Unit 1 1 input visual research summary

visual research summary

unit 1.1

i n p u t roshnee desai

CoNTENTS According to Russell Bestley’s book ‘Visual Research’, Research input can be generated by studying —

form

function

context

concept

So my input research and this book has been divided accordingly.

part one

part Two

part three

part one form

This chapter includes the study of the square* through: Space:

line, plane, mass, void

Time:

rhythm, order, motion

Light:

tint, tone, colour, saturation, transparency, opacity

*Square definition: I include cubes, boxes and all the different variations of the square.

Section 01

Experimenting with toys.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study sequencing, collecting and concentric squares.

1) Take square cups of ascending sizes 2) Line them up 3) Place the smallest into the next size, shoot 4) Continue shooting until you collect all of them in the largest cup 5) Sequence, animate and adjust saturation and burn in Photoshop

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EXPERIMENT

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: How can you create depth and ‘a draw-in’ effect?

1) Take square cups of ascending sizes 2) Keep the largest cup at the centre of the frame, shoot 3) Place and shoot each descending size into the cup until they are all concentrically placed in it 4) Sequence, animate and adjust saturation and burn in Photoshop

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EXPERIMENT

The eye tends to follow the yellow and red - the warm colours.

The cool colours are perceived as a background, maybe because the sky, sea and mountains are all cool colours and fruits and flowers, fire and animals are warm colours

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: What happens when you zoom out of colour?

How to use pace and pauses for drama and tension?

How do you make colour travel?

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EXPERIMENT

The eye tends to follow the yellow and red - the warm colours.

The cool colours are perceived as a background, maybe because the sky, sea and mountains are all cool colours and fruits and flowers, fire and animals are warm colours Also you tend to follow the dots inside the square

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

How do you make colour travel?

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

Playing with the time on each frame is the best way to achieve human and animal movement and rhythm, because nature is seldom rhythmic, it’s sudden and abrupt, changing pace at every point. One must observe and track this.

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1

How do you make a form acquire life-like characteristic like blinking using just rhythm and pace?

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

How do I show separation and unison through space and void?

- distance, more frames in between and the pace of each motion, the wait on each frame helps.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

- a complete form, when broken, the square looks like just a bunch of lines, its interesting to see the contrast between the form when its a square, the meaning and solidarity it holds, and by removing even one line, it seems to break down this structure - to show an explosion is the most tricky since the dynamics of each particle has to be tracked and it must look completely natural and random and yet show a source of impact.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

Studying various combinations of destruction and reconstruction using lines and void

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

EXPERIMENT

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2) If you invert colours in every frame, what does the final film look and feel like?

-has a jerky blinky effect, almost that of lightening

:

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

- add a few frames like pac-man and pixel games, they can be jerky movements and adding more frames can bring smooth movements

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1) How to make 2 squares travel in the void of a bigger square- what are the negative spaces formed?

â– // U N I T 1 . 1

Studies:

- There is an interplay between the masses and even though the orange is bright, once it overlaps the black, it disappears into it like a black hole

:

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

What happens to opacity and tone when I overlay a solid square with painted squares on paper and light it from the bottom? (right to left)

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

- When there are big shapes overlapping, they fight for attention because the orange is fiery and dominating and the black is a void

:

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

What happens to opacity and tone when I overlay a solid square with painted squares on paper and light it from the bottom? (bottom to top, left to right)

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

9B

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EXPERIMENT

EXPERIMENT

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- inverting the previous experiment, here the solid mass is white and hence doesn’t dominate the transparent lines as much.

It acts like a ghost eerily present in the environment.

So, black- dominating aggressively and usurping white- dominating subliminally and ghostly

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

2) Observing time and rhythm through -simultaneously passing layers from right to left and top to bottom.

-rotating a square layer on top of another

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1) How does the mass of the solid base square, the painted square masses and the mass of the paper interact when inverted?

â– // U N I T 1 . 1

Studies:

top and bottom lit

negative

only bottom lit

1) the rotation can be a spin when fast, a clock-ticking like motion when jerky and hypnotising when smooth 2) the hammering movement’s decisive point is the pause at the end of each stroke 3) the flow lines look like snake between pebbles or a parade between static crowds.

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1

1) Rotation 2) Jerky hammering movement 3) Flowing movement

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Experimenting with Shadows.

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Section 02

Textured glass on wall with torch -The negative texture forming on the wall - if the wall has a texture too, they will merge and create a ripple

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

EXPERIMENT

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Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

- the material inside the boxes move and has one dimension of movement -the square close to the wall is smaller and sharper shadow with second dimension of movement - the square nearer to the light is fainter and bigger, the third dimension - the actual glass slab hanging also behaves like a shadow because of its transparent nature.

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What happens when you hang cubes of the SAME size and project their shadows on a wall?

You vary the distances of the cubes from the wall and each other. the distance of the light from the squares.

â– // U N I T 1 . 1

Studies:

-the square close to the wall is smaller and sharper shadow with second dimension of movement - the square nearer to the light is fainter and bigger, the third dimension - the saturation of the shadows increases with the overlap having a ‘multiply’ effect

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1

What happens when you hang cubes of the SAME size and project their shadows on a wall?

You varythe distances of the cubes from the wall and each other. the distance of the light from the squares.

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

You varythe distances of the cubes from the wall and each other. the distance of the light from the squares.

- looks very busy and like a crowded market place. people of different colours and their shadows all creating chaos.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

What happens when you hang cubes of the SAME size and project their shadows on a wall, this time, juxtaposing the objects along with the shadows

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

-When you throw the cubes, there is a small probability of the time lapse camera clicking that second and hence most of the film appears blank with little glitches of motion which you may very easily miss - One can extract these frames and observe ( as in the facing page) that they are not really blurred as one would assume but quite sharp shadows.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1

What happens when you throw cubes in the air and capture the shadows on time-lapse?

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies:

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EXPERIMENT

17A

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: To study the movement of shadows of cubes of various materials.

A) Only rotating the head of the stand

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

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EXPERIMENT

17B

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: To study the movement of shadows of cubes of various materials.

B) Moving and rotating the light stand around the room

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

â– // U N I T 1 . 1

EXPERIMENT

17C

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: To study the movement of shadows of cubes of various materials.

C) Moving the light stand around the room

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

■ // U N I T 1 . 1

EXPERIMENT

■// U N I T 1 . 1 Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Creating a square form with the human body

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Section 03

18

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: Can two people make a square?

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

■ // U N I T 1 . 1

EXPERIMENT

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© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: Square head/square faced

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

■ // U N I T 1 . 1

EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study the void in the angles of the legs, forming a square.

Also do the square windows in the back add to this composition?

Contrasting all this is a circle instead of the head. Does your eye notice the squares or circle?

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study the void in the angles of the legs and forming a square, with square windows in the back. Using different shots, if the torso moves, does it change anything?

20A

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EXPERIMENT

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Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: To study the void in the angles of the legs, forming a square.

Two different photographs have been used with the legs at the same angle.

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

â– // U N I T 1 . 1

EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study the void in the angles of the legs, forming a square in different positions.

22 â– // U N I T 1 . 1

EXPERIMENT

Gestalt’s principle

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study Gestalt’s principle of continuity and closure as mentioned in Russell Bestley’s book.(p.29) I do this by making 3 sides of a square with my leg and leaving the 4th to imagination.

Or let the environment (the window frame, complete the story?)

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EXPERIMENT

If I make only 2 sides with my torso and legs at 90o, can you still see a square in the void?

Gestalt’s principle

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study Gestalt’s principle of continuity and closure as mentioned in Russell Bestley’s book.(p.29)

23B

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EXPERIMENT

If I make only 2 sides with my legs, can you still see a square in the void?

Gestalt’s principle

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

■ // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To study Gestalt’s principle of continuity and closure as mentioned in Russell Bestley’s book.(p.29)

23C

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EXPERIMENT

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© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

■ // U N I T 1 . 1

■// U N I T 1 . 1 Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Experiments with replacement

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Section 04

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To convert a big square into a small square using replacement animation.

1) Take several square objects of various heights.

2) Arrange them in size order 3) Keep a camera steady top view, using a tripod or a steady hand. 4) Start with the biggest square and keep replacing it with smaller ones as you go along.

5) Keep rotating the square and shoot every time you move/replace it 6) In this experiment they have all been rotating along a line, moving forward with every rotation.

24A

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: To convert a big square into a small square using replacement animation.

1) Take several square objects of various heights.

2) Arrange them in size order 3) Keep a camera steady in top view, using a tripod or a steady hand.

4) Start with the biggest square and keep replacing it with smaller ones as you go along.

5) Keep rotating the square and shoot every time you move/replace it 6) In this experiment they have all been rotating on the same plane

24B

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: Studying replacement animation with type arranged in a square through letterpress printing.

1) Assemble four blocks to create a word written stacked, forming a square 2) Print it several times, on the same spot on diffrent sheets of paper 3) Let distortions occur, the more the better.

4) shoot from exactly the same point.

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: Studying replacement animation with type arranged in a square through letterpress printing.

1) Assemble four blocks to create a word written stacked, forming a square 2) Dab in ink 3) Start cleaning the ink with turpentine and shoot at every step 4) Make sure you are overlapping the shots and aligning them as close as possible to the previous one.

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: Studying replacement animation with type arranged in a square through letterpress printing.

1) Assemble four blocks to create a word written stacked, forming a square.

2) Keep changing the arrangement by replacing the letters with each other at random, or in a sequence 3) Shoot at every change

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EXPERIMENT

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: Studying replacement animation with type arranged in a square through letterpress printing.

1) Assemble four blocks to create a word on a piece of paper 2) Start inking it orange/coloured ink and photograph it with every dab, keep the camera still and position of the blocks the same 3) Shoot at every change 4) Gently turn the blocks in its same place, shoot 5) Press on it so it inks the paper below, gently remove the blocks and shoot the print.

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EXPERIMENT

■// U N I T 1 . 1 Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Experiments with movement

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Section 05

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© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: Walking in a square shaped path. Does Gestalt’s principle work here and create an invisible square?

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

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EXPERIMENT

- Answer: No! It just looks like a jerky movement since the arrangement is very similar. In order to achieve this I probably need to only use one piece or have one highlighted piece by colour, shape or size.

Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

â– // U N I T 1 . 1 V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Studies: If I move around similar looking toys, does it look like its moving in a square?

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EXPERIMENT

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Moving a square inside another square.

© R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies:

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

■ // U N I T 1 . 1

EXPERIMENT

Tool used: Powdered vegetable dye

■// U N I T 1 . 1 Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

Mark making

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Section 06

Tool used: A peppermint wrapper

Studies: Studies in how different materials define their own line, plane, mass and void.

EXPERIMENT

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Tool used: A pice of cardboard

Studies: Studies in how different materials define their own line, plane, mass and void.

EXPERIMENT

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Tool used: A pice of cardboard

EXPERIMENT

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Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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V I S U A L R E S E A R C H S U M M A R Y // S T U D I E S O F T H E S Q U A R E

â– // U N I T 1 . 1

Studies: Studies in how different materials define their own line, plane, mass and void.

Tool used: A wooden splinter

Studies: Studies in how different materials define their own line, plane, mass and void.

EXPERIMENT

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Š R O S H N E E D E S A I // M A G R A P H I C M O V I N G I M A G E // A P R I L 2 0 1 4 // U A L

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Studies: What are the different ways I can depict a square? How many lines, what kind of lines can I get away with and still retain the personality of a square?

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Studies: How do mass and void interact with each other? The relationship between black and white forming mass and void - what is mass and what is void?

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Studies: The study of repetition and the movement of colour in a 3D space.

Also the perception of 3D by highlighting sections.

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part TWo function+context

T h i s c h a p t e r i n c l u d e s m y e x p e r i m e n ta l s t u d i e s i n :

The context and use of squares* in our lives - real and metaphorical., observation of occurrence and meaning of the square*

*Square definition: I include cubes, boxes and all the different variations of the square.

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65 square ideas

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Section 01

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In the lecture ‘Critical Histories of Design’ Mark Ingham taught us to speed write, basically once a stimulus or idea is given to you, just quickly start writing down all the thoughts that come to you in relation to that stimulus.

When I was given the shape, square, the first thing I did was start jotting down ideas down

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Square as a framer/cropper

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Section 02

In this case, windows cropping a part of the home, room, office in the building. It is showing you only part of the complex drama that plays inside the building. Each window reveals a different part of the picture, or a new picture altogether.

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Windows To observe how different types of squares are actually cropping the story that is inside a context.

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In this case, windows cropping a part of the home, room, office in the building. It is showing you only part of the complex drama that plays inside the building. Each window reveals a different part of the picture, or a new picture altogether.

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Windows To observe how different types of squares are actually cropping the story that is inside a context.

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EXPERIMENT

Studies: Advertisement Squares have also been used to display things, to exhibit and show off, inform and announce. To promote consumerism and need and want.

(TV hand image from exhibit at the Museum f端r Gegenwart, Berlin)

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Studies: Propaganda and orders Propagation of big ideas. Small ideas, information, all surround us enclosed in a square.

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Studies: Framing The square is used to frame and highlight, bringing your attention to a particular closed crop.

Zooming in on an aspect. Telling you that this is important, this is art, this is precious..

Images shot at

1.

Museum für Gegenwart, Berlin

2.

‘Hello my name is Paul Smith’ exhibit, Design Museum, London

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The depiction of square in art

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Section 03

EXPERIMENT

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Studies: One of the first studies I did was looking at design books and art galleries to look at how artists played with the square. I am very interested in converting fine art into motion graphics, I think both are very deep and thoughtful mediums and it would be wonderful to see your favourite painting come alive trough motion.

The footnote contains the list of sources for these images. I have made a collagic compilation of the images and hence have not included the artist’s description. The exact source of each image can be found on contacting the researcher, or by researching one of the resources below.

1 Contrasts of form : geometric abstract art 1910-80 ; from the collection of the Museum of Modern Art including the Riklis Collection of McCrory Corporation / Magdalena Dabrowski; introduction by John Elderfield. / Museum of Modern Art (New York, N.Y.) / New York : Museum of Modern Art, 1985.

2 Designing design / Kenya Hara. / Hara, Kenya, 1958- / Baden : Lars Müller, 2007 3 Piero Manzoni : paintings, reliefs & objects. / Manzoni, Piero, 1933-1963. / London : Tate Gallery Publications, 1974.

4 Museum für Gegenwart, Berlin, personal visit (February 2014)

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Studies: One of the first studies I did was looking at design books and art galleries to look at how artists played with the square. I am very interested in converting fine art into motion graphics, I think both are very deep and thoughtful mediums and it would be wonderful to see your favourite painting come alive trough motion.

The footnote contains the list of sources for these images. I have made a collagic compilation of the images and hence have not included the artist’s description. The exact source of each image can be found on contacting the researcher, or by researching one of the resources below.

1 Contrasts of form : geometric abstract art 1910-80 ; from the collection of the Museum of Modern Art including the Riklis Collection of McCrory Corporation / Magdalena Dabrowski; introduction by John Elderfield. / Museum of Modern Art (New York, N.Y.) / New York : Museum of Modern Art, 1985.

2 Designing design / Kenya Hara. / Hara, Kenya, 1958- / Baden : Lars Müller, 2007 3 Piero Manzoni : paintings, reliefs & objects. / Manzoni, Piero, 1933-1963. / London : Tate Gallery Publications, 1974.

4 Museum für Gegenwart, Berlin, personal visit (February 2014)

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Square in food

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Section 04

EXPERIMENT

Studies: Even though the circle seems to dominate the world of food, there are a few squares in the food world.. Square seems to be more common in the packaging of these circular and organic shaped foods.

Toast image: Homage to Josef Albers’ Homage to a square by Sean Woodrow & David Corns (davidcorns.tumblr.com)

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Square in music

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Section 05

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I asked my friend Anurag Naidu, who is studying classical piano in Paris to depict square musically. He wrote the following piece.

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Studies:

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part Three concept

T h i s c h a p t e r b r i e f ly s h o w s t h e e v o l u t i o n o f t h e c o n c e p t f o r m y o u t p u t f i l m : The concept The learnings used from parts one and two The making of

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The concept

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Section 01

When I lived in India for 26 years, I never thought I lived in a box.

I was free and unrestricted.

And I had discovered it completely

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

Then I moved to London and I suddenly felt free, and I thought ”Oh, I was in a box and now I’m out”

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

But as I started living here, I realised that this was a box too. It had its own set of rules and restrictions which were different from my India box, but still existent.

I had simply moved from box to another.

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

And what had made this change possible was a decision.

A single decision to take a plane and live somewhere else.

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

I soon realised that the world is full of such boxes, connected by decisions.

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

And we all live in those boxes assuming that those are our worlds, but that, is just our perception of reality, our illusion.

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

This reminded me of the ancient Hindu concept of Māyā jaal.

It literally means ‘web/labyrinth/net of illusions’

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

So I decided to combine both these thoughts and make a film.

*Textures from paintings by Wout Werensteijn collected for visual studies in juxtaposition.

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The learnings used from input

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Section 02

The learnings applied from the Input phase:

- Square as a cropping and framing device - Experiments with, multiple exposures using photograms - Animation and form experiments - Artists depictions of square, squares in fine art

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The making of

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Section 03

bibliography & resources Most of the research in thos book is self initiated and self observations.

Resources and acknowledgements for primary research and bibliography for secondary research

Museums 1.

2.

3.

4.

5.

The Design Museum, London The Tate Modern, London Museum für Gegenwart, Berlin The Bauhaus Archives, Berlin The Science Museum, London

BOOKS 1.

2.

3.

4.

Visual research : an introduction to research methodologies in graphic design / Ian Noble, Russell Bestley ; foreword by Ellen Lupton. / Noble, Ian, 1960- / Lausanne : AVA Academia, 2011.

5.

abstract art 1910-80 ; from 2013/ artofthetitle.com the collection of the Museum 3. Clockwork orange [videof Modern Art including orecording DVD] / directed the Riklis Collection of

by Stanley Kubrick. / / U.K. : McCrory Corporation / Warner Brothers, 2008 Magdalena Dabrowski; a c k n owledgements introduction by John Elderfield. / Museum of Modern 1. Nikita Gupta, for photoArt (New York, N.Y.) / New graphing me for ’Creating a York : Museum of Modern square form with the human Art, 1985. body’ Visible signs : an introduc- 2. Anurag Naidu, for his intertion to semiotics in the pretation of ‘Square in music’ visual arts / David Crow. / 3.

My father, Dr. Chetan Desai, Crow, David, 1962- / Lausfor teaching me about Māyā anne : AVA, c2010.

4. Chris Winstanley, for all the Designing design / Kenya support Hara. / Hara, Kenya, 1958/ Baden : Lars Müller, 2007. 5. My tutors, David Daniels,

Design research: investigation for successful creative solu6. tions / Neil Leonard, Gavin Ambrose. / Leonard, Neil. / Lausanne, Switzerland : AVA films + videos Academia, 2012.

1. Animation is twenty five Piero Manzoni : paintings, re[videorecording DVD]. / / liefs & objects. / Manzoni, Piero, [U.K.] : Royal Colleger of 1933-1963. / London :Tate GalArt , [2010] lery Publications, 1974.

2. Analogue/Digital BNE Contrasts of form : geometric

Svenja Fram and Penny Hilton, the photography studio, letterpress studio, the digital space for guidance.

6.

Jamila Varawala for introducing me to form

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