Name, first nameIeva ZuklyteYear of birth1995eMailinfo@ievazuklyte.chUniversityFHNWField of Interest / research fieldCommunication Design / Visual CommunicationTitle of projectTypographic ImageAbstractAs we pass typographic information every day, each letter, word and sentence is seen not only as the language they represent, but also the shape itself. With the design of these shapes we know the difference in forms; every typeface has its own image, which is given by the tool that the typeface was produced.
At this point in history I like to think about the shapes that are drawn within a medium, that is most known for it‘s expressive use of typography where this behavior with type more welcome; the poster. The poster itself has many faces and triggers different emotions. It wants to sell, to inform, to get attention – and in all cases it has to be readable and understandable. This leads up to the question:
What does the design of and with typographic images mean for the formal aspects in poster-design and – particularly – the meaning of the content?
Today the shapes are being drawn by the computer which leads to more calculated shapes. That gives the designer a new set of tools just like a new aesthetics not to mention the programs that create the illusion of space and 3D. The short cuts make it easier to work fast and we tend to forget about the basic shape which results in the tendencies of today: letters are being drawn more freely and it seems with less, already agreed on, rules – also when it comes down to the question of formalism.
To not get lost in all the possibilities, all the drafts in the first stage are produced analog.
In my thesis I focus on the typographic images that occurs through the history of poster-design in the last 70 years where I analyze them on how they display typography either focusing on the images that is given by a letter, a word or a sentence. While it is important to transmit a message by our system of language in the poster, it is also important to see and decide with intuition whether we like what we see or not. This also addresses the question of aesthetics and trend of our society and within our scene.
The practical process proceeds with the same questions; how do I display typographic images by using a strict system? What parts of the systematic designing are helpful in order to get to the expected goal? What do they look like when designing intuitively? And how can the findings of both approached be combined?
On one hand it addresses the technical handling of adding a specific character while on the other hand it looks for the moments of decision-making in the field of designing typographic letters in order to get to the image character.
The first drafts are a series of formal explorations on how to formally add an image character to the letterform. The second step is to apply the found systems and qualities of the first round on words reflecting on the change in meaning that occurs through out different changes. With these findings the last step is to explore the qualities on word containing several meanings that are being compared through different drafts. When refining the draws to get them into their final shape a phase of balancing out the seeing and the reading is being explored on a detailed basis.TutorsInvar Torre Hollaus, Jiri Oplatek, Claire Raymond