UNIT CONCLUSION.

I feel this unit of reflecting upon my working practice has forced me to really dissect my thinking, and pushed me down routes of working that I wouldn't necessarily have taken. The whole process has also coincided with an instinctive urge to create something different; which gained momentum over the summer break between finishing my Fda and starting the Top-Up course, where I was working consistently on commercial projects. 

When I consider my initial response to the unit it was very flat and 2D, and I was aware of this, and even somewhat frustrated. It wasn't until the obvious suggestion of 'have you thought of trying something 3D' at the question time after my previous presentation, that it was very obvious. Although I'd thought about creating something 3D it was probably more the nature in which it took shape that was influenced by the surrounding disciplines. To me previously, 3D would have been something made out of paper, as it's just the natural tool that I seem to use and work with as a designer. But to those around me, ceramics and plaster made from moulds were their 'tools of the trade'. These were things I'd not really experimented with before. As soon as I started making something out of plaster I got excited, it was new and it was hands on, and it was inspiring me to produce more work. Although it was simply experimentation, it had a purpose, and it was my plaster sculpture that lead me down the path to three dimensional type and gave me the confidence to go and and try creating something new with concrete. 

The whole process has left me feeling rather 'free' about my work, whereas at the start of the unit I felt very confined and frustrated by graphic design. Now instead of trying to figure out a two dimensional solution to something as I may have done before, It seems as though a whole other dimension has been opened up for consideration. Through the different materials I've employed, it's also given me a certain amount of confidence to experiment further in the future, and not be bound by just flat graphics on a page, because even though I may be using a different media I can still employ it in my style, a way that I enjoy and feel comfortable with. Even after just this one brief I already feel more rounded and free as a designer, and it's something I want to now take and continue building upon. Through simply making things I've realised ideas can appear or improve, rather than wondering around thinking about what I need to think about, I hit a point where I simply just started 'doing', and everything seemed to flow well from there.

I'm generally pleased with the output from this unit, as an academic exploration and reflection upon my working methods, and as an exploration of typography/architecture it's served my working practices well' providing insights I'm able to transfer on to my studio practice.

THE BOOK

In line with the functional nature of what i've created, and generally my design ethos, I'm creating a simple book to showcase the concrete lettering, with the only graphical elements being the photos of the letters themselves and a simple outline diagram of which blocks have been used to construct each letter.

I've just screenprinted the cover; I always seem to have problems with screenprinting white, I think it dries quicker and clogs more than any other colour. But I persevered and managed to screen print the shape outlines onto black which I will use as the cover for the book. Ironically they are intended to be precise little shapes, but just like the concrete blocks themselves, have turned out a bit rough around the edges, which is quite a nice parallel.

THE SHOOT

I used the uni photographic studio and camera equipment to shoot the 26 letters my concrete kit makes. As I abandoned the steel rods to hold them together, I had to lay the letters flat on their back, but I didn't really want them to look like they were laying down, so I had to make sure the lighting was setup as well as possible in order to eliminate any shadows; I wanted to minimise the post production work involved as much as possible so as to keep them 'true'. I managed to do this relatively successfully, and am pleased with the results.

BACK TO DESIGN

I've been considering how to present my 'pre fab alphabet', and although earlier in the project I was really keen to produce something completely out of my normal remit as a graphic designer, I feel that this whole process has already allowed me to do this. So I'm happy to tie the whole thing back into a more traditional format of a book. I'd like to use the kit to present the whole alphabet, a sort of printed case study for the concrete typeface I've created.

To get the imagery I require for this I'll need make sure I have a good quality photo shoot of the letters. I don't want any of it to be 'faked', after spending so much time creating real concrete shapes, to photoshop any of it now would seem like such a waste to me. I've found that authenticity is increasingly important to me as a designer; fake textures or 'effects' really bother me, in such a computerised world, the knowledge of a piece of software is not impressive or inspiring to me, however creating the real thing is.

As I suggested previously, keeping it clear and concise is the aim, so each letter will be captured in its entirety on a plain background.

CAPTURING THE TYPE

I'm experimenting with different ways fo photographing the letters once they have been made. I like the idea of having specific abstract crops so that they possible look like part of a bigger structure, playing with peoples perception. Although I feel perhaps showing the entire letter may have the same effect of putting forward the typography/architecture link but without resorting to tight crops. It will be simply inferred by their construction.

Imagery below shows a mock up I did just photographed on my iphone and photoshopped onto a couple of different backgrounds, just to experiment and visualise the ideas.

As in the final I didn't want any 'fake' elements I would mock up a miniature setting for it all so the block appear huge in scale. But after considering it, I feel that this could jsut be over complicating the whole project, I'm not sure it even needs another element to it, and without anything to compare it to, the size is unknown when photographed anyway.

I'm conscious not to try and chuck loads of ideas into the pot, which is something I often try and do when I'm concerned about a project, or want to improve upon it more. I think for me at the moment, the important thing to bare in mind is a focus on clarity of thought and intention. I've gone through the process of creating a whole concrete typeface with a architecturally orientated rational, I just need to capture and present that in an appropriate way.

Keep it focused and simple.

THE KIT

I've completed the full concrete 'kit', some of which came out a lot rougher than I had anticipated, but it feels a lot more authentic, each with their own character just as a real building would have. The more I work with the shapes the more I get involved with the idea, I love the notion of simplifying a typeface down to its bare minimal elements; its building blocks. I can't help but feel it embodies elements of bauhaus approach, as does a lot of my work and design ethos; simplifying an object to its bare functional qualities. The sharp lines and concrete also feel add to its modernist, brutalist architectural feel. The blocks all feel just as I intended, using concrete to mould them has given them a brilliant quality, they feel very permanent and dense; highlighting the architectural link which a different construction method wouldn't have had. The whole process of making them was also strangely satisfying, the idea that just  a powder mixture can combine with water to create something so solid and permanent. Perhaps this solid permanent element is what has been driving me to create something so different, because to me it feels more substantial than 2D graphics created digitally.

MOULDINGS

I Struggled with moulding the rounded corners of the shapes, so I adjusted them to have diagonal edges, which actually may fit in better with the lines of the shapes and overall style. I'm using fast setting post-crete, and plastic shutting sitting on glass to mould the shapes. the plastic forms a pretty tight together which keeps al the concrete in within the shutting.

7 SHAPES

I've developed a set of 7 basic shapes, when duplicated, allows me to create any letter. Using the basic idea of dividing the sections of a letter into pieces, similar to that of a stencil, it allows for free standing pieces, mirroring individual architectural structures. The way the pieces fit together also resemble construction of a sort, and when fabricated from concrete I think will be a great physical representation of the relationship between type and architecture.

It's interesting to see how my initial themes of strong shapes is present so literally, 7 strong simple shapes are the basis of my final output for this project. 

Base 7 shapes:

Typeface kit:

Full Alphabet:

LETTER FORMS

After exploring my initial ideas for the modular letter kits, it became apparent that using a typeface that was very obviously a typeface may simply look too literal and not have quite the effect I'm after, so instead I'll be drawing inspiration for my a type kit from a simple modern stencil shape; modifying, simplifying and reconstructing it to make it my own. This way the pieces won't need rods or joining parts to hold it together, much more minimal and less 'fussy'.

MODULAR TYPE

After creating the sculpture and exploring different ideas for creating an architectural/typographic piece I've decided that creating a 'pre-fab' style kit of concrete pieces that come together to form type, is the route I want to take.

I'll aim to create a 'kit' with as few a pieces as possible, that can make any letter using a combination of them. The pieces could be held together by running rods through them or using carpentry-like joining pieces.

The concept is particularly relevant as it draws upon the various themes which have been continually reappearing; concrete, bold shapes, sharp lines, construction, architecture and typography.

ARCHITECTURAL SCULPTURE

I used plaster to sculpt a typographic piece that would let me explore the idea of architecture and type first hand, with a stone-like tactile element to it. It also allows me to play with crops and the way light interacts with the structures. The idea was to choose structural look letterforms to most mirror that of a building, so only straight lines and strong shapes, blurred together.

I like the final sculpture as it gives the type a real presence and sense of architectual solidity that I want from the final piece. Although I think I'd still like to create something out of concrete, it's a recurring part of my work on this project so far and feel its an important aspect to the brutalist style of architecture I was initially drawn to, and really yearn to re create in a different form.

The sculpture has been a good way of exploring this route, and although doesn't quite have the characteristics I'm after, I now know that creating a physical sculpture, and then capturing it photographically is the process I want to use.

To me capturing something photographically re creates the object again, in a different way, rather than simply presenting a sculpture or object, a camera gives me another chance to re mould it and present it exactly the way I want it to be viewed. Perhaps this is the designer in me, whereas a fine artist may let their work be more open for interpretation, I want to frame and present it in a precise manner.

MAKE SOMETHING 3D

I've been exploring the idea of creating a 3D sculpture which takes the notion of merging type and architecture in a physical form, with the idea of capturing specific crops of the sculptures in an abstract sense, so the viewer isn't sure wether this is actually a piece of architecture or type, or possibly both.

I particularly like the idea of creating a definite physical object that plays with peoples perception. Wether its abstract quality comes form the structure itself or the way in which it's presented I'm not sure. I'd like to create a solution where both contribute to it.

Working alongside so many other students that instinctively work in 3D as a first port of call has really inspired me to work to create a physical object, the notion of working with flat graphics at this stage is very unappealing to me. Although I have no experience in sculpture or moulding of any kind, I'm not bothered or intimidated by this; I feel confident I will be able to create something, to what standard it will be, I do not know, but I don't feel it matters at this stage. I need to go through the process of it and see how I feel about it all then.

OBSESSED

I must have concrete on the brain a little too much as, I had quite a vivid dream where I was looking in awe at a concrete sculpture I had created which played with your perception in an escher style way. I did a quick sketch of roughly what it looked like!  I do really like the idea of creating something like this though.

MERGING WITH STRUCTURES

“Graphic design repeats in miniature what architecture does monumentally.”
 Virginia Grace

BLURRING LINES

I have been considering expanding my current working images to incorporate typographic elements in order to merge the two as a representation of the inherent similarities present in the nature of the theories and working mindset of the two.

I'm also interested in how cultural/art movements are reflected in both arenas. The Bauhaus; stripped back functional buildings, alongside simplified sans serif typefaces. The corporate culture of New York in the 60's paralleled by Helvetica's prolific use. in the 30's when the Empire State Building was erected, a series of tall slim typefaces succeeded it.

My next move is to explore this relationship and parallel existence and interplay between the two.

REBUILDING

I decided to rebuild the bare lines that I reduced my photos down to, in order to create a harsher contrast between the elements of the structure, and create even stronger shapes.

The aesthetics of this style are much more in line with the type of imagery I'm attempting to produce. But where this then goes, I don't know. Visually it's striking, and an interesting interpretation of a large 3d structure, in a 2D format. I feel it captures certain elements of viewing these structures in person as well as I can in this media.

I like the aesthetics of  the images. But they don't really serve any purpose, they're interesting to me, but where are they taking me, what direction does my reaction to them take me? So I like them, but they're monochrome interpretations of buildings, which is a pretty safe bet with me. The process is the key here perhaps. Photography converted to 2D imagery. I feel the 2D imagery needs converting into something else. Something more. Normally, I'd probably stop here, and maybe do a few more, make them into posters, put them with typography or something similar. But I want to make something more of this project, this feels so flat at the moment. Is this how I normally work? Two dimensional graphics, maybe it is.

This unit of work is happening at a rather poignant time for me career development-wise. As I'm reflecting upon all the work I'm doing, and how I work, all that is at the front of my mind is that I don't want to just be another graphic designer, knocking out brochures all day for companies. This frustration is driving me quite a lot on this project, it's manifesting itself in a want for MORE! More what, I don't know.

TEXTURE EXPERIMENTATION

I wanted to push the architecture imagery I created further, taking the lines and juxtaposing them with a soft texture. I wanted a high contrast between the sharp straight lines, so I filled the surfaces with skin textures.

MONDAY 18 10 10 / SUMMARY

I've been working to reduce down the core themes running throughout my work to date into basic elements, and explore working with these qualities in forms outside of my usual media.

In practice this has taken the form of;

• Capturing strong shapes and lines in architecture.
• Investigation of construction materials.
• Reduction of architectural shapes to lines.
• Re building imagery using the distilled shapes and lines, but with block colour and texture.

I've found that focusing in on the notion of 'strong shapes' has enabled me to see my work in a renewed way, and helped me to understand the patterns in my work and the aesthetics/design I'm naturally drawn to.  Currently I've only really looked at this in isolation, having briefly touched upon texture/construction. I feel the answer is probably not as simple as I would like, I'd imagine it's a combination of elements, but i'd still like to distill these elements down as much as possible.

WHY do I like it, what aspect of the imagery I've captured really drives my attraction to it? WHERE do I take this next.

PHASE TWO

After going off on a concrete tangent, i've realised that, although as a material it's brilliantly harsh, it loses it's attractive qualities to a certain degree when you take away its lines. So in an exercise which aims to do the opposite, I've reduced down the photographs I'm most drawn too from the initial stages of exploration, in an aim to distill what it is that makes me favor them. Is the texture important, or can they remain aesthetically pleasing and strong just as wire frames?

CONCRETE/TEXTURE/PERCEPTION

As I seemed to keep coming back to these concrete structures, I've started looking into concrete as a construction material, its properties and uses. An aspect I came across is fabric forming concrete. Initially the idea of a forming method impacting upon the finish was something I spotted in my photography at the South bank, where the wood grain was visible in the concrete. Similar concept, but with fabric instead of rigid moulds, leaving behind its texture. The finished result is a product which toys with your perception a little bit. Even though you know it's concrete, part of your brain is telling you it will still be soft, one of those things you can't help but touch just to be sure. I love that visual trickery. But it loses the qualities that first attracted me to it as a material; large smooth surfaces, sharp edges and harshness, which all provide that visual contrast and 'strong shape'.

Key Architects; Anne-Mette Manelius, Kenzo Unno.

JUST MORE THOUGHTS

I found there was often two levels of 'shape' within the structures I photographed. The overall shape of the building, and then strong reoccurring shapes within the building also i.e. windows, doors, textures, patterns, signage.

I found myself constantly drawn to concrete structures. Those with clear brutalist influences. Buildings such as the Hayward gallery were so impressive and domineering in landscape, strong harsh shapes and sharp edges. Although the building was similar all over in colour, the sharp edges and angles meant light and shadows clearly divided the buildings sections and walkways.

Not sure why I'm drawn to the concrete structures so much, possibly because it's such an extreme? Both a harsh texture and shape. 

PHASE ONE.

Investigating along the initial theme of ‘strong shapes’, I’m drawn to architecture. The main texture that I’m drawn to alongside this is concrete. Seem to be attracted to the extremes. Lots of contrast, sharp edges, harsh textures. I’ll focus in on this more so by taking my own photography focusing on this theme of strong shapes, and sticking with architecture for the moment.

Below are a series of images I captured in London with a specific framework in mind. I was 'hunting' for architecture and shapes of high contrast, and actually anything I was instinctively drawn to I photographed too. I really enjoyed the whole process, I loved being amongst the buildings and really taking time to look at them and capture specific elements, framing them and making them my own, exactly how I wanted to view them.

They aren't pictures of buildings, they're my collection of lines and shapes that I've hunted down on the Southbank, cropped edited and re presented to myself, and others as 16 images most representative of my intended framework. Although the process was carried out with a specific aim, without an end result or a problem to solve it feels very self indulgent to me at this stage.