The Design School's Postgraduate Framework 15/16 by MA Illustration

THE DESIGN SCHOOL POSTGRADUATE FRAMEWORK 15 / 16

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INTRODUCTION

Postgraduate framework The Design School’s Postgraduate Framework is a unique course structure in which students challenge and enhance their personal practice within an interdisciplinary working environment. Courses are structured to enable students to progress and develop their independent learning through exposure to a variety of learning strategies within subject and core module delivery, with ‘real world’ and collaborative learning embedded into modules. The following pages provide a selection of work created by students during 2015/2016.

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MA Communication Design: Graphic Design MA Communication Design: Illustration MA Fashion MA Product & Furniture Design (formerly MA Design:Product+Space) MA Sustainable Design

RESEARCH PROJECT BRIEF:

What is Fashion design / ing? This first project provides you with the opportunity to explore your own personal position and approach to design and designing, and the role of the designer. You may have to negotiate this position with those of your fellow students. We may agree on some of aspects of a general definition of design, but each one of you is likely to have your own working definition or ethos of design. This module therefore focuses on both individual and collective understandings of what design(ing) is.

designing research

HUI-JU YING MA FASHION

REFLECTION:

“For fashion designers, the purpose of design is embodying the spirit of beauty by combining aesthetics and emotion into garments. In contrast, the point of view of customers is that fashion design is about creating clothes to stimulate people’s desire to purchase. This immense divergence influences the true value of fashion ... furthermore, it impacts the fashion industry. Hence, the challenge for fashion designers is to let customers see the spirit and ethos behind the garments as the aesthetic way ... I want to find the relationship between fashion and art – is it possible that fashion can exist without art?” HUI-JU YING

postgraduate framework 2015/16

PROJECT 01:What is fashion design/ing?

“Fashion design is the way to express self-emotion” HUI-JU YING MA FASHION

designing research

postgraduate framework 2015/16 11

JDORAW Bestival 2016 Student Competition Diversity NOW! The John Lewis Brief: D&AD New Blood Awards 2016 The Monotype Brief: D&AD New Blood Awards 2016 Penguin Random House Design Award 2016

PRACTICAL PROJECT:

JDORAW Bestival 2016 Student Competition FABIAN FREUDENTHALER MA COMMUNICATION DESIGN: GRAPHIC DESIGN

â&#x20AC;&#x153;As mainly a graphic designer, I like to challenge myself by following my personal aim of being interdisciplinary. As part of the Creative Futures module this project allowed me to investigate a concept from the perspectives of other disciplines, such as product and space, animation and video ... it made me rethink the direction of my future career which might not only be graphic design, but also product and space. I assess this as one of the most successful projects during this term ...â&#x20AC;?

PRACTICAL PROJECT:JDORAW Bestival

PRACTICAL PROJECT:

JDORAW Bestival 2016 Student Competition Brief We want you to design a new drink for this legendary musical festival. The festival already has its very own beer – Bestivale – through a tie-in with a local brewer. But we think it’s time it had its own unique drinks portfolio on offer on site! Whether you want to design a beer, cider, premix cocktail or soft drink, the choice is yours! But you need to think of a big idea. Then create a name, brand identity, choose or design its vessel, and design the graphics for its packaging. Use the festival’s quirky heritage to build some character and some attitude.

creative futures

prize but

postgraduate framework 2015/16 17

PRACTICAL PROJECT:JDORAW Bestival Part 1

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Jdo Raw Student Brief Bestival

Research Drinks Trends

Research Audience

Fig. 17

Fig. 14

Fig. 18

Fig. 15 Fig. 13

Fig. 19

HIP HOP 1990 –

Rock 1978 –

Big Beat 1995 –

Dubstep 2004 – Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

The pictures showing the audience are speaking for themselves. Free spirited people who want to have fun. In addition, I picked some of the

Motown 1968 –

headliners from 2015 to show the different kind of music genres which might be reflected in the target audience. Furthermore, I asked one of

my course mate about her impressions of the festival and its target, as she attended the year before.

Research Bottles Packaging

Since I working on the trend forecasting brief during the first term, I think about the future more often. I used speculative design methods to research the future, observing elderflower juice sold in a bottle at a bar for the first time in London. Furthermore, secondary research on the internet helped me to find out what could be trendy in 2016. The result was that bottled and carbonated cocktails (Lost In Catering, 2016) will be very popular this year in London. For this reason, I thought to create a new cocktail or long drink for Bestival with elderflower as the main flavour.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Fig. 16

Apple Juice with Elder Flower (Borough Market, 2016)

Route 1

By referring back to my research about drink trends and the social campaigns of Coca-Cola, I defined my first route. Concept (Bottle): - Sociable - Refillable - No spilling - Fun - Competition - Social media

Fig. 28

Fig. 30

Concept (Drink): - Male & female - Cocktail or long drink - Vodka / Gin - Elderflower - Tonic water / Soda

Fig. 32

Fig. 19

Idea: Once you connect with another bottle, you are able to drink and the phrase “All I need is you“ is readable as one sentence. Endless people can join. The name “All I need is you“ was simply the phrase I used when I first showed the idea to my flatmate and it sounded good.

Fig. 33

I thought about designing a bottle with two openings (Fig.27) that people need to drink together otherwise half of it would spill out.

Fig. 22

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

I continued with general research of illustrations and packaging I found visually intriguing.

Fig. 20

Fig. 21

3D sketch

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Fig. 29

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Fig. 31

Research Observation Inspiration

Testing

Fig. 35

Exhibition: Alcoholic Architecture (2016): Breathing in the alcohol instead of drinking it.

Fig. 36

The concept more and more developed in a product design direction. By the reason I could not create a real draft due to the complexity of the product, I started to use 3 D design programs in order to get a feeling for the bottle.

Feedback Paul Postle & Philipp Slade: “The Coke idea is mechanically interesting but it is not that fun“. “You need to work on the social interaction“. “All I need is you as a phrase does work very well for a festival“. “This does not quite excite me“ “You need to work on that moment when they come together. Something must happen. Think about light, chemicals, sound or Bluetooth.“ “Maybe the ‘you‘ could become a special ‘you‘. You need to find the other half, like in a lottery.“ “The concept could get very cool. Well done.“

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

3D Design

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Logo Design

Observation: Callooh Callay Cocktail bar (2016) in Shoreditch. It regularly changed colours.

ALL I NEED IS YOU

Inspired by the cocktail at the bar, on my way back home I looked at this display and thought: “Why not using an LED display for my bottle. This might face the future as well.“

Fig. 37

Fig. 38

This simple shape of the bottle which I quite liked (Fig. 37), influenced my following sketches.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

The LED display is supposed to be inside the bottle, where the text gets even bigger. It works due to the fact that gin, elderflower, and soda have neutral colour tones. Furthermore, I

thought about using a cylinder as bottle shape by the reason that it has no edges which would disturb the readability of the text.

Bottle Design

ALL I NEED IS YOU by BESTIVAL

ALL I NEED IS YOU Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Front: printed label Based on my research and drawings, I started to make digital sketches and visuals of the bottle.

Back: LED display Material: Plastic, due to the fact glass might not be allowed on the festival.

Pavilion Design

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

by BESTIVAL

First Rendering Testing

The bottles shape is a cylinder, therefore, I wanted to place the logo in a circle on the top of the bottle. I used an LED font as corporate typeface of the brand. The green of the visualisations was a bit too dark and reminded me on Heineken. Therefore, I was thinking about using the Bestival colours as corporate colours for my brand. This would have the benefit that it can be adapted to the theme every year, but I was not sure about it at this stage.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Final Brand Logo

First Logo variation

Second Logo variation

LED displays usually have a rectangular shape, so I chose to not place the logo in a circle, as it was initially the idea. In addition, the logo on the top of the bottle would have been too small. Therefore, I used the advantage of the cylinder and positioned the logo around the cap. This also created space for the Bestival logo on the top.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

The idea is to have a separate “All I need is you“ pavilion where people can buy the bottles (hardware), but also fill it and refill it with the drink (software). In addition, taps for refilling the bottle are available at every bar on the festival. The design of the pavilion reflects in the design

of the bottle. Furthermore, I decided to use the Bestival colour of 2016 (magenta) for my brand as well as I extended the offer for drinks.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Prior the studies at Kingston University, I was working three years in a design studio focusing on the architectural implementations of fair booths. During that time, I could gain significant skills in 3D visualisation programs which helped me a lot for this project. These renderings made me realise that magenta as colour might be too fruity and not correspond with the taste of the drinks. I decided to step back to a green-blue as colour and reduced the offer to just Vodka, Elderflower, and Tonic Water.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Third Logo variation

creative futures Final Brand Typefaces Colours

C100 M0 Y50 K0

C0 M0 Y0 K35

Primary colours

C100 M0 Y50 K0

C0 M0 Y0 K80

Secondary colours

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz 0123456789

Final Outcome Bottle

Final Outcome Pavilion

Primary typeface for Logo and headlines: LED Counter 7 Regular

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz 0123456789 Primary typeface for Logo and headlines: LED Counter 7 Regular Width: 16 meters Height: 5 meters

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Vodka and Tonic Water have very neutral colours, so I chose grey tones and white as collateral colours. Besides the LED font, I used a rounded typeface which suits to the round form of the bottle.

Final Outcome Pavilion

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Width: 5,5 cm Height: 22 cm

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Final Outcome Pavilion Inside Animation

Final Outcome Pavilion Taps

A Gif-Animation projected on the wall.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Final Outcome APP

Final Outcome Poster

The taps based on the bottles design and the description behind what people need to do.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Final animation (Please click on the picture)

Create your MESSAGES and win a price.

Messages

Go to the ALL I NEED IS YOU pavilion to find out more. #AllINEEDISYOU

People have the freedom to create any message they want. Endless many people can join which allows a broad range of creativity of writing not only a simple word or sentence but also texts.

Fig. 40

This message would probably not win a prize but it shows the potential of messaging.

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Competition

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Final Format Jdo Raw Hand In

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

Fig. 39

1. THE BOTTLE: The text on the LED display can be changed by using an APP (Bluetooth).

2. THE PAVILION OUTSIDE: Width 16m, Height 5m

Critical Reflection

To get in touch with new people can be very diﬃcult for many people. No matter if you lose your friends on the festival or simply want to connect with new people, this bottle will help you. You can even win something. The philosophy of ALL I NEED IS YOU is to bring people together for drinking and having FUN. The special feature of the bottle is the LED display which lights up as soon as another bottle/person is near you – MAGICAL. Once the APP is downloaded on the phone, it can be connected with the bottle using Bluetooth which allows then a modification of the displayed text. It gives people the freedom to write their individual creative messages in order to communicate with each other or somebody else. It gets even more fun if more people join. People are then able to write not only single words but also create whole sentences or texts – FREE SPIRITED. The winners for the most creative or longest message during the festival can win a prize. The competition is happening on Instagram using the hashtag #ALLINEEDISYOU, which also promotes the concept online.

I felt very happy when I read my name on the list of students grouped for this brief. After the first week of research, I already recognised the high quality of creative thinking of other students. Although all the research was often similar, I found it interesting to see the research of the others. As I am usually very motivated for life briefs, I worked very hard to find a concept and visualised it to show as much as I could in week two. Even tough the feedback in week two was all in all positive, I still remember the words of Paul: “This does not quite excite me” (Postle, 2016). At the beginning, I felt sad, but it definitely pushed me in the right direction. There was something missing and I knew what it was after the lecture in the afternoon. “When you buy a brand, you are buying a personality” (Slade, 2015). “Personality” was, what was missing. In order to find new inspiration, I went out and observed cocktail bars which were one of the most important points through this process. The roots of the concept were still the same, but the execution changed essentially after observing a drink at Callooh Callay which constantly changed colours. After the positive feedback of JDO, I found my confidence again which made me even more motivated. As mainly a graphic designer, I like to challenge myself by following my personal aim of being interdisciplinary. As

part of the creative futures module this project allowed me to investigate a concept from the perspectives of other disciplines, such as product and space, animation and video. By working very keen, I extended the five weeks project to almost the whole term and it made me even rethink the direction of my future career which might not only be graphic design but also product and space. I assess this as one of the most successful projects during this term, as I think I responded well on the main points of the brief. Although we had no restrictions, the expensive production could be the weak point of my concept for the jury of the competition. Furthermore, the fact that it needs to have batteries reduces the sustainability of the concept which I achieved through the refilling bottle. But, to win the competition was not the priority. I wanted to answer the brief as best as I can by challenging myself and producing a visually intriguing outcome. During the term, a part of the group set up a “community of practice” (Wenger and Trayner, 2015) which allowed us to help and push each other. Lastly, I am very thankful for the opportunity to get feedback from Philip Slade who mentioned the word “Bluetooth” which essentially inspired and influenced me and my final outcome.

At the ALL I NEED IS YOU pavilion there can be bought the personal bottle and filled with Vodka-Elderflower-Tonic Water. If it is empty, it can be refilled at the pavilion or other Bestival bars. All you need to do is: Get the bottle, start drinking, join others, create messages, have fun and win a prize.

4. THE BAR: odka-Elderflower-Tonic as the drink, description on the wall, taps for refilling (also available at other Bestival bars) and an animation projected on the wall (see Video).

Fabian Freudenthaler K 1449108 MA Graphic Design Module DE7 301 Creative Futures

postgraduate framework 2015/16 19

BELÃ&#x2030;N CAO MA ILLUSTRATIO SHORTLISTED ENTRANT

PRACTICAL PROJECT:

DiversityNOW 2016 live brief Now is the time for creatives to harness their power and lead the way, by boldly visioning an expanded fashion future which steps beyond stereotypes, redefines boundaries and celebrates a wider range of beauty and body ideals in age, size, gender, race and physical ability. Can you collaborate on an alternative fashion future, where the individual is celebrated, where fashion uses its colossal creative skills to emphasise the distinctive beauty of the unique human form?

creative futures

BELÉN CAO MA COMMUNICATION DESIGN: ILLUSTRATION SHORTLISTED ENTRANT

PROCESS:

“The process of developing the outcome for this ‘live’ practical project has been both enriching and peculiar ... having the freedom to choose my own methods and merge an unusual and interesting subject with other areas of design (fashion, in this case) has enabled me to produce a piece of work that is 100% Belén Cao” BELÉN CAO

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PRACTICAL PROJECT:DiversityNow

creative futures

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PRACTICAL PROJECT:DiversityNow

BELÃ&#x2030;N CAO MA ILLUSTRATION SHORTLISTED ENTRANT

creative futures

postgraduate framework 2015/16 27

Fig. 32 Further visual experiments working towards a final design concept.

RACTICAL DESIGN PROJECT: DIVERSITY NOW!

creative futures

FEKRY HELAL MA COMMUNICATION DESIGN: ILLUSTRATION

PROCESS:

“Since my graphic design background strictly contradicts this sense of ‘unique selling property’, I appreciate the opportunity to explore this aspect of communication design through this recent academic context (and future practice!)” FEKRY HELAL

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PRACTICAL PROJECT:DiversityNow

LOOKING FOR AN ANGLE In the course of discussing the brief and our initial ideas at our first tutorial with Lucy Norris, finding a way to inform the project through some kind of personal investment quickly became a starting point for me. Revisiting the brief I wondered how I personally related to diversity in terms of “age, size, gender, race and physical ability” (All Walks beyond the Catwalk, 2016). As I did not intuitively respond to any one particular category, I decided to look for inspiration on a series of field trips into London. Not having a clear idea about where to start I simply began to observe the various characters I encountered along the way. After all, I thought, directly or indirectly, these are the very people affected by the stereotypes promoted through the fashion industry. But maybe even more than that the wide spectrum of personalities, little quirks, poses and looks I was confronted with actually connected me to the theme of appreciating diversity. Fig. 2 Sketches documenting my starting point for the practical project brief; looking into diversity through looking at people.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

Fig. 5 Sketches I made looking into the history of garment design at the V&A’s fashion collection.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

creative futures 15

WABI-SABI AS AN AESTHETIC REFERENCE

“In sixteenth-century

Figs. 12 and 13 (from left to

Japan, a student was

right) Leonard Koren’s

tasked to tend the garden. He cleared the

two volumes on the aesthetic

garden of debris and raked the grounds.

sensibility that is “wabi-sabi”

Once the garden was perfectly groomed, he Having advanced “wabi-sabi” as an aesthetic

inspired me ever since I came

proceeded to shake a

framework for my affinity with “primitive”,

cherry tree, causing a

analogue media throughout this course,

few flowers and leaves

drawing from this fact eventually bacame my

to fall randomly to the

next ambition.

across them in the Whitechapel Gallery. As primary

ground. This is wabisabi.” (Lidwell, Holden

“It is a beauty of things imperfect,

references they helped

and Butler: 144)

impermanent, and incomplete. … It is a

structure my further research immensely.

beauty of things unconventional.” (Koren, 2008: 7) Considering this definition in view of what has been said so far I could draw from it in three respects: Firstly, as a position embracing imperfection wabi-sabi corresponds well with physical impairment as a subject. Secondly, an appreciation for “unconventionality” directly relates to the broader sense of diversity central to the brief. Thirdly, my close relation with this aesthetic sensibility allows for further inquiry into a source dear to me as a practitioner and generate value from personal investment.

Fig. 10 Photography showing further research into organic structures.

Fig. 11 Detail of a page from Koren’s “Wabi-Sabi: for Artists, Designers, Poets and Philosophers” illustrating wabi-sabi through a decomposing leaf.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

PHYSICAL DISABILITY AND BODY IMAGE Recapitulating my research up to this stage I felt confident in having established substantiated groundwork to meet the brief with. Eager to approach disability through the aesthetic frame of reference I had begun to create, I had yet to get a better understanding of what it actually means to be disabled. What are the sociopsychological implications of a culture informed by the aesthetic conventions reflected in and propelled by the fashion industry? What efforts have been made to broach the subject of disability in this context? How has disability been treated through the media? These are some of the questions I set out to find answers to. “… beauty is the only one of the aesthetic qualities that is also a value, like truth and goodness. It is not simply among the

Fig. 15 Detail of a still from a film portraying Melanie Gaydos. By proposing her disability (ectodermal dysplasia) as kind of unique selling property she has managed to pursue a successful career in modelling (including fans like Miley Cyrus) (James, 2015).

values we live by, but one of the values Fig. 14 Detail of a photograph by Brian Rolfe showing the amputated model Debbie van der Putten whose work I got to examine primarily through her blog. She also was a contestant in Britain’s Missing Topmodel.

that defines what a folly human life means.” (Danto, 2009: 65)

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

Fig. 16 Detail of a still from a documentary showing Jack Eyres. Looking back on substantial success in the modelling industry (like presenting designs by Antonio Urzi at the New York Fashion Show (Yam, 2015)) he is working towards a more inclusive society also beyond the fashion industry (Merz,2014).

Fig. 18 Sketches I made while watching the 2011 comedy-drama “The Intouchables”. Curious as to how the life of someone with quadriplegia is portrayed in film it was interesting to see how ultimately insignificant this factor becomes in view of the more universal theme of “friendship” this movie explores.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

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HOW CAN DISABILITY BE COMMUNICATED AS AN ASSET?

prosthetics need to become fashion items as much as medical devices. In this context I have found The Alternative Limb Project to be a forerunner, designing prosthetics which “stand out as a unique piece of art” (The Alternative Limb Project, 2015), instead of being exclusively functional. “I should start actually enjoying being who I am as opposed to

In the course of my research I became increasingly aware of how I actually disagree with the position arguing that the fashion industry should incorporate a more diverse body image in order to better reflect reality (often linked to concept of normality).

constantly trying to be someone that I’m not — someone else’s ideal — and feeling miserable about it.” I’m a really firm believer that it’s about not focusing on what you don’t have but working to your strengths.” (Modesta, 2014)

First of all, I strongly doubt that any moral reasoning with an industry linked to commercial interests will be fruitful.

Thinking about how I wanted to respond to the brief, I therefore had to look at how disability can lose all its negative association and be activated as an

“In much the same way as minority representation in fashion, there is

opportunity for communication design; an opportunity for “rebranding of

the concern that this radical change in attitude is a bit of tokenism and

disability” (Bailey, 2014). Next to further research into existing successful

a brilliant stroke of marketing genius to generate publicity and sales

examples of this sort, I set out to use drawing as a means to approach this

without actually creating long-lasting effects.” (Banbury and Rive,

task as a visual experiment.

2016: 96) Secondly, I do not consider it to be the job of fashion to represent reality (or at least we need to clarify what we mean by that). I realise how this stands in contrast to much of the debate surrounding my research, but to me it seems that critisising fashion’s treatment of ideal aesthetics, which are by definition outside of realistic achievement, is to misunderstand the nature of fiction. Similarly, it seems to me, I would have to criticise 18th century literature for promoting unrealistic love stories. In regard to the above I believe mistakes have been made by trying to simply replace one model with a physically impaired one (even though I see the value of simply broaching disability as an issue). Rather than ignoring a person’s physical appearance in this fashion, I see more benefit

Fig. 21 Some experiments exploring fashion and disability through collage, looking at body parts on their own, rather than in the context of an entire figure.

in highlighting its peculiarity opportunities. I think wheelchairs and

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

Fig. 22 Detail of a photograph showing Sheypuk modelling at the New York Fashion Week 2014. While I see the benefit in the attention this situation has gotten, I consider the wheelchair an opportunity for design intervention due to its signifying “function” rather than “fashion”.

Fig. 23 Detail of a still from “Prototype”, a music video by singer-songwriter Viktoria Modesta. Exaggerating a sense of (distressing) tension through a coneshaped prosthetic is an effect I can hardly imagine any high heel to achieve. Turning the artist’s amputated leg into a genuine visual advantage made this a particularly inspiring reference for me to draw from.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

WABI-SABI AS AN AESTHETIC REFERENCE

“In sixteenth-century Japan, a student was tasked to tend the garden. He cleared the garden of debris and raked the grounds. Once the garden was perfectly groomed, he

Having advanced “wabi-sabi” as an aesthetic

proceeded to shake a

framework for my affinity with “primitive”,

cherry tree, causing a

analogue media throughout this course,

few flowers and leaves

drawing from this fact eventually bacame my

to fall randomly to the

next ambition.

ground. This is wabisabi.” (Lidwell, Holden

“It is a beauty of things imperfect,

and Butler: 144)

impermanent, and incomplete. … It is a beauty of things unconventional.” (Koren, 2008: 7) Considering this definition in view of what has been said so far I could draw from it in three respects: Firstly, as a position embracing imperfection wabi-sabi corresponds well with physical impairment as a subject. Secondly, an appreciation for “unconventionality” directly relates to the broader sense of diversity central to the brief. Thirdly, my close

Fig. 27 Sketches exploring the amputated body.

relation with this aesthetic sensibility allows for further inquiry into a source dear to me as a practitioner and generate value from personal investment.

Fig. 11 Detail of a page from Koren’s “Wabi-Sabi: for Artists, Designers, Poets and Philosophers” illustrating wabi-sabi through a decomposing leaf.

Fig. 30 Sketches exploring obesity as a way to contextualise disability with other forms of body image.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

FORMALISING MY CONCEPT Feedback on my visual experiments and sketches up to this stage amounted to two important points: On the one hand, it reassured me of the clarity and strength of my concept. On the other hand, it made me realise the importance of not letting the issue of disability be entirely misunderstood for stylistic choice. Trying to resolve this issue I finally made the problematics of this situation somewhat of a key feature of my outcome. In “The Fashion System” Roland Barthes (2010) points out how more than anything Fashion’s signifiers refer to “Fashion” as the ultimate signified. Inspired by this consideration I began to think of the disabled body as one of Fashion’s signifiers. According to some people’s expressed concern that physically impaired models take the focus off the cloths (Eyeres, 2014), demonstrating how disability can signify “Fashion” above all else seems to me a sound argument for the industry, taking commercial concerns of brands into account. As a consequence I wanted to materialise this argument by producing a series of images according to the following considerations: Rather than simply aesthetisising the disabled body, the imagery aims to emphasize “Fashion” as an indefinite subject. This serves to demonstrate the versatility of fashion’s signifiers and commercial viability of challenging aesthetic conventions. “Formality” as the

Fig. 32 Further visual experiments working towards a final design concept.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

Fig. 40 Detail of a silkscreen by Gibb Kate. Incorporating found objects and analogue media in her work she serves as an example of how contemporary image-making in the

Fig. 41 Detail of an illustration by Aponte Carlos. Created with tape on board I find reflecting the ethos of my research in an exciting

fashion context can relate to my research into wabi-sabi aesthetics.

way as well.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

project’s title aims to reflect the signifier’s subordination to the signifier. Fig. 44 Sketch corresponding with my formalised designconcept.

PART 1: PRACTICAL DESIGN PROJECT: DIVERSITY NOW!

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PRACTICAL PROJECT:DiversityNow

PROCESS:

“Rather than simply aesthetisising the disabled body, the imagery aims to emphasize ‘Fashion’ as an indefinite subject. This serves to demonstrate the versatility of fashion’s signifiers and commercial viability of challenging aesthetic conventions. ‘Formality’ as the project’s title aims to reflect the signifier’s subordination to the signified” FEKRY HELAL MA ILLUSTRATION

creative futures

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PRACTICAL PROJECT:DiversityNow

creative futures

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PRACTICAL PROJECT:DiversityNow

PRACTICAL PROJECT:

The John Lewis Brief: D&AD New Blood Awards 2016 Create an inspiring, inventive, conceptually relevant and eye-catching display for John Lewisâ&#x20AC;&#x2122; flagship Oxford Street store for the Autumn season, that reshapes expectations of what shop windows do and can be, but keeps product firmly at its heart. Store windows are there to communicate, not decorate, so think about what youâ&#x20AC;&#x2122;re saying, how, and why. The ideal shop window will make hurried commuters stop for a closer look and draw new customers to the store.

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PRACTICAL PROJECT:DiversityNow

creative futures

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PRACTICAL PROJECT:The John Lewis Brief

creative futures

POPPY PARRY GRADUATE DIPLOMA CREATIVE PRACTICE WINNER

CONCEPT

“My vision for the future of retail is one of high-tech nostalgia. We live in a world of ever-increasing technological advancement, leading many to romanticise the past. These two seeming contradictions live happily side by side in today’s society, a trend that shows no sign of abating ... for my submission I have chosen to combine high-tech holograms and 3D printing with nostalgic dolls houses. Reimagining pepper’s ghost technology, I have created miniature holograms that can inhabit a dollhouse-scale version of John Lewis Oxford Street” POPPY PARRY

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PRACTICAL PROJECT:The John Lewis Brief

creative futures

postgraduate framework 2015/16 43

PRACTICAL PROJECT:

The Monotype Brief: D&AD New Blood Awards 2016 SANGHEE CHU MA COMMUNICATION DESIGN: GRAPHIC DESIGN WINNER

â&#x20AC;&#x153;This project has initiated from the issue of gay men blood donation ban. Gay men in the UK are not allowed to donate blood unless they have had no sexual contact with another man within six months. However, the ban is not backed up by scientific evidence ... many experts argue that the law is out-dated and discriminatory. It is a matter of sexual behaviours not of sexual orientation. For these reasons, the new type system has been created for gay men using LGBT coloured lines that connect transfusion IVâ&#x20AC;?

PRACTICAL PROJECT:Monotype Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Contents

MONOTYPE PROJECT CREATIVE FUTURE K1413009 SANGHEE CHU

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Cause

: Blood Donation

For this project, I wanted to shed light on some issues being dealt with in society. I chose ‘Blood donation’ for the cause since this has always been a issue regardless of countries. Given that, it would be a chance to bring awareness of the importance of blood donation through this project.

Figure 1-2. Blood donation image http://www.croftvetcentre.co.uk/wp-content/ uploads/2014/05/bloodbagnotext-0001.jpg

creative futures Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

The first proposal

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Change of contents

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Background

Change of contents

The first proposal

Background What is Gay Blood Donation Ban?

Blood Donation -> Gay Blood Donation

Cause

Concept

A lack of awareness on blood donation - Never being approached before - A lack of knowledge - A fear of pain from injection

Approaching this issue in a friendly way using students’ daily item

There was a change of the contents. Before I came across some articles, I never knew the fact that there have been ‘Gay Blood Donation Bans’ for a long

University students

This ban has been quite controversial. Regarding this issue, there are many

are excluded from donating blood.

movements trying to end the law. Andrew (2015), the Conservative MP for Pudsey argued that he could not believe

this issue as my subject.

A use of quotations E.g. Give blood for those who give life You are somebody’s type

Target

The US FDA (2015) defined the ban that men who have had sex with other men

time. Although it definitely would be controversial, I finally decided to take

Text / Copy

the fact that a person can be completely restricted in doing something only because of his sexual orientation.

Aim To motivate students who have never given blood to begin doing so / To remove of perceived barriers to donation

Figure 1-4. Gay men are rejected from blood donation http://www.newyorker.com/news/news-desk/breaking-the-gay-blood-ban

Figure 1-3. Articles about Gay blood donation ban

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Case study

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Case study

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Case study

Graphic posters

Campign from Puget Sound Blood Center

Figure 2-2. Graphic posters http://article.wn.com/view/2015/04/29/States_can_ban_gay_blood_donors/ https://community.avaaz.org/petitions/gay-in-the-usa-in-2015-still-no-blood-donors-allowed

Figure 2-3. Campaign from Puget Sound Blood Center http://www.psbc.org

#PutRedBack campaign

Before designing typography, some case studies have been carried out. There were many campaigns but I could not find any typographical attempt that approached this issue.

Figure 2-1. #PutRedBack campaign https://i-d.vice.com/en_au/article/the-putredback-campaign-wants-to-overturn-the-blanket-ban-on-gay-men-giving-blood

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Case study

Creative Future Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

References

Inspiration

Promotion from QUBSU LGBT + Soc in North Ireland

References

Inspiration

Figure 2-4. Promotion from QUBSU LGBT + Soc in North Ireland https://www.change.org/

Figure 3-2. Typeface references

I started to develop my idea. I came up with an idea from a mobile charger. I thought the act of charging mobiles can be similar to those of giving blood considering both are receiving ‘power’ in order to receive life. Then, I found a product design about blood donation that inspired from the similar thought to mine (placed below).

Figure 3-1. Club SagueBom (2013). The donor cable. http://theinspirationroom.com/daily/2013/the-donor-cable/

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Typeface first draft

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Work in progress

Typeface first draft

Work in progress I received the feedback below:

I focused on ‘creating a new typeface system’ because the brief said Monotype

Dick told me that I did not need to spend time creating typefaces because we could use the existing types. However, here, I was confused again because when I double-checked about it with Monotype

Project was based on making new types. Looked more outstanding with darker background

because they mentioned that the concept was reasonable. I was a bit confused about how I could develop this further with those two opposite feedback.

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Typeface development

I received the feedback below: Dick thought the analysis had a problem. He mentioned that the act of charging mobiles and those of giving blood could be interpreted differently. However, my classmates’ opinions were different

Creative Future

staff, they answered that the type should be designed by ourselves.

Experiment : Connected each letter with a long thin line

I designed some letters and was about to make all alphabets from A to Z.

Before : Designed some letters with ‘usb charger shape’

I received the feedback below: Dick said that the typeface was interesting but if I made all letters, it would be too complicated. Also, people would be confused with all the details.

Reflections about the feedback: Reflections about the feedback:

Therefore, I decided to keep creating the typeface system by myself. Since I had a desire to create my own typeface, the working progress was interesting to me.

Then, I compromised that I would keep the concept but might visualise it through revised one. For example, the usb shape might be too direct so I decided not to keep the visual.

Final typeface A, B, O

The coloured line, which is an identity for LGBT community, are connecting the blood lines, which implies transfusion.

Reflections about the feedback: I agreed with his idea so I decided to highlight the only important letters.

Figure 3-4. Typeface first draft

Creative Future

Monotype Project

Figure 4-1. Work in progress

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Going poster

Creative Future

Monotype Project

Figure 4-2. Typeface development

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Feedback about poster

Going poster

Creative Future

Monotype Project

MA Graphic Design

K1413009

Sanghee Chu (Chu)

Poster outcome

Going touch point

Newspaper page design

Figure 4-4. Poster outcome

I received the feedback below:

I tried to make it simple and tidy with a direct quotation. I highlighted the common blood types with the typefaces.

Poster development

Laura, who is one of my classmates, gave me lots of valuable feedback. - Overall, it worked really well

FREEDOM OF DONATION

2016

For the touch point, I considered about what medium would be the best delivery.

THE FREEDOM TO DONATE CAMPAIGN 2016

I researched into gays’ community and found that they mostly share their

newspaper. The typeface is shown as a form of advertising

Reflections about the feedback: On reflection, I actually didn’t know how to complete the grammar (can give __) so I put little blood shape on the bottom

saying what it is.

Not necessary, this project is entirely typography centred

Save a life “Whoever you are”

Figure 4-3. Going poster

https://whoever-you-are.co.uk

OF DONATION

2016

NHS has already warned of a blood donation crisis, thanks to a 40% drive in new donations, and needs 204,000 new volunteers this year to ensure the nation’s blood stocks are maintained at a ‘safe’ level. That number would very quickly become 203,999 if I were allowed to donate some of that red stuff pumping through my veins. NHS Blood and Transplant said the number of new volunteers giving blood in England and North Wales has dropped by 40 per cent in a decade. Given this situation, the donation ban on men who have sex with men has been controversial for a long time considering a great urgency of the need for new donation volunteers. Currently, gay men in the UK are not allowed to donate blood unless they have had no sexual contact with another man in the last year. Freedom to Donate has launched a petition calling for a review of the restrictions, saying they prevent access to vitally need blood supplies. The campaign calls for lifting of ‘Draconian’ Restrictions On Gay Men Giving Blood. Michael Fabricant who is a British Conservative Party politician has previously called the ban “out-dated, illogical and unequal,”. He says it is discriminate against gay men who can safely give blood. Green Party MP Caroline Lucas has announced that she will continue to campaign for the government to end the draconian policy adding the current rules are definitely discriminatory and not backed by the scientific evidence which supports a six month window before donating blood after a possible risk.

“MY CRIME? BEING GAY” THEY FEEL GUILTY AND THE RULE MAKES THEM FEEL THEY’RE A LESSER CITIZENS IN THE UK Many gay men have been interviewed about the blood donation ban. A gay responded, “I’m a healthy 43-year-old, I am also not allowed to give blood. My crime? Being gay. My blood simply isn’t welcome at my local drop-in service. Andrew who is the Conservative MP for Pudsey also said that he cannot think of anything else in his everyday life where he is completely restricted in doing something because of his sexual orientation. In fact, lots of gay men are willing to donate their blood because they know the current situation that the donation rate has been significantly dropped by 40 per cent in a decade. Regarding this phenomenon, a man said that it is vital to end the restriction because they could be the one who can save nuemerous people. The rule is now preventing thousands from donating blood and saving lives. They also argue there is no doubt that it is a clearly sexual discrimination. No wonder our existing policy is has been made a stereotype that AIDS is gay disease by banning gay men from blood donation everywhere. It makes people misunderstand that all gay men are HIV-positive. This issue is still controversial and there is no clear evidence, which supports a six month window before they give blood. For example, in San Francisco, the Blood Centres of the Pacific collected 100,000 units of blood. Amongst them, three tested positive for AIDS. From this result, it can be clearly seen that everyone is equally at risk for HIV infection as a Democratic New York state senator mentioned.

instead of ‘our life’ (probably it was too long). However, Laura said, I don’t need to think about the complete sentence because the whole visual is already

FREEDOM

This campaign has initiated from the issue of gay men blood donation ban. Gay men in the UK are not allowed to donate blood unless they have had no sexual contact with another man in the last year. However, everyone is equally at risk for HIV infection. It is a matter of specific sexual behaviour, not of sexual orientation.

WHY CAN’T GAY MEN DONATE BLOOD?

opinions via magazines or small-scaled newspapers. Hence, I produced the poster as a form of advertisement in a

message (E.g. Just show A, B, and O?)

However, considering the target will be gay men, the subject should be changed (They -> You)

The Issue Of Gay Blood Donation Ban

Overall, it is too full, need some space

- The use of colours were tidy and simple - No need for the shape on the bottom - It would be better to shorten the

There was much consideration when it comes to the message 1. Whoever they are, No one is Abnormal 2. Whoever they are, Anybody can give our life

Going touch point

#whoeveryouare

A NEW POSTER TO SUPPORT THE CAMPAIGN HAS BEEN DESIGNED BY USING COLOURS OF LGBT A new official poster has been published to support the ‘freedom to donate’ campaign. The basic idea of this is ‘a life cable’ inspiring from a cable that has been cut and the colourful wires inside. Since the colours are similar to those of LGBT community, the colours have been adopted to this typography work. This work perfectly focuses on the typographical elements using the idea mentioned so that a new typefaces for gay men have been created. In terms of the quote in the poster, the designer tried to communicate with gay people to encourage them selecting a simple but direct message. Lastly, she highlighted by using the new typefaces for the four common blood types , which is A, B, O, and AB. Typefaces for 4 types being created

There is an official website to support the campaign and encourage people to actively engage in signing their petition. The website has been published for the evident reasons. The website says that the time has come to once again to consider that they should be able to donate blood. They explains the primary issue that there are a number of restrictive rules on who is not able to donate blood by some criterion including MSM (Men who have sex with Men). The development of science, technology, and new evidence mean that such unreasonable restrictions should be reconsidered now.

#whoeveryouare

Figure 5-2. Going touch point

https://whoever-you-are.co.uk

A poster ‘whoever they are’ published to support the campaign

Also, they offer a simple submission form for their petition by simply clicking a button. They say signing their petition will definitely demonstrate the public support for this policy and strengthen gay men’s position with people who have strong power to change such these rules. People can also show their unstinting supports by using the hashtag which is #FreedomToDonate. They also have twitter and facebook to keep up to date with feeds about their progresses. In fact, many people in the UK follow them and try to change the rules. Ultimately, their goal is to spread their thought by letting people get involved.

Freedom to donate official website

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PRACTICAL PROJECT:Monotype

creative futures

SANGHEE CHU MA COMMUNICATION DESIGN: GRAPHIC DESIGN WINNER

REFLECTION:

“This experience enabled me to study this field more deeply. Moreover, through the case study, I have learned that typography can be a powerful tool to begin to change people’s thoughts and to tackle social issues. When it comes to the topic, it made me think about rights for gay men ... I never knew that many gay men are suffering from such a huge discrimination” SANGHEE CHU

postgraduate framework 2015/16 49

CREATIVE FUTURES

creative futures

LAURA KNIGHT MA COMMUNICATION DESIGN: GRAPHIC DESIGN

CONCEPT:

“Visually I want to explore the idea of balance as I feel that the gentrification debate is about the correct balancing of private and public interests in local communities. No one wants to be priced out of their community, but they do want their communities to improve. I would like to use language to communicate the message. I want to present people with opposing ideas, ideas that represent private and public interests.” LAURA KNIGHT

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PRACTICAL PROJECT:Monotype :DiversityNow 2

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Laura Knight K1550042

Initial research

The Brief

DE7301 | Monotype

Looking at written articles about Gentrification and data visualisations attempting to map the issue.

LAURA KNIGHT K1550042

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Communicating change

Molly Woodward

Stephen Banham

Molly Woodward has spent the past decade documenting the local signage in New York that is rapidly being replaced with mass-produced signs. It is a good visual metaphor for the transfer of power from local to commercial. It inspired me to go out and look a bit harder at vernacular type in London and locally to me.

Visual research Visual language of the antigentrification movement.

A really interesting book is about how the life of a city can be viewed through it’s letter-forms and how signage in particular has a way of illustrating local history and stories. He argues that typography is a rich form of cultural expression that has an ability to change the way we look at our surroundings. It inspired me in many ways that probably fall outside the scope of this short brief.

LAURA KNIGHT K1550042

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Visual investigations

More signage and local businesses in Forest Gate.

Taking photos of examples of found and vernacular type around London.

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Communicating language

Alan Kitching Morag Myercough Lakwena

I attended a talk by Morag Myerscough during the London Design Festival where she showcased some of her work. Although it’s all the same visually, it’s language based and the content is created within the area that the space is located. I also enjoy the bold colours. I am not generally very daring in my colour choices but this work has made me want to experiment a bit more and put myself out of my comfort zone.

I am a big fan of Letterpress (and of Alan Kitching). Aside from the fact that it as a handmade and crafted feel, the ability to overlay and contrast colours in this way is particularly beautiful. This approach could be useful in presenting conflicting ideas. The overprinting would be particular useful as one idea would be visible through another.

LAURA KNIGHT K1550042

This popular mural designer recently did a mural at a gym near work. This kind of slogan based approach is really accessible. The colours and focus on pattern make her work bold and easy to recognise. I also feel that the typeface choice is great, the san serif, condensed font is very loud, direct and relateable. It reminds me of letterpress fonts.

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Public lettering

Language experiments

More large scale, public type interventions. They are bold and simple and place the message in the context to which it belongs. I think context will be an important idea for this message as it relates to the loss of specific places.

LAURA KNIGHT K1550042

I discovered this book in a book shop but couldn’t afford to buy it, so I took a picture and requested it as an Interlibrary loan. It documents 37 examples of public lettering projects all over the world, some of which I recognised in London. The most enlightening content in the book is the interview section where the designers talk about their concepts behind the works. It really made me think about the possibilities to realise this message in 3D, while it is outside the scope of the brief as it stands it is something I would be keen to think about in the future.

LAURA KNIGHT K1550042

Addition/subtraction Thinking about the broken signage in my area. Words that ate interrupted in this way can take on a different meaning. Particularly effective is the Grow/Go one as displacement of local residents is increasingly common in gentrifying neighbourhoods.

LAURA KNIGHT K1550042

grow

value

values

equity

equality

EQUALITY GROW VALUES

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LAURA KNIGHT K1550042

Thinking about the semantic effect of prefixes and their ability to reverse the meaning of a word.

un affordable

known

compatible

commodity

community

un comfortable

equal

ability

spaces

places

un familiar

fair

re develop

house

home

un certain

fit

monetisation

modernisation

un broken

dependent

saleability

liveability

un aware

credible

exclusive

inclusive

un healthy un real

LAURA KNIGHT K1550042

Thinking about words that have the same or similar structure as a way to explore the relationship between public and private interests. Exclusive and inclusive came up again here. The idea of the relationship between spaces and places is a good one to consider too. I like these because you have to think a little bit harder about what they mean to you. They are not immediately negative or positive.

Typographic experiments

Opposites Thinking about words that have an inferred relationship of being opposite or opposing.

style

substance

supply

demand

theirs

ours

profit

people

Taking language from the many articles in my research, identifying buzzwords from both sides of the gentrification debate and exploring their relationship to one another.

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I think this is a bit negative and doesn’t really communicate of opposition too well. The visual difference between the length in words is a bit limiting. I want to explore other options.

Similarity

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experiments

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DEVELOPMENT REDEVELOPMENT AFFORDABLE UNAFFORDABLE INDEPENDENT DEPENDENT

Language

Prefixes

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LAURA KNIGHT K1550042

DEVELOPMENT REDEVELOPMENT AFFORDABLE UNAFFORDABLE INDEPENDENT DEPENDENT I spent some time experimenting with the placement of the prefix to see visually what the effect was. It’s a bit of a challenge to work on one horizontal plain. I think I might need to introduce some angles to make this visually interesting.

One good idea to come out of it is the interchangeability of -in and -ex as it relates to inclusive/exclusive. That’s feels like a strong idea.

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Typographic

Layout ideas

experiments

Paula Scher I have always really enjoyed Paula Schers bold and direct style. She makes use of a condensed fonts to create very ‘loud’ work. Although her work doesn’t really have a social angle it’s a great approach to think about typography. She uses a lot of diagonal setting and aesymmety in her work. I think this could be a useful thing to consider when visualising the relationships between the words and betwene public and private. Maybe for the idea of the solid and constant values versus the changing and dynamic needs of business.

LAURA KNIGHT K1550042

Experimenting with the angle of the type to play n the idea of balance. The most interesting ones for me were where letter occasionally intersected and almost aligned as it suggested a fleeting connection between the words.

LAURA KNIGHT K1550042

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PRACTICAL PROJECT:Monotype

creative futures

LAURA KNIGHT MA COMMUNICATION DESIGN: GRAPHIC DESIGN

43 | DE7 301 CREATIVE FUTURES

LAURA KNIGHT K1550042

postgraduate framework 2015/16 55

PRACTICAL PROJECT:

The Penguin Random House Awards 2016 THONGTIPAYA PINITPOUVADOL MA COMMUNICATION DESIGN: ILLUSTRATION SHORTLISTED

â&#x20AC;&#x153;Book cover design is a new area for me. I wanted to challange myself in terms of trying something new. Although I have previously worked on a computer whilst studying interior design ... I was not accustomed to using Illustrator. Through this process I have learnt to be comfortable with the software. In my previous project I experimented with creating hand-made outcomes using media such as watercolour which was an intricate medium; in this project I have explored simplicityâ&#x20AC;?

PRACTICAL PROJECT:Penguin :DiversityNow Random House Design Awards

CLOCKWORK ORANGE

Throughout the project, I have learnt many things along the journey of design process. Book cover design is a very new area for me but I felt that I challange myself interms of trying something new. Although, I have previously worked with computer whilst I was doing interior design, but this has been something entirely new to me. I was not accustomed to using illustrator and along this process I have learnt to be comfortable with the software. I have always looked at other people’s work but have never done a graphical images via Iluustrator. This project has taught me the skills to once again pulled me out of my comfort zone and explore something out of my old skills. In my previous project from the last teaching block I have explored using handmade media such as watercolour which was an intricate medium, whilst this project I have explored simplicity and minimalism through design via a software.

CL OC KW OR K OR AN GE

Although I still feel that my skill isn’t up to the standard I have hoped it to be, there are things that I have found to be out of place but I have tried my best throughout the entire project. By looking at more exampeles of successful designs and practice more within the same discipline, I feel that I would slowly improve what I have already done.

CLOCKWORK ORANGE

My final thoughts on this project is that aside from the practical skill I have gained from it, I have also aqquired knowledge from the book itself, which helped me greatly with how my ideas came. Clockwork Orange is an interesting piece of reading which opened up my range of knowledge. I was able to analyse the tone of the story hence reflect it throughout my design process in the way I believe was appropriate to the book.

CLOCKWORK ORANGE

THE AUTHOR

John (Anthony) Burgess Wilson 1917-1993 (76 years old) Anthony Burgess mainly wrote books containing his views of the “rightness’ and “free will” as he believes a fundamental of being human is the opportunity to “choose’ his own choices. He was against the idea of scientifically modifying human’s behaviour, as J.F.Skinner, an american Psychatrist, had written in his book for human behaviours are to be ‘train’ and modified for the world to be in order and peace, pretty much, regardless of their own free will. Anthony strongly disagree and has portrayed his idea via few of his novels, and Clockwork orange is one which focus mainly about behaviour modification. As he mentioned in his ‘Clockwork Marmalade’ (which was included in the restored edition of ‘A Clockwork Orange’):

The image appealed to me as something not just fantastic but obscurely meaningful, surrealistic but also obscenely real. The forced marriage of an organism to a mechanism, of a thing living, growing, sweet, juicy, to a cold dead artifact—is that solely a concept of nightmare?

Fictional Biography of Shakespeares

Overpopulated dystopia, war against each other for the purpose of population control.

A PhD professor who has a brain condition, the book was about his dreamscape while he’s undergoing brain operations.

The ultimate act of evil is dehumanisation, the killing of the soul - which is as much to say the capacity to choose between good and evil acts. Clockwork Orange was written after Burgess came back to UK from Military service, realising a lot has changed since he left; the society became more vivid and violent, he used his own perception of the society and exaggerated it as a base idea for his dystopia. His wife was also a victim during the black out London and got robbed and beaten by ex-american soldiers in which he included a character in Clockwork Orange based on her. Clockwork Orange was also narrated by Alex, the protagonist, in his own slang as a replication and mocking how youngsters speak back in the days. As you read the book, although strange language at first, it did fit in to how some English people speak, or as to say in Burgess’ words, ‘as queer as a clockwork orange’.

Historical / Religious novel with many aspects view of different things through old man’s eyes.

Last day of the poet, Enderby, it has a side story of how his OC was made in to a film which wasn’t as he is expected but was blamed publically for his violence. 11

creative futures CLOCKWORK ORANGE Part 3

Alex’s Days Shows Alex’s daily life, violence, rampage, delinquency and rebels. Typical incrontrollable youth. The society in this book reflect the exaggerated version of society in England in the 1960s, strangely dressed teens and revolutions resulting in rising violence.

Staja & Ludovico This part is the key point of the story, the idea Burgess was trying to portray and expressed his view. The act against one’s own will of reforming behaviour.

The New Alex After 2 weeks session he was released from the Ludivico Facility.

+ Alex and droogs hang out at the Korovo Milkbar (Milk infused drugs)

+ Still showing his psychopathic/ sociopathic mentality by reading only violence part of the bible.

+ This part explained all the gruesome and horrible things they do to people and built up on the characters showing that they are bad. + 2 Main cases with the writer (who was linked to Burgess himself by having been the writer of ‘Clockwork Orange’ and that his wife was beaten - as Burgess’ wife was also beaten by ex-soldiers) and the cat lady. + His friend betrayed him after the incident at Cat Lady’s house by beaten him and leaving him got caught by the police at the end.

+ Alex returned home finding that his parents has let out his room, discarding all his belongings.

+ Alex brutally murder the homosexual jail-mate.

+ He then wandered around in London having no place to stay while a homeless man who he beated up in the beginning regcognised him and beat him up, Alex, having been ‘reformed’ are not able to defend himself as he feels physically ill seeing violence.

+ which was then lead him to be chosen for the ‘reforming’ experiment to convert vicious criminals to a better person.

+ His two ex-droogs who are now policemen came to stop the homelesses and realise it’s Alex, then Alex was tortured by them.

+ He was sent to Ludivico Facility.

+ He stumbled upon F.Alexander’s house and got revenged by locked up in a room while Beethoven 9th symphony is on, resulting in his suicidal act because he cant stand the pain.

+ He was physically forced to watch violence films while the drug that induced nausea is in his body, injected prior to the session. A forceful brainwash process in which results in him having the reflex whenever he sees violence.

+ He was cured in hospital and he is now back to normal.

‘What’s it going to be then, eh?’ - Your Humble Narrator

Growing up This is only one chapter which was excluded in American version of the book until recently. It was removed due to the publisher did not like the ending and would like to keep it where Alex returned to his old self.

+ Pete

STATE JAIL & LUDVICO FACILITY

‘

+ Ministry of the Interior

What does God want? Does God want goodness or the choice of goodness? Is a man who chooses the bad perhaps in some way better than a man who has the good imposed upon him?

As called by alex ‘Minister of the Inferior’. Person in high power approved of commencing the Ludivico Technique on Alex. He pawns around people and uses them to get him in power. After Alex has gone out of prison and the news headline the technique as an inhumane technique. He sent alex to cure in a hospital and regain his name back by acting as a good person who is doing ‘the right thing’ whilst that was only a part of his plan to stay in power within the country. He rewarded Alex with a job in order to keep his mouth shut.

- Alex Delarge

CLOCKWORK ORANGE

+ Dr.Broadsky

Head Psychatrist who conducts the reforming of behaviour on Alex. He performs his experiments by injecting the subject with a medicine which cause him to feel discomfort and neusea. While having the subject forcefully watch scenes of horrors and crimes. The subject sub-concious will then ‘learns’ the physical discomfort while watching and hearing what was given to see and performs a ‘reflex’ reactions whenever the subject encounters such scenes. The experiment was positive and sucessful for Dr.Broadsky.

OTHERS + F. Alexander

A writer in a big house near a village in which Alex and the droogs went on to commit ultra-violence; raping his wife and beating them both up, destroying their properties.

Sociopath 15 year-old Gang Leader who enjoys violence and rapes. He enjoys seeing bloodshed and beating up hopeless people. As well as blood and rapes, he loves classical music & glorifies Beethoven and sees him as an endless inspiration of the mind. He also has a set of slangs derived from Russian which was widely use amongst teens. He also narrates the book. He is also a control freak over his droogs. He loves his parents.

He later on in Part 3 took a revenge on Alex when he stumbled upon the house for the second time.

CLOCKWORK ORANGE

The second cover is probably my favourite amongst the 6 covers I’ve designed and have potential of me developping it further into the final design. It has a very simple idea via simple vector lines. The 4 main characters are represented with milk glasses and Alex as the bottle as he ‘pours’ in the thoughts and orders to the rest of his team. Dim as the larger glass with very small amount of milk - for he is the one with least mind but largest in size. The milk in Dim’s glass is also not very even to represent the idea of him being rather idiotic. George’s cup looking normal although the milk is filled to the very top representing that he is quite ‘full of himself’ in terms of his aspiration to overturn the gang and become a leader. Placing George next to Dim is also intentional, for them two are always part of a team who wants to rid of Alex somehow. Pete’s glass is the most

This design I was still revolving around the idea of framing one’s freewill with an orange representing freewill and the suit represents the formailities and rules. Everyone wears suit in daily life to work and places but that doesn’t always mean that they like suits. Its just a medium for people to be able to live in the society equally and properly without exposing one’s true identity. In Alex’s case its what he has to wear during and after prison. Face is the only thing you can remain yourself while wearing an outfit

As for my last design, I’ve chosen to use Beethoven’s silhuoette style graphic, tracing Alex’s face (from the movie scene), whilst remaining the outfit below as Beethoven. The bowler hat is also included to show Alex’s identity, but within his ‘identity’ his brain is configured and re-formed by mechanical little pieces that was input to him. His brain in the image being an or50

Aside from the fact that the 4 milk bottles represent each characters, on Alex’s glass, I’ve added a small touch which relates the book to the movie as from what I’ve previously read, people regain the knowledge of this book more after the production of the movie. Clockwork Orange is indeed a famous movie and adding these tow little items calls for recognition from the audience. Lastly, the phrase ‘What’s it going to be then, eh?” was in a speech bubble towards the 3 small glasses showing that Alex (the milk bottle) is speaking to his underlings and is the one with the most power and voice over everyone else. 43

CLOCKWORK ORANGE

DESIGN #04

DESIGN #05

This idea is one of my other favourite apart from the milk bottle design. This shows Alex, being an ‘orange’ being were controlled and puppeted by an unseeing power (Ministry of Interior), marking the puppet handle with his identification number which was what was used to call him within the prison. The state jail doesn’t recognise him by his name but the number they’ve given him.

The composition of this was also inspired by the famous painting ‘The son of Man’ (Le fils de l’homme) - by Rene Magritte, of which he said “Everything we see hides another thing, we always want to see what is hidden by what we see.”. 46

CLOCKWORK ORANGE

DESIGN #06

ange is slowly degrading and becoming a machine as what the government is hoping to do.

unconciously known that he was used as a pawn by the government.

The element of the first one which I prefer to the second one is also that the puppet strings stretched from back to front, so that when you only look at the cover, you won’t see the puppet handle, at this point I was trying to show that the ‘unseeing’ power is hidden and subtle, almost not mentioned in the book at all as the book is narrated by The first one having an alternative meaning Alex and he probably did not realise that he that Alex was trying to run away from his is being used by the Ministry as a mean to thoughts and feeling but the strings are still make himself in power. That is why I have attached to him, showing that no matter decided to show the puppet handle at the how far he runs the strings will always back cover instead, because from Alex’s point of view it wasn’t as clear. be there to string him along. Whilst the second one is more of a mellow Alex who

In this design, I’ve shown a clockwork gear eyes and that what he sees adjust his way within Alex’s eye, showing that his brainof thinking almost forever. washing method was done through his 45

CLOCKWORK ORANGE

normal one, similar in size with George’s but his mentality is the most stable and not too overpowering.

hence I’ve portrayed it with an orange shape, referring to the author’s main idea of orange being a juicy being and comparing that to Alex.

DESIGN #02

CLOCKWORK ORANGE

DESIGN #03

CLOCKWORK ORANGE

DESIGN #01

IDEA SKETCHES

from a nadsat vocabulary, it is the phrase most used by Alex and appears as an opening and ending to the book. The clock however was set to 3 o’clock but looking back at the work, I think I could have changed it to somewhere like 7pm-8pm as it is the nightime when Alex and the droogs starts to rampage the town. I have made 2 colour background as the black one would represent the night fall and hilight the voThe leaf made up from the phrase “What’s cabulary. This was to communicate to the it going to be then, eh?” repeatedly said by audience that the bright juicy orange (with the protagonist, Alex, is attached to the or- nadsat words) shines through the night. ange clock. Although, the phrase itself isn’t

CLOCKWORK ORANGE

MOVIE POSTERS

CLOCKWORK ORANGE

This is the first cover I’ve attemped in designing. The idea was very straightforward, the orange shaped clock consisting of Nadsat vocabularies. What I was trying to portray is that within the strict and ordered frame of the clock, the strange queer words of Nadsat are arranged in an ordered chaos way, representing the dystopian world witnin the book.

+ GEORGE ORWELL

The novel, published in 1949, takes place in 1984 and presents an imaginary future where a totalitarian state controls every aspect of life, even people’s thoughts. The story is about a man named Winston, who does not believe in the system and tries to rebel by joining underground factions etc. He goes to meet the ‘lowest classes of people who aren’t monitored by the government. While doing so he meets a female, named Julia. On this journey he meets other people who share his thoughts, about not liking the system, and they offer him to join their ‘secret’ organization. In the end these people are spies, and the police come to arrest Winston and Julia. Winston is then brainwashed and is forced to betray Julia, his love he found. Points: - Against Society/Government controlling people - Able to find and connect with someone (Julia) - Betrayed by people who he thought were friends - Broken and brainwashed by the government as punishment - He loses his love, himself, his thoughts and ideals. - Similar to his other book, Animal Farm.

Has been selected to enter a ‘Behaviour Reforming’ at Ludvico.

IDEA SKETCHES

1984

+ RAY BRADBURY

This prophetic novel, first written and published in the early 1950s, is set in a future where books, and the ideas they represent and manifest, are burned to prevent disruptions in society. Its central character, Guy Montag, is a fireman responsible to that society for ensuring those burnings takes place, but an unexpected chain of events leads him to question both himself and the society in which he lives. Through its intense, action-packed telling of Montag’s story, the narrative explores themes relating to the need for and power of independent thought, humanity’s capacity for self-limitation, and the value of courage. Points: It would be easy, and understandable, for readers to consider “Fahrenheit 451” as primarily a condemnation of censorship. It’s more appropriately argued, however, that it’s central issue, both narratively and thematically, has less to do with the controlling of thought and more to do with REACTIONS to that control. In other words, the narrative’s action and its themes are grounded in, and defined by, conflict arising between those who advocate and sustain independent thought (manifest in books) and those who devalue and suppress such thought, their actions manifest in the destruction of books.

He is also a writer of ‘Clockwork Orange’ in which was about not being able to choose his own freewil, portraying the main idea of the novel.

CLOCKWORK ORANGE

OTHER COVERS

+ Alex DeLarge

1 year older than Alex, A peace keeper of the gang, he is very diplomatic and tries to keep everyone’s feeling. He is a middle man when Dim and Alex was having conflict.

+ Alex’s maturity kicked in and he started to want a normal life after seeing one of his ex-droogs, Pete, got married with his wife.

’

SIMILAR BOOKS

FAHRENHEIT 451

+ Georgie

Alex’s 2nd-in-line droogies who wanted to become a gang leader in place of Alex.

+ Dim

A weird guy who seemed retarded but is a violent and strong man, Alex uses him mainly because of his strength. Alex described him as a ‘mindless grinning bulldog’.

+ This chapter started off with exactly the same way Alex introduced himself in the beginning with only difference is that he is now 18. (1 year later from the last chapter)

CLOCKWORK ORANGE

CHARACTERS

Clockwork Orange - Organic on the outside, mechanical on the

Part 4 (epilogue)

PROTAGONIST

Part 2

+ Alex’s 2 years in prison (sentenced 4 years)

CLOCKWORK ORANGE

PLOT SUMMARY

Part 1

CLOCKWORK ORANGE

FINAL STAGE

SUBMITTED DESIGN

As for my final stage in designing, I have making the appearance of the text more tried reconfiguring parts of the orange strip order and symmetrical. The wordings for to see which one works best and I found Alex’s speech bubble is also made to be that the original configuration works better the same colour as the background so it still. I have also adjusted the wordings for isn’t too overpowering, leaving the title back cover to be inside the milk bottle more in focus.

Although I find this idea consists of most things I am trying to portray including author’s main idea of orange and clockwork, I personally think the overall appearance did not fit in with the theme of the book much. 51

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‘WHAT WE WERE AFTER WAS LASHINGS OF ULTRAVIOLENCE.’

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creative futures

CONCEPT:

“The milk bottle represents Alex, the milk glasses represent each of Alex’s friends. Dim, being dim-witted but bulky, milk at a lower wobbly level. Georgie’s glasses is full; he is full of himself trying to overturn his position in the gang, and Pete, the most sensible one, has a normal amount of milk. Alex’s repeated quote, reinforces the concept” THONGTIPAYA PINITPOUVADOL

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CINDY VAN REES MA SUSTAINABLE DESIGN

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CINDY VAN REES MA SUSTAINABLE DESIGN

CONCEPT:

â&#x20AC;&#x153;In order to convey the tension, friction and paradoxes from the novel, I started researching techniques that suit this and could visually translate this aspect. I found this in papercutting; a technique that is thoughtful, takes a lot of time, effort and patience and is very detailed. At the same time, papercutting is an aggressive technique; you cut, which still refers to violence and of which you are reminded, while doing it, by accidentally cutting or stabbing yourself. Additionally, papercutting has a tension similar to that in the book; one mistake and everything you did was for nothing and is ruinedâ&#x20AC;? CINDY VAN REES

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001

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Anthony Burgess Understanding where the author comes from is key in order to understand his novel. When Anthony Burgess moved back to England after living in South-East Asia, he saw changes in society that had occured; the new youth culture that included drugs and violence, which inspired him greatly for the novel. (Anthony Burgess Foundation, no date) Also, an attack his wife endured; where she was robbed and hit by a group of men, served as inspiration. Just as much, literature was a source of inspiration for Burgess, especially George Orwell’s 1984 and Aldous Huxley’s Brave New World. (Anthony Burgess Foundation, no date) Last, a trip to Leningrad was the inspiration for the Nadsat slang used in the novel. (Anthony Burgess Foundation, no date)

020

018

part III After prison

1 2 3 4 5 6 7

reconciliation chapter, left out in the film and in several versions of the book.

fig. 49

First of all, I very much valued the use of Nadsat slang in the book. I had been told that is was quite hard to read the first two chapters, due to the language barrier, but I did not think it was that hard at all. On the contrary, I thought it was very interesting and that it really added something to the story. It drew me in, as I really felt that I became a part of the story, when I understood what they were saying. Similarly, it created understanding for the protagonist and it made me feel connected to him, which I realised was very special as the protagonist does not make moral decisions in life.

fig. 50

Cindy van Rees - K1526411 DE7 301 Creative Futures

Important passages of the novel that encapsulate its main themes.

Original copies of Burgess’ transcript

Another fact I personally thought was striking, were Anthony Burgess’ notes and drawings on its original manuscript. They really showed where his title came from and the duality and friction that are present in the title and throughout the novel. Also, they show his intelligence and suggests that he thinks in a very complex way. This aspect was very important for me, as it was exactly what made the novel so appealing to me, and was therefore exactly what I wanted to use later.

The Minister of the Interior is responsible for choosing Alex for the Ludovico technique. The minister does not care about individuals, just the state. He is thus used as a satire of socialist governments, who tend to overlook needs and rights of individuals if they are a threat to the communal order, according to Burgess. (Sparknote, 2005)

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market research - moodboard II

previous cover versions - moodboard I

target audience - moodboard I Cindy van Rees - K1526411 DE7 301 Creative Futures

political satire

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part II Ludovico technique

1 2 3 4 5 6 7

important passages of the book

While thoroughly reading the book there were a few things that were particularly important and striking to me. These are important as those will guide me throughout the rest of the process.

Minister of the Interior

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part I Alex’ world

1 2 3 4 5 6 7

021

F. Alexander

The fifteen-year-old narrator and protagonist. The reader experiences the novel through his eyes. He leads his gang who rape and burgle, usually during night-time. This, and classical music – especially Beethoven –, give him pleasure. Alex values living up to your ideals – even if these are considered ‘bad’, like his own – and therefore looks down on people who live without a clear purpose. However, Alex is quite immature, even naïve, which is the reason why he, in the second and third part of the book is able to be used by the government and F. Alexander. Alex believes that evil is a natural state for humans, just like goodness, and that is a free choice to choose one. This symbolises the book’s theme that freedom of choice – even if those choices are immoral – should never be taken away from people. This is illustrated by the fact that the state takes Alex’ freedom of choice away. In the end, Alex does make a moral decicion and is able to see his former mistakes.

Diagram showing the structure of the novel

a clockwork orange

personal striking things while reading

central characters A writer and political dissident whose wife dies after she is raped by Alex’ gang. F. Alexander holds the government responsible for this and spends his life fighting them. He values liberty in the general sense above any individual matter. He thinks in broad, theoretical manners and cannot focus on details. This is illustrated by the fact that he wants to help people who are used by the state, like Alex, but does not care about Alex himself. This characteristic of F. Alexander can be seen as critique on liberalism. Burgess believes liberalism hurts man itself while trying to improve mankind’s life. (Sparknote Editor, 2005) Also, F. Alexander believes that people are a ‘creature of growth and capable of sweetness’. (Sparknote Editor, 2005) However, he does not seem to be able to see actual human beings, like Alex, as humans, but rather as things or tools to fight the state, which is fairly paradoxal.

Also, the structure refers to Christianity, or especially the three last days of Jesus’ life. Jesus dies, is buried and resurrects. Alex goes through three similar things in the three stages; he is caught in prison, ‘buried’ in prison and the Ludovico technique and eventually becomes himself again at the end. (Sparknote Editors, 2005)

‘Clockwork Oranges don’t exist, except in the speech of old Londoners. The image was a bizarre one, always used for a bizarre thing. [...] I meant it to stand for the application of a mechanistic morality to a living organism oozing ith juice and sweetness. [...] Eat this sweetish segment or spit it out. You are free’ - Anthony Burgess, ‘A Clockwork Orange Resucked’, 1986

Information on Anthony Burgess as present in the novel itself.

Alex

A Clockwork Orange exists out of three parts; Alex’ world, the Ludovico technique and After prison. Each part exists out of seven chapters. It is said that the total amount of chapters – 21 – has symbolical meaning; the age representing adulthood.

Cindy van Rees - K1526411 DE7 301 Creative Futures

‘The daring and electrifying book that inspired one of the most notorious films ever made.’ (Penguin, 2015)

the structure

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the author

fig. 56

fig. 54

fig. 58

fig. 55

fig. 57

fig. 60

fig. 59

fig. 62

fig. 61

This moodboards shows the genre the book is often characterised by; political satire. Also, it shows similar books, or books that could appeal to the same target audience are depicted in the moodboard.

fig. 54, consult bibliography for imagery used within collage

039

040

041

mindmapping the novel

themes - moodboard I - inviolability of free will motifs

English and Russian: symbolising capitalism and communism being close

structure represents music

analogy for Alex’s life

053

060

duality; One might be preferable for the other, but each force is equally essential. To know one, you must know the other, too. good - evil immaturity - maturity state - individual man - machine day - night

milk; symbolising the immaturity, dependency of citizens and the drugs.

cover concept II ‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings of ultraviolence.’

A Clockwork Orange Anthony Burgess

day and night; the night, and darkness represent peace and security to Alex; providing the solitude he needs to make free choices, whereas day and lightness represent danger to Alex; surpession of the individual.

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cover concept - moodboard

Social prophecy? Black comedy? A study of free will? A Clockwork Orange is all of these. It is also a dazzling experiment in language, as Burgess creates ‘nadsat’, the teenage slang of a not-too-distant future. ‘Every generation should discover this book’ Time Out

£9.99 I S B N 978-0-141-18260-5

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Anthony Burgess 24/09/2015 16:07

Using some of the same starting points as the previous cover – the papercutting and the contrast between light and dark to convey duality and night and day –, I created another cover. This cover also expresses the dualist agenda of the novel. This is emphasized through the use of different typefaces; a serif, Joanna, to show the human / individual side, and a sans-serif; Avenir, to show the state / machine side. Joanna is used on of the earliest covers of the novel, whereas Avenir, that is also used in the first cover concept, adds a new touch to all of the sans-serif fonts used for the more contemporary covers of A Clockwork Orange. Where Joanna is very literary and has a lot of characteristic, Avenir is a very methematical font that even has a child-like presence, due to its round features – such as the round dots on the ‘i’s – that make the different lowercase letters easily distinguishable. Above all, the white is not just white, it is milk. This symbolises the frequent occurence of milk in the novel and refers to ruining something that took a lot of time to make; the papercut itself. This is similar to the fact that, in the beginning of the book, Alex ruins lives and in the end of the book, the government ruins Alex’ life. Additionally, the milk coming through the papercut symbolises that some things will always come through, no matter how hard they are fought against, such as free will in the book. This tension very much suits the tension that is present throughout the novel.tension that is present throughout the novel.

the process

man

machine

badgood

state

day and night

darkness: peace and security to Alex, representing solitude needed to make free choices daytime and lightness: danger to Alex, representing surpression of the individual.

day

symbols

individual

criticising ‘neutral’ ‘apathic’ people

fig. 91

milk symbolises immaturity and helplessness of citizens

night

suppress the individual in favour of the collective/state

giving up a bit of autonomy, for commitment, needed to protect you

maturity

the inherent evil of government

good

themes

conformism / neccesity of commitment

Plato stating that enjoyment (of music) must be surpressed if social order is preserved.

One might be preferable for the other, but each force is equally essential. To know one, you must know the other, too.

immaturity

duality good - evil individual - state youth - maturity man - machine

Three parts represent Christ’s three last days; dying, buried and resurrected, or in Alex’s case; caught, buried in prison and returns to his former self

“Goodness is something chosen. When a man cannot choose he ceases to be a man.” - Anthony Burgess

evil

a clockwork orange

Anthony Burgess believs that our moral choice is what distinguishes us, humans, from other animals, or even machines. This is both imposed by the prison chaplain as by F. Alexander. Taking our free will, our choices, will make us into a clockwork orange.

Cindy van Rees - K1526411 DE7 301 Creative Futures

good and bad

Christianity

the freedom of choice the inviolability of free will

themes - moodboard II - duality

classical music Cindy van Rees - K1526411 DE7 301 Creative Futures

nadsat

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used to create exclusion and alienation

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‘A gruesomely witty tale’ – Time ‘A gruesomely witty cautionary cautionary tale’ – Time

‘What ‘What we we were were after after was was lashings lashings of of ultraviolence.’ ultraviolence.’

‘What we were after was lashings of ultraviolence.’

AA Clockwork Clockwork Orange OrangeAnthony Anthony Burgess Burgess

‘Everygeneration generationshould shoulddiscover discover ‘Every thisbook’ book’ this TimeOut Out Time

£9.99 I S B N 978-0-141-18260-5

‘A gruesomely witty cautionary tale’ – Time

Anthony Burgess

Burgess

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‘Every generation should discover this book’ Time Out

Anthony

Anthony Burgess

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the process

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A Clockwork Orange Anthony Burgess

I S B N 978-0-141-18260-5 I S B N 978-0-141-18260-5

A Clockwork Orange Anthony Burgess

‘What we were after was lashings of ultraviolence.’

‘Every generation should discover this book’ Time Out

24/09/2015 16:07

‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings of ultraviolence.’

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Anthony Burgess

‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings of ultraviolence.’

In this nightmare vision of youth in revolt, fifteen-year-old Alex and his friends set out on a diabolical orgy of robbery, rape, torture and murder. Alex is jailed for his teenage delinquency and the State tries to reform him – but at what cost? Social prophecy? Black comedy? A study of free will? A Clockwork Orange is all of these. It is also a dazzling experiment in language, as Burgess creates ‘nadsat’, the teenage slang of a not-too-distant future.

PENGUIN Ficton

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£9.99 £9.99

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process and alterations of the final design

£9.99

Anthony Burgess

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‘What we were after was lashings of ultraviolence.’

‘Every generation should discover this book’ Time Out

£9.99

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‘Every generation should discover this book’ Time Out

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process and alterations of the final design

086 ‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings understanding, that the reader experiences in the of ultraviolence.’ beginning of the novel, is present in the cover, too. The reader has to put some effort in order to be able to read the In title. black papercut thisThe nightmare vision ofletters youth revolt, Alexwhite and The most important thing to be present in the that make up theintitle are fifteen-year-old combined with the hisshattered friends set outthe on cover. a diabolical cover is the atmosphere of the novel; the constant nadsat words and over This is orgy of robbery, rape, torture and friction, tension and paradoxes. The papercutting similar to the novel; you do not have to understand murder. Alex is jailed for his teenage technique visually translates this: it is thoughtful, and see everything rightaway. delinquency and the State tries to detailed and takes a lot of time, effort and This is emphasised the– fact the cost? reader reformbyhim but that at what patience. However, it is also a violent technique; might not understand the Nadsat before reading prophecy? Black comedy? it can easily hurt you; a knife is still a weapon. the book, which Social adds another dimension to the A studyhas of free will?the A Clockwork Additionally, papercutting has the tension similar cover when the reader finished book. is alldigitally, of these.the It is also a to that in the book; one mistake and everything Similarly, whenOrange displayed Nadsat dazzling experiment in language, as is ruined. This is emphasised again with the fact words might even become almost invisible, which Burgess creates ‘nadsat’, the teenage that all the words were positioned by hand and the will make them aslang surprise the readerfuture. sees of a when not-too-distant setting is therefore delicate and could be ruined the real book and adds another dimension. ‘Every generation should discover by a bit of wind or movement. this book’ One of the main themes in the novel, and Time Out thus also in the cover is duality; most important good and evil, but also maturity and immaturity, day and night, state and individual and man and machine. The novel only knows extremes, no ‘inbetweens’; no grey, just black and white. Thus the use of black and white in the cover. Additionally, this emphasises the tension between day (when the government rules and Alex is unsafe) and night (when the gangs rule and Alex is safe, even powerful). One of the richest and most profound aspects of the novel – that is emphasised in Penguin’s I S B N 978-0-141-18260-5 blurb for this edition – is the Nadsat slang and I S B N 978-0-141-18260-5 the effects this has on the reader – at times creating distance and often making the reader 9 780141 182605 part of the story –. The search for meaning and 780141 182605

‘A gruesomely witty cautionary tale’ – Time

final cover design front

‘What we were after was lashings of ultraviolence.’

The cover refers to the intellectual and philosophical aspect of the novel in order to appeal to new contemporary readers.

Cindy van Rees - K1526411 DE7 301 Creative Futures

‘Every generation should discover this book’ Time Out

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‘What we were after was lashings of ultraviolence.’

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I S B N 978-0-141-18260-5 I S B N 978-0-141-18260-5

PENGUIN PENGUIN Ficton Ficton the final spine

Anthony Burgess

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Anthony Burgess

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critical reflection ‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings of ultraviolence.’

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£9.99 £9.99 PENGUIN PENGUIN Ficton Ficton

Although quite a lot of reflection was already provided throughout this visual summary, it is still very useful to reflect on the complete module.

full. This did not really result in an actual problem, but it was something I personally had to struggle with for a short while.

This module was very valuable for me. I am very grateful that I was one of the students who got the ability to work on this brief. As stated in the introduction, I wanted to take the chance with both hands and do everything in order to create a cover design that I could be proud of. I am very happy to say that I did.

Probably the most helpful in the module was the critiquing. This worked quite well and really helped me. I am quite an overthinker and can be very (too) critical of myself. The way we worked in the sessions was a way for me to take a step back and see different things, in my own, but also in the work of others. I saw that things that were less conceptual, but still visually strongly appealing could be good design, too. Personally, I always have difficulty with this; if something does not conceptually add something, it should be left out, I believe. However, these sessions learned me to be milder and see that things are not that harsh. I probably still would not be able – and neither want – to make work that is visually appealing but conceptually not exceptionally strong, but I am more open to work that is, as I can understand that it can work. Also, the reciprocity in the sessions worked very well. I genuinely had the feeling that I could help other people, too. Maybe because I am such an overthinker and would see different things, maybe just because another perspective is another perspecive. Whatever way it is, it helped me a lot to look at each others work and really create reciprocity by sharing thoughts. Other people’s feedback was just as important as my own.

However, it was not always easy and I learned a lot, about work, but most of all about myself as a designer. Most important, that it would have been easier if I had not been insecure about the fact that I did not belong to this group and maybe did not know how things were supposed to be done. The moodboards are a good example of this. Although I loved making them, I also struggled with them, as I was insecure. I started with very visual moodboards, that were effective, but changed my approach when I saw that other people made more textual moodboards. This resulted in my second moodboards being much less strong than my first moodboards. I learned that I should have stayed with my own interpretation, and not adapted due to insecurity. Similarly, I sometimes felt held back by the moodboards. The research was so structured and I felt that I could not do as much research as I wanted. Of course I could do this anyway, and I did, but I also wanted my moodboards to be clar, easily understandable and not too crowded and

A Clockwork Orange Anthony Burgess

Cindy van Rees - K1526411 DE7 301 Creative Futures

final cover design - complete Cindy van Rees - K1526411 DE7 301 Creative Futures

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Anthony Burgess

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the process

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PENGUIN Ficton

780141 182605

A Clockwork Orange Anthony Burgess

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PENGUIN Ficton

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‘Every generation should discover this book’ Time Out

A Clockwork Orange Anthony Burgess

‘Every generation should discover this book’ Time Out

A Clockwork Orange Anthony Burgess

‘Every generation should discover this book’ Time Out

I S B N 978-0-141-18260-5

A Clockwork Orange Anthony Burgess

‘Every generation should discover this book’ Time Out

A Clockwork Orange Anthony Burgess

£9.99

I S B N 978-0-141-18260-5

A Clockwork Orange Anthony Burgess

‘What we were after was lashings of ultraviolence.’

A Clockwork Orange Anthony Burgess

‘What we were after was lashings of ultraviolence.’

‘Every generation should discover this book’ Time Out

‘What we were after was lashings of ultraviolence.’

A Clockwork Orange Anthony Burgess

‘A gruesomely witty cautionary tale’ – Time

‘What we were after was lashings of ultraviolence.’

A Clockwork Orange Anthony Burgess

malchick

‘What we were after was lashings of ultraviolence.’

rooker rooker zubrickplattiesbritvavot zubrickplattiesbritvavot zubrickplattiesbritvavot a a a achelloveck achelloveck achelloveck malchick malchick forellakeeshkasnazz forellakeeshkasnazz forellakeeshkasnazz c c l c scoteenaplatchcgoloss scoteenaplatchcgoloss scoteenaplatchcgoloss l o twenty-to-onelskvat twenty-to-onelskvat twenty-to-onelskvat l o c c k o c k horrorshoworotcyahzickrot horrorshoworotcyahzickrot horrorshoworotcyahzickrot k w w cutterkchepookaw cutterkchepookaw cutterkchepookaw w olitsormalenky olitsormalenky olitsormalenky o r o r o r k k oobivatkbezoomnyvot oobivatkbezoomnyvot oobivatkbezoomnyvot k tashtookspatchkaotchkiesviddy tashtookspatchkaotchkiesviddy tashtookspatchkaotchkiesviddy nadsat nadsat nadsat o o r o r devotchkaopooshka devotchkaopooshka devotchkaopooshka zvookrvecka r a azvookrvecka n g azvookrvecka n g n g droogsnsklovogchasha droogsnsklovogchasha droogsnsklovogchasha e e e prestoopnickemesto prestoopnickemesto prestoopnickemesto molokogovoreet molokogovoreet molokogovoreet razdaz razdaz razdaz baboochkapyahnitsa baboochkapyahnitsa baboochkapyahnitsa rooker rooker zubrickplattiesbritvavot zubrickplattiesbritvavot zubrickplattiesbritvavot rooker achelloveck a achelloveck a malchick malchick a achelloveck malchick forellakeeshkasnazz forellakeeshkasnazz c scoteenadengcgoloss c c scoteenaplatchcgoloss scoteenaplatchcgoloss l veshchkopatlskvatv twenty-to-onelskvat l twenty-to-onelskvat l o c prestoopnickorotcyahzickrot o c horrorshoworotcyahzickrot o c horrorshoworotcyahzickrot horrorshowplattiesk cutterkchepookawk cutterkchepookawk britvawcalomalenky w o olitsormalenky w o olitsormalenky w o oobivatrvotkbezoomnynagoy r k oobivatkbezoomnyvot r k oobivatkbezoomnyvot r k tashtookspatchkaotchkiesviddy tashtookspatchkaotchkiesviddy tashtookspatchkaotchkiesviddy o r zubrickoguffrplatch nadsat nadsat nadsat o r devotchkaopooshka o r devotchkaopooshka amestonrazzg a n g azvookrvecka n g azvookrvecka n g e rassoodockedroogscreech droogsnsklovogchasha droogsnsklovogchasha e e krovvy pyahnitsadevotckabog prestoopnickemesto prestoopnickemesto molokogovoreet molokogovoreet molokogovoreet razdaz baboochkazubrickvred razdaz razdaz baboochkapyahnitsa baboochkapyahnitsa malchick

‘What we were after was lashings of ultraviolence.’

rationale

forellakeeshkasnazz rooker zvookvareetknopkabog zubrickplattiesbritvavot a achelloveck malchick aachelloveck c scoteenadengcgoloss c scoteenaplatchcgoloss l veshchkopatlskvatv l twenty-to-onelskvat o c prestoopnickorotcyahzickrot o c horrorshoworotcyahzickrot horrorshowplattiesk cutterkchepookawk britvawcalomalenky w o olitsormalenky w o oobivatrpolkbezoomnynagoy r k oobivatkbezoomnyvot r k tashtookspatchkaotchkiesviddy tashtookspatchkaotchkiesviddy o r zubrickoguffrplatch o r nadsat nadsat devotchkaopooshka amestonrozzg a n g zvookrvecka a n g e rassoodockedroogscreech e droogsnsklovogchasha krovvy pyahnitsadevotckabog prestoopnickemesto molokogovoreet molokogovoreet razdraz baboochkapletchovred baboochkapyahnitsa razdaz

rooker

After all, I am quite content with my final cover, it includes the aspects of the novel that were, according to me, most important. It communicates the novel’s atmosphere. And most important, next to its aesthetic appeal; it is a new take on the novel, appropriate for contemporary readers, as Penguin asked for in the brief.

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design alterations Cindy van Rees - K1526411 DE7 301 Creative Futures

design alterations Also, the spine was adjusted. First of all, the type was enlarged, which was necessary in order to increase legibility. Additionally, some of the white words from the cover now moved on to the back cover going underneath the black spine, instead of all laying on top of the spine. This resulted in more space for the text, increased legibility, and a better balance in the spine; it was clear enough to read, but also still intriguing enough to pick it up from the shelf.

A Clockwork Orange Anthony Burgess

Following from the feedback from the last session, the right balance between the size of the words and the space around the different parts of the title had to be found. Eventually I found a size between the slightly too big letters from the first cover version and the slightly too small letters from the second cover version. This meant that all the words and letters had to be papercut by hand all over again. After days of papercutting they were finished and multiple sessions of placing them on the right place on the cover followed. It was very important that the words would not be placed slightly diagonally or that they were crooked. Several sessions of putting them down were needed in orde to achieve this. But eventually, all of the words were placed almost perfectly horizontally, while still showing that they were positioned by hand, which created the balance between the chaos and order that I had been looking for for so many weeks. Also, the fact that all of the words were positioned seperately, makes the viewer realise that everything could be ruined so easily – by slight wind or movement – which results in the tension, that is present throughout the novel, being present in the cover, too. Part of this search for the right balance, was the balance between the black letters, that form the title, had to be improved, as the former version showed the same letters too close to each other. This is not necessarily a problem, but in that case it almost looked like it was planned. In the new version this problem is solved and the letters seem to be placed naturally and random.

A Clockwork Orange Anthony Burgess

Cindy van Rees - K1526411 DE7 301 Creative Futures

final cover design

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Following from the feedback, adjustments to the cover had to be made; there had to be more space between the black letters, the balance should be exactly right, the spine should be clearer and the text on the spine had to be bigger. While designing I realised that I also still really liked the cover that was soaked in milk. I therefore decided that I could try to add the milk aspect to the chosen cover concept. Because of that and because of the fact that the last version was a bit too chaotic, I decided to construct the papercut in a different way; I would attach all of the words and letters to each other and create one big web of words and letters. This meant that I had to cut out all of the words again, as the measurements would change. As I wanted to try both the papercut version and a version with milk on it, again there are two different cover versions:

Cindy van Rees - K1526411 DE7 301 Creative Futures

In this nightmare vision of youth in revolt, fifteen-yearold Alex and his friends set out on a diabolical orgy of robbery, rape, torture and murder. Alex is jailed for his teenage delinquency and the State tries to reform him – but at what cost?

A Clockwork Orange Anthony Burgess

£9.99 I S B N 978-0-141-18260-5

‘What we were after was lashings of ultraviolence.’

‘Every generation should discover this book’ Time Out

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Anthony Burgess

PENGUIN Ficton

780141 182605

revision of the cover design ‘A gruesomely witty cautionary tale’ – Time

‘Every generation should discover this book’ Time Out

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A Clockwork Orange

‘A gruesomely witty cautionary tale’ – Time

Anthony Burgess

Burgess

cover concept IIII - version II

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Burgess

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cover concept III - version IIII

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Anthony Burgess

PENGUIN Ficton

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‘A gruesomely witty cautionary tale’ – Time

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‘What we were after was lashings of ultraviolence.’

A Clockwork Orange Anthony Burgess

Socialprophecy? prophecy?Black Blackcomedy? comedy?AAstudy studyof offree freewill? will? Social ClockworkOrange Orangeisisall allof ofthese. these.ItItisisalso alsoaadazzling dazzling AAClockwork experimentin inlanguage, language,as asBurgess Burgesscreates creates‘nadsat’, ‘nadsat’,the the experiment teenageslang slangof ofaanot-too-distant not-too-distantfuture. future. teenage

A Clockwork Orange Anthony Burgess

Inthis thisnightmare nightmarevision visionof ofyouth youthin inrevolt, revolt,fifteenfifteenIn year-oldAlex Alexand andhis hisfriends friendsset setout outon onaadiabolical diabolical year-old orgyof ofrobbery, robbery,rape, rape,torture tortureand andmurder. murder.Alex Alexisisjailed jailed orgy forhis histeenage teenagedelinquency delinquencyand andthe theState Statetries triesto toreform reform for him––but butatatwhat whatcost? cost? him

cover concept III - version III Cindy van Rees - K1526411 DE7 301 Creative Futures

cover concept III - version I Cindy van Rees - K1526411 DE7 301 Creative Futures

Cindy van Rees - K1526411 DE7 301 Creative Futures

cover concept II - version I

Anthony Burgess

graphic design roots and made me realise how much I like doing that, too. At the same time, it at times made me miss the feeling of purpose that is specifically present in the work for my MA Sustainable Design and emphasised that that is the field I want to be active in. However, I want to be active in the sustainable field while designing and photographing. In other words, while doing what I love and what I had been doing during this module, too.

To conclude, I can say that this module was very valuable for me. It allowed me to go back to my

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postgraduate framework 2015/16 67

PRACTICAL PROJECT:

Collaboration MORVI ZADEHKOOCHACK MA FASHION

â&#x20AC;&#x153;I start working with Caterina Marti, Spanish dancer and actor. I asked her to observe people around her to see how they walk, and to imitate their movement. In our first meeting, she talked about her observations and how shocked she was that most people move around by only paying attention to their smart phones. One of my most important questions was how she remembered the movements to imitate, and she replied that the body has a memory that a dancer has been trained to rememberâ&#x20AC;?

PRACTICAL PROJECT:Collaboration

creative futures

MORVI ZADEHKOOCHACK MA FASHION

CONCEPT:

“I realise that if I design a physical object to pause them, I am giving them sight. So, the whole identity of the movement will change. There are already so many objects around us to be paused by, all we need is a different perspective to understand their existence. The stop-motion, is Catherina’s imitation based on her observation. We both walked the Southbank together, and she also appears in the movie that is projected on her. Using the technique stop-motion helps to show the merge of outside and inside space” MORVI ZADEHKOOCHACK

postgraduate framework 2015/16 71

PRACTICAL PROJECT:Collaboration

creative futures

PAUSE

Pina Bausch

The train now approaching platform 5 is the 9:32 great western service to London Waterloo, calling at Norbiton, New Malden, Raynes Park, Wimbledon, Earlsfield, Clapham Junction, Vauxhall and London Waterloo. Please mind the gap between the train and the platform edge. I hear this sentence with the same voice every time I go to station, it is on repeat for more than 3 times each 15 minute, but are the people and the surrounding on repeat as well as the noises around? How we all end up in the same spot? Where and how was each of us beginning that end in the same place?

COLLABORATION CHOREOGRAPHER

Photographer Chan Dick captures daily life of firemen

CONCEPT

“If the everyday is the realm of the unnoticed and the overlooked, however, it might be asked just how we can attend to it? How do we drag the everyday into view? And if we manage to do so, is there a form or style appropriate to representing what has been identified as the ‘inherent indeterminacy’ of the everyday? Which in turn begs the question: why should we wish to investigate the everyday in the first place? Is it simply to see what remains hidden in our lives, to identify what we take for granted? Or do works about the everyday in some way show us how to look more critically and in so doing ‘train attention on our own experience, so that discourse on the everyday is ultimately pragmatic or performative in character? And finally, what of the injunction that to bring the everyday into view is to change it?”

Walking and moving things around, is the main part of doing our daily routine, but there is no mirror in front of us to see how physically we are responding to it. Our body physics is what make our relationship to outside world. From above, all I can see is bodies that are moving around.

The Everyday by Stephen johnstone

To Whom It May Concern I am studying MA Fashion in Kingston university and am looking to collaborate on a current project. As a Fashion practitioner all my studies refer to the relations between the outside world and each individual, trying to make a connection between them, mostly by pausing and freezing the body in a special moment. I am starting a new project and would like to collaborate with a choreographer in order to link fashion and dance as two fields that share body as a tool used in different ways. I would like to investigate how dance and fashion can develop in parallel rather than as one as an afterthought of the other.

Pina Bausch: I once said, “ I’m not interested in how people move but what moves them. ” This sentence has been quoted many times – it is still true up to the present day. 2007

As one of my main concerns as a fashion practitioner is to understand body movement, I hope to collaborate with a choreographer. My aim by understand what moves people around and how this happens is to pause them in an ongoing moment,to suggest a deeper moment to individuals.

REVIEW

I found her so free without any limitation. For me, at this point, the project had been failed. This time I observed, record people’s movement by videography and draw, while I was watching the videos again and again, realized that while we are outside we are unconsciously aware that others exist, while Caterina was alone in front of a mirror in studio. My next step would be bringing outside to the studio.

It would be amazing to have an opportunity to collaborate with you on this short term project. I am looking to meet with someone who can direct me from a dance perspective for a discussion about my ideas which could potentially develop further into the project. Please find attached an example of my previous work. I am looking forward to hearing from you. Kind Regards Morvarid

Movie1-Observation “We

understand the Deleuzian space as the space of entanglement, or interfacing between the smooth and the striated. Superseding this fundamental opposition, Deleuzian space can be regarded as a holistic mixture of these two different spatialities. ” Vito Acconci: a writer I became very conscious of the space on a page, I started to get obsessed with questions such as, what makes you move from left margin to right margin? From top of the page to bottom of it? In other words, I saw the page as a field over which I as a writer could move and you as a viewer could move too. I then figured that if I was so concerned with space why was I limiting myself to a piece of paper when there is a floor or a street to work with.”

“As

City of words, by Vito Acconci

Second Meeting

REVIEW “wouldn’t it be a drag to be a zombie? Consciousness is what makes life worth living, and I don’t even have that: I’ve got the zombie blues.” David Chalmers says that consciousness is one of the fundamental facts of human existence, each of us is conscious and there is nothing we know about, more directly, than our own consciousness. From my own observation I found out that while we all walking around in streets, we are always conscious and aware that objects are going to be in our way. By object I mean a telephone boot, a tree, crossing or other people (when we do not know the people around us, they are objects). In this meeting, I projected a video I took from above of people entering Sadler walls Theatre. I found Caterina limited, she moved only in a line next to screen and could not be as free as before. I also muted the video, she

was free again. I found a new object from surrounding, “Noise”. At this point as I tried to design something to add on her to be paused, I go deeply through consciousness subject. I imagined all the people blind, while they are walking around and being consciously aware of objects around. Then, I realize if I design a physical object to pause them, I am giving them sight. So, the whole identity of this movement will change. There are already so many objects around us to be paused by, all we need is a different aspect of view to understand their existence. The stop-motion, is Catherina’s imitation based on her observation. We both walked Southbank together, and she is also in the movie that is projected on her. Using the technique “stop-motion” helps to show the merge of outside and inside space.

postgraduate framework 2015/16 73

MODULE OVERVIEW: The focus during this module is upon visual grammar and how the essential elements of visual communication are related to the relationships between objects, patterns, and processes: the manner in which things relate to each other and the viewer/ user. Your understanding of form and the relationship between word and image, how meaning is established and communicated (context) will be explored through a process of de-thinking and re-thinking, whereby established ways of working and developing ideas are challenged and (re)built upon. The process of developing these ideas towards the final output will be informed by your established individual ways of working and thinking about design and your future disciplinary ambitions.

Experiment 7 Color, saturation

DE7 400 Part I: Visual Grammar

I wanted to experiment wth color so I painted with watercolor each side of the triangle with a diffent tint. I considered that the primary colors would be eligible as they are also three. I observed how the colors mixed in the middle of the triangle. I painted also a backgroung using the same technique an realised that the triangle that stands out more from the background is the most saturated one. From this experiment I leart that in a colorful environment in order to make the figures stand out from the background we must play with saturation, otherwise the different levels would not be clear enough.

MODULE:

Visual Grammar Literacy and Intelligence TATIANA BOYKO MA COMMUNICATION DESIGN: ILLUSTRATION

â&#x20AC;&#x153;I found myself stuck for the first few weeks not knowing where to start. Not having a clear purpose or knowing the most suitable materials for each experiment was difficult. The question was, what should I do then? But then I finally got that considering myself as a visual writer I had to show that I understand the elements of grammar: space and form, time and meter, light and colour. It was also a process of preparing a different mindset for me. When I finally began to take risks, going out of my comfort zoneâ&#x20AC;?

visual grammar, literacy & intelligence

TATIANA BOYKO MA COMMUNICATION DESIGN: ILLUSTRATION

CONCEPT:

“I tried to approach this part of the module being quite experimental, taking my weak points and trying to improve those areas. So I didn’t know what to expect from my final outcome and coming up with this kind of abstract imagery was completely unpredictable for me. But I must say I really struggled during the process of stepping out of my comfort zone. I felt frustrated at some points when trying different things and still not making things work” TATIANA BOYKO

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Greg’s Workshop

Triangle

DE7 400 Part I: Visual Grammar

Materials testing and experimentation

I was assigned the triangle as the main shape which I would explore from visual grammar to visual literacy perspectives that would lead me to a process of dethinking and re-thinking the fundamental aspects of communication design.

Experiment 1

DE7 400 Part I: Visual Grammar

Space, fragmentation, transparency, activity

I wanted to test how the lines would form triangle shape when they intersect. So I drew straight random lines using a pastel chalk and then faded them with my finger.

As a first approach to unfamiliar processes and techniques, Greg gave us a workshop where we were encourage to mess with different papers, acrilic paint, brushes, charcoal and whatever other materials we wanted to use. This free way of experimentation was very unfamiliar for me, as I am used to work with the computer and I never get my hands dirty – probably because of my graphic design background. Not having a specific target in this task turned out to be a challenge for me and in first instance I felt a bit blocked. But the fact of being surrounded by people who was in the same process of creating helped me to overcome that obstacle.

The result was quite interesting as the lines seemed to fragment the space in triangle way when they overlapped creating curious transparency effects. But you cannot tell whether the triangle space formed is inside or outside the lines — they are both present at the same time.

It ended up being quite exciting and fun producing textures using materials I never tested in this way. I found that this experience helped me to lose the fear of getting messy, making mistakes and work using bigger formats. It also made me realise that the unfortunate mistakes leads to exciting new discoveries.

The fact of placing the lines randomly created an ilusion of activity on the shape as well.

I would like to try and incorporate more of this kind of ‘fortunate mistakes’ in my work.

Experiment 3

DE7 400 Part I: Visual Grammar

Plane, order, sequence, rythm

Experiment 4

DE7 400 Part I: Visual Grammar

Hue, randomness, irregularity, motion, distortion

Experiment 6

DE7 400 Part I: Visual Grammar

Contrast, opacity

Because I have never explored all the possibilities of the watercolors before, I tried different ways of drawing a triagle with it too as we can see from the image below. At this point I was focusing on the figure and discarting the background as a white neutral zone. The ink created interesting effects as I applied it in different ways. I continued with some more figure/background experiments. In this case, I explored how the triangle would emerge from the background if I contrast the lighter and darker grey. I used a mix of watercolor and india ink in order to obtain a dark tint which I dilute until it was almost transparent.

In this experiment I tried another kind of stamping, this time with tiangle cutted sponges to examine the diference with the previous potato stamping and the possibilities that this medium has. I used red acrylic because it was the only acrylic color that I had. I used potato stamping and india ink in order to produce this series of experiments. The way I place the triangle shape would affect the notion of order and rythm of the image. Top left image looks very static because all the triangles are placed at 90º. In the second image I changed the direction of the

Experiment 7

shape so the composition looked more rhythmic. Top right image the triangle looks like it has moved horizontaly through the paper as I played with the different grey tones that the stamping produces. I liked the texture that the potato produce and it made me think that it was quite similar to monoprint effect.

DE7 400 Part I: Visual Grammar

Color, saturation

So I incorporated gesture while I stamped the sponges and observed that the trigles now seemed to move from different directions.

In the top right image I wanted to test the different tones that could be made with the acrylic combined The sponge created very irregular triangle shapes and with the motion notion of the triangles. I find the result textures. Depending on how much water the sponge is quite intriguing and probably it would work well as a absorbed it created different hues of red too. The background as there is no strong contrast. irregular triangle shapes placed at different angles implided activity, so I decided to go a step further in this aspect and try to express motion in a different way.

Experiment 8

DE7 400 Part I: Visual Grammar

Color, plane

Experiment 9

DE7 400 Part I: Visual Grammar

Light, shade, movement

This experiment indroduced me to another way of image making, merging figure and background. I used paper triangle cut outs, but did not discarded the paper from where I cutted out the triangle. Instead I mixed all up and took advantage of the white of the table incorporating it as another element. When I framed diffent details from the paper cut outs, I obtained nice tringle abstract images. I liked the unpreditable outcome of this experiment and the colors placed next to each other appeared to vibrate making the image more dynamic. I’m sure that with a better lighting the photos of this experiment would have looked better.

Experiment 10

DE7 400 Part I: Visual Grammar

Light, shade, regular shape

Experiment 11

DE7 400 PartI: Visual Grammar

Light, shade, irregular shape

I made another experiment with light and shade but this time the triangles are opaque and they remain static — the only think that I moved was the light.

I wanted to explore further the idea of how the lighting affect the appearance of a shape.

I built two different triangles from paper to compare how the light will affect it, one is a cone and the other is a prism with shap edges.

So starting from a 2D surface, a piece of paper, I managed to construct a 3D object just by folding it into triangular shapes. The result was a sculpture with multiple edges.

In the video, I emulated the movement of the sun with the light so I could examine closely the shades that are produced in relation with the lights position.

I wanted to explore the behaving of the triangle shape in motion. In order to test this idea, I constructed a mobile using sticks, thread, and red triangle acetates. Then I illuminated the scene usng the light from my phone and observed the projection on the wall. I used the transparent red material so it would be reflected in the wall. When I made the mobile move the projection of the triangles changed size, but it also depended on whether the light is closer or further situated from the triangle. This experiment showed me how light and shade interact with my shape in motion and it also was nice to make some things in 3D because some of these qualities of my shape are very difficult to tranmit on a 2D surface.

London Trip 1 — British Museum

DE7 400 Part I: Visual Grammar

Onsite drawing

Since I struggle drawing human figures and faces, I decided that the visit to the British Museum would be a good excuse to start dealing wit this issue instead of avoiding it. So I focused of sculputures with those features. I had to visit the Museum twice because during my first visit I spended to much time just exploring and enjoying the museum — the Asian section really drew my attention, specially all the Chinese and Korean pottery — but the museum closed before I accomplished my task. So I had to come a second time and this visit was more productive because I went straight to the Egypt section where I could find some space to draw onsite.

Lighting it from different points the edges from the irregular shape produced interesting shadows.

It was interesting to exame how the shape that I created in 3D would change its appearance depending on the lighting.

In this process I discovered ways of lighting an object that I have never imagined before and the great impact that it has.

As you can see from my sketches, I’m not very good at drawing with lines, but that’s why I decided to make my drawing observations using pen and pencil, so I could improve my sketchy work by practising it more. So, trying to make accurate and confient line using ink suppose a big challenge for me. I first made a drawing using pencil, and then made another version using ink pen. I was supprised that the outcome was quite different between the two. The one I did using pen was less proporcionate and more spontaneous, what leaded to more abstract figures.

Structure London Trip 2 — Tate Modern & Borough Market

DE7 400 Part II: Visual Literacy

Architecture, religion and power

The diagram below explains how the force is distributed equally when applied to any vertex of an equilateral triangle. As a result of this characteristics, it’s the most stable shape.

Fig. 1

DE7 400 Part II: Visual Literacy

Everybody pictures the famous pyramids of Giza in Egypt, but I have never looked up their meaning and why they have that shape. So delving a bit deeper, O’Connell and Airey (2007, p. 14) says that ‘The pyramid is a symbol of ascension: erected in alignment with the sun and the stars to create a passageway between Earth and Heavens by which the dead pharaoh could cross to the afterlife. In the Western hermetic tradition, the pyramid combines the symbolism of the square with the triangle. The symbolism of the pyramid is also linked with the mound (and cosmic mountain), thought to resemble the hill that emerged from the primeval waters when the earth was erected, so a symbol of life over death’.

Fig. 2

I decided to research different religious buildings from different countries and times and was thrilled to discover that most of them have triangular shape as well. The architecture reflects man’s effort to connect with what’s above us, God. The pointing up triangle has been associated with ascention to spirituality no matter what kind of religion it devotes to.

http://www.ctgclean.com/tech-blog/wp-content/uploads/Triangle-vs.-Square.ai_-1024x341.jpg

This fact reminded me about the story of Tower of Babel which offers an explanation for the many different languages spoken on earth.

During our second trip to London almost all the triangles that I saw were used in architecture and stucture. This made me question, why the constructions use so often triangles? After going back home, I searched for the answer and found that it is a matter of maths and physics. As Verial explains, ‘triangles are the strongest shape in geometry, next to the arc. This fact, together with the simplicity of the characteristics of a triangle, have led many construction engineers to apply triangles to the creation of buildings, bridges and other structures. Using triangles in construction can be easy, as they are versatile and can be added to virtually any simple structure.

Fig. 3

Equilateral triangles have the special structural feature of being extremely stable. This feature comes from the fact that in order to change the vertex, the angle between two legs of a triangle, and bend the triangle, you would literally need to change the length of the triangle, which is an impossible phenomenon when only basic physical forces are involved. Thus for building structures that will receive pressure from many sides, be liberal with the use of equilateral triangles’.

Fig. 8

Fig. 5

http://www.ehow.com/how_12009276_usetriangles-construction.html

‘In ancient times, people thought the heavens were not far above the earth. If only they could build a tower to the sky, they could climb up and be like gods themselves. Mankind had once again lost sight of God and become arrogant and self-sufficient. God, of course, saw this as pure arrogance. He put an end to the people’s delusions of being powerful and important like gods’. (Christian Bible Reference, http://www. christianbiblereference.org/story_TowerOfBabel.htm, no date)

Fig. 4

On the other hand, at the Borough Market I could also find some examples of triangle forms in nature: plants like artichoke, cheese, cakes slices, sandwiches, ice cream cones, etc.

Fig. 6

Town achitecture

DE7 400 Part II: Visual Literacy

Walking around London I also noticed that roofs have mainly triangular shapes too. Comparing the traditional houses from different countries –England, Germany, Netherlands, China, African tribus, North American and Canadian tipis, amazonian huts, Japasn, etc.— I recognized a similar pattern to all of them. The reason behind this matter is more pragmatic than symbolic. The houses are used to have this shape to protect from rain, snow, sunlight, wind, and extreme temperatures. The materials used had been conditioned by the geographical region. Conversely, in areas like Middle East and the American Southwest where the climate is arid, the roofs have are flat shape. So in this case, form follows function. As said in the Britannica Encyclopedia, ‘The earliest roofs constructed by man were probably thatched roofs that were made of straw, leaves, branches, or reeds; they were usually set at a slope, or pitch, so that rainfall could drain off them. Conical thatched roofs are a good example of this type and are still widely used in the rural areas of Africa and elsewhere. Thicker branches and timbers eventually came to be used to span a roof, with clay or some other relatively impermeable substance pressed into the interstices between them. With the invention of brick and cut stone for building, the basic roof forms of the dome and vault appeared.

Fig. 10

Fig. 11

Fig. 12

Sloping roofs come in many different varieties. The simplest is the lean-to, or shed, which has only one slope. A roof with two slopes that form an “A” or triangle is called a gable, or pitched, roof. This type of roof was used as early as the temples of ancient Greece and has been a staple of domestic architecture in northern Europe and the Americas for many centuries. It is still a very common form of roof. A hip, or hipped, roof is a gable roof that has sloped instead of vertical ends. It was commonly used in Italy and elsewhere in southern Europe and is now a very common form in American houses’.

Fig. 13

Fig. 14

Fig. 16

Fig. 17

This Genesis passage suppose to teach us not to be presumptuous and arrogant. As a punishment, God confused the languages of man so they couldn’t work toguether on the tower anymore.

Fig. 7

Fig. 9

Reflecting on this topic I came to the conclusion that man still try to reach the skies building structures. A modern example of this ambition are skyscrappers. The higher, the more powerful it looks.

Fig. 15

visual grammar, literacy & intelligence Symbolism

DE7 400 Part II: Visual Literacy

Triangle as a symbol has been widely used in religious contexts. As a three-sided polygon it represents number 3.

Freemasonry The Third Eye, also called the “eye of the heart”, is a symbol of the eye of spiritual perception in hinduism, and of clairvoyance in Islam. It was adopted by the Freemasons as one of thei society’s signs.

Fig. 21

Another symbol used by the freemansons is the square and compass crossed in a triangle shape with a ‘G’ in the middle. The letter ‘G’ represents the ‘Grand Creator’ but it also stands for ‘Geometry’. Fig. 18

Graphics

DE7 400 Part II: Visual Literacy

Triangle as an icon of direction (arrows, vector, movement, direction, road signs...)

Christianity

From the visit to the British museum, I observed that arrows have triangle shape. This made me think that this was the origin of the icon we use to represent direction. I see a clear relationship with idea of vector in mathematics as well.

Humans since prehistory have been using arrows. They are thrown from one point to another, so they have a direction. Vectors in maths represents exactly this same idea (fig.x).

The arrow shape that we can see in so many contexts in our modern society (road signs, technology, posters, graphics,ect.) is a natural evolution of that small pointed shape that our ancestors have used.

Triangle and language

DE7 400 Part II: Visual Literacy

It looks like triangles is the origine of many things. So it seems logic that this shape is also involved in the evolution of the alphabet. Cuneiform script (fig.), which literally means “wedge shaped”, is one of the earliest systems of writing that appeared in Sumer in the late fourth millenium BCE.

Fig. 33

Fig. 19

The Trinity in Christianity is a very important symbol as it represents the union of Father, Son and Holy Spirit which is all part of God (fig. 19). Fig. 22

Triqueta (fig. 18) is the ‘geometrical shape commonly used to represent the Trinity. Compromising three interlocking arcs, the whole symbol signifies eternity, while the triangle-like shape at the centre represents the Trinity and it’s intagibility’.

Fig. 23 Fig. 25

Fig. 29

Alchemy Judaism

Fig. 30

Fig. 26

The alchemy symbol (fig. 24) was used in the 17th century and was created by the influence of Pythagoream geometry mysticsm.

The Star of David (fig. 20) is the most recognized signs of Judaism and it’s formed by he union of two equilateral triangles. It has become also the symbol os Israel as it appears on the nation’s flag since 1948.

As Radford says, ‘Alchemy was rooted in a complex spiritual worldview in which everything around us contains a sort of universal spirit, and metals were believed not only to be alive but also to grow inside the Earth. When a base, or common, metal such as lead was found, it was thought to simply be a spiritually and physically immature form of higher metals such as gold. To the alchemists, metals were not the unique substances that populate the Periodic Table, but instead the same thing in different stages of development or refinement on their way to spiritual perfection. Fig. 24

Fig. 27

Fig. 28

Fig. 31

I really liked the shape of these letters and found them quite trendy. I can imagine easily that this lettering style would suit perfectly a bran idenditity of a music festival for example.

Fig. 32

Earth/Air/Fire/Water

Maths and physics Breaking into Triangles

DE7 400 Part II: Visual Literacy

Fig. 34

The triangle shape also appears in runic alphabets (fig.), which were used to write various Germanic, Scandinavian and Anglo-Saxon languages before the adoption of the Latin alphabet. The earliest runic inscriptions date from around 150 AD.

Alchemists eventually associated four triangular symbols to represent the four basic elements of which the entire world is composed elements.

Fig. 20

Art

DE7 400 Part II: Visual Literacy

Movement and dynamism

Newton and the color spectrum ‘The relationship of colour to form was of central significance to Kandinsky’s thinking. The Bauhaus’s characteristic assignment of the three primary colours red, yellow and blue to the square, triangle and circle was based on a survey that Kandinsky carried out at the Bauhaus Weimar. The majority of the respondents agreed with his line of reasoning. However, there were also critics, such as Oskar Schlemmer. This supposedly empirically supported colour-form classification system, which quickly became a trademark of the Bauhaus, is still popular today’. (Classes by Wassily Kandinsky, http://bauhaus-online.de/en/atlas/dasbauhaus/lehre/unterricht-wassily-kandinsky, no date)

An interesting characteristic that I found about triangles in geometry is that every regular polygon can be broken into triangles. I found beauty in how shapes can be precisely formed from a basic unit, the equilateral triangle. • the “base” of the triangle is one side of the polygon. • the “height” of the triangle is the “Apothem” of the polygon

Art

DE7 400 Part II: Visual Literacy

Movement and dynamism While I was researching the triangle in futurism and constructivism art movements, I came across the work of Lyonel Feininger which inmediately draw my attention. I noticed that he mainly used diagonals and triagle shapes to construct his images in a very peculiar way, somewhere in between abstraction and figurative. So we can recognize easily the elements but they are all quite sharp. I find quite fascinating as well the way he displays the light in his works creating a great atmosphere.

Fig. 40 Fig. 36

Fig. 35

A series of experiments published in 1972 by Sir Isaac Newton were crucial to our modern understandign of light and color. He demonstrated that a ray of light is divided into its constituent colors (red, orange, yellow, green, blue and violet) when it passes through a prism. Fig. 37

Color triangle

apothem

As a result of Newton’s experiment, many organizing color systems where developed.

side

During our visit the Tate Modern, I discovered many contemporary artists that use triangle in their art in wide range of materials, from platic to wood and metal.

A color triangle is an arrangement of colors within a triangle, based on the additive combination of three primary colors at its corners.

I have a special interest in Russian avant-garde movement and since I was focusing on the triangle I could appreciate better that in futurism and constructivism they used it to transmit graphically the idea of movement and dynamism.

Our monitors, printers and the Internet use a sRGB color triangle system as well, which arrange the color on a x,y space based on CIE 1931 colorimetry.

I could also appreciate the triangle in cubism as they decontruct the objects into angled abstact shapes.

Fig. 38

Fig. 41

Fig, 42

Fig. 43

Fig. 44 Fig. 49

Fig. 50

In this series of experiments, I tried to decompose the image into triangle shapes following the diagonals of the original works. Reducing the shapes to the mininal elements helped me to understand the understructure in the composition.

Fig. 45

Fig. 46

Fig. 47

Fig. 48

Fig. 39

Posters

DE7 400 Part II: Visual Literacy

Movement and dynamism

Starting points

DE7 400 Part III: Visual Intelligence

Process I never associated the icon of an arrow with real thing before. I was so used to just seeing it everywhere and drawing it when taking notes that I never really reflect why the graphic arrows have that shape. So when I made that conection during visual liracy research I realized how blind are we with the things we assume on a daily basis.

During my researchs in the previous modules, I realized the importance of the tringle as a tool for visually communicating dynamism and movement. In general, I find that my work tend to be quite rigid and static, so I thought that this would be good moment to start trying to incorporate more dynamic stuctures in my practice.

DE7 400 Part III: Visual Intelligence

Based on that connection, I pictured a hunting scene where humans used arrows. It also was a good topic to represent dynamism and movement. So I decided to make a small sequence of three images because it as a good number for a sequence and it also relates to the triangle as a three sided polygon. 1) Archer 2) Arrow 3) Antilope

1) In terms of topics, I was really fascinated by Newton’s color prism experiments, the nature of colors and how we perceive them. But eventually I discarded this idea because the science theory was quite heavy and I felt I would need to spend more time doing research about the topic to undersand it well. Fig. 51

2) I also was drawn to approach the triangle associated with the idea of balance based an ancient Greek architecture perspective, where the temples were built following mathematical proporcional golden rules.

Fig. 53

3) The term cosmic mountain is visually very rich and it would be interesting to develop an image using this concept. 4) Arrows and history 5) Triangles used in pattern (houses from the top, textiles)

Fig. 52

Fig. 54

Visually analysing some russian construvisim and Art Deco posters I found that most of them where designed using diagonal grids, so they looked dynamic as well as modern.

Process Then I started making color experiments with the compositions using the computer and applying some textures that I scaned. I wanted to be as messier as possible as I usually polish everything in detail and I’d like the images to feel more spontaneous.

First I started my drawings with these basic compositions using Illustrator to determine the movement that the images would have. I don’t usually start my illustrations this way, but as the compositions were based on straight diagonals lines I though it would be better if I draw them on Illustrator software so I could

Finally I chose this idea because I considered it appropiate and playful to deal with dynamism and movement.

DE7 400 Part III: Visual Intelligence

Final outcome

DE7 400 Part III: Visual Intelligence

Final outcome

DE7 400 Part III: Visual Intelligence

move and scale the elements easily. I restricted myself to use diagonals so they images should look more dynamic. It was also important to keep in mind how the three images would look together, so I changed the direction of the arrows several times in order to find the most balanced composition between the three.

Final outcome

DE7 400 Part III: Visual Intelligence

I realized that I wasn’t following strickly the stucture of the compositions that I drew before because they where still quite loose.

Color palette used

Final outcome

DE7 400 Part III: Visual Intelligence

Critical reflection I tried to approach this part of the module being quite experimental, taking my weak points and trying to improve those areas. So I didn’t know what to expect from my final outcome and coming up with this kind of abtact imagery was completely unpredictable for me. But I must say I really stuggled during the process of stepping out of my confort zone. I felt frustrated at some points when trying different things and still not making things work. Also I found hard to decide the topic of the project by myself as I’m a quite indecisive person by nature and I wasn’t sure of my ideas being good enough until the end when time rushes, so I picked the one I considered would be the most pragmatic. Eventually I think I achieved my goal of expresing movement and dynamism with images, although I’m not quite satisfied with the final outcome because the images are not as messy and spontaneous as I would like them to be. At this stage, I think some peer feedback would have been beneficial for me. Maybe using other technique like linocut would have had a more interesting result. Or no using color, just black and white.

I simplified and geometrize the shapes in order to focus on the dynamism of the image. The final outcome remind me of cave paintings although I didn’t intend them to be like that on purpose.

Overall, throughout the module the critical reflection made me realize what are main weak points as an image-maker and having them identified I know now where should I’d be putting my efforts in order to more forward as a professional and improve my work.

postgraduate framework 2015/16 81

Final outcome

DE7 400 Part III: Visual Intelligence visual grammar, literacy & intelligence

I simplified and geometrize the shapes in order to focus on the dynamism of the image. The final outcome remind me of cave paintings although I didnâ&#x20AC;&#x2122;t intend postgraduate framework 2015/16 them to be like that on purpose.

visual grammar, literacy & intelligence

ABANG SHIN MA COMMUNICATION DESIGN: ILLUSTRATION

PROCESS:

“Searching the meaning of the square in part two of the module was vague at first, but every week research allowed to fix in my head unlike the Visual Grammar. Researching and considering how meaning is established and communicated and exploring through a process of re-thinking about the symbolism was very interesting. I searched the symbol of the square as shape, word, history, mathematics, culture” ABANG SHIN

postgraduate framework 2015/16 85

ABANG k1526446 DE7400

1. VISUAL GRAMMAR

EXPERIMENT I explored the square by rotating 4 points and distorting 4 lines that can be the most foundamental element forming the square shape.

EXPERIMENT

visual grammar, literacy & intelligence WORKSHOP

1. VISUAL GRAMMAR

EXPERIMENT

1. VISUAL GRAMMAR

EXPERIMENT

1. VISUAL GRAMMAR

Adding a new type of figures on each tracing papers. When overlapping these papers, It can be seen a number of flat squares and also different threedimensinal spaces.

4 kind of squares as a negative space. A diversity of backgrounds can make characteristic of each squares.

I used some objects and meterials without concerning about unfamiliar and untested processes and textures.

1. VISUAL GRAMMAR

LONDON TRIP -1

LONDON TRIP -2

2. VISUAL LITERACY

AIMS By exploring the visually dynamic Borough Market and engaging with art work at Tate Modern, You can think about how to use these different locations to collect visual research.

LONDON TRIP -2

2. VISUAL LITERACY

LONDON TRIP -2

2. VISUAL LITERACY

CRITICAL REVIEW This trip, like the first trip, I doubted that what could I do, could I find anything regarding the square by taking a photo and observing surroundings. However, unlike my worries, outside was full of squares. Floor of street and walls comprising buildings were made up of a lot of squares. I discovered that the square have very important role and function with not only flat factors, but also structure in the real world. Poles with long squares supporting big squares, successive squares making stairs and small squares making flat walls variously. I began to realize its attraction to give comportable feeling by seeing a variety of squares setting on everywhere in the city.

SQUARE X POLITICAL

2. VISUAL LITERACY SQUARE X SYMBOLISM

2. VISUAL LITERACY

EXPERIMENT - CREATING NATIONAL FLAGS AIMS Keep making and testing ideas, keep an open mind to materials, introduce context by selecting appropriate materials and consider the meanings and interpretations this produces.

EXPERIMENT - DRWAING BLOKS In spite of small area, there were so many different types of pavements than I thought. I was interested in thoes blocks. I described various textures of blocks what I observed on the trip by using magic marker, pen, pencil,

acrylic, oil pastel, paper. I tried to express their rough, embossed and wild surfaces.

Creating new national flags extracting square shapes from original national flags on tracing papers. It does not have the meaning that is given from each nationcal flag’s colours. Focusing on making different shapes and sizes of squares by overlaping (adding+subtracting) papers.

EXTRACTING KEYWORDS OF MEANINGS 'Square' has a lot of meaning as noun, verb, adverb and I extracted some keyword of those meaning.

construction

straight

State

Fairness

Stability

Peaceful

Comfortable

sturdy

units strive

national flag

Trust

an open area or plaza in a city or town

settle direct

rectilinear

There were countless number of cases. I could discover many types of squares blended various clolors and the next step, I will make upgraded national falgs with exploring the color meaning of each nation.

structure

unequivocal

Building Trades

solid

dispute

math prepare

SQUARE

right

fair

organize put in order

straightforward

adjust

conventional

regulate balance

chess

agree

honest standard

conservative

accord not hip

boring

nerdy person

check pattern

2. VISUAL LITERACY

SQUARE X POLITICAL

2. VISUAL LITERACY

SQUARE X LIFE

SQUARE X MATHEMETICS

2. VISUAL LITERACY

There are many more possibilities for rhythmic variations by light and shadow.

EXPERIMENT - 3 TO 2DIMENSION 1. I extracted big and small squares from a three dimensional city photograph. 2. Colored and changed the size of squares. 3. Reassigned them. But there is no rule of size and arrangement.

Along to the river Thames

3dimensional

Pespective

Free placement

Heavy

Stability

Modern

There were countless number of cases. I could discover many types of squares blended various clolors.

2. VISUAL LITERACY

SQUARE X CULTURE

2. VISUAL LITERACY

SQUARE X CULTURE

2. VISUAL LITERACY

SQUARE X ART

EXPERIMENT - CREATING CHECK PATTERN RESEARCH - ARTISTS AND ARTWORKS 1. By crossing a variety of thickness and colored vertical and horizontal stripes on coloured papers.

IN THE SCOTTISH CULTURE 2. By cutting and sticking papers, ropes and colored tapes.

1 colour : Servant 2 colour : Farmer 3 colour : Government official 4 colour : Reeve 5 colour : Judge 6 colour : Poet 7 colour : Royal family

USE IN FASHION As stated by the online article on De stijl by the Guggenheim Museum,” De stijl was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.”

postgraduate framework 2015/16 87

SQUARE DANCE

3. VISUAL INTELLIGENCE

SQUARE DANCE

3. VISUAL INTELLIGENCE

SQUARE DANCE

3. VISUAL INTELLIGENCE

RESEARCH - MOTION I captured some motions which I was interested in.

RESEARCH - DANCE

RESEARCH - MOTION I captured some motions which I was interested in.

SQUARE DANCE

A square dance is a dance for four couples (eight dancers) arranged in a square, with one couple on each side, facing the middle of the square. Square dances were first documented in 17th-century England but were also quite common in France and throughout Europe. They came to North America with the European settlers and have undergone considerable development there. The Western American square dance may be the most widely known form worldwide, possibly due to its association in the 20th century with the romanticized image of the American cowboy. Square dancing is, therefore, strongly associated with the United States of America. Nineteen US states have designated it as their official state dance. The various square dance movements are based on the steps and figures used in traditional folk dances and social dances from many countries. Some of these traditional dances include Morris dance, English Country Dance, Caledonians and the quadrille. Square dancing is enjoyed by people around the world, and people around the world are involved in the continuing development of this form of dance.

SQUARE DANCE

3. VISUAL INTELLIGENCE

SQUARE DANCE

3. VISUAL INTELLIGENCE

SQUARE DANCE

20’ MONO TONE POSTERS SKETCH

INITIAL SKETCH

Various perspective, various motions

I drew 2motions on a graph paper very simply for predicting the outcomes.

SQUARE DANCE

3. VISUAL INTELLIGENCE

MONO TONE ILLUSTRATION, REFERENCE IMAGES

I derived inspiration from 20th century’s mono tone posters during my research about the era when the Western American square dance could be widely known form worldwide.

SQUARE DANCE

3. VISUAL INTELLIGENCE

SQUARE DANCE

INCORPORATING VINTAGE TYPOGRAPY

I was fascinated with this colour combination and discription through control dynamics.

I searched American vintage typography that can be applied to the final work.

Practicing hand writing the vintage typography with a pencil and a pen.

3. VISUAL INTELLIGENCE

OUTCOME

3. VISUAL INTELLIGENCE

OUTCOME

3. VISUAL INTELLIGENCE

SQUARE DANCE Detail of my square dance poster series

SHALL WE SQUARE DANCE For expressing the mood of 20th century’s dance poster efficiently, I refferred to many old poster regarding typography and mono tone drawing. So I used pencils as a main material. Hand writing which is showing vintage feeling can be quite important factor of this poster and “shall we” can convey the atmosphere of historical cabaret and social culture visually.

TAKE ME TO THE SQUARE DANCE I was trying to show dancing people in a square and relationship with each dancers as a point.

3. VISUAL INTELLIGENCE

SQUARE DANCE

3. VISUAL INTELLIGENCE

CRITICAL REVIEW

BIBILIOGRAPHY

SQUARE X SYMBOLISM

Leah Dimurlo, 2015., Square Symbol Meaning: http://www.sunsigns.org/square-symbol-meaning/ Catherine Beyer, 2015., Squares: http://altreligion.about.com/od/symbols/p/Squares.htm Peter and Linda Murra, 2004., Oxford Dictionary of Christian Art (2004), square symbol (Christianity): http://www.religionfacts.com/christianity/square “square symbol (Christianity).” ReligionFacts.com. 10 Nov. 2015. Web. Accessed 8 Dec. 2015. <www.religionfacts.com/square-symbol/christianity> )) Steven Bradley, 2010., The Meaning Of Shapes: Developing Visual Grammar: http://vanseodesign.com/web-design/visual-grammar-shapes/ (5/4/10) Morals and Dogma: Consistory: XXXII. Sublime of the Royal Secret pg. 850-51: http://www.abovetopsecret.com/forum/thread208687/pg1 Mathsisfun.com, 2014., Quadrilaterals: https://www.mathsisfun.com/quadrilaterals.html thinkmath.edc.org, 2014., Quadrilateral: http://thinkmath.edc.org/resource/shape-quadrilateral

SQUARE X POLITICAL

DAVID PEGG, 2013., 25 National Flags And Their Meanings: http://list25.com/25-national-flags-and-their-meanings/4/ (28/1/13) EnchantedLearning.com, 2014., Symbolic Use of Colors in Flags: http://www.enchantedlearning.com/geography/flags/colors.shtml

SQUARE X LIFE

Barbara Hausmann at the Geometry Center, 1994., Viewing Four-dimensional Objects In Three Dimensions: http://www.geom.uiuc.edu/docs/forum/polytope/

SQUARE X HISTORICAL

primaltrek.com, Guide to Reading Chinese Characters (Symbols) on Charms: http://primaltrek.com/guide.html

PEER’S FEEDBACK There were many opinions that 4 people dance in a square and concept for "square dance" was interesting. And I think typography was also good point in this work.

J.A.R. Legon, 'The Cubit and the Egyptian Canon of Art', Discussions in Egyptology 35 (1996), 62-76: http://www.legon.demon.co.uk/canon.htm

In many references I found out, the square represented boring, strong, restrict, solid and not flexible. Keeping my research, I found the square dance and though it can fit my active style. The square in the square dance is flow of dancers. Key point was 4 couple (8 dancers) on the 4 sides and corners, it also reminded of my first experiment making different types of the square by moving rope. Firstly, I was thinking about making a manual about movement and step, but there were not enough time to analyze their motions, I decided to draw posters showing the square dance. Among many motions, I captured some images that can show the feature of the square and square dance.

Although I do not think what I expressed 20th century dance poster very well, I like this poster series following my research and a lot of tests. From one little shape, the fact that I could find many symbolism and examples in the real life was amazing. This way of thinking will be very useful in my career as an illustrator and visual artist especially when I have no idea with work or feel a bored with my common style. It was the time for learning about the way of starting and development with escape from predictable outcomes. Also I learnt about the way of expanding my thought through focusing on one concept and doing research many areas regarding the concept.

SQUARE X MATHEMETICS

SQUARE X CULTURE

Juni, 1970., Cubics

J, K., WESTON, A., BORA, 2013. Vogue girl, Check mate: http://navercast.naver.com/magazine_contents.nhn?rid=1099&contents_id=27135 Harrison, E.S.; Our Scottish District Checks; National Association of Woollen Manufacturers, Edinburgh; 1968 p6: http://www.apartmenttherapy.com/quick-history-checkerboard-flo-136019

SQUARE X ART

allthesweetthings.wordpress.com, 2012., PIET MONDRIAN, Fashion, art and architecture: https://allthesweetthings.wordpress.com/tag/piet-mondrian/ (11/3/12) Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.532-3: http://www.tate.org.uk/art/artists/piet-mondrian-1651

visual grammar, literacy & intelligence

postgraduate framework 2015/16

MODULE OVERVIEW: This module encourages you to look critically at the role of storytelling within the practice of communication design, in particular the relationship between narrative and sequential thinking using visual means. Contemporary culture is influenced by rapid technological change and this has a profound effect on how we transmit, receive and understand messages and information. Increasingly the role and relationship between the single and serial image in sequential and non-sequential forms has become more significant. The existing relationship between the image and the word has become more complex as both old and new media are (re) defined by both the means of production and transmission. These changes are creating new dialogues between users and creators in both commercial and social arenas that employ narrative/storytelling devices and techniques.

MODULE:

Visual Storytelling: Narrative and Sequence SANGYEON HAN MA COMMUNICATION DESIGN: GRAPHIC DESIGN

â&#x20AC;&#x153;Understanding contexts of books is an important step as a book designer. Before I began the project, I used to read the synopsis of books and then create the book cover without carefully understanding context of the book itself. According to the first generation Korean book designer ByoungKyu Jung, book designers should interpret book culture in various aspects and they should understand the context of books if they want to create strong designsâ&#x20AC;?

Fig 2. Ryan Peltier: Space Station!

visual storytelling: narrative & sequence

SANGYEON HAN MA COMMUNICATION DESIGN: GRAPHIC DESIGN

PROJECT STATEMENT:

“The short project ‘Invisible Cities’ is based on Italo Calvino’s novel ‘Invisible Cities’ (1972). The novel covers multi-layered structure of the past and future, or surreal space of city. The structure looks alike MC Escher’s pictures, depicting eternal circulation without end. The book tells the story of a dialogue between young Marco Polo and Kublai Khan. Throughout the nine chapters, the cities are witness but soon disappears. This circulation happens endlessly but every city described has its own unique forms and values. And any fixed ideas become hurdle that blocks us from seeing the true nature of the cities” SANGYEON HAN

postgraduate framework 2015/16 95

DE7401

K1412183 Sangyeon(Sienna) Han

“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”

Brief 1 Invisible Cities

Visual Storytelling

Chapter: CITIES & DESIRE 2 City: Anastasia Week 01 — 04 Tutor: Tao, David Feedback: Tao, David and Classmates

: Narrative and Sequence

Project Statements

The short project ‘Invisible Cities’ is based on Italo Calvino’s novel 'Invisible Cities' (1972). The novel <Invisible Cities> covers multi-layered structure of the past and future, or surreal space of city. The structure looks alike MC Escher’s pictures, depicting eternal circulation without end.

Italo Calvino, Invisible Cities (1972)

Brief 1

The author is asking readers to escape from stereotypes and to discover hidden symbols that are buried all over the chapters.

Fig 1. M.C. Escher, Relativity, 1953, lithograph

Brief 1

Invisible Cities - Cities and Desire 2

Cities and Desire 2

The book tells the story of a dialogue between young Marco Polo and Kublai Khan. Throughout the nine chapters, the cities are witness but soon disappears. This circulation happens endlessly but every city described have its own unique forms and values. And any fixed ideas become hurdle that blocks us from seeing the true nature of the cities.

Invisible Cities - Cities and Desire 2

Research

Sketchbooks / Process

In order to create the pages, I researched different versions of the book ‘Invisible Cities’ and other books.

Week 1 - 2

Brief 1

Invisible Cities - Cities and Desire 2

Brief 1

Invisible Cities - Cities and Desire 2

Anastasia

• Brief

I had three different layout experiments with the same context ‘City and Deisre2’.

Now, you might be curious about what the ‘invisible cities’ are and what the true intention of the author is from portraying each city.

First design has two paragraph, one is in English and the other is in Korean. Putting important passages at the beginning of text, I would like to emphasize what is a city Anastisia is. Regarding the second design draft, I designed two paragraphs as well but there is a line in the middle of the passage since I tired to show Anastasia’s canals. In addition, I made a typo, using photocopy as of an imaginary city.

I will discover his hidden intention in the chapter Cities and Desire 2 and I will show the city ‘Anastasia’ with graphics.

Fig 2. Ryan Peltier: Space Station!

1) First draft ∙ Typeface: Futura Hv BT, Minion Pro, SM 신신명조 Std ∙ Language: English, Korean 2) Second draft

Fig 3. Korean Version

Fig 4.English Version

Fig 5,6. Experimental layout

Brief 1

Invisible Cities - Cities and Desire 2

∙ Typeface: News Gothic MT, SM견출고딕 Std ∙ Language: English, Korean

Brief 1

Invisible Cities - Cities and Desire 2

Sketchbooks / Process

Process / Feedbacks

Evaluations

Week 1 - 2

Week 2 - 4

Where could I use this again?

How well did I do?

Third experiment was the final work with collection of words related with ‘desire’.

By considering the feedbacks from tutors, I tried to do experiment more about the final decisions work. I wanted to give hint to readers among the word ‘Anastasia’. This is the reason why Anastasia is a desired city so desire is invisible. I used embossing effect, applying electronic tape which is prototype.

1. The experimental study on the working two language (Eng / Kor) in a page can be used in magazine. As for non-English country, they usually write both languages in the same page. For this reason, the balance of typeface on two languages is an important part of the editorial design.

By understanding contexts of books is an important step as a book designer. Before I began the project, I used to read short brief of books and then create the book cover without carefully understanding context of books.

However, tutor Tao said it was nice layout and I can keep typography experiment for future my works because the effect of lettering ‘Anastasia’ wasn’t eligible in the third crit.

2. In terms of typo experiment during the project, I got visual effect and technique of emboss without using computer tools. As Tao said I can use the hand making emboss for future works such as poster or book cover design.

First group crit help to devlop my idea. Margot and David suggest that I can refer a TV drama ‘CIS’. In the drama, there is crime record that some information was blocked. Even I couldn’t find the reference but I firmly believed that words blocking makes readers to integrate their curiosity. During the first tutorial with David, he highly recommends to chose last draft as it was clear and the layout is strong. However, he argued that to use both language makes hard to read. I thought that putting two languages is general in non-English country but I realized that the form of book is not big enough. If I want to use two language, I should consider size of forms.

∙ Typeface: Minion Pro, Helvetica ∙ Language: English, Korean

In the last week I fixed the mistakes in the work, paying an attention to the typography and layout. I had work shop before the week, which was really helpful to the project. In terms of work shop, I will indicate the last pages.

I am in fond of his mention, because a book design and an editorial design are visual literature that makes readers to understand. Finished versions are quite successful compared to the last term project. One of my aims of this term was to be able to deliver messages to audiences naturally because I received a feedback from my last term projects that I need to make clear message through my work. I didn’t stop making a question by myself during this project; “How can I help readers who haven’t read the book, ‘Invisible Cities’, to understand its contexts, only through seeing my page design?”

In terms of book, Calvino shows ingenious discernment about city, people and language in the book. For this reason, it is hard to understand when we read at once. Honestly, it is doubt that there are intention allegories in the book. Thus, the book is difficult to read. However, it seems that Calvino write different poet as a city. There was rules and regulation between human and human, people and city or city and city where people consist. They are establishing relations each others, exchanging and desiring.

According to an interview with first generation of Korea’s book designer ByoungKyu Jung, he said that book designers should interpret book culture in various aspects and they should understand the context of books if a designer wants to make strong design.

Fig 7. Book designer Byoungkyu Jung. He said "Book designers should interpret book culutre in various aspects and they should understand contxt of books if a designer wants to make strog deisgn.

visual storytelling: narrative & sequence Brief 2

Project Statements

Seoul is a city that draw and allure soul of every living thing with its majestic attraction.

Brief 2 City Posters

1. Image Based Poster

This giant city is a place of fantasy where deep humanity lingers on in the midst of busyness.

• Brief

Likewise, Seoul makes diversities mingle and live in harmony. In Seoul, it is never awkward to live with Skyscrapers standing up next to Korean traditional houses.

City: Seoul Week 04 — 05 Tutor: Tao, David Feedback: Tao, David and Classmates

Seoul has rapidly changed after the Korean war and modernized over half a century.

The forest suddenly appears between skyscrapers of the city of Seoul. A palace is located in there rather than a park. Gyeongbokgung is the main palace and has much history and beautiful architectures. The palace is regarded as being the most beautiful and grandest of the other five palaces.

Seoul is busiest city where many people visit for tour like any other metropolitan city. The city is coexisting with conflict things. Neon signs and LED signboards light up the street like a starry night. On the other hand, the building’s lights never turn off as workers stay up late and students study to pursue their future dream in Gangnam.

Of course, impressions from the view of small alley behind Insadong or main street in Myungdong can’t be identical to feelings obtained from Korean ancient palace near Gwanghwamun. But still, you can have colorful feelings that exist in every single places in Seoul. Wherever you are in this city, there are always chances to feel joys that you never want them to disappear.

Before evening, visitors who want to meet at night by Gyeongbokgung make a long line for the moonlight tour. You would not think that there is modernized buildings beyond Gwanghwamoon, even if you just passed through the door. It feels like to visit Chosun Dyansty place a frozen in time. When darkness of this city falls, Gyeongbokgung awakes from sleep, turning on the light.

However, many people gather in Seoul Jong-Lo and reveal their own voices, holding numerous candles at city hall. Glimmering lights of Kyungbok Palace and Deoksu Stonewall walkway make to warm the gray city. Likewise, the sky of Seoul sparkles with stars at night still now.

So, forget clichés about Seoul like hermit kingdom or the land of morning calm*. Even if there could have been cities that go well with those tags, Seoul has never been such place.

* Land of morning calm: Norbert Werber, a German priest, visited Korea and wrote the book <Im Lande der Morgenstille> in 1915, which literally means <The Land of Morning Calm>.

Brief 2

Fig 1. Gyeongbokgung night view

Let’s enjoy night of Gyeongbokgung that has 600 hundred years of history.

City Posters -Starry Night

STARRY NIGHT

City Posters -Starry Night

Brief 2

City Posters -Starry Night

Brief 2

Sketchbooks / Process

Feedback (Tao, David)

Sketchbooks

Testing

During the initial ideas stage I made notes and sketches. This shows my early exploration of graphic motif. My initial ideas included making the shape of mountain; rounded square; using overlapping effect. I got to know its shape by drawing it from a range of angles, as if turning and examining it. The graphic motif inspired Irworobongdo – The five peaks, which is the main picture in Gyeongbokgung. My explorations extended to other ideas of how to transform the sturture and how moon shape might be shown effectively.

I would like to extend to ideas of how readers feel different texture and pattern. Alongside the poster’s purpose, I persue to make the patterns alike stars in graphic motif. The results are shown here. The visual experiment created by the starring patterns, using salt.

The initial version of poster’s background colour was black but I changed blue colour since it is the signature colour of the painting ‘Folding screen’. Moreover, The feedbacks I got from tutors were to change the main title font as it is too fancy so I changed typeface. The previous version of poster’s background colour was black but I changed blue colour since it is the signature colour of the painting ‘Folding screen’. Moreover, there is incorrect using of dash and hypen. As a designer, we can ignore some of rules since we focus too much on the design.

City Posters -Starry Night

Changing background colour

Changing font. Maybe Serif and Mordern style font?

Fig 2. Sun, moon, and five peaks, 1800–1900. Korea, Joseon dynasty (1392–1910). Folding screen; ink and colour on paper.

Too many information

Feb -> February use '−', 7pm or 7:00

Sketchbooks

Spreaded salt

Brief 2

Intial version_08.Febuary

Feedback from Tao, David and classmates 21

City Posters -Starry Night

Brief 2

Outcome

City Posters -Glittering Tranquil City

Brief 2

City Posters -Glittering Tranquil City

Glittering Tranquil 2. Text Based Poster

Starry Night is an attempt to imagine a city exploration at night in Seoul.

• Brief

The design of the poster takes a bold and straightforward approach. The graphic identity shows the Irworobongdo – The five Peaks that is a painting on a folding screen. The picture demonstrates the sun, the moon, and five mountain peaks. In the circular line with graphic express starring stars in the sky, using an amount of salts scattered on black board. The effect makes irregular patterns.

“It is true that typography in the city is a perfect material for revealing the place’s environment and culture where people live in the city.”

Exploring Gangnam late at night feels entirely different compared to traveling during daylight, as the city offers an interesting nightscape for all, bustling with interesting sights and things to experience. As a song ‘Gangnam style’, the night of Gangnam attracts people to the office buildings and neon sign. However, a flourishing Neon Sign and LED signboards are turned off and are still in the state of monochromatic color in the morning. Night owl or not, you’re highly recommended to partake in this adventurous yet unique late night travel by hopping on one of Gangnam’s late night tour.

My intention was to handmade rather than using computer effects such as Photoshop or any other design tools.

Brief 2

Book 'Typography in New York'

Fig 3. Gangnam Street night view

City Posters -Starry Night

Brief 2

City Posters -Glittering Tranquil City

postgraduate framework 2015/16 97

visual storytelling: narrative & sequence

ARCHITECTURE TOUR

The Red Apple Wijnbrugstraat 50-352 Rotterdam

De Brug Nassaukade 5 3071 JL Rotterdam

Markthal Dominee Jan Scharpstraat 298 3011 GZ Rotterdam

ARCHITECTURE TOUR

Cube Houses Overblaak 70 3011 MH Rotterdam

Apartment Block Muller Pier Müllerkade 3024 EP Rotterdam

Lantarenvenster Otto Reuchlinweg 996 3072 MD Rotterdam

Sponsered by Stadsarchief Rotterdam www.stadsarchief.rotterdam

Shipping and Transport College Lloydstraat 300 3024 EA Rotterdam

Central Station Stationsplein 1 Rotterdam

Apartment Block Muller Pier Binnenrotte 140 3011 HC Rotterdam

2016 4.1 − 4.30

The Red Apple Wijnbrugstraat 50-352 Rotterdam

De Brug Nassaukade 5 3071 JL Rotterdam

Markthal Dominee Jan Scharpstraat 298 3011 GZ Rotterdam

ARCHITECTURE TOUR

Cube Houses Overblaak 70 3011 MH Rotterdam

Apartment Block Muller Pier Müllerkade 3024 EP Rotterdam

Lantarenvenster Otto Reuchlinweg 996 3072 MD Rotterdam

Sponsered by Stadsarchief Rotterdam www.stadsarchief.rotterdam

Shipping and Transport College Lloydstraat 300 3024 EA Rotterdam

Central Station Stationsplein 1 Rotterdam

Apartment Block Muller Pier Binnenrotte 140 3011 HC Rotterdam

2016 4.1 − 4.30

postgraduate framework 2015/16 99

visual storytelling: narrative & sequence

JIEUN LEE MA COMMUNICATION DESIGN: ILLUSTRATION

PROJECT STATEMENT:

“I thought about the main character’s appearance and tried to use a variety of materials, for example drawing on different papers and using different tools such as watercolour, coloured pencil, marker and pencil. After experiments, I chose collaged drawing for ‘Milly’. Because she was a main character I needed to develop a different way by using black paper which was good for describing her costume. I identified my target audience as under 9 years. Because my book did not have much text, I focused on the visual images” JIEUN LEE

postgraduate framework 2015/16 101

BEFORE LONDON TRIP: WHAT I AM INTERESTED IN LONDON

PROJECT 1: RESEARCH: BACK IN TIME FOR THE WEEKEND

RESEARCH : LONDON TRIP (THE MUSEUM OF LONDON)

Back in for is British lifestyle television series on BBC. The second series, Back in Time for the Weekend, featured one family is spending a week living through different decades from the 1950s to the 1990s and experiencing leisure time from the differing eras.

Firstly, before London trip, I drew a mind map to show what I am interested in London.

Through this series I saw lots of each time’s life style, fashion and interiors. It was so attractive for me, because actually I did not know about that time’s information, but it made me easy to understand what there were, what they did and what kind of costumes they worn. That was why it gave inspiration to my project even though the times was different with my project. I really hoped to present Georgian and Victorian times’ life style, fashion and interiors like this programs although I would present it through single panel narration.

VICTORIAN WALK GUIDE “Victorian London was a city of thriving shops and businesses. The ‘Victorian Walk’ uses original shop fronds and objects from the Museum’s collection to capture the atmosphere of London life at the close of the 19th century” (the Museum of London).

Fig. 1. Back in time for the weekend (program)

There is an exhibition called Victorian Walk in the Museum of London. This reproduced the alley of the Victorian era. Even though they did not provide enough information, I could notice that the models of the buildings were made of bricks, and that the interiors of that period were very attractive as well. Interior decoration and interior design of the Victorian era are noted for orderliness and ornamentation.

Above all, I want to know about brick buildings in London. Because there are lots of buildings made from bricks in London, I was so impressed when I came to the UK. In Korea it is hard to find buildings made from bricks as most of the buildings are composed of concrete. For this reason, I was looking forward to find information about bricksbuilding history in the Museum of London. Fig. 2. Back in time for the weekend (program)

DEVELOPMENT

STARTINGPOINT

After visiting the Museum of London, I tried to sketch brick houses by using diverse colours even if I did not decided what I should do for this module. In London, there are many brick houses and buildings, and I was happy to see differently shaped buildings, each with their own character.

RESEARCH : LONDON TRIP (THE MUSEUM OF LONDON) 2) 19th-CENTURY FASHION

3) LONDON TODAY

19th-century fashion was different from 18th-century. Dress looked less detail and more tighter than 18th-centry dress. According to V&A, “as the 19th century progressed women's dress gradually revealed the actual form of the body. In the 1820s and 1830s the waistline deepened, returning to its natural position. As the natural waist returned the bodice required a tighter fit and in contrast the skirt became fuller and bell-shaped. There were several different sleeve styles but short puffed sleeves were generally worn for evening and long sleeves for day. Corsets continued to be worn”.

When I saw this section, there were divers fashion styles and lots of colors was standing out for me. “London became famous for the extraordinary diversity of its street style. The city became more multicultural than ever before. The young became more assertive about individual freedoms and rights. Londoners acquired a taste for expressing their private values in their public look” (the Museum of London).

Fig. 1. 19th-Century Fashion

RESEARCH : WHERE CAN I SEE TWO PERIOD STYLES: Bedford Square

This drawings show London today’s fashion and I used a diversity of colors and materials. I went to Shoreditch to get some inspiration because I thought that I could see London’s today fashion from young people. Actually there were lots of young people and I got motivation.

RESEARCH : GEORGIAN ERA

:This research was from books (British architectural styles and How to read houses) and a field trip.

RESEARCH : INTERIOR DESIGN OF TWO PERIOD STYLES: THE GEFFRYE MUSEUM OF THE HOME

Georgian age

This place is one of the best preserved Georgian square in London, with many of its house. According to the Yorke (2014), in this period symmetry and proportion was important. So when I visited there I felt that every houses looked so clean and were well arranged. Most of buildings were built though terraces way that is a row of similar houses joined together by their side walls. This is because, Yorke (2014) states at that time the aristocracy want to build lots of houses in restricted land.

Clare suggested me to go to the Geffrye Museum of The Home. “The Geffrye explores the home over the past 400 years. From around 1600 to the present day”(The Geffrye Museum). Through this exhibition I could understand change of furniture, ornament, pattern style and so on over this period.

RESEARCH : INTERIOR DESIGN OF GEORGIAN ERA :This research was from books (British architectural styles and British interior house styles) and a field trip.

After finishing drawing, I thought which materials were good match with my work. I chose watercolour as I did not use watercolour for my outcome in last semester. And also in my opinion it will be better to depict details.

In Georgian age there were two rooms ( Room3: A parlour in 1745 and Room4: A parlour in 1790) to explain in the earlier period and in the late eighteen century. Audio guide also helped me understand.

Overall, furniture was looked simple, however porcelain and the equipment for tea sets were fashionable and luxury. In the late eighteenth homes looked like comfortable and fashionable.

PROJECT 1: SINGLE PANEL NARRATION

Actually, I felt a little bit confused during my work, because I was not sure whether my project shows my intention. I decided to try experiments even though it was take a long time. As a result, I could figure out whether it is right way to tell a story.

102

Firstly, I researched places where there are two styles of building and then I decided to focus on only house among lots of buildings. Because I thought house would clearly show their characteristic of each age than public buildings. I chose some places to visit; Bedford Square, Henrietta Street, 2 Carlyle Mansions, Carlyle’s House, Leighton house and Nothing Hills.

Moreover, I made effort to present funny factors inside my illustration and I hoped audiences could notice that times’ fashion, lifestyle such as transportation, and interiors that present through a dolls’ house.

From this time I could see carpet on the floor and more and more they pursued decoration in their home. According to The Geffrye Museum, “there were more ornaments available and affordable”.

visual storytelling: narrative & sequence

PROJECT 1: SINGLE PANEL NARRATION

RESEARCH : GOING BACK TO THE STARTING POINT

RESEARCH: THE ART OF VISUAL STORYTELLING: WORD AND IMAGE

After all of my tutorials, I was really chaotic and worried about how I can develop and solve the problem of my project. So I decided to think about my project again from the beginning. When I researched books on the library, there were lots of books at Kingston Hill campus. I found lots of information about Victorian times than Georgian times and then I decided to only focus on one era, Victorian.

In my case, I needed to think about words and images as a book format. Therefore, I searched how to connect with words and images and what effect was there. According to Salisbury and Styles (2013, p89), “In the case of picturebooks, words and pictures combine to deliver the overall meaning of the book”. Especially, words become pictorial elements and visual text themselves. Therefore, “If the words do not interact with the pictures in interesting ways the book as a whole will not be a success” (Salisbury and Styles, 2013, p89). I would think of words and images together during the making of the book.

Next I thought how to show my subjects; life style, fashion, house, and interiors. After reading books I came up some idea that I can present my subjects through one person like one person’s life. Moreover, I found that in Victorian era there were servants in rich people’s house. So I chose one person as servant and made a story about servant’s life. It meant that I could show that time’s life style, fashion, house and interiors though her life.

In addition, I should think how to communicate visually during making a story. Visual communication is “art that meets the mind and needs of other people” (Salisbury and Styles, 2013, p59).

I decided to make a story book for children to show servant’s daily life while showing rich people’s life at the same time. In addition, children could see that time’s interiors and fashion visually with a funny story. And also I needed to add some words with images to make audiences understand.

How children respond to picturebooks Where do Victorian houses come from? “The Victorian house and home were the result of a massive increase in the urban population during the nineteenth century. In the first half of that century the population of Britain increased from nine to eighteen million and kept on growing. This growth was paralleled by the great shift of the population away from the countryside and toward the towns and cities”. (John, M, 1986, p9)

“Young readers are especially sensitive to colour and tone, and seem to analysis its significance quite naturally” (Salisbury and Styles, 2013, P81). That was why I tried many colours in my works and actually in Victorian times their interiors and fashion were fancy, so I needed to use lots of colours. Therefore, I hoped children could learn how to interpret visual codes from my book. Fig. 1. Children’s Picturebooks

In that time rich people needed to lots of servants because they lived in large homes with many rooms. (Ross, M, 2004) Fig. 1 Servants

RESEARCH : MY STORY TELLING PROJECT

:This research was from books (Avoid being a Victorian servant)

RESEARCH : MY STORY TELLING PROJECT

: This research was from books (Life in the past Victorian homes and Victorian life).

RESEARCH : MY STORY TELLING STORYBOARD

:This research was from books (History corner in Victorians)

TUTORIAL When I thought about format actually I wanted to try calendar way turning the page over. If I decided that way, I needed to think about upper side of page. Clare suggested me extending your drawing until top of the paper.

I thought about main character’s appearance and tried to use a variety of materials, for example drawing on different papers and using different tools such as watercolour, colourpencil, marker and pencil. After experiments, I chose collaged drawing to servant. Because she was a main character I needed to develop a different way by using black paper which was good for describing her costume.

Fig. 1. Calendar

Maid’s name is Milly. The story was that her life always stated at 6am and she should clean all of things and prepare her mister’s every meals. She was so busy to care about a house every day. In this situation audience could figure out two life styles by comparing maid’s and master’s life. One day, master’s family went to trip for long time. So, she had a chance to enjoy her life like master in the house.

Target audience: Under 9 years. Because my book did not have much text, because I tried to more focus on visual images. And also adults who like visual illustration would become my audience.

RESEARCH : MY STORY TELLING PROCESS

Suddenly her master’s family came back. She has no idea since house was so dirty. However, when master opened the door, house already was cleaned up and her costume also was changed even if she forgot taking off master’s necklace. In addition, I put some clocks between some pages to inform what time is now. Even clocks’ drawing were from Victorian times.

Initially, I did not use words inside my book, but Robin suggested me some words would help people to understand your story well. So I decided to put some words on the bottom of my clocks’ drawings. After adding words I felt that my story was exactly conveyed, because words would sometimes help connection with images, which would help audiences.

When I had tutorial time with Robin, he gave me quite good feedbacks about perspective and composition. Because for me the most challenge part was perspective. So, I needed to practice drawing pictures from diverse angles such as zooming in and out of scene.

I changed a little bit angle and put some interests by using dog. Initially I just drew dog on the ground in my picture, but I tried another way such as dog sit on the chair and eat some food with her. In addition, I drew a whole house to change perspective because Robin said I usually used same angle on my pictures.

RESEARCH : MY STORY TELLING PROCESS

While this project, another challenged part was the border with the background and objects when I put colours. In the last semester I hardly put background colours. Therefore, I wanted to explore experiment of colours and develop new methods. Also I tried to use collaged drawing. Additionally, I saw a wide range of children’s books because drawing children’s book was first time for me, so to think about position, perspective, and all of things were difficult. From children’s book (Fig 1) I learnt use of space and I recognized that I did not need to put colours on the whole spaces; like this picture she left some vacancy parts, which gave stronger impact on our sight and gave audience imagination.

To develop my style I saw one of illustration “A little princess’ by Rebecca Green (Fig 2). I liked her works as use of colours was so amazing and her skill of detail gave me inspiration and motivation. Moreover, she also dealt with lots of interiors’ drawing. So I can catch how she present her own style. Then, I tried to change and analysis her style to apply my works.

Fig. 1. the day I lost my superpowers

MAKING A BOOK COVER

Fig. 2. A little princesses

OUTCOME

From this narrative module I learnt I had to take a different approach when looking at existing imagery, taking a more evaluative outlook towards the construction of an image. In addition, I discovered that the typography was as important as the images because if I control both in balance, the effect of visuals would strongly impact on us. Making story gave me the opportunity for creative thinking and learning how to organise structure. Actually I had no confidence in making story and in the thinking narrative, so in this semester I challenged myself to write a story for a child’s book. For me everything was a challenging experiment. However, on the positive side whenever I proceed my project I was able to improve my work and I felt determined to find a new approach to develop my professional ability.

Overall, after finishing my outcome, I thought I really wanted to learn more about book binding and making cover as well. Furthermore, I thought I could also make a colouring book for children following the production of this book. I used exact lines to sketch and also I drew detail with many colours in this project. Children can apply colours to my book and it might give them interest in the story. At that time I tried to make a book cover by myself while being worried. I was really concerned about making a book cover by myself or sending my works to some websites binding books.

However, I thought if I try it by myself, it will be a good opportunity to learn how to make a book cover and bind a book. So I searched some videos that teach how to make it.

In my case, I took so long time to make a book and I was afraid of fail. I used fabric and also tried to make embossing on my cover. After reflecting on this incident I have develop skills although it was not perfect.

To make typography I used to sponge to show exact words on the fabric. Because when I tried to write words with brush, it did not work well due to the fabric. That was why I chose this way.

postgraduate framework 2015/16 103

104

visual storytelling: narrative & sequence

postgraduate framework 2015/16 105

MODULE OVERVIEW: This module enables you to develop a contemporary fashion portfolio at masters level. A series of fashion context briefs are provided to engage you in practical fashion skills, working towards a spectrum of physically fabricated and digitally generated outcomes. Project briefs are devised to interrogate fashion developments and trends, and engage you in exploring and debating the role of the body and its clothing in fashion futures. During the research phase of this module you will identify key themes to inform the next stage of your practice in the Fashion Context II module.

fashion context I

MODULE:

Fashion Context I ZOE WELLS MA FASHION

â&#x20AC;&#x153;I am drawn to using unusual materials as a designer. To understand then push the limitations and subvert the natural or prescribed belongings of a material in order to create something intriguing. However, there is a conflict when displacing materials, a fine balance between making an object (be it ornament or garment), compelling vs verging on novel / trendy â&#x20AC;&#x201C; when an object verges on novel, it becomes subject to a fad or a short life spanâ&#x20AC;?

“I intend to create products whether they are objects or garments that are valued and kept and do not succumb to fashion’s fast paced consumption” ZOE WELLS

fashion context I

ZOE WELLS MA FASHION

PROJECT STATEMENT:

â&#x20AC;&#x153;During this research I have been more concerned with the materials as a subject rather than the end product. Due to having no previous knowledge of the processes needed to create this kind of product, I have had to educate myself and attempt to learn skills in mold and casting. I have not been able to create a final object that sits balanced where I want it, or where I can imagine and design it to be on paper. At the moment this outcome continues to be material research. I intend to develop this further until I have honed the making and process enough to reflect my design ideas fullyâ&#x20AC;? ZOE WELLS

postgraduate framework 2015/16 113

114

fashion context I

postgraduate framework 2015/16 115

GROUP RESEARCH PROJECT: Students from MA Sustainable Design designed and delivered Climate Customs – an open pop-up studio in Oxo Tower Wharf during London’s Inside Out Festival. Conceived and developed in association with the Helen Storey Foundation, the studio aimed to test ways of capturing public responses to climate change and sustainability. Tasked with developing methods of public engagement, the MA students devised a Kafka-esque journey of participation to highlight the global implications of climate change – how it is likely to affect each and every one of us, albeit in different ways and at different rates in different parts of the world.

customs

climate customs

PROJECT STATEMENT:

“Passports offered case-studies from a range of countries of at risk populations, whilst a cupboard of seized goods included science-fiction MacGuffins designed to hammer home the point that we can’t just rely on science and technology to bail us out this time. A programme of talks and events at the South Bank pop-up studio researched the conundrum in more depth: looking at social media interaction with climate; thinking about the provenance of our clothing and whether it might be possible to source and produce clothes entirely within the M25; and introducing clothes made entirely from fungi – would you wear a mouldy T-shirt?” ROBERT KNIFTON VISUAL & MATERIAL CULTURE RESEARCH CENTRE KINGSTON UNIVERSITY

postgraduate framework 2015/16 119

120

climate customs

postgraduate framework 2015/16 121

122

climate customs

postgraduate framework 2015/16 123

MODULE OVERVIEW: Context II extends and builds upon the learning experience gained in Context I which develops individual design direction within the context of product and space. Each student explores the context through engagement with a number of practical design briefs. Briefs are thematic and broad in scope to encourage creative speculation. Students identify their own personal lines of enquiry for each project and take responsibility for leading the critical discussion and debate. Design thinking is evidenced through a body of visual and physical work; ‘making’ and ‘doing’ are integral.

context II

PROJECT:

Artefact SOYOUNG KIM MA PRODUCT+SPACE

“The ‘Dancheong’ pendant light is constructed from a flat sheet of plywood which has diverse colours. The coloured face can be inside or outside of the lamp shade. The pendant lighting is composed of a series of interlocking hexagons and pentagons. The shape was constructed like a modular type which has bolts and nuts. It allows users to form whatever they want to”

context II

SOYOUNG KIM MA PRODUCT+SPACE

PROJECT STATEMENT:

“The main issue was that I had decided to describe the ‘Dancheong’ pattern as a design concept. It is true that the patterns are attractive and interesting for other nationalities, however, they do not have a connection with it. In the initial phase I did not consider how my design’s concept interacted with audiences. I simply sought an eye-catching solution to present the design concept rather than concentrating on its philosophy” SOYOUNG KIM

postgraduate framework 2015/16 129

Greg’s Workshop

Triangle

DE7 400 Part I: Visual Grammar

Materials testing and experimentation

Experiment 1

DE7 400 Part I: Visual Grammar

Space, fragmentation, transparency, activity

I wanted to test how the lines would form triangle shape when they intersect. So I drew straight random lines using a pastel chalk and then faded them with my finger.

The fact of placing the lines randomly created an ilusion of activity on the shape as well.

I would like to try and incorporate more of this kind of ‘fortunate mistakes’ in my work.

ANALYSIS OF THE LAMP SHADE

RESEARCH AIM & VISION

Figure5:

ﬁgure 2

hhps://www.justcolleccng.com/miscella nia/handel-painted-poppy-table-lamp-to -light-the-way-at-massachusees-annque -auccon Figu 6: Figure hhp://www.skinnerinc.com/news/blog/ how-to-recognize-quality-in--ﬀany-lamp s-annque-mosaic-glass-lamps/

What is the lamp shade?

Research Aim : the research report will consider the relevant research to approach about informaaon of lamp shade and a concept direccon of my design. This research report will consider relevant research approach in gathering informaaon of lamp shade and a concept of design.

A lamp shades were one of the earliest invennon of Man-made-lighhng. The lamp shade is ﬁxture that covers the light bulb on a lamp. A original purpose of lampshade is to diﬀuse the lighhng. As for a form, Conical cylindrical and other forms are the most common. In recent years, a wide range of forms

Research vision :in this project, the research will be

are made in various kinds of materials. It gives decoraave and Aestheec

demonstrated with invessgaaon to understand the lamp shade, and “Dancheong” that inspired my design.

features in space beyond its pracccal purpose.

ﬁgure 6

ﬁgure 5

How lampshade came out? In the 17th century, it is started at streets of Paris were hit with oil lamp. This was followed by gas light. The frame fed by the gas coming out of the nozzle was intense, uniform, adjustable and brilliant. Moreover, gas lighhng had some draw backs which is overheaang and extremely high oxygen consumppon. Therefore, audience regularly suffered from headaches. In addiion, the gas also destroyed/ruined furniture. Lampshades helped to solve this problem. A few years later, Tiffany famously introduced brightly coloured glass lampshades which are ssll sought aaer today. This style became a popular choice in creaang elegance atmosphere in a room. Furthermore, Tiffany used mosaic techniques which was more beauuful when it illuminated a light of a bulb through the stained glass.

CONCEPT DEVELOPMENT

ANALYSIS OF THE LAMP SHADE

Proposed development of my ideas

2.Shape made from modular Wood(birch plywood) ﬁgure 11

ﬁgure 8

ﬁgure 7

ﬁgure 9

ﬁgure 12

ﬁgure 10

Contemporary type of lampshade

Figure7: hhp://inhabitat.com/opulent-lighhng-made-ennrely-from-upcycled-objects/haygarth_chandelier_4/ Figu8 : hhp://www.homenhome.org/contemporary-desk-lamp-shades.html Figure9: hhps://thehousewhisperereu.wordpress.com/tag/ingo-maurer/ igure10: hhp://wohn-designtrend.de/broken-egg-architekkonisch-installaaon-bei-ingo-maurer/v

Depending on the style and format of choice for the lamp type, the lamp shade has varied styles such as ball, geometrical shape, the shade mad form modular type, cage shape shade, chandelier shape, folding book shape and so on.

ﬁgure 14

A paaern of “Dancheong”

ﬁgure 13

ﬁgure 15

I want to develop the concept and design through both approaches which is hand-craaed and computer models to create the physical form. In addiion, I will praccce with paper miniature before construccon in plywood. The reason why I want to make the lamp shade using. Modular shape, it will cast beauuful shadow shad which is my tle.

Figure11: hhp://cc0photo.com/?download=한국-전통-목조-건축-무늬-단청-korea-tradiional-architecture-3&ckaaempt=1 Figure12: hhps://en.wikipedia.org/wiki/Dancheong#/media/File:Séoul_palais.jpg Figure 13: hhp://kocef..story.com/category/토야's%멀티미디어/토야의%20방?page=3 FIGURE 14, 15 : hhp://mindd.co.kr/220036396192

RESEARCH STEP RESEARCH OF THE LOCAL SHOPS

CNC cuung process or laser cuung

Dancheong refers tradiional mullcolored paint work on wooden buildings and arrfacts for the purpose of style. It literally means ‘cinnabar and blue-green’ in Korea. It is based on ﬁve basic colors; Blue(ea White(west), Red(south), Black(north) and Blue(east), Yellow(center) Dancheong has various symbolic meanings. Dancheong also represented social status and rank by using various paaern and colours. The funccon of this paaern is not only decoraaon, but also for pracccal purpose. For example, protect building surface against temperature Royal palaces and temples were painted in ‘DANCHEUNG STYLE’.

CONCEPT DEVELOPMENT Estheec inspiraaon of concept

CONCEPT DEVELOPMENT Deﬁniion of ‘Dancheong’ ‘DANCHEOUNG’ shows a complementary colour, ‘Dan’ means red colour and ‘Cheoung’ means blue colour. However, in terms of ﬁguraave idea, the basic principals are well harmonized and described such as balance, repeeeon, harmony, rhythm, change, contrast, symmetry. Therefore, DANCHEOUNG contains the wisdom and Aestheec sense of Han race.

Tuesday Wednesday winter

Friday Autumn

Thursday spring

Tuesday summer

Filtered lighhng and shadow The lighhng is ﬁltered through a variety of shape and materials through narrow site, through sky-lights and random paaern openings. In this project, I am going to explore and do experiment in order to get geometric paaern with various ideas to develop the concept using a wide range of material.

I visited several shops such as ‘Chealsea Design Centre’, Jhon lewis and so on in oder to know contemporary lampshade DEsign.

Saturday

ﬁgure 21 ﬁgure 21 : www. aube.

CONCEPT DEVELOPMENT Exploring of Laaer’s Dancheoung

oppon 1

2. Ungnyeonhwa paaern : It is a lotus paaern when it starts to bloom * 7 white call ‘bun jum’

3. Coin design paaern p :There are 5 leaves, which means “everything goes well”

4. Gyeobyeonhwa paaern ** Raaer : It is a diagonal structure member of the roof that is placed in regular internal structure.

130

DESIGN DEVELOPMENT Diverse Designs with paaern

1. Six yeobyeonhwa (lotus) paaern : the lotus has a meaning noble man or wise man with confusian background.

oppon 3

DESIGN DEVELOPMENT Diverse Designs with paaern ; Two in one or Three in one

oppon 2

oppon 4

context II DESIGN REALIZATION

DESIGN DEVELOPMENT

Exploring of paaern ; applied paaern on to lampshades

DESIGN DEVELOPMENT

Exploring of combining paaern

Exploring of paaern ; applied paaern on to lampshades

The reason why I decided combined paaerns is that I wanted to express a beauuful garden which has diverse ﬂowers. In addiion, the reason why I decided “Dancheong” paaern as the design concept of lamp shade is that I wished to communicate the spirit of “Dancheong” which is about a nature and a human life interact each other. Even though a certain culture is not our own culture, if it has good meaning and wisdom, it might give us pleasure and happiness when we are with it

(Iniial paaerns)

MAKING PATTERNS USING CARDBOARDS

Iniial paaerns

MAKING PATTERNS USING PLYWOOD(0.8mm)

DESIGN REALIZATION

SPHERE PENDANT LIGHTING

ﬁnal paaerns

The elements of the lighhng

ﬁnal paaerns

Dancheong Chandelier This pendant penda light consists 2 spheres which are diﬀerent in paaerns. Funcconally, It spins to show the combined paaerns. In addiion, I wanted to describe the story of “Dancheong” with colour inside the sphere. The Dancheong paaerns are not just decoraaon but also for pracccal purpose. I want to portray the philosophy of this paaern that even colouring has meaning. For instance, as for colour, blue means ‘Est’, Thursday, and spring’ and yellow means ‘Centre, Saturday’centre, Saturday’.

DESIGN STEP

FINAL DESIGN SPHERE PENDANT LIGHTING

EXPLORING OF “DANCHEONG COLOUR”

FINAL DESIGN SPHERE PENDANT LIGHTING

DESIGN REALIZATION THE RELATIONSHIP BETWEEN DANCHEONG PATTERN AND COLOUR : The colour of DANCHEOUNG is based on “Five Elements school”

Simpliﬁed idea Criical review

I asked as myself to ﬁnd the original design direccon which presents reforming tradiional Korean paaern with a modern sense having an shad amazing shadow. Therefore, I created something simple.

Unfortunately, spinning did not work well. It is because the types were modular which are connected with bolt and nuts. Spinning was so as to show the combining paaerns which can also make another design. .However, this original intennon of design can not be presented because of the spinning problem. As a result, I decided to simplify the design. intennon og design can not be presented because of the spinning problem.

THE TABLE LAMP

FINAL DESIGN

Black- North, Wednesday, winter

THE PROCESS OF THE TABLE LAMP

DESIGN REALIZATION

Yellow- Centre, Saturday, Be in high

Blue- East, Thursday, Spring

FINAL DESIGN

THE PROCESS OF THE PENDANT

THE TABLE LAMP

banding of steel

colouring lamp shade with Acrylic

colouring using Acrylic spray

the Moon I created c the lamp which is inspired by the moon. I tried to design various materials to show a transmission of lighhng such as glass, polypropylene, rice paper. I used original piece of wood for a support part. I used LED bulb. In parrcular, I want to portray the harmony harmo of nature. Therefore, I tried to give a sense of the forest as a cover of lighhng using green coloured wire

The table lamp I made a table lamp which consist of three paaerns together. as above photos, it provide diﬀerent shadow In addiion, it is used mix & mach materials (e.g. steel-to give simple, wood-to give natural sence) A belt sander to sand steel

THE TABLE LAMP

FINAL DESIGN

making modular type using volts and nuts

making paaern using laser cuung

WHERE IS EXISTENCE? What kind of manufacturer? This conceptual lighhng which results from a research and experimentaaon in four different paaerns. Each paaerns is assembled ennrely by hand in two paaerns different ways available in three different combinaaon. What kind of lighhng brand?

What kind of lighhng brand? Wh I want to provide my lighhng especially lampshade on the Blessing brand like innermost stands for its concept, quality and wit. For example, Innocent brand company aims to create a unique lighhng and furniture. In addiion, even though it is quite ‘Briish’ with their iniial philosophy; to be ‘as Briish as London itself’; the company is highly adaptable regarding adaptaaon of global ideas and concept. My lighhng is a integraaon of Korean Tradiional culture into lig a modern sense with a creaaon of simpliﬁed paaerns form the original.

“Dancheong” pendant light was created by Soyoung Kim. The lighhng is constructed from a ﬂat sheet of plywood which has been diverse color. The coloured face can be inside or outside of the lamp shade. This pendant lighhng is composed of a series of interlocking hexagons and pentagons. The shape was made just like a modular type which has volts and nuts. It allows users to form whatever they want to.

Who I am doing it for? Clie want to have broad range of lighhng, with good Clients quality and unique design. Some client wants to present as gii. And some want assembles the lighhng with creaave ideas.

Criical review The review of the design process of the project provides insight into what I have received when I am conduccng the design process. In this project, I have several design goals, whole I was doing the aims, I wanted to design creaave lampshade in both visual and funcconal aspect. The main issue was that, I decided to describe “Dancheong” paaern as design concept. It is sure that the paaerns are aaraccve and interessng for other naaon’s people, however, they do not have conneccon with it. In the iniial step, I did not consider how my design’s concept was interacted with audiences. I just sought eye-catching to present the design concept rather than concentraang the philosophy, Another important addressing thing of this project. I tried to show whole things that conce I want to deliver as design goals instead of focusing on priority of design. I focused on 3 main things “Firstly, the inspiraaon of design was ﬂiied lighhng and shadow, that is why I decided modular type as manner which can eﬀeccve describe the design concept. Secondly, the lamp shade was a sphere shape Lastly, I tried to work very hard to spin 2 paaerns. As a result, it was very complicated and impossible to spin. I need to clarify what is the most important in my design. I was asked by my tutors to create something is simple yet an impact to clients. As a soluuon, I have been interested in a table version, I started to create kinds of table lamps. Finally, I designed table lamp shades which is connected to Korean tradiional culture. In the future, if I have opportunity to design the lighhngs, I will connnue to travel for an inspiraaon and aestheec value. Furthermore, I am keen on exploring materials.

postgraduate framework 2015/16 131

THE TABLE LAMP

132

FINAL DESIGN

context II

postgraduate framework 2015/16 133

MODULE OVERVIEW: The Major Project consolidates the knowledge gained in earlier modules on the course, and is informed and supported by prior learning within the Design Schoolâ&#x20AC;&#x2122;s postgraduate interdisciplinary framework and course-specific specialist study. The Major Project is the ultimate expression of your personal position and endeavour within the Masters programme. It presents the opportunity for students to synthesise all previous learning and experience into a defining personal project.

FINAL MAJOR PROJECT:

In the Western Country JACK SMYTH MA COMMUNICATION DESIGN: GRAPHIC DESIGN

“In the Western Country began much further away from where it finished. I initially sought to look at reading in the present day – the processes at hand, the changes in habits inflicted by new technologies and the climate of the future of this core aspect of communication. I had no real end plan, and dove straight into research about the processes that happen in the human mind when we read. I looked into the effects of technologies, the history of the written word and to abstract areas of the creation of an internal image based upon what we read on a page ...”

major project

JACK SMYTH MA COMMUNICATION DESIGN: GRAPHIC DESIGN

PROJECT STATEMENT:

“About midway through the research, I found that I was lost ... so I decided to start a simple piece of first hand research. I found an excerpt from Cormac McCarthy’s Blood Meridian, where a character tells a short story to others in the book. The story told is a standalone piece and has an odd tone which feels like a fable, or a story with a moral, but indeed there is not a specific one. It also has lots of truth, lies, death and deceit ... I bound a small book of the extract and gave to volunteers to read. I then asked them to write down five words which they associate with the text. I found that there was a huge variation in these answers, and this was a surprise ...” JACK SMYTH

postgraduate framework 2015/16 139

â&#x20AC;&#x153;... it is a project which could go on forever, with more and more versions of the same experiment and more interpretations of those resultsâ&#x20AC;? JACK SMYTH

140

major project

postgraduate framework 2015/16 141

FINAL MAJOR PROJECT:

Fake life

BERRY SONGMIN KIM MA COMMUNICATION DESIGN: ILLUSTRATION

“Living in Korea with a unique style can lead to being judged as anti-social and ‘wrong’. This includes fashion, writing, voice, make up style. Unique people are considered to be non-social. People don’t recognise their real value. I believe the world can be more colourful with those who have individuality and character. Using a satirical illustration, I would like to highlight these problems to show people how weird and horrible this virtual (fake) life is”

major project

BERRY SONGMIN KIM MA COMMUNICATION DESIGN: ILLUSTRATION

PROJECT STATEMENT:

“I have definitely realised how I can work more deeply as a designer and illustrator. This project is the outcome of personal observations and record over eight years, as well as learning on the MA Illustration course for a year. I could effectively and interestingly express the big problems of Korea as ridiculous illustrations based on a starting point, design concept, keyword, some accidents and strong storytelling” BERRY SONGMIN KIM

postgraduate framework 2015/16 145

The major project The major Project

Design Concept

Major Project Report

MA_communication design_ illustration

Design Concept

The entire city(Apgujeung in Gangnam) is hiding inside a building. They can enjoy in a building for 24 hours from Karaoke, coffee-shop, supermarket, bar, pup, massage, restaurant, club to hotel... They think playing in apgujung means they are the upper class they desire.

Visual Summury of the major project (2014 -15)

Berry Songmin Kim K 1419761

These buildings are easily changed from moment to moment as looking, character and kind of store. This is the symbol of fake life.

Illustration_ DE7 302

The major project

Visual Research

The major project

Visual Research

The major project

Visual Research I do research for several popular bags

SECOND FLOOR (HAIR SALON) : Hair shops in Abgujung have high quality equipment. The interior and equipment look so luxurious. It is the symbol of high class taste if you post a selfie in here on facebook with a place tag. I will change to a hairstyle that men like

UNDERGROUND (CLUB) : I enjoy dancing. My beautiful appearance is enough to tempt men. Anyway, where is a rich man?

The major project

Visual Research

The major project

Visual Research

The major project

Accessaries of bag have exact structure to link with each component strongly. Also ‘Pattern’ of bag seems like blue print. In this way, It is pretty similar with building. So, I can draw considering this fact.

Visual Research

Junk Robot _ It is randomly made by many elements such as clock, hair clip, spring, door knop, screw and so on.

Images for architectural design plan dominates compressive structure. I refer to structure and visual elements of building.

The major project

Visual Research

The major project

Visual Research

Sketch / Test for elements of bags / Before making the characters, I did sketches for elements of bag.

Jing Zhang : Her illustrations are mainly drawing the inside of objects. She ex press the imaginable world as figurative way. This manner is suitable for the fake world.

Chris Ware Building Stories by Chris Ware gathers 14 different works about one, unnamed woman, and can be read in any order. There are stories per pages. Each page has the story about structure with speech bubles and small pictures having detail situations. The views of various perspective make story more luxuriant as just image without any text. As this, I thought it would be great if I draw the story as various perspective from front, back, side to isometric. Because It is important to show ridiculous and contradictory situations as all aspects.

Viktor hachmang : Expression of the glamorous and fantastical area ‘Apgujung’ as strong complementary colour having big contrast. 17

The major project

Sketch / Test for character design / I draw some characters living in fake world.

The major project

Name : Hermes, R

146

Character design

Name : Prada, T

Name : Gucci, K

Age : 20 years

Age : 22 years

Age : 27 years

Address : Shin-sa-dong in Seoul (Studio type flat as monthly fee)

Hometown : Junjoo in south Korea

Address : Tower Palace in Dogok-dong

Hometown : Busan in South-Korea

Hobby : Shopping in fast fashion brands(forever21, H and

Hometown : Seoul in south Korea, New york (international student)

Hobby : Attempt lots of kind men, buying high heels (similar design)

M, Zara), meeting rich men living in Gangnam

Hobby : Chatting with European guys in coffee shop

Price : 789 pound

Price : 22222 pound

Price : 1600 pound

Productioin : Made in Korea

Job : Secretary in small IT company

Job : No ( father is professor)

Job : Marketer in Samsung (her father is executive in Samsung)

Purpose of life : marrying with rich man. It is no matter to give

Purpose in life : If I maintain my beautiful face and body, I

Purpose in life : I am a perfect having every condition (ability, money,

wound for people for her profit. I want get marry to rich men as

will get the world. It is really stupid that people struggle to

status, car, luxuary home)

soon as possible.

live with saving money. I am happy with rich men.

major project The major project The major project

The major project

Character design

Plan for outcome and format

Character design

You can walk with these luxuary dogs on the Jam-sil-area in Han river. They help you to show off more. Name : Guccing, Baff

Name : Bubury, P

Name : Moschino, B

Age : 24 years

Age : 32 years

Age : 20 years

Address : Shinrim-dong in Seoul

Address : Seo-cho-donog

Hobby : Show off her clothed and dog. Actually, her

Home town : Jeju-Iand in south-korea

Hometown : Chon-and in south korea

dog is not alive (decoration), changing clothes three

Hobby : Looking for comments from her selfie

Hobby : Reading, Studying, Saving money

times per day.

Price : 590 pound

Price : 8 pound

Price : 50 pound

Productioin : Made in Korea

Job : A head of counsel department at Plastic surgery hospital in Ap-gu-

Job : High school teacher

Job : model and entertainer.

jung-dong.

Purpose in life : Although I am a little bit old age, I can meet

Purpose in life : I pursuit for free and colourful life

Purpose in life : It is good life to follow a few pretty celebrities.

perfect guy (handsome, young, rich, having good job)

style rather than other women.

Name : Lovely Lois, V

It is not enough to show off as face, body and clothes in this day and age.

Age : 22 years

It is pretty good measure to close with men who taking exported expensive car in Han-river.

Address : Itaewon in South Korea Home town : Japan Hobby : dringking, travelling Price : 13 pound Productioin : Made in Korea Job : Punk Rocker Purpose in life : I pursuit my style but I want be people

The major project

clude the cover, back pages line illustration showing the structure. 29

The major project

Plan_ Setting of Floor

FORMAT_ Accordian Book (Chis Ware Building Story) : 9 Pages in-

SIZE_ Height 398mm x Width 264mm

think I am valuable.

Outcome_ Logo Type

The major project

Sketch / Underground Floor_ Night Club

Fifth Floor_ Hotel and swimming pool

Fourth Floor_ Pub (chicken and beer)

Third Floor_ Cosmetic Surgery

Second Floor_ Hair Salon

Ground Floor_ Convenience Store, Coffee shop

Logotype is contrast of the detail and complex illustration. I consider the logo type as bold and simple. This logotype will get together with illustration.

Underground Floor_ Night Club

The major project

Sketch / Ground Floor_ Convenience Store

The major project

Sketch / Fifth Floor_ Hotel and Bar

Sketch / Ground Floor_ Coffee Shop

The major project

Sketch / Third Floor_ Plastic Surgery

The major project

Sketch / Fifth Floor_ Hotel

The major project

Outcome_ Illustration Fake Life _ Main Side

Fake Life _ Back Side

The major project

Outcome_ Illustration

Outcome_ mock up

postgraduate framework 2015/16 147

FINAL MAJOR PROJECT:

Activating the core economy by codesign REBECA TORRES CASTANEDO MA SUSTAINABLE DESIGN

â&#x20AC;&#x153;The traditional provision of public services needs to be transformed. Users should not be considered as passive recipients of services. The process of service development should be opened-up via more participatory methods, whereby users and providers, working together, can transform the way in which the welfare state is conceived and its services designed and delivered. A codesign workshop brought together care service providers, service receivers, and people from the arts sector in Kingston upon Thames ...â&#x20AC;?

major project

REBECA TORRES CASTANEDO MA SUSTAINABLE DESIGN

PROJECT STATEMENT:

â&#x20AC;&#x153;The chance of developing dementia increases significantly with age. One in 14 people over 65 years, and one in six people over 80 (UK), has dementia. Dementia often starts with shortterm memory loss, but it can also affect how people think, react and speak. The simplest activities such as shopping, using public transport or even walking can be a challenging task. However it is possible to be diagnosed with dementia and still have a healthy, happy, independent and dignified life. How might we offer support to sufferers helping them to stay longer in their communities, relatively independent, and also to their families?â&#x20AC;? REBECA TORRES CASTANEDO

postgraduate framework 2015/16 153

â&#x20AC;&#x153;My research approach ... represents an opportunity to explore collaboration, to co-create with the people directly involved in these issues, and so to find new pathsways for delivering and receiving improved wellbeingâ&#x20AC;? 154

major project

postgraduate framework 2015/16 155

MA Communication Design: Graphic Design

pgf

http://www.kingston.ac.uk/postgraduate-course/ communication-design-graphic-design-ma/

MA Communication Design: Illustration http://www.kingston.ac.uk/postgraduate-course/ communication-design-illustration-ma/

MA Fashion

http://www.kingston.ac.uk/postgraduate-course/fashionma/

MA Product & Furniture Design

http://www.kingston.ac.uk/postgraduate-course/productfurniture-design-ma/

MA Sustainable Design

http://www.kingston.ac.uk/postgraduate-course/ sustainable-design-ma/furniture-design-ma/

PAUL POSTLE COURSE DIRECTOR MA COMMUNICATION DESIGN: ILLUSTRATION p.postle@kingston.ac.uk FACULTY OF ART, DESIGN & ARCHITECTURE KINGSTON UNIVERSITY KNIGHTS PARK KINGSTON KT1 2QJ

THE DESIGN SCHOOL POSTGRADUATE FRAMEWORK 15 / 16