This blog might be useful to some of us (although some of you might have come across it already). Right now I am really struggling with how to visualise the visual and textual information on the vinyls, cds and mp3. Well, even cataloguing it to begin with is troublesome. But I’m getting there, slowly… Hope you have all gotten a good start on your projects and some nice days off!
An analysis of the visual stereotypes and conventions that represent war, in order to visually reveal the context, broader narratives, similarities, and possibly the patterns of 20th and 21st century armed conflicts.
Aims and Objectives
The understanding of war among people who have not experienced war is now a product of representations from many sources: news, both on TV and in printed media, photography, film, art, video gaming, monuments and even fashion.
Visual discourse is hyper-saturated with repetitive imagery of ongoing-armed conflicts, some glorifying it and some strongly opposed to it, and it seems that armed conflict has come to be considered normal, often even trivialized as another product of everyday life.
My intention in this project is first to sift through the vast scale of visual sources and to conduct a comparison between them. I aim to uncover and create order in the numerous common visual narratives associated with war in different media
Secondly, after conducting research in this unit, I aim to deconstruct this visual discourse and reassemble it in a manner that will function as an informative tool for revisiting the visuals of conflicts that we take for granted.
Work plan / conclusions from peer group discussion
The initial stage is to create a comprehensive visual typology from four different resources: Photojournalism, war Films, documentaries, and video games. I have created six categories, which will apply to these resources: Explosions, soldiers in activity, Portraits, landscapes, graphic symbols, and death. This typology will be my source and a rational for the further experiments I intend to undertake.
In stage two I intend to conduct a series of experiments which will draw attention to the way these conventions and stereotypes are used and reused.
An investigation into the use of scale in graphic design and an evaluation into the ways in which graphic material has to be adapted to work at different sizes. The project will look particularly at graphic design in music and how material is applied to a variety of media at different scales.
A collection of badges from the 70’s punk era has been used as a model for initial experiments on small scale material and their use as a fashion or promotional item. Why do people wear badges? Is it to associate with a group or subculture, to promote or belong to a particular band? As bands are increasingly having to think of innovative ways in which to raise their profile, I am interested in lookng at how they could perhaps use their audience to create their own branding or marketing ideas. What new technology is available to make fans feel like they belong in the same way badges used to? Perhaps by creating a brand for a band by using the audience.
Experiments will use projection and may take on the form of large scale pieces using people interaction, focusing particularly on graphics for performance, ie graphic backdrops for bands and using audience interaction and the bands themselves to create these graphics.
Two suggestions for experiments:
As music festivals are full of bands and audiences it seems to be the perfect place to create a large scale people interactive experiment. I plan to conduct an event at the Secret Garden Party. I hope to gather a crowd and see if we can create an interesting backdrop for the fesitval. I am already in contact with the organisers and photographers are on board to capture the results.
Experiment with several media including: shadows, projections, lighting and fluorescents at gigs and rehearsal spaces, to produce inovative ways of producing graphic backdrops.
This is the exhibition that was on in the Saachi Gallery in 2009. Unfortunately I forgot the name of the artist. He or she drew an image of every soldier that died in the Afganistan war and arranged it according to date. The images have the size of postcards and beside the name, age and city of birth there is written a small caption about the soldier. The colour of the cards refers to the skin colour of the soldiers.
Maybe someone saw the exhibition as well and knows the name of the artist.
…well I guess someone did the Bible already.
Usually we do not pay too much attention on shadows, and thus has no knowledge about the shadow’s behavior in special situations. From previous observations and experimentations, I found out that multi-source light projection can create some interesting and unexpectable results. The shadows that are derived from separate light sources overlap each other and therefore provide darker areas in the intersection. However, in case of eliminating or obstructing any of the light sources through intervention, the whole shadow map changes. Some parts seem to become darker while others become lighter.
The aim of my project is to investigate the possibilities of applying multi-source light projection in signage systems. I would like to find out how can it engage visitors, involve them in their own wayshowing, and give experience beyond information.
According to my plan, I’m trying to learn more about signage design and multi-source light projections simultaniously. My final intention is to develop a detailed guideline for the use of this projection technique which can be useful for designers and architects.
Ideas from the peer group sessions:
– looking at exhibitions, and learn about how visitors are used and invited for interaction
– using an existing signage as the basis of a multi-source light projected one, and testing it
My project focuses on digital projection as a medium and the immediate merging of the projection surface and the projected word that it is produced. The way this medium interacts with surfaces is nothing alike other methods. The use of light and darkness in relation to the surface construct the projected words or projected images as a unified body.
Research Question: Could the merging of a surface and a word produced with digital-projection as a medium generates new or alternative meaning?
Throughout the project I will come across the theoretical, linguistic and semiotic part of graphic design but at the same time the practical and medium driven part. The instant connection of words and their linguistic meaning with the characteristics of the projection surface and the unified body these two element create through digital projection will utilize the investigation to the field of study of semiotics. Through coherent investigation I will obtain knowledge in the use of language and meaning to graphic design in relation to images and surfaces.
The primary experimentation focuses on systematic digital projection of a group words on different surfaces. The group of words is formed with the theme of medium referenced form McLuhan’s books Medium is the message and Understanding media. At this point I project the words meaning, channel, media, voice, accent, form, mechanism, process, perception and medium on different surfaces, with different typefaces, sizes and distances.
Two suggestions for experiments from the peer group sessions:
-The use of light and shadow instead of digital projection. For example cutout of a word on a surface (fabric, cardboard) placed on a position that creates shadow between 2 different surfaces and methodologically snap photos of the shadow as it moves naturally thought the day. Even though the main focus of the project is digital projection as a medium it would be nice to have this kind of experiment since digital projection function only on darkness.
– Projections on places that can be interactive, for example interaction with cars and people on a static projection. I already have examples of this kind of projections using the previous group of words (death, fear etc). It would be interesting to have a series of projections with interaction since the medium would be more evident.
Braille has a close and obvious relationship to the sense of touch. And it is something that wants to catch everyone’s attention, whether you can read it or not, through the inviting tactility of the raised dots and the pattern it seems to create. But the meaning of it is lost on most people, as it looks like a language of its own and excludes the ones who can’t read it. And so – and maybe rightly so, in the name of ‘equality’ – the tables have been turned.
What does braille mean to the blind? How does it work, how is it used and where is it to be found? Is it enriching to their lives in general, or just a simple tool to absorb information the rest of us read as written text? What role does the materials used play?
My project aim is to find out how braille and three dimensional shapes can be used in creating graphics meant primarily for blind and partially sighted people – not necessarily excluding the rest of the population, but which would mean that if they wanted to get the full meaning, they would have to take a closer look at it and understanding a bit about its function. And I also want to use the pattern like qualities of braille to draw attention to it from the sighted audience and in doing so, give an insight to its importance to people living with this disability.
Whether my final outputs will be functional or more playful, decorative applications remains to be seen.
Two ideas from the peer group sessions:
Investigate how everyday shopping can be for the blind. How a shelf in a food store would look like if the packaging would be suited primarily for the blind; if all cereal cartons were white, with raised line drawings and raised dots for the text.
Create a kind of hybrid alphabet, where letters and braille letters are combined. Could be used in the ‘how-to’ manual for teaching sighted people to read braille.