VISUAL THINKING ...
NISCHAL GURUNG GRAPHIC DESIGN ARTS UNIVERSITY BOURNEMOUTH JANUARY - MARCH ISSUE 2014 JANUARY
Visual Thinking W E
... to my latest print of term 2. I will be showcasing the projects i have worked on; briefs, research, idea generation, developments, lectures and seminars, and lastly my final outcomes of each projects.
L C O M E
Typography as a Semiotic Resource: expressing the initial character
A6 postcard with the image and brief description
Letters in the Landscape:
Photographing full alphabet in order to create a lexicon of vernacular letterforms
Recordings of visit to various galleries and museums
Love for Graphics Exhibition: Exhibiting obkects realting to graphics
Notes of lectures i attended
Recordings of workshops i attended
Typography as a Semiotic Resource
Working in groups of two choose an initial letter from the following set and based on the terminology nd glossaries contained within the brief create a word that is related to the unit- you can produce it in a caps or lowercase. fter careful planning and research you are require to design and make a three dimensional initial charachter that communicates the meaning of the word. The model can be made of found objects but must finally be wall mounted.
We started brainstorming for a headstart. We were given a word â€˜Iâ€˜ then we started to write down any word relating to the alphabet.
Inch immune ignite Ill Introduction Injury Irritant Injection Inflate Inn Insecure Insurance Interact Innovative Increase Ingredient Ideology Interrogater Iran Iraq
Instant Ink Inspire Insomnia Instruction IPhone Integrity insight Inquire Interior Inspection India Israel Indoor Income Iron Iconic Inglenook
Ice Immature Intelligent Idol Immune Illegal Illusion Imagine Import Inactive Incensored Inception Incident Incline Inceptor Impossible Indicator
We decided to go for this word due to the concept of this idea appealed to our chosen word effectively. We decided to look into the concept of the kids dot-todot drawing because you had to follow the instruction in order to complete the drawing. And from this idea, we came to a different concept of making a map, which would direct you to make a â€˜Iâ€™.
This is our another chosen word and the concept was to make a ruler, with its measurments in inches. We decided to go for this due to the fact that it was simple and clear to understand.
I have sketched out couple of ideas to visualise and take it for further deveopment. It is clear that it is a ruler showing its measurements but it will possibly be a better option if it is zoomed in to show the inch measurement. Final idea was to make a illustration of a ruler in a shape of an ‘i‘.
This is a quick visual for instruction. It may not be clear yet but the dots visible on the corner and the edges are to instruct the user to help them create an ‘i‘ just like the dot-to-dot drawing game for kids.
We decided to choose the word â€˜instructionâ€™ to take it further due to the concept we had, it was very broad, which means more ideas to experiment and develop.
pointing fingers maps/GPS
London Underground Map
Through our second braintorm on direction and order, we decided to chose the direction route, which led to us to the word â€˜Mapsâ€™.
We looked into the map of london underground map, using that as our inspiration we came up with the idea of using thread as lines and nails as dots. We came up with the plan of making it a user interactive. In the map the dots represented stationg to help guide the passengers so with that idea we developed into a dot-to-dot game to help the users to complete the alphabet.
STRING ART OF LONDON UNDERGROUND MAP
Dan Coffey Whilst researching about maps, we found this artist, who created the London of underground with strings and nails, which relates to the idea of ours.
London Underground map design research
We decided to take part in completing the dot-to-dot drawing ourselves with special focus on how do we know or how it instructs us while completing the sketch.
Whilst completing our research on design of london underground map, we found out the term instructional design, by finding out what it meant, we came to a better understanding about what Instructions is on a design.
We decided to focus on an example of instruction on something, so we decided we would look further into printing instructions. Here, we have looked into specifications of printing such as what information do we need to know and what we need to give to the printers. We looked into the forms printing business require us to fill in before giving them jobs to print.
We then starting experimenting what typography would be suitable to use and sketched out. We werenâ€™t getting any further so we decided to do it digitally
This font felt too ordinary and did not spark any attention when we created the prototype.
We changed the circular title of Gill Sans MT into square because it looked too crowded, which goes completely against our word.
Modified Gill sans MT
Gill sans MT
Circular title and the slab of the â€˜iâ€™ is too thick.
This was our second choice because of the shape of the sophisticated title.
We picked this font mainly because of the thin slab on each end, it shows it is informative and the fact that it is long/thin.
Visual Thinking Exploration and Developments
Texts, alphabets and other characters are created in Laser Engraving machine.
This is the first prototype of our concept, we have used nails and thread with the numbers to help the user interact with the thread to complete the alphabet. We decided to use Gill Sans MT typeface because it looked simple and clear. (This can be found in Nevils folder.)
Experimenting with gold wire with black background for contrast (This can be found in Nevilâ€™s folder)
Usage of white string to contrast with the black Experimenting with bigger pins to engage audience. But looks too crowded and the information starts to disappear. We went back to our first prototype but used thinner nail and string for much clean, crisp look and the information are not affected by it.
Produce an A6 postcard with the image on one side and a brief description of word on the other.
What is instruction?
We decided to look at how instructions communicates with us and focused on a specific example where instruction are given.
INSTRUCTIONS & LANGUAGE “A DETAILED INSTRUCTION IS A LANGUAGE TO COMMUNICATE WITHIN A SPECTRUM OF SPECIALISMS OR IN GENERAL TO EXECUTE INTENDED IDEAS. PRINTERS REQUIRE INSTRUCTIONS THAT DESIGNERS HAVE TO PROVIDE; THICKNESS OF PAPER, OR THE COLOUR OF THE TEXT/FONTS AS SUCH. INSTRUCTIONS CAN COME LONG AND SHORT LIKE CHAINS, AND LIKE SO, THEY SYSTEMATICALLY TIE EVERYTHING TOGETHER.”
INSTRUCTIONS; A LANGUAGE FOR COMMUNICATION “PRINTERS REQUIRE INSTRUCTION THAT DESIGNERS HAVE TO PROVIDE SUCH AS QUALITY OF PAPER, CHOICE OF FONT, COLOUR AND TEXT. LIKE SCRIPT TYPOGRAPHY, SPECIFIC INSTRUCTIONS CONNECTS A SPECTRUM OF SPECIALISM TOGETHER.”
Visual Thinking Postcard initial layout design
I have started off with initial sketches focusing on the layout and the composition of the main image and the statement.
Although this is not our final outcome of task 1, we decided to use this one because of the texture of the PVC wood brought the excellence in colour. We have tried both landscape and portrait to find out which looks best.
Instructions; a language for communication Instructions; a language for communication. Printers require instruction that designers have to provide such as quality of paper, choice of font, colour and text. Like script typography, specific instructions tie a spectrum of specialisms together.
Printers require instruction that designers have to provide such as quality of paper, choice of font, colour and text. Like script typography, specific instructions tie a spectrum of specialisms together.
Instructions; a language for communication Printers require instruction that designers have to provide such as quality of paper, choice of font, colour and text. Like script typography, specific instructions tie a spectrum of specialisms together.
Instructions; a language for communication. Printers require instruction that designers have to provide, such as quality of paper, choice of font, colour and text.
We did not want to limit ourselves from trying our other prototypes too so we decided to experiment this one for the postcard. I specifically like this one compared to the wooden textured one because of the dark background and the cleanliness of it. We have explore the layour with and without the string and trying to find the best space to place the statement defining the our word.
We decided to go for this concept because of the dark background and the crisp effect the string and thin nail has brought. The reason there is only half of the ‘i‘ on the postcard is because you can tell it is an ‘i’ by looking at it, it would waste of space and could bring a dramatic effect to the postcard. (This can be found in Nevils folder/box)
You will identify, collect and photograph, examples of vernacular letterforms in the town (A-Z). You images should be literal interpretations of details of road signs, gravestones or shopfront signs, etc or slightly more challenging abstract collections of ‘hidden signs’ drawn from architectural forms, found objects and unintentional typographic structures.
Poole, Dorset. 23 February 2014
A day trip to Poole, we were asked to form a group of 4 and was given this task to capture photographs of the the whole alphabet. We spent the day roaming around the streets, alleys, markets and museum with the aim to find intricate and abstract shapes denoting typographing forms. The main plan was to find hands on approach typography and avoid contemporary typefaces.
These photographs are few of the outcomes taken by our group (me, Nawal, Harriet and Connor) from the trip to the Poole, some are edited in Photoshop in terms of cropping and lighting.
Pictures from ‘Letters from Landscape’ project are put together into a book. This task shows the process of book binding, such as how its done, what is used.
We used InDesign to place the photographs in a book layout. Each pages were printed in A3 size, then we had to manually fold into half using the crop marks on each corners of the page. After the folding, all the pages are stacked together equally and placed in â€˜Lumbeck pressâ€™ to be glued. Tightening the blocks makes it tight and keeps it accurate. Protection sheet are placed on each side to prevent the glues getting on the jaws of the Lumbeck press and from getting your book stuck to the press. Glues are coated 3 times on the spine of the book, leaving it with 15 mins to dry at the end, then strip of mull cloth is glued on the spine leaving it dry overnight. When it is dried, simply glue the cover of the book and attach it to the spine of the book.
The book is successful in terms of layout, design and right use image with the great effort of the team. There are a few gaps and lines, which was not supposed to be there but I am proud of how this first book has come out. (This can be found in Conorâ€™s folder/box)
We are expected to sign up to minimum of 3 workshops and attend it. It is organised by various courses; Graphic Design, Illustration, Fine art and Visual Communication.
Silk screen printing I have always wanted to learn screen printing since i heard you can print it in t-shirt and clothing materials. Finally i had the chance to attend this workshop and experience it. The technician doing the workshop showed us how to do it, a lot of process involved in to making a finished screen print. She used a a small triangle print out in a paper, which was placed on to a light sensitive emulsion. The print out was oiled and exposed to light to imprint the black image on to the screen. The reason for this is so that ink used to print would only It was quick, easy and the outcome was outstanding. go through the screen parts that were blacked out. The ink is placed on the screen where the rubber squeegee forces the ink through the woven mesh, which prints it on the surface which is always placed underneath the screen. Here is an example of a process of screen printing on paper.
Visual Thinking Chromophilia; Colour and Idea
On the right is a piece I created 3 initial alphabet, painted with warm and cold colours. Expressing between warm 85% and 15% cold, I have mainly focused on common colours used for warmth such as red, yellow, orange and brown. I used black and dark blue for cold to express the dark , icy frost. Here are some of the notes i recorded during the workshop. Do not use colours on his own, use it strategically. Red is not a colour because red is not red when you take it to the dark, it disappears. Red is only visible when it is take toa white surface. Tiny is any colour mixed with white, tone is any colour mixed with black adn white. Orange, Green and Purple aare secondary colour adn yellow, green adn purple are tertiary colours. Any colours in a colour cycle are â€˜cromatic coloursâ€™.
Camera became known in the 19th century then became a huge competition with the painters because what they were painting were taken in seconds from the camera. Paris, France use to be the centre of the art world then within a night of second world war II, it shifted to New York. Artists and painters fled to United States of America. One of the artist who fled to USA was Joseph Albers, who was the first student designer at the Bau Haus. He, then went to same art school in Carolina as John Cage, who brough performance theatre arts into fine art. Oil is made of pigment and powder. Acrylic is made of plastic. Water colour is made of gumarabic.
Visual Thinking Traditonal Letterpress
Although i had learnt this traditonal letterpress technique in college but i still attended to see if i will learn something new or how they teach you. I have found this technique impressive and am quite fond of it. The task was to pick different size letters and symols to print. Later, we created short statements with that. We painted or inked the rollers to print into our surface. The more paper on the roller and clearer and accurate your print comes out becausethe roller become tighter, which powers the action.
We are expected to sign up to minimum of 3 lectures and attend it. It is organised by various courses; Graphic Design, Illustration, Fine art and Visual Communication.
Visual Thinking Kirsten hardie University House Lecture Theatre
Oooh, aah, mmm:
Notions of Taste Aesthetic Judgement Consumer Culture
Visual Thinking This lecture explored out relationship with objects and how we responded to and give value to ‘thing’ and how our aesthetic judgements and purchase decisions relate to the consumer culture. The lecture considered the phenomenon of consumption and notionsof style, luxury, memory etc. in relation to bespoke and the mass produced items.
How a notion of taste changes though the period ? Judge a design by ... Function and form Ergonomics Size Handling Storage Recycling Colour Shape Styling
In particular the session interrogated hierarchies of taste and popular culture and questions what factors determine what we consider to be good and bad taste and how value of things can create social and cultural identities The lecture utilised design examples from AUB’s Museum of Design in Plastic (MoDiP) and wider ‘things’.
Check out Coolhunting.com Image managament Edward bernays - USA Neomania Designbridge.com Tretchikoff (worth more than Van Gogh)
Propaganda Meanings, Methods & Messages
Visual Thinking Propaganda is an agenda, based on a point of view or tool box for politicians. It is either information or rumour. Black Artificial Lies
It tends to be factual and real It can be reliable but also likely or in other words informative to be unreliable or even not communication. based on reality.
Contact, Source Auther David Welch (Power of Propaganda) Imperial war Museum (London) Noam Chomsky
“Propaganda works because we accept it, we don’t question it.”
The key characteristics of propaganda are repetition; Information are constantly repeated until people start to believe in it. Simplicity; the message must be described in a simplest form as possible so every is able to understand to. Imagery is the most powerful and persuasive tool of propaganda, for instance the war posters. Sentiment, it must contain a form of strong emotion.
Visual Thinking Digital Materiality This lecture explored the history, development and pervasiveness of the digital today. It focused on materiality of the digital as we attempt to dispel the myth of virtuality and disembodiment. How might such notions be unhelpful in discussions of digital practice? Key elements explored: modes of production and obsolescence; gaming and play as forms of labour. The ethics of global digital interactivity; social media; image as information; electronic civil disobedience [hacking; wikileaks]; analogue and digital; computational contexts.
Check out Deleuze Jacquard Loom Arch Angels Galloway
I have always been fond of old historic vehicles, so i had to record this.
Products printed by 3D printer
INVERSIVE EMBODIMENT Inversive embodiment is 3D printed artwork created bt Tobias Klien. This intricate sculptural piece inorporates data from MRI scans of Tobias klienâ€™s body and the iconic structure of St paulâ€™s Cathedral. Tobias is an internationally trained architect who works with 3D printing across the fields of art and installation, experimental design, interactivity and sculpture.
DHANYABAD Thank you (English translation)