Y2S1 DV2011 Pattern: Media Wall
Transforming the banner designs to a horizontal composition was pretty fun as well, as all the while we were working on a vertical canvas instead of a horizontal one.
The horizontal design was to be displayed at the media wall at North Spine, and to my surprise, it turned out really nicely as the colors I chose were neon bright. In addition, I increased the saturation and brightness. When it was on the wall, the designs shone extremely bright!! I am very pleased!
Y2S1 TYPO1 – Assignment 4: PERSONAL CREATION (FINAL)
Welcome to the final assignment post for TYPOGRAPHY 1.
If you have yet to see how these final deliverables came about, you can click on the image below to link you to the documentation post!
Y2S1 TYPO1 – Assignment 4: PERSONAL CREATION (Process + Research)
Open Brief: Type as Image and Emotion.
For this project on Typography, I used the typeface ‘ Quicksand ‘ to create portraits of the elderly; expressing different emotions, using colors and placement of words to further emphasize the emotion.
And here is a flip through video of the book.
Main Deliverable: ‘Aged Emotions’ Book
Extra Deliverables 1: Poster for Typography 1
Printed and mounted on the wall version:
I printed the poster on an A3 300gsm Champagne Pearl paper
Extra Deliverables 2: Stickers
I figured that the icons would make pretty stickers or badges to advocate for Grandparents’ Day, since it is a day that not many celebrates.
Thank you for sticking through this post!
Seng Yi Ling.
Y2S1 TYPO1 – Assignment 4: PERSONAL CREATION (Process + Research)
BRIEF 4: PERSONAL CREATION
|Brief 4||PERSONAL CREATION: Creating expressive typography|
|Summary||The final component of the module allows you the freedom to expand on any of the assignments to date. Choose from one of the following briefs. Other ideas of creating your own briefs are also welcomed. All briefs below are flexible but please discuss with instructor for approval.
A. Visual analysis of type anatomy
Select an alphabet and analyse its anatomy in a visually exciting way with at least 20 different typefaces. Compile your visual analysis into a book form.
B. Exploring vernacular type
Expanding on your vernacular type assignment or creating a new idea scratch. Develop an extensive visual collection. This collection should include original imagery and also digital manipulations of the letterform. Compile your outcome into a book form or other tangible formats.
C. Organic type creation
Expanding on your organic type assignment or create a new idea from scratch. Develop an in-depth and innovative method of creating your own organic type. Compile your outcome into a tangible format.
D. Type as pattern
Design a range of patterns using typography and deliver them as creative tangible output. Keep in mind that this should not be a repetition of your assignment but to create an innovative way of looking at type as pattern.
E. Type as image
Using various letterforms, create a series of imagery. Conceptualize a theme to tie all your imagery together and present them in a tangible format. Keep in mind that this is not a repetition of your assignment but an opportunity to create innovative ways of creating images from typography.
F. Type as narrative
Select a poem or a song lyric and express them in black and white using only type over a 32-44 pages book format.
G. Open brief
Think about which of the assignment you enjoyed most and how you can further expand on the making of it. Please discuss for approval.
|Tips||Employ typographical skills and knowledge gained over the last couple of weeks for the project. Be playful, have fun and justify your decisions!|
for this assignment
|Due date:||Week 14|
I am pretty keen to choose ‘E. Type as image’ as the choice of my expansion.
Documentation Journey for Assignment 4
16th October 2017 (Week 9/Week 14)
I would like to use alphabets of a particular typeface to make portraits of people. I was scrolling through my Pinterest feeds and saw many of these hand drawn portraits.
Looking at individual subject figures, my eyes tend to narrow their head, features into geometric shapes. That made me wonder if typefaces and letters can be used to make portraits.
I did up a try-out to see if the idea was feasible. I used the numbers 1 to 10 to create an image of an old man; I manipulated the numbers by playing with the vectors to create certain features, for instance, the foot of 7 to be the foot of the old man, and the curve to be his back.
Hence, I gave my own handwriting a try to create characters and see how it goes. I had the idea to create emotions of Old People with the letters of the emotion. For instance, the word ‘Happy’ to create a happy elderly.
I shall pitch this idea and see how it goes! 🙂
23th October 2017 (Week 10/Week 14)
Pitched previous week’s idea during group consultation and received many feedbacks! One of the feedbacks given was to leave the narratives out as layout and choice of type for story would be more difficult to tackle alongside with my characters.
A lot of reconsideration had to be done and a different approach was suggested if I were to carry on with this idea. Hence, I decided to give this idea another go and think of a backup plan if Type as Image wouldn’t do.
I pitched my idea to Miss Angeline via email and she finds both ideas to be workable, and gave comments too! Yay! 🙂 But now I am in a dilemma because I want to go ahead with both ideas.
Hence, as of now, my plan is to fuse both ideas together. But I can’t seem to churn out a platform which both ideas can reside on… Perhaps a book about old people on Christmas day? :/ I’ll just go ahead with a few motifs and see it goes from there! 🙂
30th October 2017 (Week 11/Week 14)
So in the end I decided to push forth with my Old people’s emotion idea and I created many more other old people portraits that illustrates different emotions.
In addition, I thought that having it in total black and white may be too flat and boring. Hence I added a color to each portrait to give it some life, while not taking away the attention from using type as image.
I did a test print to show a prototype to Miss Angeline for consultation, and I already found lots of issues.
- Alignment of the pages on InDesign is rather complicated. Pages and Spreads ought to be odd an even numbers.
- Alignment of image. Margins. Gutter. etc.
- Alignment of different images on the same spread…
Oh well, at least I know about these issues BEFORE the actual printing day.
Upon consulting Miss Angeline with the prototype, these are the feedbacks and thoughts given to improve! 🙂
- Likes the layout where there is space on one side.
- Not so keen in seeing if can the emotion, but more keen in the typeface to create image.
- Like how it flows to the next page.
- Empty pages for? Can use blank space to write what letter you used? Or something fun the characters would say? Can use lesser words to prevent issues of long sentences type setting. Use something short. Or sound expression: ‘Huh? Hmm! Aiya… OI’. Start with the same typeface first just to play safe. Add colors and vary scale.
- Type Setting. Centralized? Too big? Too small? Little space? Leading? Kerning? Margin? Next one is centralized or at the side?
- Change size to A3. A4 is too small. Not 18×18.
- Title page? Can keep things simple. Emotions with Type, Type with emotions.
- Have 10 faces? 6 too little.
- What kind of paper?
- *How would you take it out of the book? Transfer it to a huge poster? Promoting for some Elder’s convention or event; type 1 class promotion etc. Choose 2 very good ones and transfer it to an A2 poster.
8th November 2017 (Week 12/Week 14)
So based on last week’s feedback, I made some changes and additional information to make the book more wholesome. I included more faces and additional texts with the portraits!
The texts used is the typeface, Quicksand. The texts are words or sounds I felt that the faces were expressing. Using the previous project’s brief on type as emotion, I manipulated the texts, and arranged it in a way that best expresses the emotion when reading.Feedbacks and Things to change:
- Back and front cover can be the faces back and front. Happy and Sad man.
- Images are fine, but type needs working. Use the first angry man as a model template.
- Some spaces can be filled, some can be not filled. ‘Meh’ can be more impactful. Bigger Type face, bolder, lighter etc.
- See the texts first then see the expression. That is the effect you would want to achieve.
- ‘Urgh’ can fill up the whole space.
- Title is very boring. Emotions of the elderly etc. Layout is dependent on the
- Repeating pattern doesn’t work.
- Questioning of choices of type size, layout and category must be explained.
Hopefully I can print this mock up before next week’s consultation and that everything will run smoothly! 🙂
11th November 2017 (Week 12/Week 14)
I have finally experienced the pain and stress that my peers were always lamenting about regarding printing day…
For some reason, I have been troubleshooting the issue from InDesign for several hours and I cannot solve the issue when the program cannot save my document in PDF for Booklet. The pages are always a spread instead of the chopped pages.
Hence, these are the solutions I have come up with to counter these problems.
- Manually cut the pages so that the booklet form can be saddle stitched.
- Change the binding technique to those that don’t require folding of pages.
Types of binding to explore
Type of Book Binding I may look into with regards to the spreads
- Perfect Bind (Still in booklet form but in 2 stacks)
- Perfect bind (Pages don’t have to be split, Glue sides to spine)
- Plastic Grip (Pages don’t have to be split, but double side printing. Bind with paper clip)
- Hole Punch ( Pages don’t have to be split, need side border for hole . Use ring to bind)
Trying Solution 1: ***Note to future self: ALWAYS DO A MOCK UP WITH RECYCLED PAPER FIRST TO KNOW IF U GOT THE RIGHT NUMBER OF PAPER AND WHICH SIDE OF THE PAPER IS WHICH PAGE!!!
YAY I AM OFF TO PRINT THE MOCKUPS.
12th November 2017 (Week 12/Week 14)
So… I printed the mock up for the designs yesterday and of course, issues are bound to arise.
Paper choices: 300gsm (Gloss and Matte) and inside spreads are about 128gsm
I printed the format with the idea that I want to try saddle stitching stapling or the landscape form where I can use binder clips to hold it down.
The saddle stitch stapler mock up had several issues.
- The stapler punched a hole through the paper
- Alignment of each page is inaccurate. Even though scored at the center, paper thickness which cases certain pages to be obscured is prone.
- Stapled not directly at the center, hence some pages cannot be fully opened and flattened.
- When closed, the pages protrude. Cutting off the sides is a must, but cutting off important parts of the pages may happen.
- Score the pages, making sure each side really is at the center, poke hole on scored areas and manually put the stapler inside. Fold the book in half and slice the sides. ( Remember to allow allowance space in designs as well incase cut off)
- Do all the above, but instead of staple, saddle stitch by sewing with dental floss. It will be neater too.
13th November 2017 (Week 13/Week 14)
Individual Consultation day! EXACTLY ONE MORE WEEK TILL D-DAY.
After showing my mockups to Miss Angeline, there is actually A LOT of room for improvement for not just only the binding issues listed above.
- Relook into the margin space for the texts. Pay attention to space between text and image.
- Visual hierarchy for each spread is important. Where you want the audience to look at first? Text or face first?
- Tracking, alignment has relation to each other.
- There are different ways of emphasizing. Not just size. Color, Bold it etc.
- *PAPER. Take note of paper quality. Paper thickness and texture matters a lot to give the over all mood of your product.
I took a few magazines from school to examine the paper quality and overall feeling the magazines gaves off. Also observing the layout and placement of text and image.
16th November 2017 (Week 13/Week 14)
I reinstalled my InDesign because the Adobe Illustrator way of printing has a lot of human error. And yes, the reason I had issues with my alignment and spread issues was due to a bug in the software. I couldn’t save the document in PDF, and FINALLY after reinstalling it is working!! YAY.
I made amendments to the feedbacks given for the previous consultation and tried out several ways the texts can be presented in a neater manner.
I am pretty inclined to Row 2 for the first few pages, as the simulation of a conversation is represented by colors and positioning.
Changed the ending page too
17th November 2017 (Week 13/Week 14)
Given that my main deliverables (Aged Emotions Book) is just about complete, I moved on to produce extra deliverables given that I still had some time left before printing the FINAL product tomorrow!
I was rather stuck on how I can apply my characters on other items, so I went ahead with Miss Angeline’s suggestion to do up a poster for her TYPOGRAPHY 1 module.
And since the motif used for the poster are circular and colored, I think it may look good as stickers as well!
And with the final rounds of editing for the main and extra deliverables, I am ready to conquer printing day tomorrow!!
17th November 2017 (Week 13/Week 14)
So I went to the paper shop at North Bridge Road called ‘Fancy Paper’ to choose better quality papers for the printing, as the feedback given was to be more sensitive to paper type and weight.
I wanted my book to express familiarity, and some sense of rootedness. The same feeling my grandparents evoked.
After choosing the papers I wanted, I went to Sunshine Plaza to print.
I was really worried that the printing would not be aligned as I would be doing saddle stitch, and both the sides of the pages are necessary to be aligned so the pages would not overlap that drastically.
And thankfully, things turned out pretty well despite the multiple test prints by the re-calibrated machine. I took my prints home and started to do the saddle stitching.
The inner pages paper are A3 White Matte Paper, 160 GSM.
At Fancy Paper, I chose a woody texture for the cover page of the book as I really liked the natural rooted quality evoked by the paper. But unfortunately, the paper texture made it hard for ink transfer and it. was. hideous.
I chose another paper type that allowed better ink transfer while keeping to the rooted feeling I wanted my book to evoke. Hence, I chose this linen texture cover. The texture reminds me of the clothes washed by my grandmother when I was a kid.
A3 Linen White Textured Paper, 250 GSM
Regardless, I liked the texture of the papers and it felt really good to the touch!
I proceeded to do my markings for saddle stitching. I realized that every single piece of paper printed did not align centrally and I had to manually shift the paper when I wanted to use the awl to poke the holes.
Self notes to saddle stitching
- Use a pencil to draw the central line of the page.
- Divide the line with the number of holes you want on that piece and proceed to poke the markings with an awl.
- Draw a line on the centre of the next piece of paper, put that poked paper and new paper against the light and use the light that went through the holes as markings for the next page. Bind it with binder clip and poke through the same hole.
- Use the second piece as template for the next few pieces.
- Saddle stitch the whole stack and fold the book in half. Pressing the book down with weights to flatten it. Process to cut off the crop marks with the book folded.
And I am rather happy with how the result turned out! It was rather neat and secure! 🙂
For the external deliverables, I made a poster for Typography 1 and made a few matte stickers with the existing icons for the poster!
I really liked the choice of paper I chose for the poster, though it is unusual for a poster, the sheen of the paper and color made the poster look elegant. Like champagne!
The paper is 300gsm and the poster is in A3 sized.
THANK YOU FOR STICKING THROUGH THIS VERY LONG DETAILED DOCUMENTATION POST WITH ME!
Not only this post was for sharing the journey of how this book came about, it was also a way of documenting notes on things I have learnt along the way, so in the future I would not make the same mistakes! 🙂
Next up, is the FINAL post for this assignment which I will show the fruits of labour and deliverables for presentation!
Click the image below for the FINAL POST! 🙂
Seng Yi Ling
Y2S1 DV2011 Pattern: Banners are up!
The day has finally arrived!! The banners are up for display in the lobby of ADM. It just so happens that day is our school’s Halloween celebration, hence the theme of supernatural is very apt for the event! 🙂
On the day of printing, my partner Charlotte and I went to the VisCom lab for the printing of the banners assisted by KB!
Now, on to the design for the Media Wall and Swatch books!! 🙂
Until next time!
Y2S1 TYPO1- Assignment 3: BLACK & WHITE TYPE (Process + Research)
New assignment! Lets go!
|Brief 3||BLACK & WHITE TYPE: Playing with type language|
|Summary||Typography is a versatile element in the world of visual communication. Not only is it meant for language communication but also as graphic communication. The following experiments will get you to think differently about typography. It aims to equip you with the principles of type and also pushes for discovery of new typeform. Use only black and white, no other colours are allowed.|
|Assignment objectives:||Exercise 3a and 3b will allow students to appreciate type beyond its textual nature but as a graphic element of image creation. Exercise 3c develops the students’ sensitivity to the scale and white spaces of typography and the impact it produces to communicate emotions.|
|Task 1||3a. Type as image
Select one traditional typeface and create a series of composition explorations from it. You may use the various font within the typeface as your series but you need to stick to your chosen typeface. Explore the various anatomy of the selected letter and see how you can create an image out of it. You may also crop or combine certain anatomy together to create your image !
Font: Bold / Light / Italics
Deliver: 2 best compositions at 14cm by 14cm.
Printed on quality white paper card (more than 150gsm)
|Task 2||3b. Type as pattern
Create a series of patterns using a single letterform from any traditional typeface (for eg, an “S”). Copy and repeat the letter in columns or rows to make an overall pattern. Change the spacing of the letters to create variations, create repetitive rows and columns and try overlap them. Change the orientation of elements to find your own grid. Repeat
that grid to see what kind of pattern reveal itself
Deliver: 2 best pattern creations at 14cm by 14cm.
Printed on quality white paper card (more than 150gsm)
|Task 3||3c. Type as emotion
What does emotion looks like in black and white? Express the word “HELLO” in the following mood. Choose only 4.
Friendly, Angry, Seductive, Confused, Arrogant,
Depressed, Annoyed, Excited, Bored.
Use only one typeface throughout but feel free to vary the different weights, caps, spacing, sizing etc. Explore negative and positive spaces too! No manipulation of type.
Deliver: 4 different emotional type creation at 14cm by 14cm.
for this assignment
|A total of 8 square cards
A process documentation link on OSS
|Due date:||Week 10|
So before that, Miss Angeline allowed us to do some experiments in class to have a gauge of what the assignment for task 1 and 2 is about!
Task 1 trial: We were told to try different methods to distort the alphabet on the paper physically and rearranging it to create an image out of it. I cut the letter up with a pair of scissors and arranged it like so. Can you tell what letter and typeface it previously was? 🙂
Task 2 Trial: Afterwards we were to experiment with the repetition of a letter to create a pattern! Can you tell what letter and typeface it previously was? 🙂 It was the letter ‘P’ of the Typeface: Bauhaus 93.
3a. Type as image
Using different letters of the same typeface, I will slice and dice the anatomy of the letter; and then creating the letter using the anatomy of the other letters, to become another typeface.
I chose a few typefaces to narrow down which one I would like to use eventually in the end. In my search, I was looking for type that had more personality. Type where the mere fraction of its anatomy can distinguish itself from the other alphabets. Hence, I chose these 3 to analyse.
And I chose Adobe Caslon in the end as I felt that the Caslon type anatomy has more personality and can aid in distinguishing the letters.
MethodologyI also tried to recreate some other alphabets.
3b. Type as Pattern
I had a lot of fun doing this segment of the assignment as it not only is very interesting to see how each letter of each type can create beautiful patterns, the variety is endless because every angle the letter is inverted or tilted, bolder etc. It gives off a completely different feeling!
I used the typeface: Garamond for this part of the project as I really liked the old style serif. It looks classy and posh, especially the letters with the round descender, such as the lower case ‘y’.
I decided to play with many ways of creating patterns with the lower case Garamond ‘y’.
I decided to play with optical illusion for upper case ‘Q’, the tail of ‘Q’ is very long and sleek, hence direction can be created subtly with the tail of ‘Q’.
I have realized that not only layout and composition is very important as it is not merely just repetition, I wanted to create movement in my compositions. Hence, I chose to do my patterns in radial form, to create some form of optical illusion. In addition, I inverted the colors and played with tonality and outlines to push my designs.
3c. Type as Emotion
For this segment, I chose to use the typeface: Helvetica. My objective was to convey emotions through layout, scale and tonality.
I chose Helvetica because the typeface is very neutral. There is no biasness or any form of personality which was what I wanted as it can help me achieve my goal: Strip off any preconceived notion of typeface to express the emotion. For instance, if I were to use ‘Black Letter’ for this segment, Black Letter is medieval and vintage. Hence, using Black Letter to express the emotion, ‘anger’ it will feel like an angry old man being angry. Well… that is my interpretation. 🙂
I have come to the end for this process documentation of my explorations! Stay tuned to my final Assignment 3 post to see my final productions! 🙂
Seng Yi Ling.
FDN 2D II Project 2 ZINE: Neighborhood Explorer: Research
HELLO fellow reader!! This post will be on the research process behind the creation of my Zine for PART 2 of the assignment!! 🙂
To view Project 2 Part 1 on the Research and Final, click on these two links below! 🙂
2D II Assignment 2 PART 1: “Zine: Neighborhood Explorer” RESEARCH
2D II Assignment 2 PART 1: “Zine: Neighborhood Explorer” FINAL
So! I went to do up some research on what Zines are though the net, as well as Pinterest; and get some hands on Zine examples around Singapore, which I found that are quite readily available around us! I also looked for several aspects of the Zines that I can draw inspiration from!
Based on the weekly groups’ presentation in relation to ZINES, I annotated some very useful notes to take note for this project:
Experimental Formats Zines
- What are Zines? Zine derived from Magazine, self published book. Print and bound by any manner.
- Decide what is it for. What is your Objective, Main concept and Visual approaches through your Zine.
- Pick the right title to your Zine that links to your theme.
- Decide layout and order. Plan your structure allowing information to be organized.
- Fonts: Don’t make it too small. Don’t use dark background, and upper case for main body. Titles headlines are chances for more elaborate and fancy designs.
- Create a master copy to test the copy you have created before you do the final one to see if you got right color, texture of paper etc.
Publication book format and grids
- Format is the area in which your design and texts sits.
- Grid – A system which divides 2D planes to smaller fields. design made into visual math. Types of grid: Manuscript (Story books), Column grid (Newspaper), Modular grid , Hierarchal grid etc.
- Typeface– Font family. Each typeface has specific weight, style , ornamentation etc. Diff typeface alphabet will result in different effect for your viewer.
- Column – Vertical division of a page of text is 7-10 words per line.
- Leading – The amount of blank space between lines of print. Good leading carries the eye from line to line. It cannot be too tight or too spacious for the reader.
- Margin – 1 to 5mm of margin space is recommended so you wont mutilate your text.
- Page numbers – Be distinctive from your body text. Can use different font family.
- Body and Display typeface – Display space to stand out. Use similar typeface. But do not mix characters from the same style. Good to have contrast using different font size.
I then pondered the several points that I had to take note of, and came up with these initial planning stages as to how my Zine can go about.
Main Concept: Guide around Telok Blangah with an elderly.
“Day in Telok Blangah guided by Uncle Tan. Readers get to go on an expedition with Uncle Tan, and he will show you around the places in Telok Blangah he like to visit, where he thinks you might like and what to do there.”
The story will go around the primary information and personal recounts I have gathered from the interviews I conducted, as well as secondary research such as location names.
To educate the readers that Telok Blangah can also be for young people, and not mainly for the old; Showing them places that the young and old can do, and what the older generations did then and now to pass time.
Visual Approaches? Art Direction?:
I had some dilemma with this because the Zines I see out there are so organized and minimalistic. I for one am not a minimalist and I find it really difficult to make my thoughts abstract visually, when there are so much expression and colors in my thoughts. Hence, Pinterest really helped me to see that not all Zines out there are minimalist and expression and colors can be incorporated!
I really like the vibrant colors and how organic the shapes are! I also really liked the path which guided the viewers as to where they should look at! Hence I would really think paths can help me in my Zine 🙂
Cut outs? Interactivity by flipping?
I wanted to have this interactivity in my Zine by having cut out pages and flip tabs.
The shaded area is where I want to cut the hole, and the rock at the bottom right can be flipped over to see insects.
However, after consultation with Joy, the cutting and flipping does not address the brief of the Zine project and sadly I have to scrap that idea. 🙁
I didn’t want the very organized approach as I feel rather restricted by such layouts, as much as they are really aesthetically pleasing to look at like this:
Hence I wanted to go for something where the fonts conform around the illustration like this:
Typography font to use:
Probably a serif font cause its more readable.
Choice of medium? :
Perhaps Watercolor and pen,scan in and enhance colors by photo editing software? Vectoring in Adobe Illustrator to create the clean edges?
All these are just the planning stages! The final confirmation post will be next!! 😀 Stay tuned!
Seng Yi Ling.
Fdn 4D II Week 10: Expanded Cinema
5 elements of Cinema
- The Medium of Film
- Site, Space
There is always a template. A 3 act structure in a story. However in Expanded Cinema, the audience in this expanded cinema gets rid of the structure, the spoon feeding of the story and they finds out the ending themselves. The audience would be more active rather than passive.
Doug Aitken (b. 1968) has created a body of work that explores the evolving ways people experience memory and narrative and relate to fast-paced urban environments.
Chapters of Black Mirror
- Losing Baggage
- Tropical Conspiracy
- New Condition
The location at which the installation and performance art is held on a vessel in an open sea.
Main actress and other performers performs live on screen with 3 screens around her. The story goes in a way the actress travels from one point to the other.
The character is on an unexplained journey from one place to the other via plane, car and on foot. The character only interacts with herself as she leads a life of a journey alone.
Why use a vessel in an open sea?? Boat cause maybe it is a mode of transport. Maybe a metaphorical mean of isolation? Like a lonesome boat in vast sea. Hence, location as to where the installation is held is important. In addition, the artists statement of her works are important as the audience of that country he presents to may not get the context as it is not relevant to them.
Making reference to an old film which the song is constantly played throughout is ‘Only have eyes for you’.
Why he uses that song? It is a very old popular song. And covers of this song by others makes this popular. Spectators will find familiarity when they drive past that video screening
History of Avant Garde film
1920s have limited resources and cameras were not easily accessible unless you have resources and money. Whereas, 1960s is a period of change. Feminist movement, Cold war, Technology is on the rise, cameras are more easily available.
Ruyi showed us a couple of clips and asks us for the emotions we felt through watching these clips. And as usual, since the emotion is subjective to each film, everyone had different thoughts and feelings for each clip.
For this clip, there was a mixture of emotions for me. It was soothing and at the same time uncomfortable.
I believe the artist was intending to match the movement of the gears to the music or vice versa, and many of the time where I felt was soothing was when the gears or mechanism fit perfectly with the music. (The OCD in me is acting up)
However, I felt uncomfortable at times because the mechanism and music don’t go well together. IT IS OFF BEAT. Or when the note is prolonged, I’d expect a ‘clunk’ sound but it did not give me that satisfaction. ( The OCD in me is acting up again)
Visuals can be music as well, even without music. In our heads we would have created a sound that goes with the moving images. We see music.
“Film is like poetry rather than visual arts.” – Stan Brakhage
Brakhage uses material experiment in his films where each film is like mark making. The film strip acts as a canvas and not medium for story telling.
Multiple Screens Experiments
With the use of multiple screens, audience is immersed and bathed in your work in that space; or even overwhelmed by the information provided given if that is the artists intention.
What you will look when you walk around the story. The authority of the story is question. Different modes of story and reconstruction of the Journalism whether the recounting of stories are reliable.
Left side of the screen doesn’t match with the soldier’s story. It makes you question Omer Fast as well as the Soldier’s account.
The message Omer Fast may be trying to express is that what the media shows to you can be very deceiving. Actors casted, exposes the lies . It is a take to mocking journalism as the abrupt cuts of the videos, locations of scenes and audio is all fake and post edited to how Omer Fast wants it to be.
Other than sexism, the female figure on the right is not using any word in her singing. She is evoking sounds that expresses what she is feeling inside. The male figure on the left has words to express himself and he does it with ease, and with a live audience listening to him. Women are not suppose to perform live infront of an audience as it is against societal norms of where she comes from.
2D II Assignment 2 PART 1: “Zine: Neighborhood Explorer” FINAL
GOOD AFTERNOON! This post concludes the FINAL of Part 1 Project 2 of Zine: Neighborhood Explorer presentation!
This is the infographics on Telok Blangah that I have finalized 🙂
Concept : Present it as a schedule like guide as to how an elderly in Telok Blangah gets by in a day.
Tone: Light Hearted.
- I used Haettenschweiler Font as the header and the body text .
- Colors used are neutral palletes of scenic blue and green, as well as monochromatic blue for the walking stick.
- Attempted to use different shades of the same hue to create depth.
- Main illustrations are created using vectors and exporting images into vector online.
- Icons are used as bullet points for each category of activity.
- Joy mentioned that a my initial idea of using a cane may be misinterpreted as ‘Immobility’ instead of ‘Elderly’. Hence I changed the type of walking stick to the one with legs that elderlies, as I really required vertical semiotic that represents elderlies.
Classmates’ Comments and Feedback
Joy’s Comments and Feedback 🙂
- Joy said that this is her first time seeing my illustrations digitally, good job!.
- Liked that I staggered the information according to timeline. And that giving it a range does give us a guide to when they can execute their activity. However looking at it as a whole it can be seen that it is a day in the life of any elderly and not specifically unique to Telok Blangah elderly.
- Site specific icons can be created instead of using a generic bird to represent “Recreational Activity”. Something recognizable for instance the location of the bird watching location or certain food from Telok Blangah acting as marker would be better.
- Colors for “work” reminds her of Watsons logo. Joy worries for potential misinterpretation in my infographics.
- Text is still cramped even though got drop shadow, hence readability of text is still difficult :(. Typeface that you used is used is better for display type for headers instead of body text. Generally texts on infographics still need to be readable. When you can’t see your text well due to the background colour, it is a cue that text is required to be changed.
- Location names are long as “Telok Blangah” is repeating in many of the bullet points, hence re-emphasising the crampness. Putting a main header : “Telok Blangah”, in general and just list down may reduce the crampness.
- Style is quite unique and there is still space that can be explored.
- Shaf liked the concept of day in the life cause she don’t know what old people do in genera But font though, it is still hard to read :(.
With that I conclude the completion of ZINE part 1 here and I’ll see you again in PART 2 😀
2D II Foundation: Image and Transformation Presentation (Group 3)
Hello! So this is our group presentation on Image and Transformation! Done by Yu Qing, Jia Qi and myself.
In this presentation, we aimed to cover:
- What is Image?
- What is Transformation?
- What is Image + Transformation?
- Why are Images transformed?
- How does the use of Images transform it’s meaning? (Isomorphic correspondence)
- Use of image transformation in real life
- Artists that uses Image and Transformation in their works?
- Use of infographics since it is relevant to our ZINE project.