Visual Research Methods Documentation

3iLAB.SOLUTIONS All Material Is Protected By Copyright
1
Design for visual communication
Unit 1 Research & development Part 1 Typographic Hierarchy
Design for
visual communication
3iLAB.SOLUTIONS All material is protected by Copyright
Visual Research
(document, experiment, contextualise and evaluate)
learning session...

2
Design for
Visual Research
learning session...
SketchBook I
Unit 1
Research &
development
Letterforms
Type classification
Typographic hierarchy

3
Design for
Visual Research
learning session...
SketchBook I SketchBook II
Unit 1
Research &
development
Unit 2
Visual language &
grammar
Letterforms
Type classification
Form and meaning
Colour, structure &
meaning

4
Design for
Visual Research
learning session...
SketchBook I SketchBook II SketchBook III
Unit 1
Research &
development
Unit 2
Visual language &
grammar
Unit 2
Information search
& design
Letterforms
Type classification
Form and meaning
Colour, structure &
meaning
Information research
Information design

5
DOCUMENT
Documentation
helps ensure consent
and expectations. It
is important to record
information that can
help support the proper
execution plan.
Visual Research
learning session...

6
EXPERIMENT
DOCUMENT
Documentation
execution plan.
An experiment is a
method carried out
to support, refute, or
validate a hypothesis.
Experiments vary
greatly in goal and
scale.
Visual Research
learning session...

7
EXPERIMENT
DOCUMENT CONTEXTUALISE
Documentation
execution plan.
Contextualisation
means packaging
certain units into a
qualification, to suit
specific needs.
An experiment is a
method carried out
Experiments vary
greatly in goal and
scale.
Visual Research
learning session...

8
EXPERIMENT EVALUATE
DOCUMENT CONTEXTUALISE
Documentation
execution plan.
Contextualisation
means packaging
certain units into a
qualification, to suit
specific needs.
An experiment is a
method carried out
Experiments vary
greatly in goal and
scale.
Evaluation is a
systematic measurement
of a subject’s merit,
worth and significance.
The purpose is to reflect
and identify future
change.
Visual Research
learning session...

9
Visual Research
learning session...
SketchBook II
Unit 2
Visual language &
grammar
Form and meaning
Colour, structure &
meaning

10
Unit 2
Research &
development
This unit is designed to develop your approach to research
methods and design development, promoting a personal style
or stance to your engagement with communication problems.
You will use this unit to engage with research methods and
understand its relationship to the design process. Your findings
will be applied through projects in the Design Resolution unit.
Introduction:

11
Unit 2
Research &
development
Introduction:
The activities you will engage in are designed
to help you improve your ability to recognise
and identify design problems; establishing
the detailed requirements associated with a
client (including self-authorship) briefing and
audience/user reception and perception.

12
Unit 2
Research &
development
Introduction:
They will also equip you with an advanced
contextual understanding of visual
communication practice as preparation for your
potential specialist professional practice.

13
Unit 2
Research &
development
Introduction:
You will investigate how design practitioners
have used visual research and communication
theories in their work and apply this learning to
your design process.
They will also equip you with an advanced
contextual understanding of visual
communication practice as preparation for your
potential specialist professional practice.

14
Unit 2
Research &
development
• Develop skills of research,
organisation and analysis to
support practical resolutions
and meet the needs of visual
communication problems;
(Research, Analysis)
Learning Outcomes:

15
Unit 2
Research &
development
• Critically evaluate,
articulate and sustain
complex arguments
related to your approach
to communication design;
(Subject Knowledge,
Communication and
Presentation)
Learning Outcomes:

16
Unit 2
Research &
development
• To assess critically
historical, contemporary;
social and cultural references
and theoretical contexts
in investigating visual
(Subject Knowledge)
complex arguments
(Subject Knowledge,
Communication and
Presentation)
Learning Outcomes:

17
Unit 2
Research &
development
• Identify visual associations
inherent to a range of media
and demonstrate how they
might be applied in solving
problems. (Experimentation,
Technical Competence)
(Subject Knowledge)
complex arguments
(Subject Knowledge,
Communication and
Presentation)
Learning Outcomes:

18
Unit 2
Research &
development
• Identify visual associations
inherent to a range of media
and demonstrate how they
might be applied in solving
problems. (Experimentation,
Technical Competence)
(Subject Knowledge)
complex arguments
(Subject Knowledge,
Communication and
Presentation)
Learning Outcomes:
Research & Analysis Skills
Subject Knowledge
Experimentation
Technical Competence
Communication & Presentation Skills

19
Unit 2
Research &
development
Assignment criteria/format:
EXPERIMENT
EVALUATE
DOCUMENT
CONTEXTUALISE
Research, analysis and
development work to
be documented in the
Research and Development
submission.

20
Unit 2
Research &
development
EXPERIMENT EXPERIMENT
EVALUATE EVALUATE
DOCUMENT DOCUMENT
CONTEXTUALISE CONTEXTUALISE
submission should
include research into type
classification systems and
how the formal qualities of
a typeface are designed to
express different messages
in different environments.
development work to
submission.

21
Unit 2
Research &
development
EXPERIMENT EXPERIMENT EXPERIMENT
EVALUATE EVALUATE EVALUATE
DOCUMENT DOCUMENT DOCUMENT
CONTEXTUALISE CONTEXTUALISE CONTEXTUALISE
submission should
Consider historical and
contemporary contexts in
your explorations.
development work to
submission.

22
Unit 2
Research &
development
EXPERIMENT EXPERIMENT EXPERIMENT EXPERIMENT
EVALUATE EVALUATE EVALUATE EVALUATE
DOCUMENT DOCUMENT DOCUMENT DOCUMENT
CONTEXTUALISE CONTEXTUALISE CONTEXTUALISE CONTEXTUALISE
Experiment using various
media, materials and
processes.
submission should
Consider historical and
contemporary contexts in
your explorations.
development work to
submission.

23
Unit 1 Research & Development Part 1 Typographic Hierarchy
Visual Research
learning session...
Definition & Understanding of
Visual language & grammar...

24
Communication requires language.
That language can be aural
as in the spoken word, gestural as in
sign language, or it can be visual
as in design.
The more you understand any
language the better you can
communicate. The visual language
of design is no exception.

25
The term grammar refers to the
system, structure and elements of a
language. A language is a method of
human communication (spoken
/written word).
Likewise, Visual communication is
dependent on a visual language & the
structure, known as visual grammar.
What is Visual Language
and Grammar?

26
To communicate using visual language
it is necessary to understand;
- what its components are
- what the relationship between the
components are,
- how they are used to create
meaning and enable understanding.
What is Visual Language
and Grammar?

27
Design elements = Letters/words
Design principles = Grammar

28
Design elements = Letters/words
Design principles = Grammar

29
Visual language & grammar
tutorial ...

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155

156

157

158

159

160

161

162
Visual Research
learning session...
Investigating five graphic
designer’s work...

163
Artists & designers attracted
by the visual language...
Hans Richter
- Painter
Chuck Jones
- Animator
Daniel Eatock
- Artist, Designer
Saul Bass
- Graphic designer
Philippe Apeloig
- Graphic designer
Many artists and designers have been fascinated
by the fundamental components of visual
language, amongst them Hans Richter, Daniel
Eatock, Saul Bass, Chuck Jones and Philippe
Apeloig.

164
Samples of the typographic hierarchy work by
Hans Richter was a German painter, graphic
artist, avant-gardist, film-experimenter and
producer. His very career includes the history
of modern art, Dadaism to Constructivism, and
Surrealism.
Even more importantly, he was a pioneering
filmmaker, among the first to make purely
abstract cinema, and a mentor to American
directors of the 1950s and beyond.
Hans Richter
- Painter

165
Rhythmus 21 (1921)
This incredibly influential early abstract
animation was the result of Richter and his
partner Viking Eggeling’s foray from the static
canvas to a moving one. Lasting only 3 minutes,
the film shows squares and rectangles moving
across and within the flat plane of the screen
in a mesmerizing rhythm. They move forward,
backward, vertically, and horizontally. The
theme is of contrast - of size, light, and angle,
of positive to negative, from black to white,
foreground to background, and finally fuse
together into pure light.
Hans Richter
- Painter
https://vimeo.com/227255950

166
Hans Richter
- Painter

167
Saul Bass was a prominent American graphic
designer of the twentieth century. He largely
designed motion picture title sequences,
corporate logos and movie posters. He was a
pioneer of the modern title sequence designing.
He enjoyed four decades of a successful career
in his lifetime, winning Academy Award for
his exquisite graphic designing. His iconic
title sequences appeared in the popular films,
such as, The Man with the Golden Arm,
Psycho and North by Northwest.
Saul Bass
- Graphic designer

168
The title sequence was equally compelling.
Here was modern art on the movie screen. Saul
stated that,
“The intent of this opening was to create a
mood spare, gaunt, with a driving intensity…
[that conveyed] the distortion and jaggedness,
the disconnectedness and disjointedness of the
addict’s life the subject of the film.”
Saul Bass
- Graphic designer

169
Saul Bass
- Graphic designer

170
In a career spanning over 60 years, Jones made
more than 300 animated films, winning three
Oscars as director and in 1996 an honorary
Oscar for Lifetime Achievement. Among the
many awards and recognitions, one of those
most valued was the honorary life membership
from the Directors Guild of America.
During the Golden Age of animation Jones
helped bring to life many of Warner Bros. most
famous characters—Bugs Bunny, Daffy Duck,
Elmer Fudd and Porky Pig.
“Animation isn’t the illusion of life; it is life.”
Chuck Jones
- Animator

171
Jones’s own style emerged in the late 1940s
and featured pared-down design, precision
timing, and highly exaggerated poses and facial
expressions, all of which served to explore the
psychological depths of the characters. He
refined the established personalities of Bugs
Bunny, Daffy Duck, Elmer Fudd, and Porky Pig
and created the Road Runner, Wile E. Coyote,
Pepe LePew, and Marvin Martian.
Chuck Jones
- Animator

172
Chuck Jones
- Animator

173
Philippe Apeloig studied at theécole of art
and design. It was during two internships
undertaken in 1983 and 1985, at Wim Crouwel’s
Total Design in Amsterdam, that he became
particularly interested in typography.
Many of Philippe Apeloig’s designs belong to
the collections of the MoMA, the SFMOMA,
the LACMA, the Bibliothèque Nationale de
France, the Musée des Arts Décoratifs à Paris,
the Stedelijk Museum of Amsterdam, the
Smithsonian’s Cooper-Hewitt National Museum
of New York.
Philippe Apeloig
- Graphic designer

174
Typorama: by Alice Morgaine, Ellen Lupton, and
Tino Grass
Over time, Philippe Apeloig as crafted a visual
language strongly connected to rhythm,
structure, pattern, space, and choreography, a
language that invites us to wander through a
thicket of letters, lines, and shapes that blend
into something magical psychological depths of
the characters.
Philippe Apeloig
- Graphic designer

175
Philippe Apeloig
- Graphic designer

176
Philippe Apeloig
- Graphic designer

177
Philippe Apeloig
- Graphic designer

178
Philippe Apeloig
- Graphic designer

179
Philippe Apeloig
- Graphic designer

180
Philippe Apeloig
- Graphic designer

181
Philippe Apeloig
- Graphic designer

182
Philippe Apeloig
- Graphic designer

183
Philippe Apeloig
- Graphic designer

184
Philippe Apeloig
- Graphic designer

185
Philippe Apeloig
- Graphic designer

186
Philippe Apeloig
- Graphic designer

187
Philippe Apeloig
- Graphic designer

188
Daniel Eatock, a London-based artist and
graphic designer, is an obsessive design
documentarian and a champion of democratising
information architecture systems. His basic
design methodology is rooted in a reductive
logic that strives for objective and rational
website designs.
In 2005, Eatock co-created, with Jeffrey Vaska, a
free, down-loadable content management system
called Indexhibit that enables people to build
simple websites that bring content to the fore.
Daniel Eatock
- Artist, Designer

189
Daniel Eatock
- Artist, Designer
Daniel Eatock worked as a designer at the
Walker Art Center (Minneapolis, Minnesota)
after which he returned to England to
undertake contracts with Channel 4 television
and the Serpentine Gallery, amongst others.

190
Daniel Eatock
- Artist, Designer

191
Daniel Eatock
- Artist, Designer

192
Daniel Eatock
- Artist, Designer

193
Daniel Eatock
- Artist, Designer

194
Daniel Eatock
- Artist, Designer

195
Daniel Eatock
- Artist, Designer

196
Daniel Eatock
- Artist, Designer

197
Daniel Eatock
- Artist, Designer

198
Daniel Eatock
- Artist, Designer

199
Unit 1 Research & Development Part 1 Letterforms
Visual Research
learning session...
Document the understanding
and the learning.

200

201

202

203

204

205

206

207

208

209

210

211

212

213

214

215

216

217

218

219

220

221

222

223

224

225

226

227

228

229

230

231

232

233

234

235

236

237

238

239

240

241

242

243

244

245

246

247

248

249
Visual Research
learning session...
Outcome...

250

251

252

253

254

255

256

257

258

259

260

261

262

263

264

265

266

267

268

269

270

271

272

273

274

275

276

277

278

279

280

281

282

283

284

285

286

287

288
Visual Research
learning session...
Suggested reading and
resources

289

290

291
Thank you...

292

Visual Research Methods Documentation

Recomendados

Recomendados

Más contenido relacionado

Similar a Visual Research Methods Documentation

Similar a Visual Research Methods Documentation (20)

Más de Dharam Mentor

Más de Dharam Mentor (20)

Último

Último (20)

Visual Research Methods Documentation