noticed that UAL was in ‘visual’ so I uniquely made the UAL in bold to make it stand out. I have used a range of many skills and editing to create this book. I started off by sketching out the ideas of what I will be adding into the book. I created a Production Schedule to add the schedule of my duties for each day. I have shown my idea of my book and what I would include inside and how it is design. I have created a rough sketch on a storyboard to picture of how I'm going to design and edit my book. The programs I've used for my advert: Adobe InDesign and Photoshop for mock-ups. After a draft of editing the book and putting it together, I presented the work to my fellow classmates. I also made an audience reaction sheet, which showed show me which went well and what I needed to improve on I have managed my time management really well as I have edited the book before the deadline as I knew to do, as I drew out the storyboard which has made a better picture of what to do. The skills that have gone successfully is the book that I've created as I used many tools to create it on the Adobe programs. During this project, I have learnt many skills of how to make a structured layout, by using InDesign. I’ve also gained more skills on Photoshop when I was making the mock-up; making sure that I have the right amount of editing and also, finding out where I have gone wrong or where I have done well by looking at the ‘Audience Reaction’ results. I’ve also learnt how to publish the book from online. When making the sketches I have learnt that this helps me to figure out what I would want my book to look like which was very effective.

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Reference List Anton Stankowski - Ohne Titel, 1983 - Untitled, 1969 - Baden Baden, 1981 Brian Dettmer - Knowledge in Depth (2013) - Interiors (2014) Ellen Lupton - Lupton, E. (2004) Thinking with Type New York, NY: Princeton Architectural Press Emil Ruder - Typographie: A Manual of Design (1967) Geometry Club - Instagram page Helmut Schmid - Schmid, Helmut (1980) Typography Today Josef Mßller-Brockmann - Grid Systems (1996) Lita & Steven - Talarico, L & Heller, S (2011) Typography Sketchbooks Mark Dion’s Work - New England Digs Shelf # 2, 2001 - Cabinet of Marine Debris, 2014 - Men and Game,1998 Makoto Orisaki - Hole works (1990) Roberts &Thrift - Roberts, L & Thrift, J. (2002) The Designer and the Grid, Rotovision Sophie Taeuber -Arp - Dynamic Circles, 1934 - Moving Circles, 1934 - Composition, 1958

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Iqbal Hasan | 18021105 BA (Hons) Graphic & Media Design | 1st Year UAL London College of Communication i.hasan0720181@arts.ac.uk iqbalhasanweb.wordpress.com

Profile for iqbal_hasan

Visual Summary  

Book consiting ​the work throughout my first year of Graphic and Media Design.

Visual Summary  

Book consiting ​the work throughout my first year of Graphic and Media Design.

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