Creative Impulse©™
Dictionary Story; typographic Story has become a kind of core creative text of visual experimentation. Playing with language, poetry and type, this illustrated story by Sam Winston.
The book can be read horizontally as a dictionary and vertically as a story as words follow each others and create an uncertain signification.
Sam Winston seems to be as obsessed by the language than by its representation as the text tend to desegregate itself and propagate its signs in the extents of the white page .In the process of making the limbo book it was about the typographic experimentation of story telling through concrete poetry. As the poem is about the feeling of reaching your freedom - this feeling of lost its more about the fundamental values in how language can be interpreted through the relationship of using text as images it opens the reader to wider suggestions about the process of visualising the core values of how each word is relating to a image. By using this system and method it allows the reader to follow the journey and narrative of the verbal communication of the word and turning it into the representation of the actually meaning through the visual aesthetics and layouts it promotes this idea o being able to picture the word and the compositions explore this theme of image and through the editorial formats to indicate to the reader that the poem has rhythm and a sense of tempo this is why the poem is split up and can be reader just through the chorus.
Sam Winston is uniquely alert to the way words take their place in the world…in his agile and mischievous fingers, each word and even each letter radiates vivid, graphic personality. Dictionary Story; typographic Story has become a kind of core creative text of visual experimentation. Playing with language, poetry and type, this illustrated story by Sam Winston.
The book can be read horizontally as a dictionary and vertically as a story as words follow each others and create an uncertain signification.
Sam Winston seems to be as obsessed by the language than by its representation as the text tend to desegregate itself and propagate its signs in the extents of the white page.There is a need to achieve legibility but also have a strong visual aesthetic. I don’t think they are exclusive but at times they can be at odds.
An example of exploring this balance came about in a project called a ‘dictionary story’. Initially the project started as a short narrative in which certain words from the dictionary became living characters that met each other.
Birthday was a participatory artwork installation made up of large-scale drawings commemorating the births and deaths that are happening everyday.
SAM WINSTON talked about this project at our college couple years ago, Said to help him gain a better understanding to visualise data : We need to use data to quantify the world, yet even on such pertinent themes of birth and death, once we pass a certain scale the information slips into obscurity.
By the time you’ve read this sentence three people have been born into the world. By the time you’ve read this sentence two will have passed away. Birthday is a work which sets out to record every individual birth and death over a twelve-hour period.
Initially imagined to be realised in real time, marking the beat of each life with a small circle. It soon became apparent it is impossible to keep up with real time events and it takes months to graphically capture 12 hours of births and deaths.
By the time you’ve lived through this half-day there will be 183,600 more children on the planet.
And in the same twelve hours 77,760 people will have passed away.’
Innovation of Drawing a circle: Visually register a birth or death to celebrate one of the ¼ million lives that come and go everyday. When we hear such information we are usually awed by the scale at which it’s happening – yet somehow that very information soon becomes another piece of trivia.
“Designing for print on screen is tricky and always requires clarity. There is very little sense of the scale of typography and colours often look different. This results in multiple printouts to test the different font sizes and colours. Spector is a tool that helps bridge the divide of designing on digital screen and the finalised print. It is a hand-held device allowing various print materials to become interactive. If designing for print, it is best to start with print.”
Fiona O'Leary is a designer that has a desire to design and invent products that improve people’s lives with meaningful use of technology. Designing physical digital tools that improve accessibility by communicating a transparent system of how they work and its purpose within that system. She is constantly researching, drawing and learning to help inform and develop ideas of how technology can improve our lives.
(Source: fionaoleary.ie, via landre1)
Visually connects to the structures of the shape and feeling of being lost through the editorial layouts and different aesthetics and weights of the letter press it acted as a functional way to verbally and visually connect to the information and the language of the poem is that using concrete poetry promotes its own interpretations to the visual connotations that are reflected across my design process and this focus is also interested in exploring other relationships of words and image, takes serval inspirations ;images into a wholly different realm from the art world. Associated with Conceptual art, Kruger combines tactics like appropriation with her characteristic wit and direct commentary in order to communicate with the viewer and encourage the interrogation of contemporary circumstances.consists of black-and-white photographs, such like the design process as i was developing the limbo poem. With the use of overlaid with declarative captions. As I mentioned earlier the development of limbo could of be visually installed as either installations or worked through other multimedias such video and audio.
From Kruger, Holzer and the technique of the approaches of maintaining a firm basis in social, cultural, and political critique. Another important factor in which concrete poetry was exploring the sense of freedom along slaves and different people it represents the book through editorial designs of splitting the chorus through black with orange texts. The structure of this was to match and mimic the typographical experiments n which lay-out moved from an auxiliary expression of meaning to artistic primacy. significance of the WORDS IN THE POEM expressed through pictorial means Similarly that the typographic style of designs, allowed the reader to recognise what the words was intended.
With the interplay of written texts and visual images, the use of written language in the visual arts, and the use of written language as a form of visual art. Along with oral speech, writing and pictures are, after all, the fundamental forms of human communication.
In my evaluation of how I can visually convey meaning of the poem i decided to reflect on serval artists that communicate with typography and concrete poetry. in this instance Jenny Holzer, Barbara Kruger explore the similar themes of words and place although the excitation of the overall design process differ as ive choosen to format the poem in forms of concrete poetry and it also focusses on the relationship of combine imagery to the words is a practice that in visual communication is In contrast, images are potentially infinite in form and structure; they are inherently polysemic. Therefore they are often unfamiliar and more difficult to “read.” Visual space is about looking, while scriptive space is about learning. But when words are located within the space of art, or when they become more overtly visually assertive in form, a transposition occurs that can bring awareness of the materiality of written language.
The linguistic sign’s conventional bond with meaning is loosened, and gives way to something essentially “unnameable.” The reader becomes a viewer, and is distanced from the word’s discursive content and made more aware of the non cognitive and affective qualities of the visible and the relationship between text and image in masterful graphic and multimedia design was another inspiration and influence that is visually promoting themes of concrete poetry,visual poetry to shape the poem into images as word.
In is a useful tool to communicate the overall meaning of lost worked as a success however the editorial designs needed to be further resolved and with this some pages and words aren’t as well communicated or understand as easily as they could have been In retro spect to this the project and editorial designs do overall convey the journey of the poem however i could have made a stronger impact by developing the format of the poem differently. Using buildings and other visual spaces to make these connections more interactive is another feature i consider and was another influence i develop throughout the visual poetry experiments, final outcomes with the interplay of written texts and visual images, the use of written language in the visual arts, and the use of written language as a form of visual art. Are the fundamental forms of human communication.
My overall design process was to convey each part of the poem through the use of visual forms and practices such as concrete poetry,editorial design as how i formatted each word and the chorus is split by the indication of the long dark space with white and black and to express the journey of the conditions i add the writing in orange to draw attention to the pace and overall journey of waiting for your freedom and the white space reflects the form and format of this through the book by splitting up the chorus in this design was to impact the reader of the lonely dark conditions and that freedom is still a waiting game and always in being in the middle hence why the limbo limbo like me is in the middle of the page.