process book 2
experim e ntal research.The first avenue of experimental researchthat I pursed revolved around how personalconnections to objects and words can affecthow the viewer understand a piece. In thiscase, the handling of the typography affectshow you understand the relationshipbetween the hands and feet, either softlycaressing or tense and retreating.This second comparison works with the physical materialsof brown sugar and honey mustard. I paired theseexperiments with a piece done by a fellow student atEmmanuel College. “Growth” causes the viewer to understandthe linear forms to be growing and extendingout of the box where as “confinement” feels sticky andheavy as if it is retreating within the box.
This third experimentation continued to exploretactile typography but pushed the idea of emotions alittle bit more. I knew I wanted to explore black posterboard and cotton ball texture but I didn’t know whatword(s) I wanted to produce. The phrases “comfortablyalone” and “serenity” came from asking students whattheir emotions associations were with cotton balls andblack poster board. Reflecting on the final product,getting the input from outside sources showed theimportance of other individuals associations.After realizing the importance of outsideinput and outside associations, I conducteda final experiment. I discussed differentemotions with students to try and get keyphrases or quotes that would embody theemotion and materials that would furtheremulate it. The quote chosen for ecstasywas “crazy fucking good”. The conversationthat spurred this quote revolved aroundthe energy you feel when you’ve reachedthat level of happiness and how euphoricyou feel. From this, I created “crazy fuckinggood” out of christmas lights and blackfoam board. This experimentation mademy internal ideas physical and I began tounderstand how I loved the combinationof experimental typography and emotionalcommunication.11experim e ntal research.
- Page 1 and 2: process book.1
- Page 3 and 4: 3
- Page 5 and 6: Stefan Sagmeister.Sagmeister appeal
- Page 7 and 8: David Carson.As a typographer, Davi
- Page 9: 9inspir a tions.
- Page 13 and 14: 13
- Page 15 and 16: A visual exploration in the communi
- Page 17 and 18: GriefIt’s in your stomach and in
- Page 19 and 20: This piece was extremely more time
- Page 21 and 22: This piece builds off “crazy fuck
- Page 23 and 24: This piece flowed from the idea of
- Page 25 and 26: This piece focused on the energy an
- Page 27 and 28: When I made this sketch, I messily
- Page 29: Spreads.It’s like being onanother
- Page 32 and 33: Gallery Book.When introducing text
- Page 34 and 35: final deliverablesgallery book.
- Page 36 and 37: Process Video.
- Page 38 and 39: reflections.This project has tested
This third experimentation continued to explore
tactile typography but pushed the idea of emotions a
little bit more. I knew I wanted to explore black poster
board and cotton ball texture but I didn’t know what
word(s) I wanted to produce. The phrases “comfortably
alone” and “serenity” came from asking students what
their emotions associations were with cotton balls and
black poster board. Reflecting on the final product,
getting the input from outside sources showed the
importance of other individuals associations.
After realizing the importance of outside
input and outside associations, I conducted
a final experiment. I discussed different
emotions with students to try and get key
phrases or quotes that would embody the
emotion and materials that would further
emulate it. The quote chosen for ecstasy
was “crazy fucking good”. The conversation
that spurred this quote revolved around
the energy you feel when you’ve reached
that level of happiness and how euphoric
you feel. From this, I created “crazy fucking
good” out of christmas lights and black
foam board. This experimentation made
my internal ideas physical and I began to
understand how I loved the combination
of experimental typography and emotional
communication.
11
experim e ntal research.
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