Jeevan Panesar BA (Hons) Graphic Design Level 4
Visual Thiking
focuses on extending your visual awareness, individual creativity language and understanding of contemporary practice while examining the fertile and complex semiotic and aesthetic nature of word, image and object. You will examine these relationships while engaging with broad and experimental creative processes through a series of wrokshops, demonstations, seminars and critiques provided across the coruses in the School of Visual Arts; Fine Art, Graphic Design, Illustration and Visual Communication. This unit has been designed by the Course Leaders across the School to give you a unique opportunity to test and expand your range of skills and to combine materials and processes in different ways.
contents page
1 2 3 4
Distinctive Characters: Typography as a semoiic resource Postcard design
Vernacular Letterforms: A lexicon of urban typography
Workshops
Lectures and seminars
1
Distinctive Characters Typography as a semiotic resource
A collaborative project with Charles Rogriguez. Letter provided: E (150mm) The concept behind this project was to create a 3D letterform of a letter which we were given. We also had to chose a word that related to typography that started with our letter.
Brainstorms Once given our letter, we immediately began to brainstorm different words beggining with the letter ‘E’
- Egg - Email - Eye - Ears - Envelope - Exit - Eagle - Eraser - Earphones - Editor - Edit - Energy - Eagle - Elephant - Earth - Easel - Eat - Environment - Earring - Earthquake - Eclipse - Edible - Elastic - Electricity - Elk - Embroidery - Emotion - Erosion - Evaporate - Exit - Emerald - East - Embedd - Ecstasy - Excretion
E Shortlisted words - Eye - Egg - Eraser - Earphones - Energy
Our next step was to brainstorm the visual styling of the letterform and consider the different mediums we could use.
chosen idea and development
We started to develop ideas for our shortlisted words. Charles and I really liked the idea of using earphones for our letterform. However, our vision of using earphones was shortlived, as we realised the word had to relate to graphic design, or typography at the least. We also began to research earphone typography and noticed the idea had already been done before. Our final decision for
the word for our letter was ‘eyesight.’ A fundamental in design, we started to look at the people who are unable to use their eyesight to their optimum. We then decided to look into colour blind tests and further research lead us across The Ishihara test. Created by Dr. Shinobu Ishihara in 1917, the test is made up of several coloured circles, in different
diameters, and randomised colour. The concept behind it is that an individual with a redgreen colour blind deficiency would be unable to read the letter on the coloured plate (known as a Ishirhara plate).
We were advised from a tutorial to look at the BBC ‘Love 2014’ campaign, as inspiration for how we could build a 3 dimensional version of our design.
These are some of the images we found when conducting research on how to create out 3 dimensional design.
digtal mockup Created in Adobe Illustrator, the digital mockup was created so we could gather an idea of how the final outcome would end up looking.
Ee arm
cap height x height
baseline
Ishihara tests usually use sans serif fonts made up of circles with different diameters. Therefore it was crucial that we created a type with a
serif
serif. With the option for the letter to be upper-case or lowercase, we felt that a capital E would have more of an impact . Also, as it was the
only letterform in the design, we felt it would make sense to captalise the letterform.
eye
Photographs of the production process
final outcome
Overall, both Charles and I were pleased with the final outcome of the 3 dimensional letterform. However, there were a few encounters during the production process. As the wooden dowel was sold in 2 metre strips, it required chopping down with a saw. Where the pieces were cut into small pieces, the wood would often spilt, and could not be used. This caused to be problematic as there was a concern about using up all the wooden dowel without finishing the design. The other production flaw was dealing with many tiny pieces of wood and glueing them together. Where they were glued, they tend to stick to the surface we were working on and became damaged when
lifitng up the piece. Eventually a large wooden base was cut, so it was easier to assemble. The overall design was a sucess as it resembled the original Ishihara test, with the same design and colours used to detect colour defiencies. Furthermore, I was glad that the wooden dowel were both different in diameter and size, as it resembled the BBC Love 2014 motion graphic. The only criticism I found in the final design is that the wooden was not sanded down enough, and so looks slightly improfessional, however under the time constraints of this project I belive both Charles and myself acheived a piece which looks visually appealing.
Postcard design The next part of our project was to produce a postcard for our letterform. It was also required to include a brief description of our letterform. Naturally, we felt that we must explain the Ishihara test.
Technical specifications
105mm
148mm
300dpi tiff 3mm bleed
We also decided to include this quote from German philosopher, Albert Schweitzer: ‘An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight... the truly wise person is colourblind.’
These were the 2 images that we shortlisted to be used for the postcard, but they needed to be edited before using. Photographed in the main studio and a softbox, there was a warm hue, causing the colour accuracy of the piece to be incorrect. In order to fix this, the images were opened in photoshop. As the
photo would be printed on the postcard they were first changed to CMYK colour. Then using the curves, the brightness and contrast was corrected, before changing the white balance of the whole to a more accurate colour overlay in the final images.
Different postcard designs
Eyesight The aim of this typeface letter is to explore the limitations of an individual’s eyesight, specifically red-green colour deficiencies. The typeface is modelled after an Ishihara test created by Dr. Shinobu Ishihara in 1917. “An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight... the truly wise person is colorblind.” Albert Schweitzer
Eyesight The aim of this typeface letter is to explore the limitations of an individual’s eyesight, specifically red-green colour deficiencies. The typeface is modelled after an Ishihara test created by Dr. Shinobu Ishihara in 1917. “An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight... the truly wise person is colorblind.” Albert Schweitzer
Eyesight The aim of this typeface letter is to explore the limitations of an individual’s eyesight, specifically red-green colour deficiencies. The typeface is modelled after an Ishihara test created by Dr. Shinobu Ishihara in 1917. “An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight... the truly wise person is colorblind.” Albert Schweitzer
E postcard white.indd 1
Final Postcard design
23/02/2014 17:56
2
Vernacular Letterforms A lexicon of urban typography
A collaborative project with Kieran James, ryan homer and tom oliver. book size; 190mm x 190mm Going out to Poole, we had to find letters in the landscape, both literal and abstract, and complete a full alphabet of vernacular letterforms. We then edited images, before creating a layout for the book and binding it using the perfect binding technqiue and french folding.
Photographing in poole Starting out in Poole, we had to photograph both abstract and literal letterforms around the town. We spent the whole day in Poole, walking around
The next step for us was to sort through all the photographs taken on the day. With a camera each, there was around 2000 photographs which had to be sorted through.
town and to more deserted places. To our advantage Kieran comes from Poole, so he was able to take us around to more areas. The images
below are a selection of photographs which we captured on the day.
Photograph selection As we looked through the photographs, we selected the best. Furthemore, some were disregarded even if the vernacular letterform was strong, due to the outcome of the final image. Some of
the photographs were out of focus or blurry. As I wanted to keep the book to a high standard I felt that we would not be able to include any of those images. These images are a small selection of
images that we shortlisted to go on for editing.
Editiing photographs Before placing the images into a layout for the book, it was essential that they were edited. The majority of the photographs were simply washed out. In order to resolve this the contrast
The photographs displayed above are the final edits of those on the previous page. It can be seen that just a slight enhancement can make the images look visually appealing, with the use of vibrant colours, deeper tones and a higher contrasts.
was enhanced and the brightness balanced, by using the curve tool. Some of the photographs were cropped, but we tried to keep the images scaled to their natural size as we could always scale
them later in InDesign if it was required. The images were saved as CMYK tiff files, to optimise the quality of the photographs.
A collection of all the final edited images
Layout A newcomer to InDesign, I began to learn about the resources available in software when creating the book. As the book was to be french folded, we were given a basic template to follow our book by. Ensuring the
Ryan Homer Kieran James Jeevan Panesar Tom Oliver
document setup did not include facing pages, the rest was down to us as a group. We made sure to carefully aligning images. There were also a few full page images.
An example of a spread layout (left) and the book design in InDesign (below)
Perfect binding Once our book had been printed, we were expected to bind it. First, we carefully folded the pages by hand to create the french fold. Once alinged, the pages were placed into a Lumbeck press. The pages were then made sure to be perfectly alinged before glueing with archival PVA glue. The glue was required to be pasted
over the spine of the book every hour, for 6 hours. We came back to the studio the next day to place the cover on. After it had been completed it was then put into a clamped press for another 6 hours, ensuring the cover was securly pressed on. After removing the book from the press, the book was complete.
We used a lumbeck press to bind our books together
final outcome The final outcome for the vernacular letterforms project, I believe was a sucess. We were able to produce a book, from start to finish. Moreover, the book was designed well and bound to a high standard. As much as I did enjoy this task, it definately wasn’t easy at all. Being new to illustrator, there were certain aspects of the software I didn’t know how to use at the time.
However, from sourcing the letterforms to editing and binding, I have been very inclusive in the group project. The only criticism I would suggest for about the book is it could have possibly including a range of stronger imagery. There were certain letters which we didn’t have particularly strong images for, and so we had to use images we weren’t considering
in the first look at all the photographs.
The final outcome for the vernacular letterforms project
3
workshops
Throughout the unit, i attened 3 workshops: - Digital Letterpress - Screenprinting Induction - Japanese bookbinding
digital letterpress Throughout this workshop, we were able to see how traditional letterpress has gone digital. Using letterpress software, LetterMpress, we were able to produce similar results digitally compared to orignal production. We were able to choose through a variety of type and objects, place and align them before printing. A useful tool was the ability to load pre-printed paper and then print on top of it, so you were able to get different
layers, meaning several colours and designs. I enjoyed this software, and with it being cheap and easy to use, I can imagine myself using it for page covers and more in future projects.
Using the software (left) compared to the final outcome (below).
screen printing induction For this workshop we were inducted to screen based printing. As I already have tried out this process before, most of the steps carried out were in my knowledge. However, I did see the process of printing a design through a UV light and vaccum, which I haven’t used before. This workshop was helpful as I can now go and use the screen printing facilites in the university.
One of my screenprints I have done, a copy of Stefan Sagmeister’s Lou Reed.
japanese book binding The Japanese stab binding proved to be a useful and enjoyable workshop. To begin, we prepared our front and back covers by placing fold marks at 10mm inwards of the page. Then, aligning our paper, and covers, using a guide we drilled in holes where the binding would place. Ensuring the thread was covered enough in bee’s wax, we followed a procedure to thread and bind the book.
Final outcome from the binding workshop.
1
5
2
6
7 3
4
8
There were the instructions we had to follow in order to bind our book together
4
lectures and seminars
over the course of the term i attended these lectures and thier accompanying seminars: - Digital Materiality - Notions of taste and aesethic judgement - Propaganda
digital materiality
This lecture aimed to explore the digtial world, more specifically the internet and how it can be a place of work and play. Regarding the history of the internet and digtal computation, the idea sprang out of nowhere. Furthermore, the advancement was deemed an anxiety of nuclear attack, and was brought across to de-emotionalise. Throughout the lecture, the emphasis
on digital materials having no centre was key. The decentralisation has caused the internet to change society. It has shown that the structure of hierarchy has failed, and it is difficult in present times to see how power and structure is shown. However, we all participe somehow, and because of our online prescence, we do have a voice, no matter how small it may be.
Stelarc
Third Hand
notions of taste & aesethic and consumer culture This lecture aimed to explore the consumer relationship with objects and how we respond to and give value to things. More specifically, we judge designs subjectively, objectively, through an influence from the media, educational and based on our lifestyle preferences. Additionally, we look at the function and form of objects: its use, ergonomics, size, handling, storage, shape,
colour and style. It was made clear that designers deliberately design things to look redundant, hence why there are trends in design. Exmaples include trends in fashion (and different seasons), furniture and lifestyle. There is an exploitation of the unnecessary, whether it be for design purposes or purely to commercialise. Moreover, there was discussion on
judgement
what bad taste was, and was given the term Kitsch. In the workshop we were able to look at some one the objects shown in the lecture and more. We gave our judgement to whether items were good design, prestige luxuries or
Take care of your kitsch collections
propaganda
This lecture aimed to explore how propaganda is still effective. Defined as ‘the spreading of ideas to help promote of damage a cause,’ it is ultimately a bias of opinion, which leads to an index of censorship and manipulation. There is also a variety of other techniques to influence opinions and to avoid the truth, causing a reliance on the twisted message. Examples of propaganda in society include false flag
terrorism, where governments stage attacks to generate fear and reliance (Sandy Hook gun massacre, Boston Bombings). Another example would be vicarious and imitative learning, which is the notion of repeat or copycat other people’s techniques (London riots, Woolwhich murders). The lecture also looked at how propaganda is used in design, with examples of Shepard Fairey’s Obama poster Hope
Shepard Fairey Hope
used. The lecture itself proved to be extremely beneficial, as I decided to look at propaganda and Shepard Fairey for the essay set this term.
unit reflection To conclude this term and unit, I would say that it has been enjoyable. I have like the ability to visit other departments in the School of Visual Arts. However, I do feel that spaces for the workshops were too limited, and therefore I did miss out on some of the workshops I would have like to have attended. Regardless, the workshops I did attend were enjoyable, and I can see myself using the resources that I was introduced to in the future. In terms of our lessons in graphic design, it has been a creative term. I have developed my communication skills and the ability to wrok in a team. The way of experimenting with type and extending our creativity has been a good learning experience, and made me realise the extent which graphic design can spread to. I felt last term my work was very safe, with all of it being illustrator work, and I didn’t push the boundary in which design can go. This term has been the opposite. Although we have been doing digtial work, the combination of classwork and the essay brief has made me critically analyse things further. I tend to think about the process I need to take to get to the outcome, rather thinking just about what will be produced at the end of a brief.