In my last post, I explored forms in the context of permutations. Now I want to explore how to actually create a typeface on the basis of different grids, moreover I want to show how different the output can be by using the same grid. I will generate unexpected graphical elements, all of which would be difficult to create without using this kind of analytical approach. Mainly I want to explore the different outcomes of this exercise and how the grid will lead me in different directions and how many different ways there actually be of design f.e. just one letter.
So let’s start with an easy one, I created an orthogonal grid 1:2, in this case with a width of six units and to a height of 12 units.

This process can go on for all 26 Latin capitals and generate a great variety of letter systems. Now I want to go one step further. Since grids do not always have to be square-based, they can literally be based on anything. So I want to give it a try and create a grid based on an already existing typeface and use this as the basis for creating graphics, icons, or patterns. First, I am going to take the two letters from which a created above and will put them into one matrix.

In creating a grid one already determine the character of the shapes that will be generated. So it would make a lot of difference if one would choose closed, rounded, open, linear, etc. In my example, I took letter forms which are linear, one open and one closed, so I can achieve a broader range of outcomes. After having developed the final grid I can now fill it in various ways, always on the base of the used typeface, its proportions and aesthetic will generate a set of homogenous graphical elements which can be integrated coherently into an existing design.

Now let’s create patterns out of the shapes we generated from our typographical grid.

So as we can see, there are infinite ways of using a grid & creating things out of a grid. It is also a great tool for creating flexible visual systems which are great for recognition & association of a design.

Designing a grid comes through deviations, we should allow our creativity free rein here. We should always feel free to combine the results of our grid analyses with additional permutations and should not subordinate our creative sense to any formulaic decree. The following article is filled with an exploration of analog and algorithmic creation of forms which in this post will be based on a form-based grid.

What does form-based actually mean?
Well-form-based grids oft use geometric primitives as a base. In the first semester, I actually wrote about the famous designer Karl Gerstner, which took this component to generate the grid for the magazine of Capital. Following his approach, I will create geometrics from which I only require points, distances, and angles. I will use an 8×8 unit fundamental Grid, where I am going to analyze the possibilities offered by formal perpetuation with the help of 3 primitives: Triangle, Square, and Circle. I will then use mathematics functions such as addition, subtraction, intersection, and exclusion to generate random shapes.

All these shapes created in this way depart from the realm of symmetry and may at first appear cumbersome and labored. At a second glance, however, a certain aesthetic comes into focus, which, due to its clearly defined source, is nonetheless appealing.

For my first experiment, I want to transform the relationship between foreground and background to an extreme at which each turns into its opposite: Foreground becomes background and vice versa. We move each of the vertices in increments of two units in an anti-clockwise direction.

Now we are going to take the square and scan it horizontally across the grid, we push the bottom-right vertex upwards in increments of one unit. Flipping vertically, we push the same corner to the left in increments of one Unit.

The same can be experienced with a variety of different shapes.

Even though they are randomly put together they still please the eye.

Now I want to explore different shapes in one matrix. The fact that all of them are created in the same grid makes it easy for us creating shapes which pleases the eye.

Now we can create more shapes from these shapes using different path tools.

Using a variety of shapes to create different compositions.

In einem Blogbeitrag aus dem letzten Semester hatte ich schon einmal das Thema der emotionalen Typographie aufgegriffen. In meinen letzten Recherchen komme ich auch immer wieder auf das Thema zurück und finde es sehr spannend Fonts und Schriften genauer zu untersuchen. Zu diesem Zweck bin ich auf einen Blogartikel gestoßen, der auch dieses Thema aufgreift (https://design.tutsplus.com/articles/the-psychology-of-fonts–cms-34943, 16. Mai 2020). Grace Fussell beschreibt daran dass uns unterschiedliche Fonts bezüglich der Emotionen beeinflussen können. Sie schreibt auch von “Font Psychology” und wie dadurch Logos und Brands angepasst werden können.

Einige ihrer Beispiele möchte ich für dieses Font Experiment aufgreifen. Sie schreibt unterschiedlichen Fonts bestimmte Stimmungen und Emotionen zu. Anhand eines einfachen Designs einer Karte habe ich das ausprobiert. Dazu habe ich einfach ein und dasselbe Design in unterschiedlichen Schriftarten gesetzt. Normalweise würde in den meistens Fällen wahrscheinlich eine Kombination vieler Schriftarten gewählt werden. Für diesen Zweck wollte ich aber ein ganzes Design mit einer Schriftart setzen.

Sans Serif

Serifenlosen Schriften schreibt Fussell folgende Assoziationen zu: Progressive, Informal, Open, and Friendly

Serif

Stability, Tradition, Intellect, and Formality

Script & handwritten

Creative, Amusing, Fun, Childlike, and Romantic

Display

Novel, Trail-Blazing, Unique, and Adaptable

Fazit

Die von Fussell zugeschriebenen Assoziationen passen finde ich durchaus wirklich auf die unterschiedlichen Schriftarten. Jede einzelne Karte erhält dadurch eine unterschiedliche Wirkung. Im Prinzip ist das ja auch der Sinn hinter verschiedenen Schriftarten. Trotzdem ist es spannend den Unterschied einmal genauer hervorzuheben. Die unterschiedlichen Wirkungen und Einsatzmöglichkeiten von Fonts möchte ich in Zukunft auch auf jeden Fall weiter betrachten. Ob Schriftarten nun wirklich auch Emotionen hervorrufen ist schwierig zu sagen. Ich denke eher dass wie Fussell auch schreibt verschiedene Stimmungen erzeugt werden können, je nachdem welche Schriftart verwendet wird. Denn das passiert auch bei dem Design der Karte. Alle Beispiele haben eine andere Wirkung und lassen auf unterschiedliche Kontexte schließen.

Mit diesem Blogbeitrag möchte ich auch die Experimente für dieses Semester abschließen. Manche Experimente haben sehr gut funktioniert, andere eher weniger. Mir ist vor allem klar geworden, dass es nicht möglich sein wird, jedes Design emotional zu gestalten oder in jedes Element emotionale Wirkungen hineinzuinterpretieren. Für mich ist noch nicht ganz klar ob ich mit diesem Thema des emotionalen Designs auch nächstes Semester weitermachen werde. Auf jeden Fall möchte ich das Thema im Design immer bedenken.

Über die Bedeutung von Formen und Ornamenten haben wir uns in einem vorherigen Blogeintrag bereits auseinandergesetzt. Das folgende Experiment befasst sich mit der Bildung von Buchstaben, die aus dem Altkyrillischen und der Optik von Stick-Ornamenten beruht. Das Ziel war es die Anfänge der Entstehung zu dokumentieren und eine zeitgenössische Lösung zu finden diese Schrift visuell darzustellen.

Das Altkyrillische Alphabet ist im 9. oder 10. Jahrhundert im Ersten Bulgarischen Reich entstanden, um das Altkirchenslawisch zu modernisieren. Der Vorgänger, das glagolitische Alphabet, dass um 863 vom Mönch Kyrill und seinem Bruder Methodius gestaltet worden ist, wurde schnell von Kyrills Schüler in den 890er Jahren in der preslawischen Literaturschule als geeignetere Schrift für Kirchenbücher geschaffen. Die Schrift basiert auf den griechischen Unzialen, jedoch wurden die glagolitischen Buchstaben für die es im Griechischen nicht vorhandene Laute gab, beibehalten. Eine andere Hypothese besagt, dass die Schrift in den Grenzregionen der griechischen Missionierung der Slawen entstanden ist, bevor sie von einem Systematiker unter den Slawen kodifiziert und angepasst wurde. Als inspiration für dieses Experiment wurde das rumänische kyrillische Alphabet herangezogen.

Eine sehr geometrische Sans Schrift wurde als Basis für die Größe und der Form der Buchstaben herangezogen. Dadurch, dass in Ornamenten höchste Präzision gefordert ist, sollten die Buchstaben mit einem Kreuzstich gebildet werden, indem diese Formen entstehen lassen und somit Assoziation.

Nachdem einige Buchstaben bereits geformt und schon einzelne Wörter daraus gebildet wurden, habe ich die Wirkung der Schrift in verschiedenen Kompostionen auf Papier und Textil getestet.

Obwohl die Form der Schrift ganz klar an Stickereien erinnert, kann sie sehr gut als Dekorationselement für bestimmte Zwecke verwendet werden. Interessant zu beobachten ist die Zusammensetzung aus bereits einfachen Kompositionen in Kombination mit dieser Schrift.

After I read those inspiring two articles I decided to start right away with experimenting. I opened my procreate app and made up the following scenario:

If I were to draw illustrations for a healthcare magazine about the pros of yoga. Whom will I depict? How would I normally do it vs what did my findings on inclusive character design say how I should to it?

I really tried to play with different body shapes, skin colours, hair and outfits which put no character in a weaker or stronger position as well as reflecting their cultural background appropriately. I noticed that very often I had to ask myself: is what I want to draw a stereotype or does it reflect the reality? I did some research on hairstyles and textures in order to get it right and to match it to their cultural background.

I will continue experimenting. The next blog post will be specifically about depicting young male Japanese characters. In order to depict those characters as accurate as possible I will do some research on facial features, hair, as well as clothing. Stay tunes.

I actually came across the beginning of the semester, ditched it and now really want to come back to it again: inclusive character design.

What does inclusive mean? How can we achieve it? What is inclusive and what is just insulting and stereotypical? What can you do as a designer to make your illustrations inclusive in a natural way?

How to achieve inclusive character illustrations

What factors are important to consider when you want to create an inclusive character design?

• Age
• Ability
• Body type
• Facial features
• Ethnic hair types
• Non-Western clothing
• Non-traditional family models
• Non-binary gender representation

 It might help you to use real photos of real people as an inspiration. Diverse representation and inclusive design is still an area where we need to push ourselves.

Illustrations are a meaningful way to bring abstract ideas into something tangible. With illustrations you can visualize stories, ideas, concepts in a creative way so they stand out. Illustrating people needs to have a bit more thought into it than illustrating objects. How you illustrate people will tell a lot about your company, brand, mindset etc and how people see your organization. 

Representing diversity, multiculturalism, equality and disabilities in illustrations is a fundamental part of depicting an inclusive identity.

As the illustration style of a person is more refined with details such as facial features, skin tones, hair colours, accessories and clothes, the more accurate diversity is represented. Subsequently, when an illustration has less details there is less accuracy of representation.

In order for those illustrations to be good and authentic we must question our internal assumptions and biases. “Diversity in illustration doesn’t just mean changing a skin colour or adding cultural features but also challenging the ‘default’ pre-assumed biases we have.“

The idea of „deafault” is really affecting our judgement of an illustration. For example, when we think of a scientist, we may default think that a scientist may be a Caucasian older man, or that a teacher is a middle-aged woman.

This article says: 

„We can challenge these pre-assumed biases by putting underrepresented groups of people into positions of power in our illustrations. For example, challenge the idea that teachers are just women by choosing illustrations or illustrating a teacher as a man of colour with hearing aids or with a prosthetic. Illustrations should reflect our reality, and that is that the world is diverse, multiculturalism is the norm, and people around us may have disabilities too.“

Furthermore, it is also important not to fall for stereotypes when illustrating. While it’s important to equip your character with enough features in order for it to be distinctive enough, there is a thin line between respectful representation and disrespectful stereotypes.

Bibliography

Hand, L. (2020). Leading Hand. Retrieved from DIVERSITY AND DISABILITY IN ILLUSTRATIONS: PART 1: https://www.leadinghand.com.au/insights/diversity-and-disability-in-illustrations-part-1/

Dockendorf, A. (n.d.). Lemonly. Retrieved from CREATIVE WORKSHOP: INCLUSIVE CHARACTER DESIGN: https://lemonly.com/blog/inclusive-character-design

After one of the Designmonat lectures I just needed to research a bit about what it means to be sustainable/environmental conscious as a designer.

Designer can’t change the world – But what they can do instead

Sustainable graphic design

Social and environmental issues are forcing designers to acknowledge that also their design process is most of the time the very opposite of eco and social friendly. 

As the population is continuing to grow, natural resources are becoming more and more scarce. There need for fresh air, water, food, dependable transportation, safe jobs, and housing is increasing. Apparently, paper distribution and use have contributed heavily to the elimination of our world’s forests. 

Lead a sustainable design revolution.

What does it mean for graphic design to be sustainable?

The US Environmental Protection Agency (EPA) defines sustainability as ‘allowing for current economic needs to be met while preserving biodiversities and ecosystems to maintain the same quality of life for future generations.’ 

To know what sustainability means for graphic design, one must examine the tools and resources designers use on a daily basis. 

A main material which is used is paper. Paper is usually made from wood pulp which is taken from trees and requires a great amount of energy and water to produce. After the paper is manufactured designers use it for printing that also requires water, energy and, of course, ink (which is made from petroleum products requiring energy and water to refine and manufacture.) It is pretty clear that all of this has a huge impact on our planet. 

So, for designers to work in a sustainable way, all of their materials and energy must be renewable, recyclable and/or reusable. As a starting point, graphic designers should be more aware and better educated of their actions. 

• Which ways are there to significantly reduce our tree-fiber paper use?
• Learning more and switching to the Cradle to Cradle model
• Reducing our carbon emissions in our studio
• As well as: cooperating with vendors that utilize both renewable energy sources and environmental policy
• Reducing unnecessary packaging in our designs
• Use inks that are organic, non-toxic and vegetable-based

Working sustainably should be at the beginning of every design process. At first the designer should decide if the project deserves to exist in a tangible form, should be communicated digitally or should work as something else e.g as an intellectual system (e.g. cooking classes instead of printed recipe cards)

It is very important for graphic designers to think about and discuss the project goals before starting with any design measures. As a designer: educating yourself is just as important as educating your client. The solution of the project then should follow these four sustainable design principles:

• Respect and care for the community
• Improve the quality of life, conserves Earth’s vitality and diversity
• Minimize the depletion of non-renewable resources
• Change personal attitudes and practice to keep with the planet’s carrying capacity

These goals should then motivate the designer to engage in more specific tasks like:

• Choose local, sustainable and recycled materials
• Choose renewable energy
• Educate the consumer about the life cycle of the object through messaging/marketing
• Cooperate with vendors which are environmentally and socially aware/friendly

(Benson, 2007)

Bibliography

Benson, E. (2007). What is sustainable graphic design? Design Philosophy Politics.

Of course, I could not give up on my maximalist design of a carrot juice and I tried out more things. I looked again in the research I had already done about maximalist design and try to come up with ideas. In the end, I have 2 drafts that in my opinion, reflect a rather maximalist design approach. I know that there is a lot of room for improvement, but it was quite fun to tackle this challenge. Of course, I could spend soooo much more time on these drafts, but I think that experimenting means trying out things without the aspiration to make it perfect.

Like I said in the minimalist design experiment blog entry: maybe there are just some products which “demand” either a minimalist or a maximalist approach. Although I like try 1 of the maximalist approach, I still think that a minimalist design is a better fit for a carrot juice.