Phase 3: Week 11

I think I need to find a context for the bundle, what is it? Is it a kind of encyclopedia, is it a map over the development of roman type? Before I know what it is, my design development wont make much sense to me.

I think these fragments of letters will be in it, they are very visual signs relating quite well to my research–but just have to find a good way to visualise them and put them in a context.

Peer 2 peer with James:
“Yes to finding context to the bundle. Does it show a journey? Or does the journey need to be put together… do the fragments build throughout or fragment throughout. Can you piece parts together or mix up parts throughout
Do the text pieces become more fragmented? Or would that go against the meaning.”

This reflection from James was a catalyst for me. How does the material of this bundle behave, what happens to it and how can the audience be a part of that? He showed me a bundle he has “It’s a box full of different pieces, some narrative, some excerpts, some design, some image” tactile, varying types of paper, surfaces, mediums”. All of that material relates around John Cage.

Images from James of John Cage
Images from James of John Cage

Thoughts on ideas

A lot of my process has taken place in my notebook, here are some extracts and thoughts from that:

The top says: “refracted lens can be speculative? what would have happened if the colonial never happened?”

The bottom is basically an idea generation where I have tried to structure what I will focus on. Since I want to build this project in part on a mulitmodal social semiotic analysis I need to rannsack how and what I will look at. Another important aspect will be how it may connect with the visual outcome.

“Bundle may help explore the basic dimensions of materiality in temporality, space, transcience, role”

I have tried to make sense of my project through idea generation, and relating it to the double diamond. Some Swedish notes here, these are mostly questions to myself–‘how can I make something that is pluriversal yet adds to the whole?’ ‘What other modalities than writing can I explore?’ etc.

‘What unified this time in idea, visual, other–> can that be interpreted for a visual identity of the bundle? Look for temporal identity? Pre school in Hackney?’ ‘Could be arranged as a puzzle, one side puzzle other chronological?’ ‘Or golden section?’ These are some of my first notes on working with a very structured foundation for the visual outcome. Through structure and visual identity across a very varied format material can enhance the accessibility.

This is the school in Hackney that I mention in my notes:

It has a rich kit of expressions that can be applied over a range of material yet keeps the identity together. The identity is successfully utilising layers for compositional coherence along with colors, typography and illustrations. This project may serve as a good reminder to try and keep things fun and rely on my ability to structure the form. And to let the material come to life within that structure.

Moodboards for visual direction

I have begun to look at how I can work with visualisation inside the formats.

The example above utilises similarity in differing objects. Some objects may not even have the purpose to be/look like an eye, but in this context and through the way they are curated we perceive all of these objects as eyes. I think this example is great as a reminder to not be over explanatory, and let the audience draw some of their connections and conclusions.

Tang Kwok Hin Source

Transparency is a very nice and sublime way to work with narrative, things can appear, be concealed or fade.

Dora Lazarevic Source

Dora Lazarevic work has the ability to create really intriguing compositions through minimalist means. She utilises active negative space that creates tension across the format. She works with a very muted color scale, mostly greyscale. There is also often a cream coloured textured paper in her work, which is something I think that I want to work with.

Ilka Helmig & Johannes Bergerhausen Source

Ilka Helmig has created soundclouds to go with letterforms. The presentation of her work with old letterforms creates a very interesting contrast in form. Sometimes the soundclouds and letters are presented together, and sometimes apart–like here.

Colour scale

I am considering to work with natured/cream/beige coloured paper across all components. It could be complemented with an analogue colour scale through the use of a split complementary or just complementary palette. Another option is to have an overarching paper and then just one contrasting colour. I think I will begin the exploration with at least an analogue colour scale.

Gemma Mahoney Source
Pentagram Source
Claire Huss Source
Kurt Woerpel Source


I feel like I am working from several different ends, the written analysis, the critical report, the outline and premises of the project’s visual direction, and the visual content of the project. There are many things to keep track off, it will be important to make it all come together nicely and still have moments of tension inside. If the visual framework is quite restricted, the components will hold together across–and then the content of each component can vary within the premises of the visual direction.