Expression of the white space in communication design

A PROJECT ON THE EXPRESSION OF THE WHITE SPACE IN COMMUNICATION DESIGN

GOLDSMITHS, UNIVERSITY OF LONDON MA DESIGN CRITICAL PRACTICE MODULE: DS71072B INDEPENDENT PROJECT MODULE LEADER: TERRY ROSENBERG STUDENT NAME: YUCHEN ZHANG STUDENT NUMBER: 33477318 FINISH DATE: 08.20.2017 1

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TABLE OF CONTENTS

Abstract

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Introduction

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Chapter One The Theoretical Bases Of the White Space

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Chapter Two Project Description

Chapter Three Project Experiments

Conclusion

Bibliography

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ABSTRACT

This thesis focuses on the experimental project on the expressions of the white space in communication design. The question is what the absent element, the white space, means to the presented text or images in design? In chapter one, the theoretical research starts from Derrida’s deconstructive view that sees ‘presence’ as secondary and a supplement, a replacement, an addition and finally a “Différance” to the ‘absence’ and presence depends on a relationship with the ‘absence’. Then it discusses the ancient Chinese philosopher Lao Zi’s concepts of absence and presence. The Daoism sees absence and presence as the different states of being. The outcome of the theoretical studies is that we need to give special attention to the white space in communication design because the seemingly absent space in design expresses multiple meanings and conveys many messages. Chapter two and three elaborate the project and the design action. The design action of the layout of The Collected Poems by Odysseus Elytis is an experiment on the different expressions of the white space. The design action begins with the case analysis on Kenya Hara’s design of the periodical A Book and tries to summarize some strategies of using the ‘white’ or the white space in communication design. During the process of the experiment, I endeavour to use the white space to see how it can foreground the centre image and extend the theme, to give special rhythm and breath to the layout and also how to attract and activate the reader’s responses. The experiment is meaningful because 6

ABSTRACT

the process itself has excited many inspiring ideas and generated many methods of using the white space in layout. The significance of this thesis lies on the efforts to find out the philosophical inheritance of the concepts of absence and presence and provide some insight to the use of the white space in communication design.

Key words: white space, absence, presence, expressions, communication design

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I N T R O D U C T I O N

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INTRODUCTION

The focus of my research is the use of the white space in communication design. White space or blank is the indispensable component in layout. It helps to foreground the message of design work, make the message legible and add the aesthetic beauty to the layout.

Generally, there are two kinds of white space: the active white space and the passive white space. The former is left intentionally to form a better structure and layout in design and give the focus to the content. The latter is the default blank left at the border or between the content to make the message legible. The using of the white space emphasizes the seemingly absent ideas in the presented text or image. More exactly, the definition of the white space in this essay is based on White, a book by Kenya Hara, who treats white not as a colour, but a symbol of both simplicity and subtlety in Japanese aesthetics. “The mechanism of communication is activated when we look at an empty vessel, not as a negative state, but in terms of its capability to be filled with something.�

(Kenya Hara, 2009) In Japanese aesthetics, the white space is not information-free but an area upon which imaginations, potentials and sophistication are activated; a deliberately chosen medium of communication. The white space can also be seen as a symbol for or a bridge to the absent meaning that the presented text or image can never express.

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INTRODUCTION

The aim of my research project is to discover the evidence of specific relations that exist between the absence and presence through the experimental design of a book.

The process of the design is to explore these questions: How is the concept of absence expressed in art works and communication design works? How do designers use the white space intentionally in their works? What ideas they want to convey to the viewer through white space?

The analyses of these questions are divided into three chapters.

Chapter one focuses on the theoretical bases of the use of white space in design. Chapter two is the description of the design project. Chapter three explains the experiments on the different expressions of the white space in book design.

The significance of this thesis lies on the efforts to find out the philosophical inheritance of the concepts of absence and presence in communication design and provide insight to the practice of design works.

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THE THEORETICAL BASES OF THE WHITE SPACE

The white space plays a key role and has been widely used in modern and contemporary communication design. It addresses the binary relationship between the presence (images, text…) and the absence (meanings beyond images, text…). These binary terms are the fundamental concerns in philosophy. Throughout history, scholars from the east and the west have argued the relative absence and presence in different fields. The core question is whether truth is linked with presence or absence. The term “presence” and “absence” are the key words in many fields such as phenomenology, ontology and deconstructivism. Different scholars have different definitions or interpretations. The surface meaning is that presence is something projected, either in the form of image, text or sound. Presence, describes a state that must have come first. When we look at a design work, we can say the meaning is presented before the observers. While the absence refers to the disappearance of the world behind the veil of language, image or sound. What is the relation between presence and absence? Are they in binary opposition or subordinating relation? Traditional western philosophy sees absence as the origin of presence. Absence does not mean nothing or negative. Postmodern philosopher Derrida views ‘presence’ as secondary and supplement, a replacement, an addition and finally a “Différance”( Derrida, 1997).

Derrida thinks beyond the static binary distinction that once connected presence to an absolute truth or origin and absence to 12

THE THEORETICAL BASES OF THE WHITE SPACE

imitation or copy. “…presence is in some sense secondary; it depends on a structure of supplementarity.”

(Lucy, 2004) This deconstructive perspective deconstructs the presence-centered world and draws attention to what is absent and how absence is expressed beyond presence. Derrida’s deconstructive views on the relationship of absence and presence become the first starting point of my later research and practice. In communication design, the emphasis on white space or negative space is the method to supplement the absence of text and graphics. By adding generous margins, space between columns of text and other design elements of the layout, the message beyond the text or images is highly projected. It is no exaggeration to say that there is no graphic design without white space.

In Chinese philosophy, the concept of absence and presence is elaborated in Dao De Jing, written by Lao Zi, a philosopher during the Spring and Autumn period. In the very beginning of the book,

Lao Zi claimed: “The Dao that can be spoken of is not the ever-constant Dao. The name that can be named is not the ever-constant name. That which is without name is the beginning of heaven and earth. That which possesses a name is the mother of the ten thousand creatures.”

(Dao de Jing, Chapter 1, line 1-4) 13

THE THEORETICAL BASES OF THE WHITE SPACE

Here, “that which is without name” refers to the truth that cannot be named or known. It is the origin of something that can be named or known. These notion is similar to the concept of absence and presence in western philosophy. Lao Zi continues to explain: “ These two, they arise from the same source but have different names.

This sameness is called their deep mystery.”

(Dao de Jing, Chapter 1, line 7-8) That means absence and presence are the different states of being.

Lao Zi also emphasizes the concept of non-action and non-interference. Non-action does not mean no action. It is the spontaneous action taken at the right time according to different situation.

Non-interference means that one should change the natural law as little as possible in order to reach his goals. The Chinese scholar, Zhang Rulun made a comparison and contrast studies on Daoism and western metaphysics. (Zhang Rulun, 2017) He concluded that the Lao Zi’s concept of ‘Wu’ is the same with the concept of absence Quoted from Dao de Jing, A Minimalist Translation.

Translated by Bruce R Linnell, (2015) The traditional classic text is entitled Dao De Jing, or Daodejing in Chinese Pinyin;

in Hegel and Heidegger, that is, absence is the primitive possibility or the origin of the Being. He also summarized that all through history, traditional Chinese did not treat art as an independent subject but treated it in combination with ‘Dao’. Art is

also translated as The Tao Te

only another path or a special way leading to ‘Dao’ and ‘Dao’ is

Ching. The author’s name is

the absolute aim of art. The thought and concept of Daoism became

Lao Zi or Lao Tzu in Chinese Pinyin. ‘Dao’ or ‘Tao’ refers

the guiding principle in Chinese classical arts work. The ideas of

to the origin of everything by

‘Wu’ or absence is the fundamental philosophical concept. Unlike

Lao Zi.

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western philosophy, ancient Chinese aesthetics does not elaborate on what is ‘Wu’ and what are the related concepts. It focuses on the perceptive expression of ‘Wu’. ‘Wu’ is unnamable and intangible and only lies in the sublime or is the sublimity of the universe. It is beyond any attempt of presentation. Hence, ancient Chinese art does not emphasize on mimetics. The pursuit of the reality or being real in artistic expression is deemed as mediocre. Instead, Chinese classical art advocates on minimalism and pay less attention to forms. The highest aim of artistic expression is to create a non-ego state. Therefore, the “white space” is a golden rule commonly used in traditional Chinese paintings and calligraphic works. The artist leaves some proper blank based on the content and the composition of his work.

The essence of this rule can be defined as follows: Reckon the blank the same as the black lines; Simpler and less rather than complicated and intricate; Build a balanced picture in an extremely abstract way.

The artist endeavours to create the composition space and to depict the absence as well as presence. This concept in ancient Chinese art can best bridge the gap between ideas and the work of art. The foremost goal of an artist is to create an artistic beauty and to entice and activate the viewers’ imagination to 15

THE THEORETICAL BASES OF THE WHITE SPACE

Fig.1 An example of ancient Chinese painting Xi Shan Qing Yuan Tu

by Chinese Artist Xia Gui (1195-1224)

the extreme so that the viewers can take a spiritual journey in his work. Thus the concept of “white space” or “absence” plays a very important role in creating the sublimity and richness of traditional Chinese art. Natural scenery or people in nature are the most common subject in classic paintings. Even the aim of calligraphic works is to embody a kind of aesthetic effect. Such kind of Chinese art is a trap to entice the viewer into the artistic work as if the viewer himself is living in the painting and become the subject of the painting.

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The concept of Daoism can also be seen in modern designs. Kenya Hara, director of MUJI, said that design is not a kind of skill but the perceptibility and insight to capture the nature of the object; people may have thousands of perspectives to see the world and thousands of ways to experience this world and design refers to the ability to apply these perspectives and ways subconsciously to everyday life. (Kenya Hara, 2014 ) Fukasawa Naoto, a Japanese industrial designer, advocates design ‘without thought’. His design is known as an unconscious design. When the designer unconsciously thinks or does something, the expected design work is already born.

The ideas and thoughts of these two designers are akin to Daoism and their designs can be seen as the practice of the non-action and non-interference of Daoism.

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PROJECT DESCRIPTION

Description on the project action Based on my research on the theoretical bases of the white space, I plan to work on the graphic design of a book and experiment on the different uses of white space on layout. The contents of the planned book are some of the selected poems by Greek poet Odysseus Elytis, Winner of the 1979 Nobel Prize in Literature. The choice of this project is based on my understanding about communication design and the inspiration through reading Elytis’ poems.

Design, in general, has long been regarded as a creative and innovative work. In fact, creativeness and innovativeness have become the norm of judging a design project. How can a design work be accepted and not deserted by time? What is the inspiration of a designer?

Troubled by such questions, I fully agree with what Steve Jobs said: Design was a really loaded word (2002). Being a successful communication designer is my long-cherished dream and choice. My Critical Design courses push me to think what is missing in my knowledge about design action. Being a graphic designer, I know for sure the rules of graphic design and use of the latest software for design but that knowledge does not guarantee any idea or the soul of my project. There are many types of designers who can solve practical problems, but only a few can produce artistic and aesthetic designs.

To create artistic beauty in communication design has also been my dream. If I spend time and energy on a project, I hope I can present a work of art in the end. When the designer skillful leave proper 19

PROJECT DESCRIPTION

blank or large proportion of the white space, he can make a pure, clear and elegant artistic work. Since the use of the white space imbues poetic feeling to the project, I think the right choice of my experimental project is to design a book of poems. It is a real challenge for me to experiment on the combination of form and contents. This choice can best present the beauty of the design as well as the beauty of pomes together.

The reasons for the choice of the poet Odysseus Elytis and his poems are: Odysseus Elytis is regarded as the representative poet of romantic modernism in Greece and the world. His poems describe “…complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light.”

(Anon., 1979) The subject of natural objects and light are the dominant element in his poetry. He presents the perceptible world vividly and awesomely with a fresh and astonishing powers. Elytis’s poems provide inspiration to my project because he conveys the enduring wisdom and endless meanings far beyond the lines of his poems. His poems can be seen as a design masterpiece with limitless white space for the imagination of the readers. In one word, his poetry gives poetic feeling to my project and helps me to add poetic expressions to my project.

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PROJECT DESCRIPTION

Research Methods

Literature review and qualitative Research

Specific Questions Intending to Address

1. How to define of concept the absence from the perspectives of a designer?

2. What are the functions of the white space?

3. What are the different expression of the white space?

Design Process 1. Theoretical research of the project 2. Doing experiments on the design of the book 3. Check and adjustment of the outcome of project

Theoretical Bases Derrida’s deconstructive views on the relationship of absence and presence become the first starting point of my latter research and practice. Then I did review on Daoism’s concept on ‘Wu’, similar to the concept of absence, means something beyond reach, nameless, hard to know, and also Daoism’s non-action, non-interference principles. Daoism’s ideas influence Chinese art, and even today’s Japanese Designers like Kenya Hara, who’s idea of ‘White’ is partly the inheritance of Daoism, and partly influenced by Zen, the Japanese interpretation of Buddhism.

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PROJECT EXPERIMENTS

Studies on the cover design of A Book

The principle purpose of graphic design is to convey messages. However, within the limited time and space, too much texts and illustrations crowded together cannot send the valid information immediate but trigger visual fatigue on the part of the viewers. It is of vital importance to project the one and single visual focus first and to leave the most part of the picture blank. Putting too many visual objects together is like cramming everything in a shopping bag. One can never find the right thing. The key information cannot be conveyed to the viewer or the reader. The designer needs to foreground the focus and eliminate the unnecessary parts. Next, he must simplify the given information and to use efficient methods to convey the key message precisely and exactly.

Take the cover design of the periodical A Book as an example. It is published every three months and more than ten years the design of the cover has kept a consistent and unified style. With the title and the issue number as the only text, the motif of each issue is presented by a simple white image. Based on Kenya Hara’s sketch, the illustrator Yoshitaka hand-painted it with magical precision and recreated the original sketch faithfully. The precision and sophistication of the design lies on the masterfully use of the white space and the pure colour with slight shades of shadow. This cover design presents the key messages - the motif and the issue number - with a poetic and powerful visual effect. The image and the text 23

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The strategies I get from this example are as follows: A thorough research on the theme of the project The simpler the design is, the better the viewer receives it.

Use plain, pure and clean colour, such as ‘White’, to estrange familiarity for awesome visual effect.

Use white background to emphasize the object

Fig.2 Cover design for a serial of magazine A Book, By kenya Hara

compose a perfect unity while, at the same time, each of them keeps its unique and strong tone. Its spatial order and pure white image become the perfect example of the application of the ‘White’. Kenya Hara use ‘White’ or emptiness not only to imply simplicity of form and logical sophistication. Rather, emptiness implies a space within which the viewer’s imaginations can “run free, vastly enriching our powers of perception and our mutual comprehension.” (Kenya Hare, 2014) 24

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My Experiments on the different expressions of the white Space

Foreground the focus and extend the theme Based on the case analysis of Kenya Hara and Yoshitaka’s masterpiece work, I start my own experimental design on some of the selected poems by the Greek poet, Odysseus Elytis. This experimental project is both ambitious and challenging to me because I know little about Greek culture. My understanding of the poems is on the surface level as a Chinese; my understanding of the western ideologies is also not sufficient. However, my identity as a young and Chinese designer helps to defamiliarize the object and see the poem in a very special perspective.

My first experiment is the cover design. To foreground the picture of the poet and also depict his inner world, I put his picture on the left side of the graphic without any space from the fringe. I want to convey such a message that the poet is looking at the endless world in a unique perspective. His eyes are full of compassion and apprehensions. The whole picture foreground strongly the relationship between his interior world and the outside world, and the relationship between his invisible spirit and the visible material world.

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Cover design for the collected poems of Odysseus Elytis

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My Experiments on the different expressions of the white Space

Express the special rhythm and breath Basically, leaving white space is to give breath with a little open space between elements. White space in general is regarded as negative space because of the absence of text and graphics. What if I break the normal way of the negative space and change it into the active space? Experimenting on large empty space, different shape of blank and white, I try to use them to express the objects, settings, emotions, intuitions and the rhythm according to the theme of the poems by Odysseus Elytis. Fortunately, his poems are rich in images, emotions and mysterious messages, which all give me inspiration on the layout of the pages.

In his “Climate of Absence”, each of the three stanzas has different lengths and different rhythms. In the first stanza, the poet first depicts “a knot of sadness”: I All the clouds confessed to the earth A grief of my own took their place And when in my hair the unrepentant hand Grew melancholy I was bound in a knot of sadness.

To express such feeling, I copied lines and overlapped them together so that the large part of the page is left empty. The lines in this stanza are condensed at the bottom of the page to express the 27

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Layout of the “Climate Of Absence” knot of sadness. The emptiness over these lines is filled with overwhelming clouds to create a sense of repression.

On the next page, to emphasize “I-amid the Serenity I enticed” and to echo the repetition of “facing the sea”, I leave more space between the lines but still left more than half of the upper page blank. The very light-coloured image of sea is put here as the setting to express “serenity”.

The design of the third page strengthens the sense of “isolation”, “nothing”, and most important, “for feeling of a crystal”.

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Neither colour nor images on this page create the sense of crystal clearness. The large space of blank highlights the key word in the title “absence”, and together with the previous two pages, signifies the title “Climate of Absence”.

The experiment of the different designs of the three stanzas in this poem produces the different paces of breath and symbolizes the changes of rhythms in this poem.

Entrap and activate the reader’s imagination The principle function of the white space in design is that the absent space provides immense possibilities for the viewers’ imagination and reaction. The large empty space functions as a trap to interact with the viewers and appeal to their intelligent and emotional resonance. Thereby the designer’s message is actively accepted and interpreted. The artistic design process is similar to that of the poetic creation. What the poet finished is only half of the poem while the next half are expected to be completed by the readers. Since the imagination and experiences of the readers are various, the recreation of the poem produces various outcomes. The same is true with communication design. The purpose of my experiments on layout is to activate the imagination of the readers and give new life to the poem.

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The design of “Second Nature” corresponds with the “smile”, “eyes wide open” and “images around”.

Second Nature II Time is a quick shadow of birds My eyes wide open amid its images Around the all green success of leaves Butterflies live great adventures While innocence Takes off her last lie Sweet adventure Sweet Life.

Two eye-shaped blanks are left among the repeated lines around them. When in print, these parts are left hollow. They serve as the open window towards the outside world and entice the readers to see through them. The lines around them and also what is on the next page indicate what the eyes can see: leaves, butterflies and everything that one can encounter during the adventure of life.

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Layout of the “Second Nature”

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Layout of the “Seven Nocturnal Heptastichs”

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In “Seven Nocturnal Heptastichs”, the message in the third stanza is planarized on this page III All the cypresses point to midnight All the fingers Silence Outside the dream’s open window The confession Slowly unwinds And like a glance it swerves toward the stars!

The radioactive layout of the lines has a blank centre, which is the focus of imagination or meditation. The visual effect of this stanza draws the readers towards the centre of the page and invite them to enter the timeless and endless passage of poetic imagination.

The experimental project process is full of fun and inspirations.

The process of design work has illuminated my mind, renovated my way of thinking and filled me with passions. This project practice helps me to embrace intuition and indulge in creative and critical imaginations. It really connects me with authentic people and reality described in the poems of Odysseus Elytis. I understand better the meaning of design and rediscover the broken artistic ability lost in the concepts and subjective illusions.

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CONCLUSION

500 century BC, when interpreting The Book of Changes, Master Confucius once said: “What a regret that the writing cannot express fully what one says; The speech cannot express fully what one thinks.

Can the thoughts of the Sage be never reached?”

(The I Jing, Xici I, Chapter 12) This remark best expressed the limitation of language and speech because the truth cannot be express through these limited forms of communication. Lao Zi attempts to use the term of “Wu” and “You”, the absence and presence, to express the similar concern. In the 20th century Derrida uses the figurative term “Différance” to refer to the ambiguity and indeterminacy of the languages. To express the changes of the universe and the Law of Nature, King Wen of Zhou (1152-1156 BC) created the mysterious symbols - the hexagram. Confucius comments that the Sage (King Wen of Zhou) designs the 64 Hexagram to express the inexhaustible meanings beyond word and use lines The quote, quoted from the

12th chapter in the first part

and hexagram to symbolize the truth and falseness. It suddenly dawns of the introduction to I Jing to me that King Zhou can be seen as the first communication designer ever recorded in history. Entering the 3rd millennium, people still have the predicament about how to convey the inspiring ideas that

(The Book of Changes), is translated from Chinese by myself. The introduction has two parts which are entitled Xici I and Xici II, written by

are ineffable due to the limitation of the media such as languages,

Confucius. Xici is Confucius’

images or sounds. The same is true with today’s communication de-

book: I Jing, which is be-

sign. However, the greatest truth is the simplest. Japanese design-

interpretation to the original lieved written by King Wen during Zhou dynasty

er, Kenya Hara, uses the concept of “White” to reach absent messages (1046—256 BC).

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CONCLUSION

in communication design. His book Designing Design gives me inspiration on the use of the white space for my experimental project and the Greek poet, Odysseus Elytis’ poems provide me the mysterious spiritual and emotional world to adventure.

Looking back, the process of my design action is first a time-andspace-crossing encounter with the philosophers and designers, and is also a baby’s toddling in the dream/reality journey. During the process of experiment, I endeavour to use the white space to see how it can emphasize the focus and extend the theme, to give special rhythm and breath to the layout and also how to entrap and activate the reader’s imagination. The experiment is meaningful because this design action has excited many inspiring ideas and encouraged me to be more ambitious in being a critical designer. At the same time, this project helps me to know more about my limitation. The concepts of absence and presence are too philosophic and complicated for me to understand and my knowledge on western philosophy is just the tip of an iceberg. There are many unconnected theoretical links in my research. The project still stays on an experimental stage and the revision and evaluation are insufficient due to time limits and the lack of exhaustive research. Many doubts and problems arise during the process; new ideas and plans appear but fail to be realized. In this sense, my project is not an end but a starting point to my future practice in communication design.

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Fig.1 An example of ancient Chinese painting Xi Shan Qing Yuan Tu by Chinese Artist Xia Gui (1195-1224) [online] Avalialbe at:<http://www. gucn.com/Service_CurioStall_Show.asp?Id=2330456> Fig.2 A Book Cover design by Kenya Hara [online] Avaliable at:<https:// www.ndc.co.jp/hara/en/works/2014/08/abook.html> A Book The cover design of the magazine, A Book has a single visual, and is devoid of any superfluous information. Illustrator Yoshitaka Mizutani, given to producing illustrations with awesome precision, helps turn Hara’s sketches into precise, sophisticated images. Their association runs nearly 20 years now. Having worked together on everything from the details of reflected light and shadow to the textures of objects, they have developed an “A-Un” relationship, requiring no verbal communication.

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