Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
The Start In the beginning, the main intension was to explore the shape under different aspects like space, time, rhythm, motion, light, transparency etc without looking into any particular meaning or specific ideas. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Small clay animation, cube turning into sphere MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Exploring transparency MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
If ripples were squares... MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
When I tried with the mind mapping, the foremost thing that came to mind on square was grids. Whenever I see square around myself, they reflect a very rigid, static, equal form which relates completely to graphs, scaffoldings etc. I started to explore the graphs through various mediums and forms. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Exploring on a scanner with the lid open MA Graphic Design, Full Time
Unit 1.1
Exploring on a scanner with the lid open & moving the paperpaper while scanning Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Going ahead with graphs and feeling of being in rules and measurements which squares always depicted, I started to explore typography as it always consist of measurements. I used small square papers and arranged them in different letter forms
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
In this process I realised to make the letterform smoother and leave behind the square feeling I started adding more squares. It slowly resembled the LCD/LED displays, and also the pixel system in digital design. The more the number of box, the smoother it gets. I started looking at all the LCD/LED display signages other digital designs with pixels around me. Got most of it in the tube, bus and train stations. It looked quite the same as I was actually exploring. MA Graphic Design, Full Time
Unit 1.1
Image 1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Getting more interest into this form of typography I went deeper into the exploration and started experimenting with small paper and polystyrene cubes (just tried to explore the 3D form of the earlier experiences) MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Exploring with different letterforms, one interesting aspect of the 3D form I got when I started to complicate the shape with more cubes to make it look smoother like I did with the square papers, was it looked different from different viewpoints, from one viewpoint (mostly from straight) it was looking the same flat letterform like the 2D shapes, but from other angles it looked distorted! While going out with the peer group for shoot on our respective shape (for typology), I came across another interesting aspect of squares in the environment. Square is a very common shape in the urban space. Buildings, doors, windows, street signs etc, we see square everywhere. But there are certain times when we see a square in abstract form. A square created by a number of different objects which can only be seen from a certain position and from other positions it may look completely distorted. A kind of illusion! I took different photographs and did a little study, trying to relate it with my earlier exploration. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
“...there is a certain degree of deception; for were artists to give the true proportions of their fair works, the upper part, which is further off, would appear to be out of proportion in comparison with the lower, which is nearer; so they give up truth in their images and make only the proportions which appear to be beautiful, disregarding the real ones.� Plato, Sophist, 235-36
Getting a very interesting point to explore, I started looking into different books and websites (trying to find examples where the form had a specific look from one viewpoint and distorted from other) To look for this type of existing works I started searching with illusions with basic shapes, and I straightaway landed on the works of Felice Varini; A famous Swiss artist who was nominated for the 2000/2001 Marcel Duchamp Prize, known for his geometric perspectivelocalized paintings of rooms and other spaces, using projector-stencil techniques. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
Image 2 (all 6 images on this spread)
His paintings are characterized by one vantage point from which the viewer can see the complete painting (usually a simple geometric shape such as circle, square, line), while from other viewpoints the viewer will see ‘broken’ fragmented shapes. I also went through an interview of Felice Varini, interviewed by Gil Dikel on the internet where he spoke about his style of works, the use of nature, environment and the unique vantage point from where people could see the artwork undistorted. It was also very
MA Graphic Design, Full Time
Unit 1.1
clear that he does not want to use this form of art as a strong medium of visual communication, instead he wanted to use it more as a source of self expression and beauty. I am mentioning some important portions of the interview. Gil Dekel: : Your works have only one view point, or a vantage point, from which the viewer can see the complete painting, usually a simple geometric form (a circle, square, triangle). From other view points the viewer will see ‘broken’ fragmented shapes. Is the issue of view point important to your work? Are you trying to encourage the viewers to stop and contemplate on how they see things around them? Felice Varini: No. When I begin to paint I never think about the viewer. The viewer does not affect the way I start the work. The viewer will become part of the work once it is done and he can watch the painting. Even then I can not tell you what he will see, because I do not know where he is standing and what is the view point from which he is watching the painting. I start my works from one vantage point, which is simply the height of my own eye level. This is only a starting point,
Manosij Sarkar
Design Literacy | VIsual Research
a way to begin. I plan the work using sketches, pictures, camera, or just in my head. Gil Dekel: You would not want the viewer to become aware of the ‘complete’ shape from the ‘right’ vantage point? Felice Varini: No, I am not worried about that. Everyone knows how a circle or a square looks like. My concern is what happens outside the vantage point of view. Where is the painting then? Where is the painter? The painter is obviously out of the work, and so the painting is alone and totally abstract, made of many shapes. The painting exists as a whole, with its complete shape as well as the fragments; it is not born to create specific shapes that need to satisfy the viewer. Text 1
MA Graphic Design, Full Time
Unit 1.1
Image: 3
Image: 4
Hans Holbein the Younger is well known for incorporating this type of anamorphic trick. His painting The Ambassadors now a collection of National Gallery, London, is the most famous example for anamorphosis, in which a distorted shape lies diagonally across the bottom of the frame. Viewing this from an acute angle transforms it into the plastic image of a skull Manosij Sarkar
Design Literacy | VIsual Research
Text: 2
Text: 3
The Skull is a very complex shape as compared to other anamorphic paintings, like William Scrots’s portrait of Edward VI and also there is no marked point in the painting from where the skull can be seen in a complete undistorted form. MA Graphic Design, Full Time
Unit 1.1
Image: 5
One of the most popular anamorphic portrait. Painted by William Scrots (Edward VI. 1546, oil on panel, Collection National Portrait Gallery, London) When the painting is viewed from the front it looks completely distorted, but on the right side of the painting there is a hole to see through. By looking at the portrait through the hole, the distorted perspective is corrected to reveal a coin like portrait of Edward VI, suspended in a fantastical landscape. Manosij Sarkar
Design Literacy | VIsual Research
Image: 6
MA Graphic Design, Full Time
Unit 1.1
Image: 7
Andrea Pozzo’s painted anamorphic virtual dome in the Church of St. Ignazio.
Image: 8
During the 17th century, Baroque trompe l’oeil murals often used this technique to combine actual architectural elements with an illusion. When standing in front of the art work in a specific spot, the architecture blends with the decorative painting. The dome and vault of the Church of St. Ignazio in Rome, painted by Andrea Pozzo, represented the pinnacle of illusion. Due to complaints of blocked light by neighbouring monks, Pozzo was commissioned to paint the ceiling to look like the inside of a dome, instead of actually constructing one. However, the ceiling is flat, and there is only one spot where the illusion is perfect and a dome looks real. Manosij Sarkar
Design Literacy | VIsual Research
After looking into the history it was quite clear that anamorphic illusions were used not only as art, it had some specific purposes. They used to convey a lot of messages; every piece of artwork had its own way of hiding secrets and conveying information. Anamorphic visuals were very wisely used. I tried to look for the commercial use of anamorphic art in contemporary period as it can be used as a very strong communicating medium. MA Graphic Design, Full Time
Unit 1.1
Image: 9
Manosij Sarkar
Design Literacy | VIsual Research
Way-finding-system for the Eureka Tower carpark, Melbourne. The distorted letters on the wall can be read perfectly when standing at the right position. Done by designer Axel Peemรถller with the Australian designing firm Emery Studio. MA Graphic Design, Full Time
Unit 1.1
Image: 10 (All images on left page)
Manosij Sarkar
Design Literacy | VIsual Research
Subscriptions page for Creative Review magazine by Craig Ward; -bringing life to the line ‘Make Creative Review a part of your world’. Inspired by the work of Felice Varini, this was created using just fluorescent tape.
MA Graphic Design, Full Time
Unit 1.1
Image: 10
Manosij Sarkar
Design Literacy | VIsual Research
I also found some examples of anamorphic art on the cricket fields. The advertisements on the ground are made in such a way that when we see the cricket match on the television, the advertisements look as if they are erect on the ground, but from any other angle it looks distorted.
MA Graphic Design, Full Time
Unit 1.1
I collected some hand painted street advertisements from India. While painting on the walls, the painter have to deal with the pillars where they paint it in such a way, if we see it from the front we won’t be able to see any kind of distortion in the artwork due to the pillars, but if we see from either sides, they look distorted. Simple use of anamorphic art. Manosij Sarkar
Design Literacy | VIsual Research
Towards Output After going through the explorations and secondary researches, it was very obvious that anamorphic style of art can be strongly used in visual communication as when they are used in a proper way they can be very communicative and visually attractive. As an outcome of my research I was very keen to design a 3D anamorphic typeface which can convey different meaning from different angles, and which can be used in various modes of visual communication. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | VIsual Research
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
Design Literacy Output On course of my outcome, of 3D anamorphic typeface, I tried to explore the typeface in details, and breaking down different letterforms into its basic with squares, so that I could experiment it with 3D and with different viewing points (vantage point). And I also started to relate it with the earlier letterforms that I did in visual research with paper squares. For my first experiment, I tried to create a single alphabet, which from one view point (i.e. straight) will look like a flat square, and from another side (I tried to make it 45 degree angle) the alphabet will be visible. I choose uppercase ‘M’ for the experiment. The procss I followed was quite simple, First I started with rough sketches, when I came up with a basic idea I recreated the drawing in 3D software (3Ds Max) to get the exact measurements and viewing it from different angles. I used basic cubes to keep the measurement simple. After obtaining the exact measurements, I created the model with card board. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
After the experiment, although the model was working, I could see some problems, the letterform was not much legible as I was trying to make it too basic. So I tried to add a little more legibility and smoothness to the letterforms. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
Gradually on the basis of my exploration, I tried to create a typeface which can be read in Uppercase from one side and lower case from another. And if we look straight, it will look like a flat square. As I was given square as my basic shape, I opted to keep the shape in my design and also make the final typeface which can resemble squares. After my last experiment, I have tried to add more squares (just like it was in the LCD/LED displays) to give the characters a little more legibility. The process was followed was the same, created the typeface in 3D software on basis of the sketches to get the measurements then made the actual cardboard letterform. MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
MA Graphic Design, Full Time
Unit 1.1
Manosij Sarkar
Design Literacy | Output
In the short span of time, I couldn’t create a complete typeface, the intention of the outcome was to show the concept of 3D Anamorphic Typeface through the single letterform. It can be recreated and modified into different ways according to the purpose. I want to carry out this project ahead to make the letterform more simple, legible and yet interesting. I still faced a few problems (uppercase and lowercase were getting mixed when viewed from one side, so I had to create a panel/ partition in between to keep them from getting mixed-up. Also there is no specific angle from which it can be viewed as a vantage point, I am yet to work on that aspect, the ‘X’ height of both the uppercase and lowercase are same at this moment) while working on it, I want to work further on it to sortout these issues and create a complete typeface. MA Graphic Design, Full Time
Unit 1.1 Bibliography Read asweb: <URL> (Date) book: Book name, Author. Page no; Location Image: 1
<http://www.listoid.com/list/100/ entry/1432> (28-2-2012)
Image: 2
<www.varini.org> (24-2-2012)
Image: 3
<http://www.wikipaintings.org/en/hansholbein-the-younger/the-ambassadors1533#close> (24-2-2012)
Image: 4
<http://www.newscientist.com/gallery/ dn16197-anamorphic-art/2> (24-2-2012)
Image: 5
Optical illusions and the visual arts, Ronald G. Carraher, Jacqueline B. Thurston. Page:30; LCC shelfmark: 152.148 CAR
Image: 6
Optical illusions and the visual arts, Ronald G. Carraher, Jacqueline B. Thurston. Page:31; LCC shelfmark: 152.148 CAR
Image: 7
<http://upload.wikimedia.org/wikipedia/ commons/3/30/Sant_ignazio_ceiling.jpg> (20-2-2012)
Image: 8
<http://arthistoryblogger.blogspot. com/2011/11/trompe-loeil-in-art.html> (20-2-2012)
Image: 9
<http://emerystudio.com/es_flash.htm> (24-2-2012)
Image: 10
<http://www.behance.net/gallery/CreativeReview-Subscriptions-page/345389> (24-2-2012)
*All unmarked images are my personal artworks or have been clicked by me.
Manosij Sarkar
Design Literacy | Bibliography
Text: 1
<http://www.poeticmind.co.uk/interviews1/i-am-a-painter/> (24-2-2012)
Text: 2
The Ambassadors’ Secret, John North.
Text: 3
The Ambassadors’ Secret, John North.
Page:125; LCC shelfmark: 709.024 NOR
Page:130; LCC shelfmark: 709.024 NOR
Books Referenced: 3D Typography; Jeanette Abbink & Emily CM Anderson. LCC shelfmark: 655.2 ABB
Eyes, lies and illusions; Laurent Mannoni, Werner Nekes, Marina Warner LCC shelfmark: 704.949152148 MAN
Dimensional typography: case studies on the shape of letters in virtual environments; Miller, J. Abbott. LCC shelfmark: 655.24 MIL
Handmade type workshop; Rivers, Charlotte. LCC shelfmark: 655.24 RIV
The Ambassadors’ Secret;
John North. LCC shelfmark: 709.024 NOR
Optical illusions and the visual arts;
Ronald G. Carraher, Jacqueline B. Thurston. LCC shelfmark: 152.148 CAR
MA Graphic Design, Full Time