Task 8

Counter-compositional:
This term relates to the individual items which make up an object. For example a light bulb is made up of filament, glass casing, wires, fuse, stem and a cap, if any of these elements where changed then a completely new object would be created, for example if you replaced the glass casing with plastic the bulb would no longer be practical as the plastic would melt when the bulb was used.  

Counterfactual:
This term relates to the system an object is apart of/ an items function, for example a light bulbs primary function is a light source. A counterfactual of this would replace the function of a bulb within a system to create a new object such as a bulb the produced black light therefore making a space darker instead of lighter. 

Initial Ideas:
Counter-compositional
- Glass casing made out of flammable material.
- Casing made out of material that would allow the bulb to work but the casing would melt as the bulbs used.

Counterfactuals:
- Bulb the produces black light making a room darker.
- Bulb produces colour light that is expensive due to the materials used. 
- Light that only last for short amount of time. 

In order to create a counterfactual of my object (see figures 1 and 2) I've attempted to create a bulb that makes a space darker by using paint to cover a bulb. However this experimentation hasn't worked as successful as I would of liked as light is still able to shine through due to gaps which have appeared as the paint has tried. This experimentation also doesn't fully show my initial idea of having a lamp which would produce black light which would require a more complex and technical processes. 

Figure 1

Figure 2

Counter-compositional: https://vimeo.com/197640322
In order to create a counter-compositional I've questioned how the chemicals used within sparklers thats could be adapted into a light bulb to create a bulb that would only last for a short amount of time making it impractical. To aid this experimentation I've explored the use of sparklers for there current use as a temporary light source and interactive firework (see video 1). I've slowed the footage down in order to focus on the sparks created from a sparkler which could feature within the bulb. 

Objectivity and subjectivity in Graphic Design

The Wim Crouwel and Jan van Toorn Debate:

Wim Crouwel believes graphic design should be objective in order to not disrupt the message from sender to receiver which can become distorted through a subjective approach, as an objective approach allows for the message to be conveyed clearly through an scientific and organised approach to design. However in contrast Toorn believes design should be subjective as this approach creates varied and interesting responses which allows the 'viewer to arrive at a view of his own'. Consequently producing work that isn't clear and causes the audience to draw there own conclusions as Toorn is not afraid to experiment to produce work that is unexpected and varied. Both men have completed work for Jan Dibbets which was discussed within the debate as Crouwel attempted saw his role as a mediator who needed to translate the message in clear objective whereas Toorn accepted what Dibbets wanted to feature within the catalogue but felt he needed to find a stance/attitude to base his work on. In conclusion this debate fails to reach a definitive conclusion on whether design should be objective or subjective as both men have very strong views which define their individual approach to design. 

Personally I feel design needs to be both objective and subjective as it depends on the brief your working on. In some cases a very structured and scientific approach to design is necessary when important information needs to be conveyed in a clear manner such as within a protest. However I feel a subjective approach to design can produce more interesting and effective results as you produce work that is unexpected and causes the audience to think allowing for variety within your work, as an objective approach can produce work with little innovation over time which can begin to look similar and boring.   

Task 7

Task 7:

Figure 1

Begin a collection of your chosen object (this could be physical, digital, written, video, photographic, etc.).

Initially I started to create gifs to add to the collection of light bulbs (see figures 1-7) which I have collected through the completion of each study task, based on the drawing and images I've produced from earlier tasks (study task 4) as I thought this would be an interesting starting point as they don't contain physical light bulbs but aspects of a light bulb or items which relate to light. These gifs (see figures 8-10) have been successful in developing some drawings from study task 4 further to create a more interesting outcome than a simple image however I don't think they are appropriate for this brief which involves creating a printed document based on a light bulb. In addition the use of colour within these gif doesn't successfully represent a light bulb itself rather the research I've conducted surrounding the light bulb within study task 4. 

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Figure 10

Task 5

Task 5:
Explore your object typographically. 

Initially my experimentations where very basic due to the use of obvious experimentations by creating shadows through layers and altering the kerning within a word to see how each letterform became deformed (see figure 10. As I developed my work further I started to apply my research to my experimentations through looking at the periodic symbols for chemicals found within filament  as well as creating words from shapes. These more abstract experimentations (see figures 2 and 3) are more successful as they have created more interesting outcomes which don't directly link to a light bulb. To further my developments I've experimented with lines using shapes such as square, hexagon and circle in order to typographically explore florescent light bulbs and filament.  This has allowed for the creation of interesting experimentations and gif's as I've looked at different ways to communicate my experimentation.  However throughout my experimentation with creating words out of shapes in particular the square and hexagon it has been quote difficult to create legible letterforms which can be seen within flicker as the 'f' looks more like a 'g' in both variations. Overall I feel these abstract experimentation are interesting and successful but more development and experimentation is needed.  

FIgure 1

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Figure 3

Task 6

Task 6:

Photographic constraint:

• Take 50 colour photographs of your object following a constraint or limitation that you set
• Consider how each photograph communicates the connecting constraint through the series
• Possible constraints: line, tone, colour, shape, form, ratio, viewpoint, perspective, symmetry, focus.
• Print contact sheets of all of your photographs, then print the 5 most successful images at A5 size.

In order to place a limitation on a light bulb, I've experimented using tape to cover certain sections of the bulb in order to see what shadows can be created by removing the ability for light to be shone through (see figure 1 and 2). I've also chosen to cover sections of the bulb to reduces its functionality and see how it performs under a certain constraint and how this effects its function as a light source. I found this has created some interesting outcomes when tape is wrapped around a bulb and personally feel that using thicker tape create more interesting shadows. Consequently my experimentation using tape to cover half of a bulb didn't produce as successful responses as too much light was removed causing limited shadows to be cast.  Whilst conducting these experimentation the light bulb would heat up causing the tape to burn which lead to some interesting experimentations when smoke was captured against the shadows. I found this particularly interesting as the smoke flowed in a similar form to the shadows cast by the bulbs as both created circular flowing patterns which is a contract to the very geometric experimentations I'd previously conducted in relation to by research. Consequently I feel these experimentations have been successful as they've created unexpected outcomes, all of which reflect aspects of my chosen object. 

Figure 1

Figure 2

Here are my 5 most successful experimentation (see figure 3-7). I've chosen these 5 as they show the different uses of tape and how the width of the tape effects the shadows that are cast. They also show the problems I faces due to the tape burning.

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Figure 7

Book Covers: Layout Experimentations

In order to further develop my book sleeves I've experimented with different layout using the Marber gird. Throughout my experimentations (see figure 1-4) I've mad slight alterations in order to maintain the brand identity of Penguin which is notoriously associated with the layout of its covers. I feel these experimentation have been successful due to the varied exploration of the the Marber grid, however have chosen to develop figure 4 as I feel this layout is well balanced and uses the Marber grid in an interesting way. I intend to incorporate purple into the spine of my sleeves due to its association with mystery within colour theory and it will also add an identifying feature to books within the mystery and spy genre making them easily identifiable in a similar way to the green hue featured across Marbers original designs in 1961.  

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Figure 4

Colour Theory: Mystery

Within colour theory purple symbolises numerous things in different cultures, such as among Mediterranean people purple was reserved for emperors and popes as it symbolised power and prestige as it's expensive to produce as well as its rarity in nature. Despite its controversial nature due to its ability to divide people as its either a colour people love or hate. I've chosen to incorporate purple (#5D2872) within my book sleeves (see figure 1). This is because of its association with death in many countries such as the UK which I personally also associate with mystery and intrigue which is a common theme within the spy novels I've chosen to create book sleeves for. 

Figure 1

Romeck Marber: Timeline

Following my research into Romek Marber, I've created a timeline of his life based on a map of Poland as this is where he was born. I've chosen to feature Warsaw the Capital of Poland for the map in order to bring together the modern world with the past by featuring 'old warsaw' within the sectioned of part of the city I've decided to use. I'm pleased with the outcome of this piece of work as the information is still legible despite the underlying lines of the map which was a main concern when I initially started to create the timeline. I plan to feature the timeline on coloured paper upon printing which will relate to the theme of mystery and espionage feature across the books by John le Carre. 

Dates used within the timeline:
1925:
Born in Poland
1939:
Deported Bochnia Ghetto
1942:
Saved from being sent to Bolzec Death Camp
1946:
Moved to Britain where he was reunited with his farther and brother
1950:
Studied commercial arts as Central Saint Martins
1953:
Studied graphic design at the Royal School of arts
1960-07:
Designed covers for the economist
1961:
Marber grid
1964:
Launched the observer magazine
1964-66:
Design consultant for observer
1970s:
Marber grid inspired Fontana Modern Master publications
1989:
Retired
2010:
Released his autobiography on life during WW2
2013:
Colchester School of art launched retrospective of Marbers work for Penguin books.

Book Covers: Illistrations

In order to develop my books sleeves I've researched each book I've chosen to use by John le Carre which has lead me to create an illustration for each book based on the destination featured within the book. Consequently I've chosen to feature the Kremlin for The Russian House (see figure 1) due to it's iconic links to politics and espionage. I've chosen to feature Beethoven's Haus in Bonn, Germany (see figure 2) for a Small Town in Germany as although the museum isn't necessarily featured within the book its a main attraction in Bonn which is where the book is set. Furthermore I've chosen feature the  Grossmunster in Zurich (see Figure 3) for The Night Manager as this is one of the four iconic church's within Zurich. I also wanted to avoid any obvious imagery associated with this well known book in order to create a more interesting sleeve.

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Study Task 4

Study Task 4:
Recreate  a piece of music in Illustrator. 

Figure 1

In order to respond to study task 4 I've based by designs on the song Shine by Years & Years. Throughout these designs I've considered both the lyrics and sheet music of the song (see figure 1) as well as the occurrence of light within the music video. In combining both the lyrics and the sheet music in figure one I've considered the dependance of each element on the other as both are need for an impact to be made on the audience. I feel this experimentation had worked well due to the exploration of the relationship between the sheet music and the lyrics as well as the abstract use of the sheet music within the design due to the ability to image trace the music within Illustrator. 

Figure 2

In order to further explore the use of sheet music within my designs I've incorporated a more complete version of the sheet music (see figure 2). The variations in opacity highlight the overlapping nature of the music due to the repetition within the song. Furthermore the use of variations in opacity allows for the creation of a shadow like effect reflecting the underlying theme of light within the song. 

Figure 3

In order to further my experimentations I've explored the use of sheet music more whilst incorporating colours featured within the music video (see figure 3). I've taken inspiration from the use of illuminating light within the music video which has allowed for the creation of a blurred effect due to the layers and colours used within figure 3. I feel this experimentation has worked well due to the incorporation of colour to highlight the links to light within the song.

Figure 4

To develop my experimentation further figure 4 uses repeated lines of sheet music in corporation with the use of the pathfinder feature within Illustrator to create an interesting pattern highlighted through the use of red which is a strong feature within the music video for Years & Years. The connections created by overlapping the sheet music highlight the repetition of the music throughout the song as well as the sequence in which the lights appear within the music video. I've further developed this idea (see figure 5) by creating a shadow effect based on the use of pulses of light throughout the music video for Shine. As a result of this experimentation a more interesting pattern as there is less negative space within the middle of the design  creating a more intricate and interesting design. 

Figure 5

Years & Years- Shine research/ initial ideas

Years & Years- Shine

I've chosen this piece of music as the basis of study task 4 due the use innovative use of light within the music video to highlight the emotion and tell the story within the song. The reappearance of red within the video has heavily influenced my designs as well as the appearance of green and yellow. I've also chosen to use this song due to the appearance of light within the lyrics as it appears to symbolise savour and salvation. In order to develop ideas for this task I've focused heavily on the appearance of light within the music video by incorporating the colours used within my designs  aw well as incorporating the sheet music for the song into my designs.

Chosen books

Brief:

Create three Penguin book sleeves following the Marber Grid.

In order to respond to this brief I've decided to design books sleeves for three of John le Carre books, The Night Manager, A Small Town in Germany and  The Russian House. I've chosen to design sleeves for books by the same other as all three of these books are spy novels which will allow me to create a common theme across my sleeves in order to link the books via the author. My initial idea is to feature key items/buildings associated with the characters within the book on the front of the sleeves with the a timeline of Romek Marbers life on the back of the sleeve which will be contained within a map of Poland. In order to create these sleeves I've created some basic sketches (see figure 1) experimenting with ways to edit the Marber grid subtly as to not alter the grid completely.  

Figure 1

Marber grid

Romek Marber created a grid system in 1961 which allowed him to compose the covers for crime & mystery books published by Penguin (see figure 1).  When composing the grid Marber considered the need for the introduction of illustrations onto the covers of the books resulting in the main information such as publisher, author and title being confided to 1/3 of the cover allowing space for the illustration to capture the audiences attention. This allowed Marber to maintain Penguins long standing image of typographic covers whilst introducing a more modern feature to the books through the incorporation of illustrations and the use of a green hue which was a forward thinking, modern aspect at the time of publication in 1961 but still allowed Marber to maintain Penguins classical image due to the use of typography at the top of the covers. Consequently this grid system proved to be very successful with the Marber grid being adapted and used by many other designers allowing it to become one of the most admired and well known grid systems since its use in 1961. 

Figure 1

Study task 3: Excel images

Task 3:

Figure 1

Create 10 drawings of your object using a spreadsheet program.

I've been able to develop a series of responses to the study task by looking into the components of a light bulb and how it works. Consequently this has lead the development of these drawings as I've focused on creating visual responses to technology that supports a light bulb such as the positive and negative currents running though and electrical system and how the vary and cross over within a system (see figure 1) which can be identified by different colours. Furthermore I've developed this idea further by referencing the patterns found within circuit boards and the crossing over pathways which are highlighted by the addition of colour (see figure 2-4).  Consequently this has led to the development of more pixellated drawings by looking at static electricity (see figure 5) and how electricity flowing through a circuit and how it can get disrupted causing the circuit to break over time (see figure 6-8). The introduction of colour references the different wires found within electrical systems and how they overla
p within a system. Furthermore I've also experimented with the idea of representing the changes in voltage throughout a electronic circuit (see figure 9) in a similar pixillated style as to reference static electricity. In addition to looking at voltage within electric circuits I've also looked at how the power within a circuit can reduce/fade over time (see figure 10). Overall these experimentations have been successful due to the range of approaches and styles explored despite the limitations presented by the software which I found difficult to adapt too. I feel the most successful responses (see figure 3-4) are those based on the patterns found within circuit boards as the overlapping lines and use of colour create an interesting pattern which I didn't expect to be able to create in such a limiting program such as excel.

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Study task 2 sketchbook developments

Study task two:
creating objective signs for subjective things.

In order to respond to this task I've created symbols and supergraphics for potential wayfinding systems based on escape, anxiety and beauty. Throughout these experimentations (see figure 1-3) I've explored the idea of creating abstract symbols in order to challenge the idea that a wayfinding system needs to be easily understandable whilst using Oti Aicher's grid system. The use of placing initial experimentations based on subjective emotions into objective signs and directional systems challenges the basic ideas of many wayfinding system which commonly feature objective symbols such as picograms which have a specific, universally understood meaning based on fact such as the use of a male and female figure to identify toilets. Challenging this understanding of a wayfinding systems has allowed for interesting explorations into my experimentations based on subjective emotions. 

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Figure 2

Figure 3

Escape:
To break free from confinement or control.
I've focused on the inability to escape and the emotions associated with entrapment and escape. This can be seen in the exploration of the line through the use of continuous line drawings to create confusion associated with an inability to escape, with the overlapping of an single line to identify the pathway to escape. Identifying patterns within these drawings I've been able to develop a more simple designs and pictograms which could be used in various different wayfinding system such as within an underground car park (see figure 4) as shown within the mock ups I've created. These experimentations have been successful as they reflect the confusion associated with escape whilst also showing a pathway for escape. 

Figure 4

Anxiety:
A feeling of worry, nervousness, or unease.
I've focused on the feeling of unease that someone has when they feel anxious, I've interpreted this to create drawings further based on the exploration of the line by repeating the line over and over to create an uneasy pattern to reflect anxiety. To further develop these I've stretched and distorted by drawings further which more successfully reflect the feeling on anxiety. These design could feature within a supergraphic wayfinding system which could be used in many context such as within a city to indicate direction or act as a way to navigate to quieter sections within cities in order to calm a person down if they where feeling anxious (see figure 5 and 6).

Figure 5

Figure 6

Beauty:
A combination of qualities, such as shape, colour, or form.
I've focused on the delicate and graceful characteristics associated with beauty to create fluid delicate designs. Throughout these experimentation I've experimented using Oti Aicher 45º pictogram grid, however this produces ridged and restrictive designs which didn't fit the theme of beauty as they appeared to harsh. I've been able to produce more effective designs digitally by repeating patterns and adding colour which has allowed for a varied response to this task. The most successful experimentations are those which use limited colour (see figure 7), as when colours used throughout it creates a bold, harsh look to the pattern which could feature within symbols as part of a wayfinding system.  

Figure 7

File