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Project Sypnosis
ACTION. TIME. VISION. Stephanie Cheng Hui Tan - TAN14423660
Typographic research
Locations
Experimentations
Developments
Final pieces
Content page
Workshops
Research - Context
Project Sypnosis
Typographic research
Content page
01
Introduction
02 - 07
Workshop sessions
- Including all five group workshops
08 - 10
Research of Context
- Including exploration
Project Synopsis
- Including aims, audience, message, tone of voice
12 - 15
Typographic Research
- Including practice review
16 - 17
Potential Locations
- Including before and after feedback
18 - 22
Experimentations
- Including planning before making
23 - 25
Developments
- Including feedback and self- reflection
26 - 28
Final Pieces
- Including evaluation with full analysis
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Locations
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Final pieces
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Introduction + initial ideas to concept
This research document introduces you to the exploration of spatial typography from various perspectives. It will place emphasis on the experimentation and exploration aspect of the context, in relation to type. Investigation of the subject matter of ‘comfort zone’ will be explored and demonstrated; and would be experimentally applied to various typographic practice, as well as taking account of the spatial elements involved.
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Workshop 1 - The Language of Film
This first workshop of the Action Time Vision (ATV) project introduced us to range of possibilities of photography and film. The workshop does not require us to be creative, but rather build our understanding of the language of film and the approaches that we can experimentally undertake when photographing or filming, especially to heighten the aura and the ‘senses’ through exploring various dimensionalities. The short ‘one- day’ workshop involved a team of 4, with a task of choosing six terms from the supplied glossary of film language and to visualise the chosen terms through imaging. The terms chosen were Aerial shot, Close- up, Overhead shot, Pan, POV(Point of View) shot, Extreme Close-up. Overall, we have become more familiar with the terms used for film as well as discovering the wide range of possibilities that us, as individuals, can undertake to bring the image to a ‘whole new level.’ As for myself, who are not particularly familiar with photography, it has challenged me to approach the methods which I did not place attention/focus upon.
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Workshop 2 - Making Type Move
This workshop is closely linked with the homework task given to us beforehand (gathering 100 images with typographic elements within). As a group, we aim to introduce motion into our chosen typographic image(s). The original image chosen is illustrated below. The initial idea was to emphasise on the eroding effect of the object/signage in a period of time, making letters seem almost illegible. With the idea in mind, we explored our university and found a sign (on the right) which were similar to the original image below. We aimed to make the character move and slip to demonstrate the consequence(s) which may occur when the legibility of the typographic element in the sign is low and not visible (as time pass). Again, the illegibility and invisibility of the type was inspired by the original image below. In addition, as a group, we decided that the best way to conduct the idea is to use stop motion. In terms of obstacles, we faced technical difficulties which we all were not familiar with the software that were required to fufil the task. Moreover, our idea(s) were seemingly ambitious where we spent more time experimenting with the software rather than changing to a much easier- accomplished idea. Therefore, in a short amount of time, as a group, we developed a video which we manipulated graphic elements of the object (within the image) and produced a moving image, which would bring the object alive. Overall, the obstacle involved brought us to realisation of our weakness; which on a positive note, if we did not try, we would not have considered the method, thus we would never know. Although there were technical challenges involved, as a group, I thought our ideas were relatively interesting and effective in drawing relationship between type and time.
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Workshop 3 - The Conversation
Before attending the workshop, I have gathered some researched related to the subject of ‘The Conversation.’ The concept of ‘Fly on the Wall’ was introduced. Such concept defines as “an unnoticed observer of a particular situation.” For instance, the camera crew may work unnoticeably as possible, mostly without those that are being filmed knowing. In addition, ‘Cinema Vente’ is a film of which provokes a sense of truth, not that the film is showing us the deliberate truth, rather, we feel the sense of emergent of truth. Focusing directly on the workshop that we have conducted, as a group of 4, we explored various locations which we were able to make clear, sharp recordings of people’s real conversations (referring back to the theme of eavesdropping). Such recording would then be developed/ rendered into a typographic piece, in possibly any medium. As a group, we finalised with a stop-motion video and a 3D piece. Unlike other previous workshop, this one in particular consist of long deadline, as well more involvement and participation; thus planning and appropriate delegation of roles were key. Furthermore, we aimed to ‘visualise’ the conversation as much as possible. This is our final piece, ‘OVER A CUP OF COFFEE.’- which reflected on the relaxing and casual mood of the conversation. We did not want to edit the sounds as much as we wanted to maintain the sense of realism. The repetition of movement in the video, aims to emphasise on the long- ongoing conversation that the ‘main’ character was having in the video/recording. The posters are initial ideas as well as experiments of the potential of the piece. The cluttered image below shows the alternative ways of which we can perhaps bring the still piece to come alive. As a group, we visualised it to be an enormous 3D sculpture, which allows the audience to take a closer look and engage with the details (which consist of text from conversation). The gaps and spaces formed between the layers further allows engagement to occur. On the other hand, in terms of improvements, the choice of type in the piece can be reconsidered. In addition, the video can be eliminated or shortened, as the still object/ sculpture speaks for itself, and based on the feedback we received, there are more engagement involved in the piece, rather than the video. In terms of the video, the camera quality needs to be improved for clearer visibility of the text.
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Workshop 4 - Type in 2D Space
This workshop specifically required us to produce a typographic poster (A1), using no imagery; purely typographic. There is an emphasis on the tone of voice, which will vastly determine on the choices of our material, as well as other typographic elements. All groups were provided with full text, which were presented as a starting point before considering experimental methods. As a group, we were given ‘Religious’ as our tone of voice, which directed us to manipulating the text to fit the ‘religious’, and ‘biblical’ category, without destroying the original meanings of the text given. The ‘religious’-orientated text is shown in figure 2 below; influenced by verses in the Bible. Furthermore, there was in no doubt discussions of the choice of type and how we wish, as a group to explore the religious aspects into our writing. Furthermore, we reasonably decided to undertake approaches that were as traditional as possible to fit our context and tone of voice, possibly avoiding the digitised methods, such as Photoshop editing. Fortunately, we had access to the letterpress department, where we not only learn some of the complexities involved in creating the full text in a short period of time, but also become more familiar to the effortful process involved. The participation at the letterpress department pushed us to rethink/reconsider our type choices, size, kerning, hierarchy, positioning, the use of white space, etc, which most of the time we do not take into full consideration when we work with type on computers. Overall, as a group, we noticed that due to the ‘traditional’ methods we undertaken, we did not have sufficient amount of time to creatively experiment. However, we do not regret such, as the process of creating the piece involved great effort which allowed us as individuals to learn what we were not familiar with before, which I believe is more important part of the journey for a designer. Personally, for myself, the workshop brought significant attention to considering and interpreting tone of voice, and how such can vastly reflect on the experimental methods.
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Workshop 5 - 3D Type
For this particular workshop, we are given a direct task of producing and designing a book cover for a work of fiction using the constructed three dimensional type we created as a group. Unlike other workshops, I particularly found the final results for this short brief more ‘completed’ and to a ‘professional’ and refined standard. It was overall satisfying and interesting to the build the physical type (three- dimensional) from scratch, and developing it to an unexpected outcome/result, through what we fortunately have today, by finalising it through digital photography. It was productively fascinating to explore both kinds of experiment (hand-made and digital) in a short amount of time. For this brief, as a group, we picked the book title ‘1984’ by George Orwell. The choice was simply down to the fact that it was a fiction which we were most familiar with, in comparison with the rest. We examined and discussed the theme and ‘characteristics’ of the story, which helped determined our choice of type and materials. Based on our brief knowledge, the fiction is based on the social matter of being watched and the concept of ‘surveillance.’ This in turn effectuated our choice of material, which we decided to use cello- tape; a simple material which we thought would only require short amout of time in making, but would bring enhancements to the result of the type. Moreover, the material naturally demonstrates a visual sense of ‘transparency,’ which reflects on the theme of surveillance; the ideology of constantly being watched; citizens living under ‘transparency.’ In addition, the choice of type is Univers for the three- dimensional type. Furthermore, as ATV students, we were fortunate to given an opportunity to access and utilise the photography studio, where we were provided with table, background papers and good lighting. Numerous photos at different angles were taken, leaving us with more choices when making finalising decisions on which imagery to take on for the design of the book cover. In addition, we considered the natural elements it produced, such as the shades, textures and shadows, as we believe these are the characteristics which would make up to creating a ‘mood’ for the overall design, therefore it is relatively important for us to ensure that the front cover of the book to some extent speak for itself.
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Workshop 5 - Elaboration of 3D Type
Later, we had to incorporate what we taken so far into the computer screen, where we used both Indesign and Photoshop to achieve our results. As usual, we consider the grids, hierarchy, positioning, etc. And finally, we produced the results shown (right). In terms of the result, as a group we thought the piece were relatively successful. And in terms of improvement, I particularly thought the type size could be reduced by one point. We would further improve the piece by choosing appropriate materials, to increase the overall quality and aesthetics of the piece. After the session, we spontaneously decided to experiment further with the type in the darkroom (photogram) as we are not familiar with such facility. The results were unexpected and fascinatingly changed the perspective of the original type. It was pleasing to see that through such small experiment, we were able to bring a new ‘life’ to the type. In addition, the transparency of the material of the type allowed more light to travel through the material, which favourably enhanced the details and textures it originally carried or consisted of. Overall, it was a productive small workshop.
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Research + Exploration of Comfort Zone
I noticed that there are no empirical or scientific evidence assuring or suggesting a direct relationship between ‘comfort zone’ and level of performance, however from researching, I particularly discovered a few psychological studies which to some extent proved that if there are no change in the ‘anxiety’ level, the performance level will remain constant. In addition to such, there many well-established books, as well as online articles, which provides advice and scenarios on the ‘danger in the comfort zone.’ Although such information is readily-available to many people, the chances of getting out of our comfort and particularly fears are relatively low for the majority of individuals out there. Without doubt, stepping out of the comfort zone increases one’s anxiety and stress level which in turn proposes a seemingly negative response to the individual. Judith M. Barwick, author of “Danger in the Comfort Zone” (American Management Association, 1991), writes, “The comfort zone is a behavioural state within which a person operates in an anxietyneutral position.” Furthermore, through investigation of this social and personal matter, Daniel H. Pink, author of “Drive: The Surprising Truth About What Motivates Us” (Riverhead, 2009) suggested a motivating advice of “if you’re too comfortable, you’re not productive. And if you’re too uncomfortable, you’re not productive.” Similarly, Brené Brown, a research professor at the University of Houston Graduate College of Social Work and author of “The Gifts of Imperfection” (Hazelden, 2010), critically suggested that “When we get into times of social, political or financial instability, our comfort zones get smaller.” The more afraid we are, she said, “the more impenetrable our comfort zones buffers become.” Moreover, the objective of breaking personal comfort zone is one which every individual should aim to overcome through ‘considering,’ ‘trying,’ and ‘improving.’ Although without doubt that discomfort and fear would occur and exist in our lives, ideally it is possible to become comfortable with the new level of anxiety; of which an expansion of comfort zone occurs; thus we become more comfortable with ‘the uncomfortable.’ With small steps being taken, it is possible that one becomes more used to the feelings of discomfort and would not be afraid to try new things in the future.
Jesse Paloger held up a sign in December 2010 to look for a job on Wall Street.
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Exploration of Comfort Zone?
I conducted a short quantitative survey named ‘Be comfortable with The Uncomfortable’ over a week period. The results are gathered through social media, and are likely to be answered by young adults. The aim of the survey is to gain a general understanding and to some extent an assurance of whether people are aware or consider their personal comfort zone. Personally for myself, as I raised the subject matter to this project, I relatively thought the concept of ‘comfort zone’ as a significant area to consider, however with such personal consideration, I wanted to ensure that the project is swayed towards the majority(public), rather than targeted merely at myself. From the results of the survey, there were evidently a similar amount of opposing answers given for question two, where it illustrated that there is an equal balance between those who consider their comfort zone, and those who do not. Such result led to a realisation of that although majority acknowledge the significant importance in ‘getting out’ of comfort zone (question three), however not the majority consider overcoming the issue (question two). Moreover, in terms of the practical or methodological aspect of the project, it is particularly encouraging and assuring to find out that the majority perceive ‘short, snappy messages in public as a motivating tool,’ evidently suggested in question four. Although the effectiveness of the message(s) in public may be difficult to test, it remains vital to get/ deliver the message out there as a starting point, leaving the viewers to consider their boundaries or the meanings in their own personal way. As mentioned in the project synopsis section, the aim is to sociallymotivate people to consider their comfort zone, therefore the message of the motivation behind such should not be compulsive or intimidating, but rather freely drive their thoughts in an optimistic and encouraging way. Thus, the typographic element in the space should stimulate their awareness of the subject matter, in order for them to relate their personal scenarios to such.
https://surveyplanet.com/57533ab8ae4716c05942f1fd
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Potential qoutes gathered from research
These are potential ideas or writings which I can use for the typographic experiment. The writings are noted as a compilation of ‘comfort zone’ information, which I can use as part of my development and experiments. With the writings below, it act as part of a starting point of my initial idea and development. From the feedback session, I was particularly adviced not to overcomplicate the message displayed in the public space as it does not encourage the viewers to read the message. Therefore, it is important to keep the message short and snappy, allowing information to be absorbed and taken in within a short period of time.
Thought provoking words?
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Simple idea but let’s make it work.
Be Comfortable with the Uncomfortable. Take Small Steps. Break Through. Do the Unusual.
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SIMPLE IDEA + APPROACHES = MAKE IT WORK What are we going to do? Socially-motivate people to consider their comfort zone, through delivering short messages in the public space, as a means of communication. Considering public space is the first. Then inserting the suitable message (from gathering researching) via correct medium into the space. In the process would require experimentations, such as the medium, the size, the materials, the content, etc.
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Who are we speaking to?
What is our core message?
People in public. Any age and gender. No specific. Simply aiming at everyone. As many people as possible.
By breaking our comfort zone, not only do better results occur, but we become productive and happier.
What is our mission?
What feeling(s) do we want to communicate?
To motivate individuals to break or take small step(s) to getting out of their personal comfort zone.
FUN, OPTIMISM, MOTIVATING, INSPIRING, ATTRACTING, EXCITING + PROVOKING!
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Nicole Dextra - Social Typography
Nicole Dextra’s project named ‘Social Typography’ is one example which drove my design to a particular direction. Dextra’s typographic work, illustrated on the right, typically relates to introducing type into existing environment. It is important to acknowledge that her work consist of motif(s) which determined her production process, as well as other design considerations, such as choice of materials, locations, etc. By placing additional message(s) into the existing space allows for the formation of sensational relationship to occur between the existing environment and the message; delivered through the physical appearance of type. Although the scale of her typographic work are overwhelmingly large, it does not disturb the existing aura or ambience of the environment, but rather it favourably gives an empty space(spacious) an identity which suitably speaks for the place/space, as well as meeting the aims of communication to the audience; thus raises awareness of the subject area or subject matter. In the case of Dexter’s work, she aims to draw our attention to current social matter, such as global warming. The Ice Typography series, sculpted and located outdoors, favourably invites a connection between the piece and the viewers in the place. Such attraction confidently drives the means of communication of the work, allowing the message to be delivered accordingly without hesistations. The typographic sculpture was at scale of eight inches high, which undoubtedly captivated and attracted attention amongst pedestrians. The short, simple and bold statement, “LEGACY,” for instance, symbolically and strikingly representing the changing of climate temperature(climate catastrophe). The typographic sculpture made of solid ice, gradually/naturally turning to liquid state represents such statement and message. Personally, as a viewer/audience of her work, I perceive the project to be successfully provoking and engaging, where both language/statement(LEGACY) and material(ice) forms an interconnectedness. Overall, Nicole Dextra’s social typograhic work has favourably increased my temptation as well as understanding of working with existing public spaces. Meaning, withou re-creating and manipulating existing factors within the location, I aim to design and produce work which suitably fits within/into the space and context. However, during the investigation, I have acknowledged a few disadvantages that are involved in working in the public space. For instance, the work tends to lack capability of existing permanently in public. Such I believe is one of the challenges that designers would inevitably face when producing for public or using natural resources. Although such to some extent appears to be an obstacle, it is up to the designer to judge the importance of durability of their work. Therefore, it is relatively important to document the work and possibly the process involved in the production, through photographing, for instance.
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Further analysis + Practice review
Furthermore, analysis and investigation of Dextra’s methods involved in her ‘Social Typography’ series was carried out to increase and build my understanding of the logistic challenges and process involved. It is relatively important to consider the practical aspects, especially for large- scale work, in order to prevent unexpected hurdle. Therefore, when carrying out a practice review, it is essential to not only consider the message and purpose behind a design, but also to analyse and inspect the methodology and possibly the failures or obstacles involved in the making process. In addition, the materials involved in the making is the most vital aspect/factor to acknowledge when creating threedimensional pieces. The process involved in Nicole Dextra’s ‘Social Typography’ project were relatively complex and would surely involve substantial amount of planning, coordination and implementation. In this project, mould of the lettering were made of plywood to allow water to be poured into, which would then be sealed to form into ice. The wooden mould were installed on site on the frozen river. The water is obtained by using a steam-head which melts a hole (4- feet deep river ice), which pumps the water into the wooden mould. Furthermore, according to research, the work is then left to freeze for several weeks. After so, de-moulding takes place, where the wooden moulds are taken off with the remaining of the letterings made of ice. Removing all of the screws in the cold was a difficult and daunting task, especially as their drill batteries were running out quickly. In addition, the straps were utilised to secure the ice letterings as fissures were created in the ice as soon as it was exposed to the air. Small wooden blocks and cantilevers were additionally used to support the structure of letterings such as ‘C’ and ‘G.’ Lastly, in terms of obstacles faced, based on further research, most of the ice letterings collaspse the next day, even though it was supposed to last all winter. Thus, it is important to acknowledge that nothing is ever predictable when working with nature.
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Moreover, in terms of the location for the ‘LEGACY’ work, it was created as an outdoor installation on the Yukon River, during an Art Residency at the Klondike Institute of Art, Dawson City Yukon. The word chosen refers to the landscape as being the heritage of the inhabitants of this region, which is famous for being the centre of the Klondike Gold Rush. The once thriving boom town of 40,000 people has dwindled to little more than 1,500 today. According to Nicole Dexter, The Legacy project posed the questions: “what will be left for future generations once the land has been stripped and how are we to protect the fragile ecosystem of the North?”
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Typography in spatial applications
This project is a tribute to the 25th anniversary of Deconstructivism in MoMA, in 1988–2013, by designer Robert Urban, based in Zlín, Czech Republic. The work distinctly carries a significant feature of architectural element. Through analysing Urban’s project, it drew my attention to consider producing a typographic poster(s) that are threedimensional, as well as being inspired or influenced by architectural elements. Unfortunately, there is no in- depth or detailed information available for this particular project, which leaves the majority part of this writing related to personal interpretation, supported by as many facts available. According to research, the project holds a concept of ‘spatial visual system with de- constructivist character.’ It emphasises on the possibilities of spatial view and the overall perception of space. Through observation of the work, it is in no doubt that the work carried an essence of modernism, indicated through the dimensions and shapes, bold colours, and structures, which strikingly challenged the basic assumption of buildings, or perhaps general architectural elements, such as staircase. Thus, challenging traditional ideals of architecture, along with obtaining similarities; through preserving the geometric purity that it has undertaken. The sophisticated mind-bending illusions naturally created movements which ‘twists’ the viewer’s perception. There is a boundary between the multiple message that it tells, which forces the viewer to jump back and forth between them – like an optical illusion that alters every time you look at it. The awareness of architecture combined with Urban’s perspective techniques brings the original two-dimensional flat pieces alive, which to some extent generated some enthusiastic response as well as interaction with the viewer. In no doubt, the architectural elements and essence are predominantly influenced by the ‘realistic’ external world, which reasonably to some degree, leaves the viewer to acknowledge and ‘taste’ the sense of architectural realism, and not merely the carefully planned/measured illusionist device it held. Thus, with such consideration, all the unique architectural design concepts are being taken to a next level by using optical illusions in the structural design; as the type are initially quite deceiving to the eye. Moreover, as the pieces are relatively small in size, compared to the original real-sized object, it allows the audience to observe much closely. In addition, as the pieces are mainly displayed on walls (at eye level), it purposely encourages viewers to look more closely to examine what truly lies behind the deceptive facades.
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Further analysis + Practice review
In terms of the methodology, as a viewer to the work, the scale of Urban’s work is worth taking into consideration. For instance, the A1 sized posters immediately draws the viewer back further in distance, in order to achieve and perceive the desired results. Only by drawing steps back, the imagery can be visually achieved in one’s eyes. On the contrary, if the pieces were to be relatively smaller in size, for instance A4, it may likely draw the viewer to take a closer look which can disrupt the overall purpose of the design. The project significantly involved emphasis of spatial applications to two-dimensional posters; turning construction detail into flat objects without destroying the three-dimensional aspect. The construction elements in this project included metal poles and bars, stairways, etc. Such procedure included a transformation of real- life sized objects into smaller sized posters; allowing the viewer to observe the construction from an alternative perspective. Meaning, rather than perceiving the construction(architectural) as day-to-day object, one is able to observe the three-dimensional elements as a piece of art/design on a wall; thus heightening the appreciation of the geometric virtue that it holds. On the other hand, although Urban’s work retained the traditional geometric purity/value of architecture, where there are some distinct use of visual manipulation where cognitive illusions are brought about. Based on personal analysis of Robert Urban’s work, gestalt theories are introduced to successfully put together the illusionary experience. Some work may hold higher degree of illusion than others, but overall, encourages the audience/viewer to look twice as well as experiencing the three-dimensional effect and movement that it holds. Without doubt, in comparison with Nicole Dextra’s Social Typography project, Urban’s work encourages the viewer to ‘look twice.’ In addition, both designers held different motif(s), therefore in no doubt, both would approach the subject matter differently. In the case of Urban’s work, his methodology consists of creating immense depth on flat surfaces and walls using simply black and white (for contrast), along with the use of thick paper to sustain the layers of heaviness together. The designs evidently required meticulously measured and calculated considerations; in order to effectively achieve the unique proportions and dimensions of individual space, which significantly effectuated the experience that it evoked. Overall, it is the geometry of his work that makes flat surfaces appear to have functioning of immense depth and space.
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Potential locations
I have particularly focused on location with public space, in order for the message to be delivered as widely as possible. The places that I have initially explored consist of numerous people travelling or commuting, which inevitably allows my work to be seen by commuters, etc. Fortunately, finding public spaces with many people is not particularly a difficult task in London, however, it is finalising on a location or space which required repetitive/constant visualising and discovering potentialities. Such is what I found exceptionally difficult to do in a short period of time. The exploration of locations began in Southbank, where not only does it consist of many travellers and commuters, but also favourably possess some interesting architectural elements or structures within the space. With the existence of such elements, it should to some extent, allow me to elaborate on my initial ideas, by combining the ‘comfort zone’ message(s) with the architectural elements to overall enhance the visual experience. The metal barriers, staircase, for instance, are potential areas and objects which I was able to visualise my typographic element(s) to be exhibited and displayed on. In addition, such installation methodology should encourage me to experimentally develop my type, in order to increase the suitability as well as to distinctively develop a connection or relationship between the location and the typographic element. Furthermore, I particularly discovered potentialities of the typographic placement in the locations, with some examples shown on the right. As a viewer at the location, I was able to visualise my typographic message to be placed in different angles with various dimensions, as well as conceptualising the potential experience and interaction that may possibly occur. With such contemplation, I further visualised my work to be progressively developed into three-dimensional typographic posters, placed or exhibited on the wall; which may possibly allow my audience to experience the type and the geometric elements derived/influenced from the observation of the architectural features in the public spaces, however, from a different point of view (work on the wall).
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Some initial examples of photographs taken in Southbank
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Potential locations + Feedbacks
At this initial stage, I was fortunate to receive feedbacks related to the potential locations that I have considered in the beginning, which to some extent has determined on the direction which I could undertake when developing my initial ideas. The feedback of which I received was that the places I have chosen are all relatively similar to each other which may limit the potency of my experiments and outcomes. As the locations and architectural features were highly similar to one another, it was recommended to consider different locations which would also be categorised under ‘public spaces,’ for instance, the park. With such consideration, it would not only encourage more dynamism in my work, but also would allow for more attention and focus on the experimentations of materials, scale, dimensions, etc. In terms of self- reflection, I particularly found the feedbacks highly important of which it made me realise the lack of diversity in the locations/spaces that I have chosen. In addition, it inevitably led me to question the reasoning behind gathering observation specifically at Southbank, which I doubted, as my aim and purpose is not to only target people in Southbank. Although the location does potentially carry a significant importance of my initial ideas, however, it does not mean I should focus merely on the spaces and architectural elements in Southbank. Thus, the feedback session has led me to the realisation of such. Furthermore, I have significantly reflected on the initial idea of producing three-dimensional typographic posters, influenced by existing architectural feature. Realistically, with the time-frame and the project timing, it is relatively vital for me to consider the importance of the medium and the format (which carries the message), and whether it is worth expanding on such in order to meet my aim and purpose of this project. Bare in mind that the aim is to “Socially-motivate people to consider their comfort zone, through delivering short messages in the public space, as a means of communication.” And that my audience are “People in public. Any age and gender.” Therefore, with the timing available, as a designer, it is crucial to realistically prioritise the methods or mediums which would meet the aim(s) as much as possible.
Few examples of photographs taken after feedback session and reflection
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Reflecting back to the typographic posters that I initially aimed/wished to produce or undertake, it made me realise that by focusing merely on the geometric elements derived from the architectural features in the public spaces in combination with typography, into a ‘poster-format,’ I am reducing the sense of realism which I do not aim to undertake. However, I have also acknowledged that such idea would work if it acts as an elaboration that would work along with a ‘main’ piece, however, not as an individual piece by itself. Therefore, rather than proceeding the project as a work designed for an exhibition, I am approaching it in a way of which I am working with the message (typography) directly in the physical space, where it involves delivering the message in the open public space, in addition, along with documentation, through photographing the result, for instance.
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Experimentation + Material choices
The experimentation process illustrated here is specifically for the thought-provoking word of “Take Small Steps.” The aim of the experiment was to create a three-dimensional type which would stand without support on the architectural element that I considered from explorations (see ‘Potential Locations’ page). At this stage, not only did I visualise the suitability of the type in the space/place, but also considered the scale and material which would be appropriate for the setting(s). Such setting would require thoughtful consideration of the weather, mood, objects/structures in the space, etc, as nothing is ever predictable when working in the environment. Moreover, as the piece would be displayed outdoors, the material(s) should reasonably be solid and durable, at least for sufficient time. The scale of the type (as an object) is around 167 x 188mm. The size was specifically measured to ensure that it would be seen or noticeable at a rational distance. Before experimentation, the purpose of using the acrylic as the main material for this particular type is for the object to light up, thus seeable in the dark; allowing viewers to see the message in both day and night. This was the initial purpose/aim of the experimentation. In addition, there were no consideration in the choice of color for the type in the beginning as I only acknowledge the importance of the opacity or transparency of the material (allowing the effect of light to be enhanced). With taking the material consideration further, I introduced the colour yellow to the type. Based on the colour research, yellow is perceived to be associated with optimism and confidence, in addition, the colour is also used in signs for alertness. Also, by placing the colour in the environment, research suggested that the colour captures one’s attention more than any other colour. Also, the luminous tone that the colour naturally evokes is judgementally suitable for the lighting effect.
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Experimentation + Material choices
The prototype of the lettering ‘P’ was made first to test the possibilities and potentials with the material and scale/size undertaken and measured initially. Most of the testing at this stage were conducted indoor. Such testing varied amongst each other. At this point, I decided to freely experiment with various dimensions/scenarios as I have not used acrylic in the past. From testing the prototype with shadow (first image), to testing it in complete darkness. By freely experimenting, I have discovered many capabilities that the acrylic material is able to bring, as I initially only wanted to insert the lighting effect, thus determined the choice of the material (acrylic). In the first image on the left, it was perhaps one of the most surprising effect that I did not visualise to occur when manipulating light and creating shadow effect with the type. I noticed that the yellow layer of acrylic placed with a simple clear acrylic (two pieces) heightened the three-dimensional effect which favourably transformed a basic structure into a visually interesting/appealing extended piece into the environment; it is almost felt like the original piece of type turned ‘alive.’ Furthermore, based on self-reflection, I acknowledged the logistic aspect of the process/method when carried out outdoors into the public/environment. One of the drawback of such was the availability of the light to create the effect(s) desired (similar to first image). Although in doubt, I considered using torches to create the effects, and only by using torches, I am able to stage the desired shadows enhanced through the transparency of the acrylic type. After such reflection, I was surely able to determine that the effects created were too artificial and unnatural as the methods were seemingly and deliberately staged. Thus, leaving me to bring a resolution of a simpler method which would remain to undertake the lighting effect. As a result of consideration, instead of staging the effect with a torch for instance, I decided to fit the actual lights (suitable size for the type) to the acrylic, which I believe would be a much stronger solid outcome/piece.
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Further experimentations
Furthermore, in the experimentation stage, I considered placing the acrylic type in the environment/location which I initially explored at the research stage. The image on the left illustrates one of the space which I worked with along with the physical formation of my type. It is clear that the material does not suitably fit the environment or positioning. As shown evidently in the photographs, there are some of the experimentations which I considered to be unsuccessful. The reasoning to such is due to the lack of readability and legibility of the typographic information as there are too much transparency evoked by the material of the acrylic. I have received some feedback related to this piece of experiment, where some have initiated the potentialities of such, and some have favourably suggested that the visual aspect works as the type and the information which it holds, seemingly blends into the spatial elements, in turn, providing an interesting dimensions and perspective amongst the viewers. The feedback was insightful, however, it is vital for me to bare in mind the aim and purpose of this project. Through selfreflection, I have acknowledged that if the typographic element was to be placed as shown in the images, the message would not be delivered as fluently and widely to audience. Overall, at this particular point, I acknowledged the importance of working in the actual space to gain a more accurate vision of the potential outcome. It is in no doubt that some failures were involved in the process. However, it is those failures which helped me conceptualise my outcomes.
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Further experimentations
This page illustrates one example of the experimentations which I conducted for the thought-provoking word of ‘BREAK THROUGH.’ The material used for this particular word/type was wood, painted yellow. The reasoning behind the choice of the material was due to the fact that it brings a sense of naturalness to the overall surface or texture of the type, unlike metal or acrylic, for instance. The naturalness of the type remained visually significant as it suits the roughness and the overall essence of the location. When experimenting in the environment, it was relatively difficult to secure or place the object in the space, due to heavy wind, for instance. Thus, nothing is ever predictable when working with nature or in public spaces; as unexpected factors tend to occur. On the day of this experiment, I initially aimed to hang the type, using fishing wire, on the barriers at the river. However, due to extreme heavy winds, the object (type) were moving excessively and were spinning rapidly. With such unexpected circumstances, I began considering other methods which would allow my work to fit the architectural element(s) at its best. In terms of the installation and fixing the type, I conducted several testing using simply tape and blue-tack, which would temporarily provide me with realistic image, in turn, allowing me to visualise the suitability of the position. Moreover, I have further experimented with the positioning and placement of the typographic element, as illustrated in the last image on the left. At this stage, I thought the architectural structure was to some extent suitable for my type ‘BREAK THROUGH.’ The wooden type was testified and placed on the metal barriers of a gate near the river. What went particular well was the legibility and visibility of the type; it was noticeable and recognisable by people, thus allowing the message to be delivered widely. From reflection, I felt that this piece of experiment lacked diversity and perhaps other interesting aspect, which did not attract people’s attention. With such acknowledgement, I began to consider a more open space as the initial experimented area were more ‘closed’ and isolated, which limited the attraction and captivation of my audience. In addition, I will further explore other architectural structures which would enhance the visibility and positioning of the type; making the type seem more visually ‘alive’ and engaging with the people in the location.
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Further experimentations
As mentioned before, nothing is ever predictable when working with nature or in environment. On the second day of my return to continue experimenting with the type, the water levels were relatively high which led to floods (shown in second image). Thus, I was not able to continue experimenting in the same location. In addition, I began to consider other potential architectural structure that I noted at the exploration and research stage (see ‘potential locations’ page). At this stage, I faced difficulties in choosing a suitable area for my type to be placed upon. This has inevitably led me to placing type on many architectural structures as possible, in order to visualise and discover the potentials. In addition, one of the challenges that continually faced when working with this specific type is colour issue; where the type were unreadable due the bright and white natural lighting in the background. Meaning, the tone of the yellow were visually reduced, therefore with such acknowledgement, I decided to choose locations/spaces with the unwanted background lighting, such as concrete grounds. It is in no doubt that I spent more time experimenting and testing the potentials of this particular type due to the many uncertainties and weather issues faced, such as heavy rain, minor floods, heavy wind, etc. As shown evidently in the photographs, some of the experimentations were regarded to be unsuccessful. The reasoning to such is due to the lack of readability and legibility of the typographic information due to the natural lighting in the backgorund, in contrast with the bright yellow. Furthermore, I have received some feedback and opinions, which were very similar to my criticisms. At this stage, I continued to consider the spatial elements, which would in turn, provide interesting dimensions and perspective amongst the viewers.
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Developments to final outcome
At this stage, the development for Take Small Steps were emphasised on the installation aspect of the type to the architectural element. The challenge which I inevitably faced was the weather condition where the heavy wind and breeze disrupted the process, to an extent which it broke apart a few of my type as the pieces were not strongly assembled together. As such unwanted incident occurred, it was without choice that the procedure of the installation had to be cancelled and revisited on another day. It is no surprise that I am bound to face unexpected consequences or scenarios which will inevitably affect my plans. After fixation and re-assembling of all the acrylic type, I returned to my location the next night. As I was to some extent familiar with the effects on my work from external and uncontrollable factors, I acknowledged various expectations beforehand. By taking into awareness beforehand, I prepared myself more efficiently to save time and effort, considering the significance of the time-scale. In addition, part of the experimentation, I productively used the ‘unsuccessful’ night to test the lighting in the dark using one of the prototypes made. The return of the second night is illustrated in the last two images. The installation was fixed and structured successfully the next night. Roughly around 4 hours were spent installing the objects, including the photographing stage. In addition, as the batteries of the lights were relatively small, it was important for me to plan efficiently in order to complete the entire production on the same night. Although the volts of the lights/bulbs were relatively small, the lighting effect from individual letterings spread amongst each other, which further enhanced the luminous contrast in the dark. Furthermore, after the installation, the results presented were significantly better than expected.
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Developments to final outcome
This is one of development which I undertaken and considered as most successful for Do The Unusual typograhic message. Roughly four to five hours were spent at the location as the scale and positioning required many testing in order to gain a suitable and accurate dimension(s), both for the real setting and also for the camera(photograph). Fortunately, the weather condition was favourable where I had limitless amount of time to conduct all the experiments and developments that I had to do within a reasonable amount of time. When approaching the methodology and practical aspect of the type, it was important at all times to take further steps back in order to gain a wider and accurate view/perspective of the fuller image of the type. This from my experience, were the reasoning of the long hours required for the making. At this part of the development stage, I had conceptualised my piece from the previous experiments that were undertaken. Initially I wanted to use the material of cardboard or other recycled materials as a representation to this location and environment due to the naturalness it holds. However, as the ideas were developing, I began to consider using existing and suitable sources in the actual place. This piece in particular were regarded as the strongest and perhaps, finalised development, which not only fulfils my aim in delivering the message, but succeeds in the typographic, as well as the other design aspects. At a distance of over ten metres away, the type remains highly readable. Also with the readily-available hay (left behind on the field), I was able to collect/gather as much of the material(hay), which in turn allowed me to build enormous types without technical or logistic difficulties. In addition, by gathering the material(hay) that were regarded as waste in the location/environment, I am simply making the full use of what was already available. Moreover, I am able to leave the message (type design) there for a period of time without breaking the rules whatsoever. Overall, it was a satisfactory day with fulfilling outcomes. As mentioned before, when working with nature and in the environment, things and plans are always unpredictable as you are not fully certain of what is in the environment; which at times may lead one to surprisingly face alternative direction that may be more successful than the ideas that were originally planned.
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Developments to final outcome
This is one of the finalised developments of the typographic message of ‘BREAK THROUGH.’ The feedback and criticisms which I received specifically for my previous development was that the type seemed visually flat in the photographs and that it was recommended to experiment more with the aspect of positioning and various dimensions. From self-reflection, I found the feedback relatively useful as I did to some extent considered the outcome to be static and lack of diversity. Furthermore, after the feedback session, I returned to my location to explore more interesting architectural elements which would encourage and add-on some geometric diversity to my typographic objects. Moreover, thin wooden sticks were used to hold the backs of the type, in order to allow the object to stand, which in turn avoids the flatness that I am aiming to prevent; by simply raising the object from the floor/ground surface for more dimensionality. Various testing of the layout and positioning were involved in developing the outcome. In addition, there were many social interactions involved in the process of making with the audience. Due to the visibility of the work, people were curious and interested in the concept behind the activity carried out by the river. Questions were asked by several people and some stopped to observe, which overall, to some extent, increased my confidence of my work. Lastly, the expansion of the type allowed more room for development and experiment, which in turns increased the diversity of the overall image.
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Be Comfortable with the Uncomfortable. Be Comfortable with the Uncomfortable is a small project which aims to socially-motivate individuals to consider and step out of their comfort zone. By using typographical techniques and elements, short, snappy messages are delivered into the public space to remind individuals to become familiar and comfortable with fears and discomfort. As after all, we are the ones scaring ourselves.
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Take Small Steps
Take Small Steps is one which I considered to be the most successful of all final pieces. For this piece, I particularly favoured the choice of material as it enhanced the lighting effect. It is by using the acrylic material, the luminous effect is brought into attention; which act as a main attraction to the viewers’ eyes. In addition, the legibility and readability of the type is relatively high due to the contrast made between darkness and light. In terms of attracting attention from people in the location, I believe the piece was successful in doing so. Moreover, the solid and rigid structure of the type were considered to be appropriate for the architectural element in the location which allowed for the type to stand supportively. The scale of the type (as an object) is around 167 x 188mm. The size was specifically measured to ensure that it would be seen or noticeable at a far distance. In terms of criticism, I particularly felt that the sustainability of the piece was low as the materials and assembling method were not strong, thus lacking durability. The overall piece performs reasonably well as a temporary installation, not permanent. The assembling process and methods should have been taken into more consideration, especially when working with the environment(outdoors), compared to working indoors. Furthermore, in terms of the photograph (A1) taken of the installation, the composition could be further experimented where more focus on the information/message of the type can be greater. The photograph on the left to some extent, lacks focus on the information, due to the large amount of visibility of the dark areas, which inevitably steals the attention from the type. Feedback was given specifically to this photograph, where the format of portrait may work better as it takes away the unwanted elements and directs the viewer’s eye or vision to the specific information, leaving less room for scanning around the image. Through critical analysis of this final piece, I perceive the object (type) in the image to be visually engaging and worked well aesthetically. Although the photographic aspect/method could be further improved to create more focus/dimensions and perspectives. In terms of self-reflection, the methodology involved in the process, from making to photographing, were relatively new to me, of which I was unfamiliar with the skills required in photographing and printing in large format. Overall, although there were many obstacles involved in setting and installing the type due to weather conditions, the result of the outcome is regarded to be truthfully rewarding and pleasing.
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Break Through
The process of deciding and finalising on the final outcome of Break Through was relatively challenging due to the various contradictory feedbacks I received for the different compositions in the photographs; leading me to inevitably face difficulties in fixating on a final outcome. In terms of physically manipulating the type in the space, great amount of time was invested in positioning the type to a standard which would be perceived as three-dimensional. Although the piece, illustrated on the left is regarded to be a final piece, I particularly feel that it remains to lack dimensionality. From analysing the process of making to the final piece, the typographic object in the image remains visually ‘flat’ when photographed. For instance, the natural elements, such as shadows, are not visibly presented, which in turn reduces the sense of realism. I particularly feel that the piece performed more favourably in real-life than in photo. By photographing, it does to some extent, compresses the detailed quality, thus reducing the truthfulness of the typographic object in the setting. On the other hand, there are some strengths which I admiringly acknowledged. For instance, the breaking up of the letterings of a word. Also, the positioning of the type creates a unique and distinctive quality to the dimensions and thus, bringing a new perspective and point of view of the type by the viewers. Moreover, the choice of colour, yellow, not only evoked a sense of optimism, but also attracted attention amongst many people. This I believe is considerably a significant feature as by gaining awareness/attention, the message can then be delivered. Overall, although the typographic object in the photograph lacks dimensionality, I am relatively satisfied with the result due to the uniqueness and diversity of the angle, in comparison with the other pieces. The angle which it was shot, in my opinion, consist of more movements and playfulness which encourages the viewer to ‘look twice’ and possibly interact with three-dimensional piece, in real-life setting. In addition, as the photograph was shot and printed in a large format (A1), the details and textures of the wooden type are evidently illustrated, increasing the sense of realism, which were initially considered to be reduced due to the visual flatness. Through the large-sized photograph(s), the viewer is not only able to receive the message of the type, but also can analytically observe the details of which it consists when they stand close to the photograph in distance. Thus, the choice of the scale of the photograph was exceptionally successful, as it allowed for the audience to perceive or feel the existence of the space/ location and the typographic elements.
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Do The Unusual
I particularly found the process of creating Do The Unusual most enjoyable. Fortunately, the weather condition was relatively good which allowed me to freely experiment and creating the type on the grass. What went well with this final is the use of material, which naturally fits the overall imagery and content of the type. I found the formation for the type highly suitable and appropriate for the location. In comparison to the other pieces, Do The Unusual is the only work which I was able to leave in the location after designing of such. The satisfaction I received was relatively due to the fact that I was able to put the design in the place for as long as it could last without hesitation. The presence of the work remained when revisited after a week, which was highly rewarding and fulfilling. Through analysis of the production process to the final outcome illustrated the form of photography. The scale of the type was roughly at 80cm height, which is considerably large in comparison with my other pieces.As the type was large, the readability of the message remains significantly high when viewed at a great distance. Such I believe is considered to be a significant strength, in the aspect of delivering the message. Moreover, weaknesses of this piece was acknowledged and could be improved on such. For instance, the format of the photograph could be experimented to achieve greater perspective. The criticism of such is not majorly problematic. In addition, positioning of the elements within the image can be considered, as the proportion of the sky in the image dominates the other important elements, such as the message. Through reflection and various criticism/feedback, I noticed that the sky predominately draws the viewer’s attention, rather than the typographic element (being the first). Although such criticism was raised, the eye-catching aspect of the sky may not necessary be a complete disadvantage to overall piece. Overall, it is important to acknowledge the criticisms and drawbacks involved when working type in public spaces, for improvements in the future. It was relatively challenging for myself to conduct experiments and large-scaled work in public spaces due to lack of experience. In addition to such, when working with nature and the environment, you are bound to face unexpected consequences or scenarios which will inevitably affect your plans. To summarise, it was doubtlessly a ‘comfort breaking’ experience which significantly expanded my capabilities and knowledge, not only from the typographical aspect, but also the practical. Click here for more images.
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ACTION. TIME. VISION. By Stephanie Cheng Hui Tan - GMD year 1