Feedback of the last week
In the third week, I created a publication about the emotional progress of my trip to Santorini, from starting to plan to the final day. I also made a block calendar where people can express their everyday feelings through typeface designs of the number.
The main feedback was that the block calendar works better than the publication to express my complexity of feelings through typeface design since I adopted visual systems. However, it is still limited to expressing emotions because the calendar only has the number as verbal information. So I decided to create a modular typeface design for the next exploration.
Experiment with modular typeface
In the modular typeface experiment, I followed the ‘form-based flexible visual systems’ from the book (pp.85). The author introduces simple regulations of a form-based visual system with geometric shapes in this chapter. In order to increase the variety of the outcome, the author recommends cutting geometric shapes and assembling them again by rotating and mirroring. So as the first step, I created essential components for the typeface design, like the picture below. After creating components, I made a few letters by mixing them and observed modular typeface could express emotion.
In the following step, I added colours to the modular typeface to set the direction of emotions from positive to negative. In order to add colours, I created five different colour combinations, which idea comes from the book, ‘Design and Emotion: The Experience of Everyday Things’.
The book introduces the workshop to explore colour mood boards by combining colours. The given emotive words: depression, passion, tranquillity, neutrally, and aggression, come from the reference book. I connected three colours intuitively and applied each letter to express the diversity of the emotion. Then the modular typeface becomes more powerful in conveying various emotions than the black version.
However, I observed that not only colours but also the shape of components should have a wider variety for using abstract shapes, like the most negative version below.
Through the feedback, I’ve got the idea to create a more organic version, which may not keep legibility but has some emotional impression. Additionally, I feel that the balance of the typeface design between discipline and chaos is the key to creating the latest modular typeface.
A quick review of previous week
In the first week, I categorised my reference list into three (typeface, design and emotion) and put a direction for each research to keep narrative analysis.
Afterwards, I created a publication containing some small experiments and a mockup of the visual system based on the reference material.
Making the third publication
The third publication introduces my trip to Santorini island from 27th to 30th August 2021. The content of the publication starts on the first day of planning and ends on the last day of the trip. On each page, I expressed how my emotions changed during the journey using typeface, colours and layout instead of directive verbal explanation about emotion. Regarding the composition, every page contains a symbolic typeface motif, a date, a small brief, and the sun as a symbol of time processing. I focused on the subjective typeface design and the relevancy of each element by practical layout.
I adopted the harmonic division of the root-2 rectangle, introduced by the book Balance in Design (2005) Elam (p. 37). The rectangle was divided vertically and horizontally into thirds, then vertically and horizontally into squares. It became the standard regulation of the whole publication and enabled intuitively beautiful layouts.
In terms of the Sun motif, I followed the idea from the elegant poster by Jan Tschichold from an exhibition of constructivist art in 1937. Jan Tschichold describes it is possible to achieve the purpose of graphic communication through the rhythm and proportion of the minimum necessary elements themselves rather than additional decoration or decorative typefaces. (Asymmetric Typography p.26)
Regarding the composition, the circle’s diameter is one-third of the width of the poster, and it is also used as a scale for arranging the elements. This circle is a focal point and eye-catching effect that successfully emphasises the exhibition title and exhibitor list. In addition, the date and time of the exhibition are equal to the distance between the circle and the distance between the exhibition title and the horizontal line, and the exhibition title is placed in the centre of the circle. (Elam, 2005)
Additionally, the author mentions the proportion of the format(left) and the square for the composition(right) (Elam p.91). The rectangular structure is based on the pentagon, and the top of the pentagon becomes the rectangle’s width. Moreover, the square for the composition makes the design more gripping.
Subsequently, I continued to research fonts. This time, I decided to use Sans-serif fonts, assuming subjective usage. I picked up four typefaces from the book The field guide to Typography (2013) and compared their legibility and features: Fedra Sans, Rotis Sans Serif, Kade Letter Fabriek and Neutraface.
In the beginning, I printed sample texts to confirm the legibility of the paper, and Fedra Sans or Kade Letter Fabriek would be suitable for the theme of a trip to Santorini. Then I compared the background of each typeface design and chose Fedra Sans as the primary typeface for the publication because the concept of Fedra Sans font is a ‘human presentation style’ (p. 165, 2013).
In the publication, each process of my trip explains six emotions through small typographic experimental works, including the same method in previous iterations.
Consequently, the understanding between typefaces and emotions has taken a step forward in exploring complex emotions through visual language rather than direct words.
For further experiments, I would like to pursue even more precise output and explore how accurately my intended emotions can be conveyed through graphic communication, learning about emotional complexity and cognition process. In addition, I also want to explore the connection with visual systems to express emotional flexibility.
Mockup of a block style calendar for creating a visual system
In my research about the flexibility of the visual system, I created a simple mockup of a block-shaped calendar in which people can express their emotions through the tone of each number. It succeeds in the way of graphic communication design through the system. I plan to make the second mockup specifically for communication in typography design.
Line of enquiry
Through my previous written response (Position through iterating), I got the line of enquiry as ‘How can I expand the possibility to express human complexity of emotions/sensations through typefaces?’. Visually speaking, I would like to fill the gap between verbal expression and real emotion, like the diagram above.
Regarding my references, I set three categories to develop my line of enquiry: emotion, design and typeface. In addition, I put a direction for each category to keep the narrative.
As for typeface, its role differs depending on whether the writer who created the text is the solely the medium of the text (objectivity) or the central figure of the text (subjectivity). In terms of a relationship between emotions/sensations and textual communications, the latter case seems to show ‘emotions’ intentionally. Therefore, I decided to focus on the subjective use of typefaces in this research.
Concerned about emotional complexity through visual language, the flexibility of design or adjustable format could be one of the solutions, so I started learning about visual systems.
Lastly, I should learn more about emotion academically since it is an intangible and subconscious topic. Learning about the cognition process of emotions could be helpful in prioritising typefaces, colours and a layout.
Alongside my research, I did small experiments this week to try new printing methods: Riso printing and foil printing. The purpose of investigations in graphic communication design was to explore colour combinations and a mixture of typefaces.
In the first stage, I created two gradient colour circles with different variations: cold and warm, by Riso printing.
Regarding a cold-colour gradient circle, I adopted the blue-greenish gradients, which idea comes from the colour of the universe in the book Design and Emotion: The Experience of everyday things (2004) Wilson and Challis, (p. 179). In this book, the researchers note that ‘the colour of the universe revealed by two American researchers, Dr Karl Glazebook and Dr Ivan Baldry, that the average colour of the universe is a greenish hue halfway between aquamarine and turquoise. However, when young stars dominated the universe, the average colour was blue.’ This could be why people can feel calm. Additionally, it is the colour of the Virgin Mary.
In contrast, I created a warm-colour gradient circle with pink-yellowish colours to make it different from the cold version. In comparison, the cold-colour circle looks more neutral than the warm-colour circle if I use them as a metaphor for emotion.
I continued to do foil printing with a typeface experiment. I created two types of ‘emotion’ designs with seven different fonts to express the diversity of emotion. In this experiment, I avoid using Sans-serif fonts because in the book Modern Typography (1992) by Kinross (p. 158-182), the author introduces Sans-serif fonts as a part of modernism, machinery and mass productive creation, which does not suit the complexity of human emotion.
Regarding the printing process, I attempted to print letters on the circle (Riso printing) with silver foil and on the paper directly with black foil. The quality of the outcome between the two experiments is almost the same. However, silver foil on Riso printing made more emotional texture since the rough paper was unsuitable for foiling and unexpectedly showed the complex surface, which is like emotion.