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4 Foreword 6 Framing 17 Symbolism 27 Time Perceptual Shift 36 Patterns 43 Silhouttes


53 Vernacular Typography 59 Rules: Lines of Architecture 66 Layers 73 Unseen Texture 81 Flow: Curating Space 87 Emphasis: Typography 94 Positive and Negative Space

FOREWORD Shodor Uddin My first year as a design student here at LCC has unquestionably been an exciting one. It began with much anticipation and although I was uncertain of what to expect, I knew it would offer so much to me. I’ve learnt a great deal about design; from the importance of typography and grids, to other key design principles that I weren’t much aware of before starting my studies here. In addition I can say that I have learnt a great deal about myself. This book documents many of my experiences and records my experimentation with twelve fundamental design rules and principles. Each chapter will map out my initial studies and develop as my thoughts expand. As ever, many of the topics are not my strongest area, but have provided me with another attempt to improve. Problem solving and tackling these obstacles is a key part of the foreverchanging design world.

Whenever working on a project this open, it is always hard to keep your ideas focused on the task. In many instances I have found myself springing of to other formats that were not suited for a book. So the fact that each workshop was quite specific had helped me in so many ways. In the beginning, I can remember feeling rather confused as the connection between the workshops and the final product was little unclear. But now it all syncs so well and I feel slightly embarrassed for not ‘getting it’ earlier. The most difficult area of the project is the printing. Without having much experience, it can take so many attempts to get these things right. But I like the fact that this has pushed me test with prints and carefully consider layout and makes me appreciate printed books and publications, as I am now aware of the efforts that goes into them.

Foreword 5

To summarise, I feel that this has been a great project as all of my previous projects have been this year. It has challenged my thinking processes of design and has made me look into a whole other area of design that I’ve had little experience in before. Each workshop has been very exciting and to begin with, rather unusual in terms of what we covered. One personal favourite would have to be the patterns workshop. I can vividly remember feeling immensely warn out we experienced one of the hottest days of the year, and in the burning room it was hard to stay focused to begin with. But after taking my shoes off and keeping myself awake by standing up, it turned out to be such a fun workshop – I never thought I would enjoy making patterns as much as I did that day.

There have been many other great workshops during these past few weeks. All of which I have documented and will share in this book, so I hope you enjoy reading through it.


Framing 9

THE IMPORTANCE OF FRAMING It doesn’t take too much to realise the importance of framing. By adjusting the framing can alter the meaning of images and texts. See the example above, when framed this relatively boring image becomes more abstract and slightly more interesting. This was the core idea for this workshop, but to emphasis the point, we are all asked to create our own

frames to help us picture what we wanted to frame before shooting it. I began to photographing my squared frame within the shot to show the difference between what the whole shot would have been compared to what I was aivming for. The additional images that follow continue to explore the effects of framing and how the use of composition can help create intriguing images.


Framing 11

Framing 13

s AND let the OTHER



it back ASPECTS



niff that GROUPS




London in symbols Symbols are around us everywhere we go. They help us to quickly identify things as we see things before we read (nice quote from John Berger there). The objective of this workshop was to express our experiences of London through symbols. Now this could be from the obvious trademarks and symbols we relate to London, or could be more personal memories such as our address, places we’ve been too, like or remember. These are all symbols that create a partial summary of what London is to me. I decided to keep these hand-drawn rather than digitally reproducing these as we were asked not to use digital methods in the workshop (keeping it real). Hope you get them all!

Symbolism 19

Symbolism 21

SYMBOLS OF OUR JOURNEY After completing all these symbols, I wanted to push this concept a little further and symbolise something with a bit more content. So I thought I could take my journey to university in the mornings (dreadful I know) and symbolise that. I admit, it may not be a revolutionary idea, but I do like the results!

Symbolism 23


Symbolism 25



Time Perceptual Shift 29

WATCH THE WORLD GO BY YOU Definitely a moving workshop – Watching the video examples that our tutor showed us made me realise how quickly the world can go by us un-noticed. How routines and cycles are apart of every day human and natural life. It’s rather frightening actually. I thought in many ways how I could respond to this. In the end, I thought tackle this by photographing motion in an ghostly fashion to represent my fears of the life cycle. The following images all show motion as time shifts around the angle of the lens... Hauntingly beautiful?

Time Perceptual Shift 31

Time Perceptual Shift 33

Time Perceptual Shift 35


Building Patterns It was one of the hottest days of the year and all of the beautiful people were out to play. But despite all the fun, I remained indoors trying to stay focused keep the heat from getting the better of me. Creating patterns was the aim of this workshop and perhaps the most fun

of the lot. The method was simple: Draw, cut in half vertically and switch sides, draw, cut in half horizontally and switch sides, draw, put back to original shape, and just like that you have a fully functioning pattern.

Patterns 39

Patterns 41

LONDON BY SQUARES Here’s another pattern I went on to making using square pixels. This example here is to resemble the London underground sign. This idea sparked from the squares on left page, where I was collecting colours for a specific swatch pallet. These squares were used to form my first pattern in this style, which I have used to introduce the chapter.


A Darker side to lONDON? Silhouettes are cool aren’t they? You get to understand the image without all the unnecessary details. You can also manipulate them to give of a specific meaning, or simply to confuse and alter logic. In this workshop and throughout the chapter, I have created a series of images using silhouettes to represent particular aspects of London.

Silhouettes 45

Silhouettes 47

Silhouettes 49

Silhouettes 51

Vernacular Typography

These are the photo’s we looked at which outline some examples of vernacular photography in Elephant and Castle. Using these as inspiration, I began to develop a typeface/logo/title/ to represent Elephant and Castle.

Vernacular Typography 55

Vernacular Typography 57


MODELLING WITH STRAW and string The objective was to design a feature that would enhance the London landscape and to help increase tourism. Our group sat there and thought long and hard about how we could lure in the crowds and after some verbal brainstorms, came up with the following solution: -To create a monument that would completely disrupt the Vernacular London landscape/ cityscape -To give the visitors an experience they will remember -Use angular shapes that are not common amongst London scenery. This was the solution. Giant steel and glass building that would give the visitors better view of the city than the London eye.

Rules: The Architecture of Lines 61

Rules: The Architecture of Lines 63

Rules: The Architecture of Lines 65



Layers 69

Layer this! These two – three layered images were produced on photoshop using a specific method that makes these suitable to print for silk screens. Each image is half-toned, dual-toned or mono-toned so that there is only one block of colour showing through.

Layers 71



Everything has a specific texture, but these all usually go un-noticed. I wanted to take everyday textures around us see what happens when we re-focus them. How the texture could possibly create a specific meaning or add emphasis to the form it’s in. In other cases I was simply intrigued by the look of the texture up close. Here are a sample of a few of the images I had collected and a piece of work created in the workshop which was to contrast the difference between some of the textures I had collected.

Unseen Textures 75

Unseen Textures 77

Unseen Textures 79


Sunset in the city...

Visiting the Museum of London to see the Street Photography show was so inspiring. Many of the photographers included in the exhibition I am very much familiar with (friends with some of them!). As I walked around the spacious galleries, I felt very much like being at home for me as it reminds me of the exhibitions I would see everyday when I was employed. How could I have responded to seeing this? Simple – Take some Photo’s! I wen’t around capturing London in a particular way as some of these great street photographers once did – The first few are of the sunset in an fully urbanised area. The contrast between the soothing sun and pedestrian filled city really works for me. The others are documents of current tourist and market life.

Flow: Curating Space 83

Weekend markets and tourist life...

Flow: Curating Space 85

EMPHASIS Typography

Using shape, space size, here are several examples of the effects of type. The images on the right are music cover ideas for a song called “Streets of London” by Ralph McTell. Using the typeface ‘Baskerville’, these six are examples of me exploring how emphasis can be achieved through type.

Emphasis: Typography 89

Emphasis: Typography 91

Using shape, space size, here are several examples of the effects of type. The images on the right are music cover ideas for a song called “Streets of London” by Ralph McTell. Using the typeface ‘Baskerville’, these six are examples of me exploring how emphasis can be achieved through type.

Emphasis: Typography 93



THINKING ABOUT POSITIVE AND NEGATIVE SPACE Using newspapers, we read through the articles on each page and deciphered which are positive and which are negative. Colour coding each area really does show the two are spaced out across a professional layout (Green is positive and red being negative). Below shows the positive and negative space for the first 8 pages from a local newspaper. I’ve then overlayed each page to get an overall image outlining the space taken by the positive and negative. This for me was a usual workshop to begin with. However, when considering layout, space and

content, it is nice to consider how professionals have laid information across, but also the concept behind the workshop really does make you think about design in a way you normally wouldn’t. For example, I would not normally consider the piece on the right in the way I do now. It has become a representational piece of information design indicating the connection between positive and negative.

Positive and Negative Space 97

Major Project: London Through The Eyes of a Designer