The book encapsulates the diverse outcomes of this experiment, presenting a curated collection of the generative artwork that emerged from the randomised rearrangement of letter fragments. This publication is not just a visual feast; it's a thoughtful journey, prompting a reader to reflect on the malleability of language and the ever-expanding boundaries of creative expression.01 ECA BA Fine Art
The author's interpretation of the medium in which the images are presented made me rethink the possibilities of material experimentation in representing visual outcomes.
He doesn't describe the method of production in detail in the blurb, but I think it looks like a digital print on some kind of laminated card stock, extract the surface membrane of the card stock after finished the print, and the random folds and flattened paste-ups look like a new deconstruction of the image, and it's interesting to see this deconstruction in a way that doesn't incorporate the rigidity of digital graphic design.
I was attracted to the author's unique way of presenting his printing work.
The use of tiny pins to hold the fabric in place makes the overall visual stand out from the uniform display of illustration, On the premise that background material and areas are fixed
The fixing method makes the soft and stretchy material itself visually dynamic in combination with the images.
This interesting publication brings a wide range of works in different media and forms of expression and their musings behind them. They explore the use of graphic design as a key tool for investigating the complexities of contemporary society.
In addition to the discursive nature of the works themselves, the unique grid system, the monochrome print and the relationship of the illustrations to the main visual also inspire me. Using silhouettes of mushrooms and various wetland insects as the main visual, it emphasises "the correlation between the possibilities of the reading order and the potential meanings of the content, like the subterranean network of insects, mushrooms and fungi”.
Etiam euismod elit id nisl lacinia commodo. Donec non neque quis mauris malesuada ultricies. Sed posuere sem velit, nec vestibulum enim laoreet a. Duis imperdiet egestas pulvinar, In gravida turpis arcu, et semper nisl pellentesque est.
Read more
This work has a precise control and visual representation of laser cut on wood. Through different types of line cuts and symmetrical visualisation, it gives a sense of information visualisation, and a good sense of the visual meaning of the work, similiar as a "formula book".
At the core of this project lies a fascination with the origins of the alphabet, signs, and the rich tapestry of semiotics. By dissecting each letter into four equal parts through separate iterations-vertical, horizontal, and criss-cross-we unravel the intricate structure of the alphabet. The resulting 104 individual pieces, each assigned a unique numerical identity, become the building blocks of a generative experiment that challenges our perception of letters.
The creative process unfolds as a dance between order and chaos. After processing the pieces through the number generator, they were rearranged guided only by the chance encounters dictated by the digital dice. This unpredictable recombination births forms, some reminiscent of the letters we know, while others morph into entirely novel shapes. What defines a letter? Are these new-found configurations still bound by linguistic rules, or have they evolved into abstract entities beyond the constraints of language?
The book encapsulates the diverse outcomes of this experiment, presenting a curated collection of the generative artwork that emerged from the randomised rearrangement of letter fragments. This publication is not just a visual feast; it's a thoughtful journey, prompting a reader to reflect on the malleability of language and the ever-expanding boundaries of creative expression.
Adding corner markers to the visual image gives hierarchy while contrasting with the blurring blur effect of the background image, emphasising the visual message. I always pay extra attention to these types of visuals that highlight the grid system.
I was attracted to the author's form of replacing traditional media materials, using fabric as paper and embroidery to write notes and visual symbols. In addition to this, even the entire table is homogenised in the form of fabric, which gives it a surreal feel alongside the huge mass feeling.
The authors hope to facilitate cross-species communication/understanding through the use of multi-sensory visual symbol delivery. People have always parsed animal behaviour with their own human understanding; we should not allow ourselves to be the exception.
From this work I can find a good understanding of the bio-language of the species "fish" in a disorganised but regular vision. The author uses fish as a direction to collect information, visualising the movement of the fish as its unique sensory language. The special wooden laser cut is also a good material to show the visual language from the perspective of nature. The arrangement of the booth is also very unique, the whole project is based on wooden exhibition boards, the visual language clearly coexists with the exhibition medium, and the paper publication also has a strong visual logic, the whole is a very complete visual booth. I really into this work.
What attracted me to this piece was its refinement and use of the content of the main text section, as well as the excellent use of the grid system and typography.
The main visual takes each letter modularly and gives it an interesting flipped treatment, same as zooming in on the graphic grid to each letter.
This system of individual font grids and the multiple layers of design brought about by the flipping and folding also inspired a lot for my project ideas, and I continued to explore more about the relationship of grids to cover and masking after this.
Only Think about the life plan and life direction on the Weekday.
The author's use of signposts to represent choices of paths in life, in conjunction with the dynamic creation of the calendar's pattern of arrangement, is a very effective visual communication.
Designer collected almost all the different kinds of Internet slang and used the button form that appears when typing alternative glyphs on iPhone to create three Internet slang archive fonts with different vocabulary by visuals reconstruction.
This work has inspired me on how to incorporate textual metamorphosis and diverse pictorial representations into design through visual experimentation, in order to challenge established linguistic and social norms and deepen my thinking on random choices and the exploration of identity.
The grid form is not only found in paper products. The visual arrangements we see are based on invisible grids. This work uses the computer pop-up window as a visual for categorising web pages, a categorisation that can be used as a reference.
At this stage I also considered incorporating this digital grid into my work, but during the subsequent output I realised that there was too much to cover and it would be difficult to tell my main idea instead, and abandoned further reference and use.
I've always loved the sense of chaos that comes from shredding documents with a paper shredder, and this piece goes beyond just plain old shredding and compartmentalises the visuals based on a vertical dense grid, which I really like. These scraps of paper and materials, which can be found everywhere in our design environment, are things that are directly related to our design and working life, and I think they are all got visual tempurature.
I decided to further explore this way of representing the grid system through the size of the paper structure itself. This was reflected in subsequent visual experiments in the design of small post-it notes and long posters.
This is a new typewriter font design.
The specimen used by the designer to display the typeface is very interesting, he used the designed typeface with its accompanying symbols to form patterns that fit well and allow the flexibility of the typeface's design to be applied in a straightforward manner.
I found his design for the dice very interesting in this artist's interesting personal web interaction. He created an installation by placing different words combined with themes on geometric objects with different numbers of faces.
Instead of the usual 6 possibilities, the dice have a wide variety of possibilities
https://ainsleyromero.com/#
Visual language for imitating programming program errors and code.
Provides inspiration for the editorial layout and presentation of words in my publications.
The special structural treatment directly attaches visual information to the publication, and this recognisable structure can well substitute the viewer's perspective to the feeling that the author wants to convey, which inspired me to make a special structural treatment of the publication, combined with visual experiments, to convey the hidden visual information through covering and pulling, and so on.
Justin Gignac is an award-winning advertising creator and artist whose interactive website ElfYourself.com, launched for OfficeMax during the holiday season, garnered 193 million visits in less than six weeks, making it the most viral marketing campaign of all time. Nearly every art project he has worked on has generated buzz, including NYCGarbage, Wants for Sale and Wants for Saleo.
When he heard someone questioning the uselessness of the packaging, he started to collect all kinds of rubbish for the box design and directly enhanced its value through visuals, which is a good example of how to convey a visual story and enhance the value of the object itself through packaging design combined with a marketing programme.
How the value of the design itself is conveyed through a sense of visual formality and storytelling is a particular focus for me. Understanding this work has made me think more deeply about how I can refine my interactions so that to translate my intentions in a clear and concise way in my graduation project.
In 2017, Justin painted what he wanted and then sold the painting for the price of the real thing. For example, you can buy a painting of "A Wi" for $270.92, or "A Slice of Pepperoni" for $1.00. When the painting was sold, he used the money to buy the actual painting.
In a fortnight, more than 40,000 people visited his website, and the project was featured in the New York Times Magazine and other media.
This work applies the properties of elastic materials to transform visual symbols and text through contraction in a very clever way. Considering the possibilities of visual movement and transformation using the properties of the material itself is key for me to learn and be discerning, and to be able to combine these properties well to choose a medium that is more appropriate for the output.
Designed By Jianping He
His visualisation of paper cutting and printing produced a very rhythmic and dynamic poster. This use of the medium of paper to create a special visual effect inspired me to set up the exhibition later on. The overall effect can be greatly enhanced by manipulating the medium on top of the blandness of the visuals. Combined with the outcome decisions that I already made, it provides me more inspirations about my rest of outsomes.
This series of typography was inspired by underground line maps. The lines are made up of letters and strokes, just like the routes we walk and repeat in our daily life, even if we take the wrong way and leave traces behind, they also make up the path we take.This is a very interesting reorganisation and construction of common visual symbols in life.
This work makes me pay more attention to the visual possibilities that appear in our daily life. It reminds me not to stop observing and thinking, to try to transform more seemingly mundane objects, to build on design.
elliottelder.co.uk
Applications based on square grids with digital graphical representations.
Through the differentiation of colours and the regular arrangement of numbers, he intuitively reminds people of the game "Minesweeper".
I refer to this kind of explicit thinking when designing the typography and cover graphics for publications.
Applications based on square grids with digital graphical representations.
Through the differentiation of colours and the regular arrangement of numbers, he intuitively reminds people of the game "Minesweeper".
I refer to this kind of explicit thinking when designing the typography and cover graphics for publications.
The visualisation of the exhibition guide for this competition is a good use of vinyl print in combination with geometric shapes. It is a very systematic example of exhibition layout, I will learn and apply their visual display ideas using vinyl printing.
The arrangement of the large visual geometric installations nicely constructs the entire exhibition space as a related whole.
Since October 2003, the artist Viehors Express, using specially designed tyres, has been printing verses on sand lakes.
These verses printed on the sand will be washed away and eroded in time, eventually fading away a little bit, or "zeroing in" as it is called.
"The disappearance of verses can be not only semantic but also physical."
The simplicity of visual communication through the alteration of everyday objects that leave their mark, and the combination of the sand, a natural environment full of shifting elements and uncertainty, aids in the expression of the concept, and it is worthwhile to learn from the lightness of the associations as well as the way in which they are realised.
Structuring and reconstructing objects to be placed in everyday life scenarios.
These installations and public art have always inspired me to re-create materials and increase or decrease the direction of the visual medium, how to evoke the traditional visuals into a special effect that can be combined with the main idea, and create a better atmosphere of whole display.(final exhibition etc.)
This week I'm focusing more on how to take the photography and set up the exhibition in conjunction with my output. Referring to a large number of display ideas.
This set of clock-like stop-motion dynamics is perfect for my reference.
The effect of the columnar transformations works well for dynamic transformations in a grid system.
Horizontal displacement of straight lines is achieved through ae, and the scripts of numbers allows for fixed transformation of text.
The design agency provided the building materials company with a very relevant brand identity, using the most common level tester in the building and renovation industry as the brand's visual identity, and a dynamic design that responds well to the dynamic scenario of "finding the horizontal".
Transformation between short graphic structures and glyphs is realised by ae performing the adjustment of the rotation curve.