Influences – Geometric-Based Design

The next area for investigation was the current use of geometry within graphic design. In order to ensure my work remains current and relevant it is important to compare it to the work of others in my field.

Recently many designers are taking a geometric based approach, and thanks to available vector-based software fully scalable geometric based work can be created.

The following examples utilise a range of techniques incorporating geometry within their pieces.

Diego Bellorin with the Virtual Chaos and Escapulario projects uses simple geometric forms to create abstract worlds. These pieces are of interest to me as they show such seemingly complex work can be formed from the simplest geometric forms. I am interested in exploring the messages that can be conveyed using these simple building blocks of geometry. I would be interested to know the intention of the artist when creating these pieces, as little description is available, and it is always advantageous to compare the working process of others to that of yourself.

Bellorin, D., 2011. Virtual Chaos. [electronic print] Available at: <http://www.behance.net/gallery/Virtual-Chaos/925898> %5BAccessed 3rd December 2011].

Bellorin, D., 2011. Escapulario. [electronic print] Available at: <http://www.behance.net/gallery/Escapulario/954638> %5BAccessed 3rd December 2011].

Charis Tsevis meanwhile, explores the use of breaking an image down into its geometric roots, stemming from cubism and futurism, this is an alternative approach to geometry within graphic design. I find it important to consider a variety of different styles relating to my chosen subject area, although within my initial investigations I discussed the possibility of forming a larger piece from a variety of components, it is advantageous not to restrict ones research so greatly at such an early stage of the project. This ensures I will follow the most suitable path for my body of work.

Tsevis, C., 2010. Turkey 2010 Basketball Championship Illustration. [electronic print] Available at: <http://www.behance.net/gallery/Turkey-2010-Basketball-World-Championship/688187&gt; [Accessed 3rd December 2011].

Following a visit to the Science Museum, London, I considered the recently redesigned geometric based logo.

Banks, J., 2009. Science Museum. [electronic print] Available at: <http://editorial.designtaxi.com/news-newscience/1.jpg> %5BAccessed 3rd December 2011].

Released in 2009 by Johnson Banks, following a commission to increase the attraction for visitors, the designers attempted to form an identity for the Museum which would convey the message of its exhibitions.The logo incorporates a geometric grid and simple geometric forms, aiming to convey the message that science require decoding and understanding.1 Further information relating to the formation of the logo and branding design can be found at the Johnson Banks website – http://www.johnsonbanks.co.uk/thoughtfortheweek/index.php?thoughtid=583

The work of Johnson Banks relating to the Science Museum was an interesting avenue of investigation for me, it allowed exploration into the manner in which other designers tackle problems of conveying a message in a simple manner and retaining (and gaining) public interest.

Another example of a use of geometry within design is an architectural one; The Kirkcaldy Maggies Centre by Architect Zaha Hadid.

Hadid, Z., n.d. Maggies Centre Kirkcaldy. [electronic print] Available at: <http://scmhardsoft.altervista.org/wp-content/uploads/2010/11/Maggies_Centre_Fife_by_Zaha_Hadi-16.jpg&gt; [Accessed 3rd December 2011].

Anon, n.d. Maggies Centre Kirkcaldy. [electronic print] Available at: <http://my.opera.com/POM032002/albums/showpic.dml?album=210943&picture=3178933&gt; [Accessed 3rd December 2011].

Her buildings, including the above example, often utilise geometric forms both within the plan and 3D form. However Hadid has faced criticism as they often fail to contain their geometric forms for a specific purpose and are only utilised at their aesthetic value.

Here I have investigated two alternative uses of geometry, that for purpose within the Science Museum, and that for aesthetic value.

This contradiction; using geometry to enhance a message or purely for aesthetic purposes is intended to be explored within the project. I believe geometry should not be used as ornamentation, I believe I follow many of the modernist principles, that every part of the design should play a purpose.

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1. Banks, J., 2010. Science Museum. [online] Available at: <http://www.johnsonbanks.co.uk/identity-and-branding/cultural/science-museum/&gt; [Accessed 3rd December 2011].

Influences – Geometric Type

Following my extensive investigations into the subject of typography for my SAT1 assessment I wanted to include a typographic element to my design for the practical assignment. I therefore begun to investigate the amalgamation of typography and geometry both currently and throughout the history of typographic design.

Wete – Roke 1984

In the below piece, Wete constructs the characters of his Roke 1984 by allocating geometric transformations to letter forms.

Wete., 2010. Roke 1984. [electronic print] Available at: <http://www.behance.net/gallery/ROKE1984/762721> [Accessed 30^th October 2011].

I find the utilisation of geometric transformations to form characters an interesting approach, however those used appear almost arbitrary and it does not seem that a strict set of rules were followed to create a logical typeface. The overall effect I believe is visually pleasing, however I would be interested to investigate the process undertaken to achieve the letterforms or if Wete chose their transformations simply for aesthetic value? I would be interested to see how literally this project could be taken, is it possible to create the letterforms from the transformations illustrated from starting geometric shapes?

I find it difficult to respond to the typeface provided by Wete further, as there is limited information regarding its composition. It appears the geometric transformations listed on the letter forms are ornamentation alone, as someone who likes to implement regimented forms and structures around my work I would prefer if the transformations listed were relevant to the letter forms.

Urs Lehni, Juerg Lehni and Rafael Kock – Lego am and Lego pm

Lego am and Lego pm was developed originally as part of a student project at the Schule für Gestaltung.¹ The construction of letters solely through individual lego units, responding to post-modern principles and an anarchy against ‘slick computer aesthetics’.² The isometric projection used in the final piece responds well with the simple ‘lego’ shapes used.

Lehni, U., Lehni, J., and Kock, R., 1999. Lego am and Lego pm. [electronic print] Available at: <http://lineto.com/1.0/content_55.html> [Accessed 16^th November 2011].

I enjoy this simple piece, by limiting the design to a simple set of units to construct the letters an interesting, engaging post-modernist piece is produced.

Further development of this work resulted in an exhibition poster. The title, in the typeface, is not instantly understandable, the audience is required to engage more in order to decipher the meaning.

The typeface itself was released in a ‘cut-n-paster’ manner to allow users to ‘construct’ their own letter forms from the individual ‘lego’ blocks.

I appreciate the rigour in which the typeface was approached, by adhering to a strict set of principles to create the letterforms. By taking the modular and alignment ideas from International Style and applying them to a childlike form before applying geometric transformations the piece becomes distinctly post-modern.

By looking at these current examples of the use of geometry in relation to typography I have established several points which I wish to bring into my own work;

• Any geometric transformations utilised must be for a purpose or adhere to a strict set of instructions. I find it difficult to appreciate Roke 1984 any further than as an aesthetic piece as the geometry does not relate to the letter forms.
• Attempt to follow strict guidelines and principles as utilised with the Lego am and Lego pm to experiment with the possible outcomes from following such rigorous procedures to the end.

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References

1. Triggs, T., 2003. The Typographic Experiment: Radical Innovation in Contemporary Type Design. London: Thames and Hudson. p.108.

2. Triggs, T., 2003. The Typographic Experiment: Radical Innovation in Contemporary Type Design. London: Thames and Hudson. p.109.

Investigating Contradiction

Within a previous post I had investigated the relationship between image and text, focusing on the four primary categories, symmetry, enhancement, counterpoint and contradiction.

 Among my initial investigations for the practical task I begun to consider the most extreme relationship, that of contradiction. As previously discussed true contradiction between text and image is difficult to achieve as firstly it is subjective and secondly it is rare to find examples of contradiction unless comic.

 As Jeroen Breen stated for Eye Magazine in 2010;

“Traditionally, a graphic work is built from two main elements: images and words. The images create a certain atmosphere, feeling or metaphor – in other words, emotion. And then words are used to put across information”¹

This is something I wished to explore, the importance of the two main elements, images and text. Breen believes that words convey the information, however, in the previously discussed case of enhancement words elaborate on the information, or in symmetry do not provide any further detail to the audience. I wanted to challenge the importance of type over form, and drew the following illustrations of contradiction.

Here you experience the conflict between the left and right hemispheres of your brain. The left-hemisphere primarily wants you to read the word while the right primarily wants you to decipher the shape.

A more common example of this is the left-right conflict colour test. Try to say the colour of the word, not the word itself.

Anon. n.d. Left Right Conflict. [electronic print] Available at: <http://www.few.vu.nl/~feenstra/gif/colours_1.jpg> [Accessed 19^th October 2011].

For many this task is a struggle as again the left-hemisphere primarily reads the word while the right-hemisphere primarily will try and say the colour.

I wanted to research further into the neurological processes that control our interpretation of images and text, I read an interesting article in The New Scientist.

Lee, J., 1997. Before Your Very Eyes. New Scientist, [online] Volume 2073. Available at: <http://www.newscientist.com/article/mg15320739.000-before-your-very-eyes.html?full=true> [Accessed 1^st December 2011].

Following this I became interested in the connection between science and design and considered a feature in Eye Magazine, relating to the forthcoming task for scientist of making their ‘invisible’ discoveries ‘visible’ and the relationship they must hold for the future with designers.

McKee, S., 2005. Making visible the invisible. Eye Magazine, [online] Volume 57. Available at: <http://www.eyemagazine.com/feature.php?id=124&fid=549> [Accessed 1^st December 2011].

Within the article McKee establishes the relationship between science and images, something which is present throughout history with geometry. The visualisation of solid and planar objects is not a new concept. Within the article McKee discusses how an image of a scientific concept is inherently important in retaining interest.

While McKee concentrates on a more complex subject matter than the basics of geometry that I have previously uncovered, I believe it is important to consider the relationship between the text and the image in order to best convey the meaning of the piece.

Considering this in light of my investigation into contradiction I believe this is inappropriate for the practical aspect of the project. I wish to engage and convey the meaning of the chosen word, geometry utilising both image and type complimentarily, not in contradiction.

I will now research into the techniques used by other designers to convey messages responding to geometry.

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References

1. Breen, J., cited in Farrelly, L., 2010. Making Each Letter Speak Out Loud. Eye Magazine, [online] Volume 75. Available at: <http://www.eyemagazine.com/feature.php?id=175&fid=790> [Accessed 29^th Novemeber 2011].