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processfolio ~ Antwerp
RESEARCH BODY THE BODY AS CONTRERROR ANTHEM SEMINAR INBOX SKETCH 9 BOOKS
4 22 52 58 76 90 100 108 114
word This book is a conclusion to my work at Sint Lucas University that was carried out during my Erasmus exchange 2014 January 14- June 30. The projects were devided between studio, classes and a workshop. For the bachelor Graphic design studio I had to pick a main theme - chaos, and work in its direction through research. A main project of my own direction and decisons had to be made, as well two fonts (classical, working in fontlab and musical, free form) and this processfolio. There were three classes: interface design, Nodebox, drawing and sketching. From all of them I included only the last one: “the body as� research and two sketchbooks. Masters workshop was held 2428 of March, a quick assigment to work with data visualisation in Nodebox.
~ Pijus Kibildis ~
Special thanks to Lieven Menschaert for helping with processing issues in the main assignment and to Riikka Koistinen for helping with photo documentation.
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frank hÖhne
Too empty or too full? Layers, chaos, error. Although harmonised. Various styles and sizes. Collage with its own set of rules, creating a closed univers without any possibility to escape. Frank Höhne works as an illustrator. He rarely works with a plan. Most common approach: work quickly, intuitively, and spontaneously, and always with a quirky and easygoing sense of humor. It’s this combination of idiosyncratic humor, refreshingly childlike spontaneity, and down-to-earth nature that has allowed Höhne to quickly establish himself as one of Germany’s leading illustrators.
Text from “Gestalten” interview in 2013 vimeo.com/gestalten
research
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pink mania
No limits. No stereotypes and fears. Grotesque and fascination. Hysteria, pink mania, a fetish, the skin. One colour. A hectic rhytm of the video reflects the fever of individual in the global and weird world. There aren’t any limits of binging and inequality. Asexuals, beggars and artists face one other, time vanes and speeds up. Feelings of alienation and bystanding are present. Text from “Pink mania” description. vimeo.com/jennihiltunen
research
jenni hiltunen
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fear
Darkness and arrogance. Fear. Chaotic reflection of one’s identity. Collage technic exploited to destroy our understanding of our ego. Is it the way we think about ourselves that makes us vulnerable? Or misguidance is just a point of view.
research
miguel leal
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copy
takanito yasuda
god who?
Desperate attempt to preserve during chaos results into disturbing absence. But even without being available at present, the content is still visible. Vacuum does not meen absence of an idea. Absence is content on its own.
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research
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The process is spontaneous: it is not directed or controlled by any agent or subsystem inside or outside of the system. It is often triggered by random fluctuations that are amplified by positive feedback. Esentialy, there are three basic ingredients: strong dynamic non-linearity, balance of exploitation and exploration, multiple interactions.
self organisation theory Self-organisation theory has references to the butterfly effect and fractal theories. According to the butterfly effect, small changes in one place can result in large differences in a later state. For example: a flap of butterflies wings in brazil can cause a tornado in the United States. The fractal theory is based on an idea, that simple shapes through multiplication can create diďŹƒcult structures. It is the same from from near as from far. A detailed pattern repeating itself. The idea that links these theories to self-organisation is being based on simple rules, though behaving in complicated ways. What is more important: these rules have a property - feedback. It is generating and regenerating itself without any influence from the environment. The influence only can change course, but it does not stop the process itself.
Z2+C
Each output becomes a new input. The system in this way works endlessly.
research
Z
resonating nostalgic lyricism
research
“I find the digital culture very depressing for its lack of materiality, for the way it flows away. It creates some sort of universal amnesia, it seems to me. When I started practising collage, I felt we are living in a world with a saturated, super saturated culture of images. But now, of course we live even more extreme. And I felt there are too many images in the world already. I did not want to add any new ones, I thought it was intresting just to look at the ones we already have.”
john stezaker
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“Sometimes I am very drawn to the images that are pulling apart. And same times I am more concious of being together and unifying. And anything I can say about that moment, when I know that it is wright, it is a moment when I am some how not present. It is there in front of me, and it is necessary, and I see it. And thats the end of it.”
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Text from “Gestalten” interview in 2014 vimeo.com/gestalten
research
“Living in a culture of images is also to live in a culture that is essentialy divided and fragmented. I am trying to use collage as some kind of healing process, to bring back together. Of course, sometimes bringing back together can be purposterous and seem comic. And that is part of the process. It is the feeling that some things can never be reconciled. The way the comodities have turned over is the way of us to constently forget the material form. That desire in acient christian art to touch the icon, to have a material sence of the icon is worthy as presence - it seems lacking in our culture.”
“There is a story that I am not aware of. I guess I am looking for a reason for this all. Why there is this multiplicity of images? Why? I guess it’s the idea that embedded in our culture there is a mythology, that we are some how unconscious of. And we were intentionally made uncocious through the bombardment of images.”
I GUESS I AM LOOKING FOR A REASON FOR THIS ALL. WHY THERE IS THIS MULTIPLICITY OF IMAGES?
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plumb
research
A continuous vertical freehand digression. In the movement all is blurred, nothing is obvious enough to comprehend. It looks like a chaotic collection of misfortunes, although it has a clear system in its movement.
caleb wood
the vitruvian man
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Vitruvian man. It is a drawing created by Leonardo da Vinci circa 1490. It is accompanied by notes based on the work of the architect Vitruvius. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square.
research
The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Vitruvius determined that the ideal body should be eight heads high. Leonardo’s drawing is traditionally named in honor of the architect.
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annegret soltau
Transgenerative. The artist tears apart the male and female body parts and genitalia and redistributes these photo fragments among the members of the family: mother, father, daughter and son. This reveals and sustains the many connections between the family members – at the same time as it questions them.
research
patatap.com
colorimĂŠtrie en mouvement
A systematic movement of graphic colours. The movement is tied to the sound, thus an unexpected system is born.
research
nicolas mĂŠnard
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chad wys
Text from “The hundred in the hand” interview.
research
“Someone recently wrote that I am more of a “con artist than a real artisan”. That particular person, I think, had such an aversion to the digital medium — and perhaps to any art that fails to live up to his personal criteria — that he felt “lied-to” and, even worse, “robbed” of something deeply valuable and personal. I think that statement was meant as scathing criticism, but I find it quite apropos and honest. Digital manipulation is all around us: in advertisements, where models are brushed to perfection; in the movie theater, where impossible actions come to “life”; in the increasing distrust people have for digital photography, through which anyone can alter anything and present it like a reflection of reality. No wonder folks feel “lied-to”.”
Chaos is vacuum. Vacuum created by error. And it is feared. The fear of absence and of uncontrolled error is relevant and obvious. The way that was decided to handle it was to try creating systems, general truths, tabu. Through them, the emerge of vacuum can be avoided because of a belief, that errors do not deny the existence of these rules. Desperate hope of a bigger plan. As if existence can only be possible in order.
One of these ideas - the Vitruvian man, a mixture of idealism, math, universal laws and flesh. As an opposition to chaos, the ideal proportions were and are a keen, and at the same point naive idea on handling imperfectness. The riddle lies in the amount of positivism given to this thought.
concept
The idea of the project was to take and destroy idealism through exploiting one of its rules - the Vitruvian man. It is not a decision to rebel against unconciousness, the abscence of ironic point of view - it is an attempt, to exclude the idea of irrational enjoyment of being something in the middle to the etalon of our own twisted idealism. Theis thought acts like drugs: it is not needed, although we convince ourselves without questioning. A misantropic point of view.
An intercative instalation should be made. The participant should hope, that while acting in the instalation he will get a remark that he looks almost like an ideal. But that is not going to hapen - he/she is going to be perclaimed as something not even near the well recognised iconic vitruvian man.
The project is a system generatig numerous variations of the vitruvian man in collage style. The illustration is built from seperate parts. The whole system is made interactive - through projector the interface of the system is projected on a wall. When the person stands in the centre where random collages appear, the system using kinect camera recognises the participant, generates a personal man/woman illustration, and concludes that the person is not perfect. Also, gives a numeric value from 1 to 99 how much far from the ideal the person is. After the interaction a ticket can be printed for the participant. to have a constant reminder, that at some point in his/her life, he/she was out of proportion. The name of the project is “Body�.
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first thoughts
I decided, that the best suitable approach for the concept to be fullfiled, was to create a generative collage. The parts of the body should change independetly and variations should be generated. Each output should be a recognisable human body in a vitruvian-like pose. In conclusion, a skeleton had to be made, that would be flexible enough for the parts to change without losing recognisability. While narrowing my approach to using only seperate body parts drawn in the same stylistics, I decided that the final illustration should not mimic the original vitruvian man. So instead the collage should give only an impression of the original in a way, that it should have less parts and that the parts should be in more varied poses and gestures. While thinking about the skeleton, I decided to use these parts: one head, one torso, one waist, two postions for arms on both sides. But, instead of two, I decided to leave only one position for each of legs. As well I took into account, that the system should not make any difference between men and women.
do i want to create a grotesque reflection of the reality, or do i want to create a new universe?
one head four arms
one torso
sketch
one waist
two legs
the skeleton should look like this
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15
10x10x10x10
15
15x15
15
15 15 10 10 10 10 15 15 15
Right leg Left leg Right arm (position 1) Right arm (position 2) Left arm (position 1) Left arm (position 2) Head Torso Waist
The amount of body parts selected for the collage is not random. For each position there were selected 15 parts, except for the arms, as there are two positions at the same spot.
process
The amount of variations that can be generated using this amount of parts is more than 7,5 billion - almost exact number of people living on earth. Each person can have his own individual illustration.
body parts
THE SYSTEM GENERATES 7’593’750’000 VARIATIONS OF THE VITRUVIAN MAN
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sex
While drawing the parts and building the system it occured that at some point the sex of the figure is excluded. The idea why it is not there was to avoid the explotation of cheap and wellknown provocative details. Or at least avoid charges, that can be referred to due to our post-modernistic society. As if the project tries to get some attention. The sex of the figures was also avoided because it was concidered no importance to the idea of the instalation. As the main attention should go to the figure, and not to the sex. But there are obvious differences between mail and femail torsos. The sex of the figures is not avoided, only the sexuality. Why is it not there? Because of shame? Because of equality? So that the participant would not get disturbed by obviously wrong conclusion on sex? That the instilation would not be then regarded as nonsence as it is lying?
process
The problem with freudism is that even when trying to avoid it, in the end it is encouraged. To this aspect in this project there is no answer, as it was excluded from the beginning, but the question (not the problem) remains.
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workow a.k.a. building the system
cut out separate parts, no background
export each part to separate svg files.
build the system of the skeleton in nodebox
import them into adobe illustrator, vectorise
clean the parts, for some leave the filling inside the shape
process
scan the 'body' sketchbook
The amount of technics and software used for creating the interactive collage was vast. Drawing, scaning, editing the scans in Adobe Photoshop, vectorising it in Adobe Illustrator, importing it to Nodebox where the whole system is built, processing files for adding cinect camera to the system, etc.
import svg files on the skeleton
additional repairs and the system works
33 As the whole collage of the vitruvian man is built from numerous parts, it is essential that the whole visual does not get too messy and thus unrecognisable. Cleaning and giving the same stylistic approach through lines and fill to all parts would help resolve the complexity without loosing the esthetics. Final solution is to give some parts filling, so that the generated collage would have a layered structure, but leave some of them without the fill in order to have them overlayed. The line is left with different width, in order no to loose drawn esthetics.
style of the vitruvian man
no same lines some filled, some not
no same lines all filled
same lines no fill
same lines some filled, some not
same lines all filled
sketch
no same lines no fill
the vitruvian man The system generates multiple variations of vitruvian-like men and women. The pose in which each is standing is different from the original, as it is not essential. The collages are only trying to mimic the original, but they are not able to be one, they are determined to be something different than the ideal.
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detail
36 For a projeckt to have a “face”, it is needed to construct an identity, or at least the basic parts. The decision was to create a logotype. The name is “Body”, as in the centre of the project we have the “Vitruvian man”, an ideal body. Also, it gives a reflection to the bodyparts, from witch the interactive illustration is built.
use a typogrphic approach? hand-lettering? font? geometric-vector?
letters must look good together and separately each letter should reflect some part of the body
muscles
hair
bones
body parts
sweat
find the form of the letters
sketch
should the logotype be animated? that each letter has four variations in each principle: muscles, body parts, hair and bones? maybe the letters should even have multiple positions in the logo itself
logotype
At one point, there was a thought, that maybe the logotype needs to be kinetic and the letters should change the composition and style through animation. But this idea was rejected during the process.
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First sketches of the logotype featured all four selected principles: muscles, body parts, hair and bones. The idea was to bulid a form, that looks organic, but does not lose its geometric form in a uncontrolled way.
first logo redrawn from the cover of the body part sketchbook
not clear too baroque letters need a stable shape
sketch
wanted form
body part muscle
bones hair
38 B
B
O While working it became clear, that it is best to use only body parts for the typographic design of the logotype, as other forms (like bones, muscles, etc.) do not reflect in any way the style and the idea of the work itself.
tatoo?
D
As well with concluding with one approach to hand-lettering, the idea of animating the logo became irrelevant.
sketch Y Y
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detail
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final
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logomark man
how the original looks like
circle
square
scheme
upper part
lower part
what makes a vitruvian man recognisable? four arms four legs human posture geometric shapes
proportions !!!!
The idea was to make a minimalistic icon of the “Vitruvian man� ,as it has most direct ties with the concept itself. But the idea was turned down, as the minimalistic approach will not work with the style of the illustrations As well, the usability of the icon was questionable, as the typeface carries out the message on its own.
sketch
While creating the letters, there was an idea that the logo should have an iconic mark.
font & text
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Text in the instalation is crucial, as it has to give clear instructions to the participant of what to do. What is more important, instalation later concludes a statement, which is the main idea.There are three groups of text in the interaction: CINETIC HIDDEN STATIC VISIBLE
Cinetic text is visible before the interaction takes place. It moves synchronised with the vitruvian generating part, but its order is also unsettled. Its purpose is to give an impresion to the participant what is about to happen. The text disappears when the collage stops.
process
"YOU,ARE, BEAUTIFUL,UGLY, PROPORTION, OUT OF, POSE, OWN, MAN, VITRUVIAN, LIKE, THERE ARE, DO NOT, STRESS, BUT, BY"
Font used for both: interaction and ticket layouts.
Acid
ABCDEGHIJKLM NOPQRSTVZXYW abcdefghijklm nopqrstuvzxyw
Static text is visible before the interaction takes place. It informs the participant what needs to be done in order to start the game. The text disappears when the collage stops.
"POSE IN FRONT & WAIT FOR YOUR OWN VITRUVIAN MAN"
Hidden text is visible only when the interaction takes place. It changes from kinetic text, to give the impression as if the system stopped for a moment. The text concludes the cruel reality of the participant being ‘out of proportion’ and gives a numeric value, which can change, but does not depend on the person using the interaction. This text is printed on the ticket, and after a while switched back to kinetic text.
YOU ARE OUT OF PROPORTION 73 BY % BUT DO NOT STRESS, THERE ARE MORE LIKE YOU
44 Geometry shapes and their position is one of the symbols that make the Vitruvian man recognisable. That their usage is essential in odred fot the paralel to be visible. Through experimenting and different approaches, the decision was to make the shape in the same drawn stilistics, as the collage itself. Also, to make more than one of each of the shapes, so that they could be animated in the same stop-motion style.
detail
shapes
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detail
process of the interaction
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Animation. At this point the participant sees the projection on the wall. His sight is cought by the animated collage in the middle and generated unrational text on the side. The system works on its own.
animation goes on and on and on and on
Posing. The participant tries while standing next to the wall to mimic the vitruvian man: his/ her arms and legs are streched. The system is still animated for a short amount of time.
fades out
process when the participant stands in fornt the animation still continues for a while text animation as well
take time into account !!!!!
47 The key while solving the process of the interaction was to make it as simple and obvious as posible. No unneeded details on the interface, the process is simply controled and manipulated without any effort from the participant. The whole process of the interaction is divided into four chapters: animation, posing, evaluation, repeat/printing. Evaluation. The participant walks aside, to see what has changed while he/she was standing infront of the cinect camera. The system is freezed, the collage is standing still. On the side a text appears and gives a negative evaluation of the participant in a positive maner.
the participant walks away from the wall suddenly the animation stops for some time
text concludes how much ugly the participant is, gives an evaluation
Repeat/printing. After some time the system starts working again. Animation starts, waiting for another person. In the mean time, the system creates a ticket with the generated collage for the last participant. The ticket is printed out.
process
system starts animation again, repeat from step one the system prits out a receipt
layout of the interactive instalation
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final explanation of the interaction
animated generative collage and shapes
animated random words
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The interface is made from text explaining the interaction, the generated collage, animated in stop motion style, animated random words and the logo of the project. The layout is designed to be clear for the participant while using the instalation.
The system after the interaction saves a ticket, that can be printed out later. The design of the ticket is different from the layout of the interaction: the text and the logotype are more emphasised, as well the calculated value of being not ideal.
final
canged text, when the animation stops and the interaction takes place
ticket
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final
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instalation at work
final
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artwork
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artwork
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artwork
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artwork
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artwork
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Variation of forms and shapes in letters we have in the western alphabet today is just a matter of fortune-misfortune. The process that took centuries to clear out the final shapes was just a matter of hand movement and luck while stylising the archaic symbols. Our letters, possibly, could have been retouched in a such way that we would not be able to recognise them in the current cultural context. While working with the typeface, I decided to dismiss the issue of the cultural context, in order to create readeable letters, and focus on the shapes and lines that are creted within letters with the movement of the hand.
concept
The idea is to rebuild the letters by using basic shapes and forms that are found in typefaces. The shapes had to be cut out and standartised from numerous typefaces. Also, while building the letters, it was essential to allow the multiplicity of variations.
A system in Nodebox was created, but in a way, that it only suggests the shapes and the combination, a resemblance of modificcations through history. But, as any modern type, it still has to have a “face�, a general esthetic system within. That is why it can not be left only to the system, it still needs a working hand and human evaluation. Each letter in the typeface has three variations, that can change in between while typing. Letters are mixed in forms and shapes: upercase, lowercase, different x height (but standartised to three heights). Letters are built from shapes of other letters, thus having a continious collage-like font, that has a systematic approach in creating the shapes.
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first thoughts many variations of same letters, should i destinct them and use one or use all of them
added
use lowercase letters as a variation of upercase letters
sketch
the whole font looks like a mixture between scandinavian runes and egyptian heroglyphs
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used typefaces
Replica Pro ABCDEGHIJKLMNOPQRSTVZXYW abcdefghijklmnopqrstuvzxyw
Intro Black caps
ABCDEGHIJKLMNOPQRSTVZXYW
Brandon Grotesque
ABCDEGHIJKLMNOPQRSTVZXYW abcdefghijklmnopqrstuvzxyw
REX BOLD
ABCDEGHIJKLMNOPQRSTVZXYW
Acid
ABCDEGHIJKLMNOPQRSTVZXYW
abcdefghijklmnopqrstuvzxyw
Meta Pro
ABCDEGHIJKLMNOPQRSTVZXYW abcdefghijklmnopqrstuvzxyw
BEBAS NEUE
ABCDEGHIJKLMNOPQRSTVZXYW
process
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first experiments Before building the system, first tryals of the idea itself were carried. The letters cretaed look like a grotesque collage, with out the same line width, x height or any other parameter. Although the experiment showed, that a high variation of letters is possible.
process
parts
64 To avoid grotesque esthetics and for the letters to look like from the same font family, all the parts that were cut out had to be redrawn with the same line width. The selected parts were those, which best reflect the difference in the movement of the hand while writting. Straight lines, curves, hooks, junctions, bellies, unique parts etc. The variation of the parts needs to be high.
process
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process
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nodebox font generating system
frame 30
frame 45
frame 105
frame 120
frame 135
frame 195
frame 210
frame 225
process
frame 15
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For generating multiple variations, a nodebox system was created. A librarie of all the parts was added and then the generation was left without any kind of control.
Although, it has to be taken into account, that the system only suggests the shape and the combination of letters, it does not create them. A human hand and selection has to be part of the process of creation.
frame 75
frame 90
frame 150
frame 165
frame 180
frame 240
frame 255
frame 270
process
frame 60
contrerror font
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final
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final
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Mostly, while building the letters, the process strongly relied on random combinations of results, as high varation, in order to achieve unorthodox stylistics, was intended. Although, the shapes of the letters had some editing in order to have a settled and controled shape.
how the letters are built
process
three letters The typeface is programmed in fontlab to have separate classes: there are different letters shapes gathered in three groups. Each letter has three variations, different in height and parts from which it is built, but similar in style and character. Typing goes through randomisation: if the word has more than one same letter used, then ir begins to change.
detail
TH2I3 SFO2N3TI S2 AL2M3OS2T3 US2A3BL2E3 HE2NE2E3DS2MO2R3E GL2 Y3PH2S3 BU2T3 HE2DO2E3SNO2T3 CA2R3E WH2A3T OT2H3ER2FO2N3TS2 SA2Y3 HE2KN2O3WS2 HE2I S2BE2A3UT2I3 FU2L3 AN2D3 HE2LO2V3ES2 HI2 M3SE2L3 F JU2S3T TH2E3WA2Y3 HE2I S2 HE2I S2SM2A3LL2 AN2D3 FI2 T3 HE2I S2PE2R3FE2C3T
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Although it is possible to type normal sentences, the font is mostly useful when working with typographic design with an open grid, as the shapes are unique and easy to handle while building posters, sentences, covers etc. The limits of the font are also explored while making the typography for the titles in this publication.
detail
usability
posters
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final
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final
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Anthem is part of a societies national identity. Its purpose is not only to give meaning to the society it relates to, but also to seperate it from other nations and give them a clear identity of oneself. As normal as it sounds, anthems for foreigners are not understandable: they hear just a mixture of sounds and words. But not the meaning. The only way to understand it is through melody: this way foreigners can get the understanding, that it is important to the people singing it. Although it is still clear, that they are not in the context, as it is not ment for them. As the words of the anthem are not recognisable, the idea was to create a non-readable font, that would have its own language. The words they can not be decoded in any cryptologic approach, as the language was not made by it. For creating the letters, a similar approach as in contrreror font was taken: building letters from various parts by joining them with random logic. 26 hieroglyphs were created that have type esthetics.
concept
The chosen anthem for regenerating was the Lithuanias national anthem. Lietuva, Tėvyne mūsų Tu didvyrių žeme, Iš praeities Tavo sūnūs Te stiprybę semia. Tegul Tavo vaikai eina Vien takais dorybės Tegul dirba Tavo naudai Ir žmonių gėrybei. Tegul saulė Lietuvoj Tamsumas prašalina, Ir šviesa, ir tiesa Mūs žingsnius telydi. Tegul meilė Lietuvos Dega mūsų širdyse, Vardan tos Lietuvos Vienybė težydi! Words are rebuilt using new letters. But in order to have a visual reflection of the sound and meaning of the words, the font needs to have textures. Eight textures were created while thinking about the emotions and values the anthem tries to reflect. Textures were added as a background to the anthem itself, as they are a subjective interpretation of the words themselves. Adding the textures was done through subjective decisions in order to achieve illustrative esthetics and not to rely on a uncontroled system.
The approach to the idea is similar to Codex Seraphinianus, where an unreadable language is simultaniously used with illustrations and schemes. Although we can relate and have some kind of ideas what the codex is about, any kind of depth analysis is imposible do to unbrakeable decoding.
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codex seraphinianus Codex Seraphinianus, originally published in 1981, is an illustrated encyclopedia of an imaginary world, created by the Italian artist, architect, and industrial designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long (depending on edition), and written in a strange, generally unintelligible alphabet. The book is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and fantastical flora, fauna, anatomies, fashions, and foods. The illustrations are often surreal parodies of things in the real world: bleeding fruit; a plant that grows into roughly the shape of a chair and is subsequently made into one; a lovemaking couple that metamorphoses into an alligator; etc. Others depict odd, apparently senseless machines, often with a delicate appearance, kept together by tiny filaments. There are also illustrations readily recognizable as maps or human faces. On the other hand, especially in the “physics� chapter, many images look almost completely abstract. Practically all figures are brightly coloured and rich in detail.
research
how the letters are built
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The letters were built in the same approach as in contrerrror font. Mostly, anthem font letters are those letters from contrreror, which ar not readable and look like hieroglyphs, but still have the esthetics of a letter.
process
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Eight textures were created for the feelings the anthem tries to evoke. Selected emotions: security, historical pride, sadness, glory, joy, agressiveness, power and boldness. Textures are creted by combining both geometric and illustrative styles with a carefully chosen colour scheme. Each texture reflects a selected emotion: blue waves for sadness, red rectangles for boldness, yelloww sun beams for glory, green grass for security, orange brics for historical pride, yellow free shapes for joy, grey knuckles for power and red fire for agressiveness.
sadness waves
boldness rectangles
glory sun beams
security grass
historical pride bricks
joy free shape
power knuckles
agressiveness fire
The textures are added to the anthem in a free way, depending on the melody and the meaning of the words.
detail
textures
anthem font
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final
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final
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detail
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detail
anthem without textures
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detail
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anthem with textures
final
posters
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final
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final
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artwork
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artwork
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artwork
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artwork
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artwork
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artwork
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artwork
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Our relationships with other individuals are reflected in the way we communicate. For each person we use similar, yet different approach, as it depends on the context, bondind, status, type of relationship etc. That is why we instinctively use different levels of formality, different words to express same ideas. As well known, Facebook is a huge forum. People are individualy chating through inbox messages and the topics can go from meaningless to discussions on relevant topics, and the expression from argument to joking. As an internet platform, Facebook inbox gives a possibility to use not only text messages, but links to other websites, photos, videos, emoticons, voice mail etc. The type of messaging used also defines the quality of our communication.
concept
The idea was to use my Facebook inbox data to find out my patterns and relationships with the people I am writing to. The data is divided into two main parameters: type and quality of communication. Types are texts, links, files, emoticons etc. Quality: using curse words, compliments, good and bad smilies, formal words and so on. All these parameters are used to get the final scores of data. There are three levels of information: I (my communication), YOU (how the other person replies) and WE (intensity of communication). From this approach a decision to create a fixed module was made, which is later manipulated with data.
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first ideas of data visualisation While thinking about the final infographic visualisation, in the beginning a decision to create a adaptable module was made. Multiple modules would be used to create the final visual system. Although first thoughts were about creating a circular infographic compostion, the idea was turned down to its lack in originality. Other ways of manipulating the module in various compositions were taken into account, until a final decision - a linear infographic visualisation was made.
module my
sketch
intensity
communication
other
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module
The module is built in a way to reflect the information used in different levels. The data from facebook inbox is devided into three groups: my communication (I), facebook friend’s communication (you) and intensity of communication (we).
facebook friend's communications other person's recobnisability score
intensity of communication the amount of given information
the amount of messages
formal-informal relationship score
my communication
detail
bonding score
facebook friend cold relationship
warm relationship
Each level sums up the used data to have an objective value. The visualisation of each part is made to be understandable without the need for the participant to look at the legend. The module also has colour values, which reflect the quality of the communication seperately for both - my communication with the person, as well the other persons communication with me. The module is used as a main building block when creating the final visualisation of the poster for the master workshop.
DO I KNOW EVERYTHING OR IS HE A MISTERY ?
inbox Final visualisation of the infographic consists of seven visualised communication modules. The individuals from facebook were picked randomly, retrieved data was visualised by the selected parameters in the system and after some editing grouped into one visualisation. Between the individuals a high variation is visible, as the quality of communication is different. It is even visualy obvious, that even the quality of my communication and the quality of feedback from the same person is different (via colours).
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detail
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poster
final
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artwork
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artwork
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artwork
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artwork
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processfolio ~ Antwerp