snout as guide

For the dog icon, I focused on my intuitive drawing to realize the necessary details for clear visual communication. The snout was my guide. I added the (whisker) freckles in order to clarify dog, rather than other possible translations, such as bear.

Since the purpose of an icon is to communicate something clearly with a reduced amount of visual information, do I need a windshield to communicate VW bus? The unique, grill shape seems to carry enough information for the specific emphasis.

(in real life, I have very few shoes)

I am still in the process of deciding if the lace holes are to be the focus or the laces, as well as adding a tread to prevent the viewer from interpreting these as... corset.

thumb evolution

an attempt to exhaust some of the (impossibly countless) "illustration to icon" morphs. Does the last row of abstractions still translate, hitchhiker's thumb?

on Olympic icons

When I compare the consistency and legibility of Olympic icons through the years, I have come to the conclusion, (with a few exceptions) simple equals clarity.

The 1948 London logos are more illustrations than icons, and consistency seems to be a lacking as well. Some logos include the athletes and excessive detail, while others lack both. In contrast, the 1964 Tokyo icons are simple, clear and consistent. All the logos were created from solid geometric shapes. Extraneous details have been left out and the effect is surprisingly refreshing. 1968 Mexico designs have also achieved clarity and consistency; the silhouetted icons are a quick read even with the incorporation of patterns and a glorious color palette characteristic of the Aztec Indians. 1968 Grenoble logos seem to have a consistent feel of movement and excitement, but clarity may be a problem. I am unable to decipher at least one of the icons since the pattern is so intense. 1972 Munich/1976 Montreal are undeniably simple, yet full of joyful angles to suggest movement; 1984 Los Angeles and 1988 Seoul have a similar feel, as well. And lastly, 1996 Atlanta consists of clean silhouettes with a repeated space between one of the legs and the torso. The body proportions seem accurate to give the logos an illustrative feel.

dominate text

These are revised layouts with text as dominate, rather than image.

American Nomad

When I first picked the two word story "homeless hitchhiker," I romantically imagined an aventurous traveler, rather than a hopeless, street person. Since the words "homeless hitchhiker" exude more negative connotations than I am able to refute, I have decided "American Nomad" would be a more fitting title.

shameless investigation

I spent time with Rainbow the other day. (She is as amazing as her name.) Since my book has a journal feel, the incorporation of travel writing would add to the continuity of the theme. Shamelessly, I asked to see her journals.

Rainbow directed my photographing to pages she wanted to share.

cigarette, knife, thumb

I chose a worn, leathery paper for the cover material and black, waxed thread to emphasize appearance of a hand-made, travel journal. Each page displays a background image of a map to also connote journey.

For the cigarette layout, I photographed a friend holding a rolled cigarette. Since a nomad is typically cautious with money, I thought this type of cigarette would give the appropriate connotations. Also, one of the cigarettes is screaming, "rebel"; the traveler is rebellious to the structure and normalcy of society.

For this layout, I recruited Rainbow holding the knife that she typically carries on her belt strap. The woods scene is to propose a hiking/camping theme, allowing the knife to represent more function than fear. I also added journal text about camping and hiking.

This is the first page, the thumb layout. The connotation of hitchhiking leads to the connotation of adventure; I decided to enlarge the text for "Adventure" to establish a theme. This layout consists of thumb shots of my friend, the map background, a complete scene of Rainbow hitchhiking on Main st., as well as a travel journal excerpt about hitchhiking. The journal text is cropped in order to redirect the attention to a general theme of traveling, rather than a concrete story of Rainbow's life.

The process of gathering visual evidence has allowed me to learn more about a friend. (What could be better?) Her stories are enamoring. I am also becoming more and more tempted to pursue even a short experience of this lifestyle.

One object: many personalities

I have learned that photographing an object from different angles and ranges of focus can influence the objects' translation. A close view appears more intimate and a distant view, a little cold. As far as the text, I have attempted to complement the meaning of the image with connotations of a teapot.  

thumbing a ride

A gloriously, serendipitous moment on Main street. Sadly the bus did not pick Rainbow up. 

things a homeless hitchhiker might have. I have decided to leave out the whiskey, hook, axe and box for the story to become adventurous, rather than depressing. (Hitchhiking, strangely enough, is something I hope to do this summer... This may soon be my story.)

word & image separation

teapot for type

I chose a teapot for my "household" item for type class. 

Homeless Hitchhiker

I recently aquired a friend who occasionally hitchhikes while traveling. I am attracted to the idea and decided to choose Homeless Hitchhiker as my topic. Although, these words seem to describe someone sad and desperate, rather than pursuing an adventure.

about blogging and proj.1

This project is about telling a story in my own words. Although it is impossible to completely manipulate what the viewer will interpret, my job is to guide the viewer; I am in charge of sifting the information and pointing to what objects and ideas I feel are important. This is similar to what a blog should exhibit, an examination of ideas and key points.

About blogging… I enjoyed the statement by Steve Portigal, about disciplining ourselves to take observations out of our heads and share them. Assuming the world knows what we are thinking is a tragic mistake.

Another statement I appreciated was, “Learn to hear yourself feeling.” Blogging can be a meditative activity as well. Portigal’s idea of seeing blogging as disposable rather than precious takes a little pressure off. Every blog doesn’t have to be a masterpiece, but rather a means of sharing process.

My goal for blogging is to capture great moments of progress while learning to hear myself feeling.

line book revisions

munsell and mannequins

Three-dimensional through psychological space, flat spiral and helical score

interpretation/abstraction

The function of my final shapes are an initial guide to the interpretation of my haiku. The first and last images of my haiku (blistering rainy and dimly, breezily) are abstract which allow the viewer to have a more emotional response, in comparison to the representational image of petals in the second line.
The tool documentations are literal representations of the objects used. A far greater depth of meaning can be experienced by the marks in comparison to the tools. Literal representations can be much more shallow, for example, how much can a person read into the photograph of a fur ball?

The inclusion of text further assists the viewer’s interpretation. Since abstract shapes can be read differently, text is especially helpful for clarification. For instance, the first line of my haiku, Blistering rainy, is represented by a violent splash with hints of leaves. Without the assistance of text this image could be interpreted a number of ways. Additionally, although my mark of petals for the second line happens to be a literal representation of rose petals, the poem is not specifically about roses. In this case, the text guides the reader as to which details to take in, and which to overlook.

The connotations implied by my formal language are that I long for the viewer to see and find more. An intense unforgiving rain, petals dancing in the aftermath and a soft breeze lingering; I interpret this as the relief after a terrible experience–although, any interpretation is welcome.

objects I have known

before / after detail

nearly final set

tools for haiku

vector vs. bitmap

A vector image is made up of points, lines and curves. A bitmap is made up of tiny microscopic pixels, only visible under magnification.

Bitmap format is useful when attempting to retain soft details. Yet, scaling can create quality problems. When a bitmap is saved smaller, pixels are basically thrown away. When a bitmap is saved larger, pixels are added somewhat randomly (or interpolated by the computer); therefore, the image can appear less detailed or down-right nasty.

Vector images can be scaled from a tiny logo to a colossal billboard at no loss of quality. Vector format is easily manipulated similar to the stretchable quality of a rubber band. Yet, if a photographic quality is necessary, at least at this point in time, vector is not the ideal format.

Bitmap is my format choice for the haiku illustration project, since I would like to retain soft details contained in my marks, especially for the lines, "petals ruminate kindly," and "dimly breezily." The delicate nature of petals and also a soft breeze would be difficult to capture with a harsh, crisp vector format.

bitmap font creation

living color arrangements

denotative and connotative lists for haiku

Blistering rainy:
denotative: hot, steamy, wet, slippery, muddy, moving water, puddles, splashes, drips, tapping, rhythm, outdoors, nature, weather

connotative: angry rain, frustrated, longing, alone, lost, blinded, uncomfortable, loud drops smacking, overwhelming rain, intense, rapid, annoying, storm clouds, harsh, cloudy, outdoors, nature, weather.

Petals ruminate kindly:
denotative: petals, flowers, garden, dirt, ground, grass, smooth area, sporadically placed, continuously falling, petal-less flowers.

connotative: dancing petals, twirling petals, joyful, content, happy, pleased, soft petals, delicate, unpredictable, petals leaving, longing to move on, insecure petals, roaming, following one another, together.

Dimly, breezily:
denotative: softly blowing wind, darkness, shadows, rustling leaves, tumbling trash, quiet humming, occasional crackling sound (leaves passing by), movement, motion

connotative: calm, at ease, delicate breeze, low light possibly hiding, eerie, moving on, direction unpredictable, confusion, breeze controls direction of leaves, trash; wind in control = power.

dada collection

In my recent design past, type has mostly been an afterthought. When I transferred to the graphic design department, I actually wondered why on earth we have to take so many typography classes. Now I know. . .  Type and design are one. (Amen.)

my haiku

a face in nature

a statement about process

When I first began this line study project, I found the restrictions intense, painful even–until a revelation occurred. Similar to strategically placed circles, I discovered lines, even straight ones, when displayed in a particular arrangement, can convey emotion. I knew I had been brainwashed when: just the other day I saw a crumbled up napkin and thought it looked sad. . . My project is not just about lines, but rather, it tells a story about the progress and possible loss of a relationship.

Although the ancient world of analog supremely slows the design process, it is for the good of all. Applying analog qualities to a design allows it to retain a human quality. For instance, we added text to the line studies not by typing on the art, but by the gloriously, meticulous process of hand-made mockups. This included cutting out individual letters and glueing them imperfectly onto the art. Only after the mock-ups were complete did we scan them in and attempt to reproduce the awkward, yet amazing positioning of the letters. If every element of the design were created by the perfection of the computer, it would likely look controlled and stiff. (And in my mind, controlled and stiff equals: dull as tombs.)

The more the boundaries for this project were loosened, the more personal creativity was able to seep in; therefore, the level of narrative steadily increased. And in my surprisingly, opinionated opinion, narrative is vital to design. In the resonating first line of Claus Oldenburg's I Am for an Art essay: I am for an art. . . that does something other than sit on its ass in a museum.

the desire page

slightly more interesting picks

the full set

diagonal line study