Semester 1 Results and Reflection

This week I received my semester 1 results along with written feedback on what I did well and what I can improve on in the future. My results were extremely positive, I passed the semester and was praised on my work. This came as a surprise to me as before the assessments we had not received any mock grades and we weren’t show any work from previous years with their accompanying grade, therefore I had no idea what to expect in terms of how harsh the marking would be.

There were two main areas highlighted as needing improvement in the future, luckily however they are both easy things for me to do. The first improvement is to include more day-to-day examples of work in my archives, for example collecting typography from shops I walk past for my typography archive. Furthermore in my archives I should begin to include aspects of my own personal interests regarding the topic of that archive.

The second improvement is to do with my craftsmanship. The presentation of my semester 1 work was regarded as good but the crafting could have been tidier. This was a problem I noticed just before the deadline for semester 1, I believe this was because for some projects I mounted my final outcomes early in the year when my craftsmanship skills were not as good as they could have been, therefore in the lead up to semester 1 I didn’t not remount this work and they remained rougher than work that I mounted later on in the year. For semester 2 however I intend to get all of my work ready for presentation at the end of the year, by mounting all of the work at once I will ensure that all of the work is consistent in terms of skill and materials.

Semester 1 Assessments


In preparation for our semester 1 assessments we were given a list of work to present and how it should be presented. The work to be presented is as follows:

To present our work all of our layout pads should have cover sheets, held together with bulldog clips or another appropriate binding technique, and on each cover sheet should be a label. These labels should also be attached to any cover sheets for mounted outcomes, archive spines and on the reverse of final outcomes.

Finally to accompany our work we had to complete a self-evaluation sheet for the semester, write a cover letter explaining the work presented and any tutorial and critique note sheets.

For my semester 1 assessment portfolio I attached black cover sheets to all of my layout pads, which I held together with black bulldog clips, and to any work mounted on boards. By having all my cover sheets the same colour it allows my portfolio to easily be identifiable as a single body of work. Any final outcomes that weren’t mounted were printed onto good quality paper and had a label attached to the reverse. When collating all of my work at the end I realised that having my cover sheets as black was a very suitable choice as many of my final outcomes are black and white, therefore adding to the theme throughout my work.

The labels I created were based on the label I produced for my presentation board several months before, although it is not the most ground breaking design it does contain all of the appropriate information and is consistent throughout. Furthermore as I designed my labels several months in advance I did not want to redo the labelling on my work and risk damaging the prints or boards.

Semester 1 Reflection

I believe my work at the start of the academic year was not as strong as it could have been as I was settling into new ways of working and gaining new skills. Towards the end of the semester however my work developed hugely as I had a better idea of what was expected from me and could apply the skills I had been learning. Reflecting on past projects now I can now see how they need to be improved by applying the skills I have learned. Due to time, I cannot revisit and improve every project to the level I would like, therefore for my year 1 semester 1 assessments I improved those which needed it most. The new skills and knowledge I have gained through semester 1 however has put me in a strong position for the start of semester two.

Not only have I gained new skills and knowledge from semester 1 but I have begun to enjoy my work more and am eager to take on more personal projects. My goals for semester two are to create a series of online accounts on various websites to promote my work, to develop and explore my transmogrify project more, to explore experimental photography more which was inspired by let there be light, and to possibly develop my own font inspired by my handwriting. I would also be interested learning and experimenting with vector illustrations, an aspect of graphic design I have been eager to explore for a while but lacked the initial technical knowledge in Adobe Illustrator.


29/11/2016 – 16/01/2017

Brief: To utilise the work produced from the spatial awareness project as a starting point and develop three dimensional / sculptural typography from it. This could be a single letterform, number or symbol, or a single word or short phrase / statement. The design should be three dimensionally rendered, and a two dimensional contact sheet of 10 photographs printed, with an A2 print of the most successful image.

I began my project with extensive research into a variety of fields that focus on three dimensional design, this included forms in contemporary sculpture, origami and forms in contemporary jewellery. From this I determined that in my work I would like explore origami and paper as my main form of communicating my design. This is due to the fact that paper is inexpensive, easy to work with and readily available therefore i had a lot of flexibility with the work I could produce.

Fibonacci Brooch by Will Evans

Flight by Thomas Joynes

South China Normal University by Yao Yuan

After conducting my secondary research I revisited my designs from spatial awareness that can be seen here. From my designs I began to make small paper models based on some of the forms and shapes present in my spatial awareness work but using the techniques observed in my secondary research. These techniques included curling paper, folding paper and folding paper into fans. A technique I think was particularly effective was folding the paper into fans, by using this technique the paper would maintain its shape due to the strong structure, it would also form crisp shapes due to the sharp folds, tone and depth due to the varying heights of the folds, and finally contrast of the straight folds with the curved shape of the fan allows for a lot of variation with form when designing. Briefly I explored using wire as well, however I found that it was hard to achieve a polished outcome due to the roughness of the wire joints so I decided to no longer explore wire within my work.

After exploring these models I began to drawn some designs for three dimensional typography. I began drawing designs for the letters ‘D’ and ‘B’ due to their mixture of linear and curved forms which I believed would lend itself to my folded fan technique that I previously experimented with and wanted to continue with through my work. I began drawing designs to give a direction to my work and I believed that generating ideas through creating small models would be time and resource intensive. However reflecting on my designs I realised that many would be impossible or extremely difficult to make within my time frame and with my available resources, therefore I decided to return to experimenting with paper which was successful earlier. My new approach was to experiment with folding paper into fans and assembling those fans using cutting, slotting and sticking to produce interesting forms. From these forms I would try and derive letterforms that formed organically instead of trying to design a letterform and then construct it, as this may result in my design being difficult to make as proven earlier.

Folded fans stuck together

Folded fans cut and slotted together

Folded fans stuck, cut and slotted together

The form created using stuck, cut and slotted fans I felt was successful and continued to further refine into a letter form. In this form I saw the possibility to develop it into the letter ‘K’ due to the vertical mass on the right and the angular forms on the left. To refine this form into a ‘K’ I started to trim and add fans.

Refined forms

In my design I felt it important to keep the fans and the layering of fans to create depth. Depth was an important factor in the design for ‘inquisitive’ for spatial awareness as I was layering circles of alternating colour to simulate depth. As well as layering three dimensional fans to replicate depth I also used the same colour scheme of alternating black and white colours used in ‘inquisitive’ for spatial awareness on my fans. On each segment of the fan I alternated between black and white, the black would accentuate the depth of the fans and the white segments would vary in tone due to the depth as lighting.

Whilst taking photographs of my three dimensional form I noticed that my series of 360 shots would make a good GIF illustrating what my design looks like from every angle. If you click the image below a new page will open displaying that GIF. Although clunky due to myself not having a tripod at the time, I still think the GIF achieves what it is intended to do. When I am in the still life studio I will taking a series of 360 shots like before however using their lighting, backdrops and tripod to create a more professional GIF. Although this is not a requirement of the brief I feel like these shots lend themselves to the GIF format and can easily be incorporated into my work as I will already be documenting the form through photography for my contact sheet.

Click to play GIF

To produce the photographs for my contact sheet I took my three dimensional model to the still life photography studio. I decided to use a white background instead of black, despite the model being black and white it stood out more on the white background due to it showing the shadows of the form. I then played with using the modelling lights as well as using the flash to photograph my model. Below is my final contact sheet which features a combination of these two approaches.

Contact Sheet

The images above have minimal editing, the only editing that has taken place is cropping into the images to select select dynamic and interesting forms. Furthermore brightness, contrast and colour balance have been altered to try and create consistency throughout the images, as some as taken using model lamps which need tungsten white balance and some are taken with the flash which need flash white balance.

A2 Print

The above image I have selected from my contact sheet to be enlarged to A2. I chose this image due to the mixture of straight and curved forms, and the creation if depth through the folds, colour scheme and the depth of field in the photograph.

As an additional piece of work I also produced another GIF however this time I used the photograph from my time in the still life studio. These photographs look more professional than the ones used in my earlier GIF, I also used a tripod so that the images were more consistent, altogether producing a more slick final product. You can view the GIF by clicking the image below.

Click to play GIF

Initially I struggled with this project as I found it hard to convey my ideas three dimensionally, I also felt limited by the materials and my own skills when it comes to three dimensionally creating a model. However once I began to more experimentally play with the materials my work picked up pace, the downfall of this project for me was not exploring enough in the early stages and developing tunnel vision, however I did notice this during the project and was able to correct it. I believe that my outcome was successful as not only does it contain interesting forms and archives its purpose if creating depth, but it is also proof of my three dimensional skills improving.


The feedback I received was positive, my use of black and white was praised and I was encouraged to take my work further. To progress my photography the tutors suggests making the images black and white and then using levels to enhance the blacks and whites and therefore producing a more dramatic image. As well as possibly cropping further into one of the images presented on my contact, the image can be seen below.

Crop further into the forms

In order to take my work further they suggested possibilities such as photographing my object with 35mm black and white film and developing the images in the darkroom, allowing me to really explore black and white photography and get creative with the manual process. Another suggestion was to hang the form from the ceiling and film it from various angles, similar to the film work of Moholy Nagy, which can be seen below.

They also suggested possible formats that my typography could be taken into, like book jackets or a folding poster.

Personally I really enjoyed this project despite my initial struggle to connect with the brief. I would love to take my work further through the use of film, which I have not fully explored yet in my work, and through film photography, which I explored during foundation extensively and enjoyed. These options however would be too time consuming to explore before semester 1 assessments therefore I will personally continue them in my own time. Improvements that I will make before semester 1 assessments will be to make my images black and white and adjust the levels to create a dramatic set of images.

Post Critique Amendments

Below is my amended contact sheet, I converted all of my photographs to black and white, then altered the levels of the image to create dark blacks and bright whites for drama. Furthermore the image at the bottom right of the contact sheet has been cropped since my original contact sheet, this was to further focus on the smaller forms within the image.

Black and White Contact Sheet

After converting my images to black and white I decided to change the image that I printed to A2, this is because I thought the photograph below was far more effective than the photograph I had previously chosen due to the shadows which appeared once I began experimenting with levels.

A2 Print


29/11/2016 – 9/01/2017

Brief: To use given content to produce a successful design solution for the KULI-KALA production. This design solution has to then also be formatted to four different specification sizes. The aim of this project is to improve my understanding of design hierarchies through the use of font size, weight and spatial arrangement. As well as to develop a sensitivity towards composition, balance and harmony, and finally to apply the knowledge I have gained through the production of my typographic archive.

I began by researching posters that display a confident understanding of hierarchy through the use of typography and limited graphic rules. Below are some examples that I found to be successful, especially due to their of rules and the alignment and spacing of the text fields, and all of which I have gone on to include within my typographic archive.


Prelude Music Festival Poster by Mercedes Bazan


Prelude Music Festival Poster by Mercedes Bazan


Montreal International Black Film Festival by Sarah Dufour


Japanese Architecture A History by Sabrina Scott

After concluding my research I took the content that we were given to include in the design and split it into text fields, then I assigned these fields a hierarchy; primary, secondary or tertiary. These fields and hierarchies were not permanent but acted as a rough guide to follow when producing my hand drawn thumbnails of various design solutions. Once I had some ideas sketched out I digitally rendered four which I thought were the most successful in order to see how they worked within a digital space. I judged my most successful thumbnails on how well the use text size, weight, spatial arrangement.


Above I am using graphic rules to frame the text, however the brief states we may incorporate minimal use of graphic rules and my use in this image may be too decorative.


A reduction in the amount of graphic rules present and the introduction of inverted rules with type.


Experimenting wth the orientation of type and the use of dynamic rules. Although this is a technical project and not conceptual, the use of dynamic rules could be seen to represent swords or slashing, which relates to the samurai storyline of the production.


A variation on the previous design however with the addition of another rule to represent clashing swords. The additional rule however creates an awkward interception with the inverted rule on the left, despite the reduced opacity of that rule.






















From the above images I decided to further develop the 2nd design. In comparison to the other designs it is less cluttered and there is a clearer hierarchy. Before going onto develop my design I did have to resolve an issue that I encountered once digitally rendering some of my designs. In the brief states it states that we are restricted to two typefaces, these are the serif font Garamond and the sans serif font Meta, both of which I did not have available on my device. I was able to find Garamond available online and install it onto my device, however I was unable to find Meta for free therefore I substituted it for the san serif font Arial which is readily available.


Developed Design

In the above image I have gone on to develop my design by changing the tertiary text fields from Garamond to Arial. The serifs on Garamond reduces readability of the text when the text is set to a small font size, especially on screen, therefore a sans serif font would help to increase readability. Furthermore the use of a serif and sans serif font in one design creates a contrast between the two.

I have further developed the design by kerning the characters in the main heading. I reduced the space between the K and U in the first inverted rule, and the K, A and L in the second inverted rule. I did this to reduce the negative space between the letters cause by the diagonals present in the letter K and A.

Final 210 x 210mm Design

Above is my final design for the 210 x 210mm format. It has been developed from my initial design by making the tertiary text at the top of the image fit onto one line, this is because by having the text on two lines like it was before it created an unbalanced composition at the top of the image. Furthermore I’ve adjusted the length of the inverted rule for the date to be aligned on the left with the text and the inverted rules of the main headline. I also adjusted the length of the tertiary text below the inverted date rule to be shorter, this is so that the text frame height would matches the tertiary text on the right, and so that there is space between the left and right text fields. Finally a graphic rule was added above the text field in the bottom at 40% opacity in line with the bottom of the date inverted graphic rule. This was to fill in the negative space and balance the composition.

90 x 125mm

100 x 210mm

297 x 105mm

Above is my design transferred to the three other formats; 90 x 125mm, 100 x 210mm and 297 x 105mm. Throughout the various formats I have made sure to maintain the inverted rules and graphic rules, as well as making sure the layout remains consistent where possible. Furthermore I ensured that the elements in each image remained consistent in their ratios.

Digital Presentation Board

In InDesign I assembled created an A2 document and assembled all of my formats on that document to scale. This digital document acted as a mock up for my physical presentation board for my final outcome. It also allowed me to view all of my formats against one another to check to make sure all of my formats had a consistent design.

I believe that my final outcome was successful as they all contain a consistent design as can easily be recognised as being part of the same series. All of the same main elements of the design are present in each format, for example the inverted rules, graphic rules, layout etc. Similar layout and font sizes are also maintained where possible. As well as aiming to maintain consistency I also aimed for the designs to successfully work on their own, therefore each design has a clear hierarchy of primary, secondary and tertiary information, all the text is legible, and I have employed techniques such as scale to put emphasis on the important design elements. Initially I did struggle with this project as my existing knowledge of typography was limited, however as I developed my typographic archive and worked on my typographic emphasis exercise I furthered my knowledge of typography and was able to cement this knowledge by putting it into practice through this project.


During my critique I was informed of many areas I had to improve within my design. My design was praised as being super clear and easy to read, but it was too formal without enough drama and dynamism. To combat this I was advised to give it a stylistic twist. Other feedback specific to the elements of the design was that there was not enough empty space, the serif font is hard to read in inverted rules and a sans serif font would be more legible, and that the use of the large rule at the top was distracting.

Post Critique Amendments

To rework my design I went back to one of my earlier thumbnail sketches and began to digitally render some compositions based upon that, keeping in mind the feedback I received as well as the feedback given to others during the group critique. Below are some of the designs I produced and sought out additional feedback on.

Text fields in the bottom left abruptly disrupt the flow of the piece

Very flat, dynamism is lost without the cuts in the title

Text extending down disrupts the balance of the piece

Larger title helps to balance the composition more despite the text still extending downwards




















My personal favourite design, and the design my tutor agreed upon as the best, was the design below. We agreed that it was more dynamic, however small adjustments could be made. The large black diagonals on on top left and bottom right corner could be removed from the design, the bottom left text field about the composer and writer / director could be wider or altered slightly to remove the thin section caused by the “action by” line, finally the alignment of the text fields in the top right should be more precise.

Initial design

Design after feedback

Below is my final reworked design applied to all of the formats. Overall I am very pleased with the final outcome. At the beginning of this project I researched many good examples of visual hierarchy with type in graphic design and began implementing those stylistic approaches within my thumbnails however during the designing process I believe I sacrificed too many of these features in favour of making an easy to read and understand design. Therefore for my final design I revisited some of my earlier thumbnails and brought some of those stylistic approaches back (e.g. dynamic cut through the lettering and stepped text fields), which ended up producing an easy to read and understand design that is also dynamic and visually appealing.

210 x 210mm

297 x 105mm

100 x 210mm

90 x 125mm

Festive Installations

Whilst researching contemporary sculpture as part of my transmogrify I came across a series of festive graphic installations, illuminated sculptures and eclectic tree decorations currently being displayed in 2016. Although not necessarily relevant to my project they are interesting examples of new takes on festive design / decorations.

Shirazeh Houshiary

In collaboration with The Crown Estate, James Glancy Design displayed installations above some of the most popular streets across London, illuminating the shops and public below.

André Fu

In the Upper House hotel’s ground floor lobby in Hong Kong this 3.3m modernist-style Christmas tree was unveiled. The tree consists of 80 layers of pinewood planks, all hand stained by André Fu, the hotel’s designer and local architect.

Your Studio

In a main square in central Melbourne a real 9m Christmas Tree encased in crystal has been constructed by the graphics studio Your Studio. The installation is part of the QIC Eastland shopping centre festive experience where inside you can also find an iridescent ‘snowstorm’ and a ‘Christmas glade’ featuring over-sized mushrooms.

Alex Chinneck

In Granary Square, King’s Cross a two-storey high Christmas tree appears to be encased in a large block of ice, seemingly melting into a pool of water (actually clear wax). However it is all in fact created from resin, illuminated by the glow of the surrounding fountains.

Typographic Emphasis


Scale, Weight and Disposition





Brief: Using a tabloid and broadsheet newspaper we had to select examples of 4 different forms of typographic emphasis; size, weight and disposition. We also had to select 16 examples of varying tones of text and display them demonstrating the various tones of text.

This brief was very simple however it allowed me to examine and appreciate ways in which typographic emphasis is made, although I had known about these methods before this task allowed me to be more aware of how this is done by training my eye to look for examples of scale, weight, colour and disposition. I found doing this project alongside the heirachy project and typographic archive very useful as the information I was learning from each was helping to inform the others.

Above are my two A3 sheets, the top image is of my sheet showing 4 examples of size, weight and disposition. We were asked to pay attention to presentation which I found a challenge due to the varying scales of the elements however after many different possibly layouts I decided up the composition below, At the top of the sheet are examples of scale, then weight and finally at the bottom is disposition. This branch like composition enabled the sections to still be separate without creating a rigid layout. The bottom image is my sheet showing 16 examples of tonal colour. I arranged the squares going from lightest (top left) to darkest (bottom right). I found this sheet slightly more challenging in terms of layout in order to make sure the composition was central and evenly spaced.

Presentation Presentation Presentation


Brief: The objective of this brief was to develop practical manual studio skills in order to carry out project presentations. We had to produce an A2 presentation board for 4 pieces of mock stationary and a 3 colour pallet, this board also had to have a tracing paper overlay and a paper cover sheet with a label attached to the front.

This brief  appeared to be very simple at first however proved to be technically challenging. Ensuring that all elements were cut straight with a sharp scalpel, stuck firmly down with spray mount and spaced evenly  took up more time than I expected to ensure I would not need to redo the board. I found cutting and attaching the tracing paper overlay and cover sheet to the reverse of the board the hardest part, this was due to the width of the board skewing the elements so that they did not appear to fit the board on the front. However after scoring the fold into the two sheets this helped to fix the issue.

Furthermore I had to design and format a label to be attached to the front of my board. In inDesign I produced the label that can been seen below for this project, I will also continue to use this format in the future for labeling my work. Although simple I made sure to contain all of the information I believed would be essential for others viewing my work. I also applied some of the knowledge I gained from my typographic archive, heirachy and typographic emphasis projects, this was through mixing fonts, scale, weight, alignment and graphic rules.



In conclusion I believe my board was successful, the composition of the elements is ordered and leads your eye, and the assembling of the board appears professional although I did struggle with attaching the tracing paper and cover sheet. However in the future I will now know the correct techniques for efficiently and effectively producing a slick and professional presentation board.



Cover Sheet


Tracing Paper Overlay


Presentation Board

Blue & Bench

Whilst waiting in the student advice centre I became intrigued by one of the benches and decided to capture the above photograph. One of my current projects is transmogrify, a project exploring three dimensional typography, therefore at the moment I am more aware of interesting three dimensional forms and shapes in my environment. What caught my attention about this bench is the curves of the wood and the shadows it produces, creating flowing lines across the image. I also believe the blue block of colour from the door in the background complements the colour of the orange/brown wood, as well as tying in with the geometric shapes within the image.

The Art of Cropping

15/11/2016 – 28/11/2016

Brief: Collate a range of diverse visual elements and produce several visually dynamic and spatially inventive abstract asymmetric compositions with the aid of cropping tools. The aim is to develop dynamic asymmetric compositions, master the use of ‘L’ shape cropping tools, and develop an understanding of the role of empty space in graphic design.

I began this project by creating my ‘L’ shape cropping tools out of mid grey mount board and also collating a range of diverse visual elements. The elements we were instructed to collect had to fall into any of the following categories; experimental/abstract photographs, abstract marks, abstract shapes and forms, 10 one line quotes, hand lettering, linear/drawn forms, found imagery, something old/aged/weathered, processed imagery or processed type. To find my visual elements I turned to previous university coursework, past foundation work, my environments and objects that I own.

To explore using the cropping tools I physically arranged my elements and then overlaid my cropping tools in order to experiment with how cropping alters an image. Whilst doing this I took photographs of my several crops, this was so that I could go on to review and compare the crops and then to act as a reference when I went on to digitally render my most successful designs.


An example of a crop made with the cropping tools, this crop is for the composition set ‘Something Old/Aged/Weathered with Processed Typography’

In order to manually arrange my elements I had to make sure they were all in a physical form, this involved printing out my digital images and cutting into and altering some elements that were already physical. Furthermore to experiment with overlaying I printed some elements onto acetate.

In the brief we were instructed to produce design options for 7 different composition sets, and then render the best design option for each composition set digitally. Below are my most successful designs for each composition set digitally rendered.


Something Old/Aged/Weathered with Processed Typography


Processed Imagery with Quote


Abstract Marks with Processed Typography


Graphic Shapes and Experimental/Abstract Photography


Graphic and Linear/Drawn


Hand Lettering with Found Imagery


Quote plus Abstract Shapes/Forms

I struggled with this project at first as I found processing my assets so that they were all physical and then going onto manually cropping them time consuming and resource intensive. Personally I felt my work would have been more effective if I experimented with cropping digitally as it would have allowed me to produce more work within the time given, however I do see the importance of using physical cropping tools as it allows you to think more carefully about the work and crops that you are making.


Something Old/Aged/Weathered with Processed Typography

The above set I believe varies in quality a lot as illustrates my struggle with this project. For presentation we had to choose 2 from the final 7 designs to print at A2. I chose ‘Something Old/Aged/Weathered with Processed Typography’ and ‘Processed Imagery with Quote’. I am confident that choosing my ‘Something Old/Aged/Weathered with Processed Typography’ image as one of my A2 prints was a good decision as it is the strongest design from the 7 final designs, this was backed up by the feedback given from my tutors during the critique. However I don’t believe I should have chosen ‘Processed Imagery with Quote’ as my other print. This image possess interesting colours and forms however displays very little awareness of cropping. Once again the feedback from tutors supported my thoughts as they suggested working into the image more, possibly further zooming into a section of the processed imagery further and then further experimenting with how the type is incorporated into the image.

Post Critique Amendments

Hand Lettering with Found Imagery

In the time leading up to semester 1 assessments I decided I wanted to improved other projects that needed more work, therefore I didn’t think improving ‘Processed Imagery with Quote’ would be a valuable use of time due to it not being as strong as my other 7 designs. Instead I improved ‘Hand Lettering with Found Imagery’ which I perceived to be much stronger that ‘Processed Imagery with Quote’ and I regret not selecting as one of my final designs. To develop the design further I added in a torn form in the bottom left. I did this as before the image simply consisted of type overlaid onto a photograph, therefore not displaying an understanding of cropping, also the image filled the entire of the print so the addition of negative space would help to break that up.

In conclusion I found this project very difficult to get the hang off at the beginning and by the time I understood what to do I had ran out of time. I know feel like I understand cropping and composition and can use the skills I learnt effectively in future projects, however I don’t believe that is fully reflected still in my final outcomes for this project.

Spatial Awareness


15/12/2016 – 28/11/2016

Brief: To produce 20 sketches expressing emotions/feelings/sensations through the composition of black and white geometric shapes (the shapes pictured above). These shapes may be repeated, just use the outline, cropped using cropping tools, black on white or white on black. The 5 best compositions should then be rendered on A3 paper. The aim of this brief is to enhance my understanding of spatial awareness, create strong visual statements in a simple manner, and to explore visual language with minimal iconography.

I began by brainstorming 100 emotions, I did this to help me collect emotions that aren’t simple, such as worried, but were more in depth and allowed for more creative play, such as anxiety or apprehension. Once I had done this I selected the 20 most intriguing emotions and began to thumbnail out some designs for them. Whilst thumbnails I discovered that some designs were more applicable to other emotions and not the emotions I initially started with, therefore this process was very fluid and my designs were not concrete.

Furthermore I decided to make sure my designs for positive emotions were primarily white and the designs for negative emotions were primarily black, this was due to the positive and negative connotations associated with each colour. However once again this rule was not concrete and some designs due not follow it, for example my design for Tranquility as soon below. I chose to make this design primarily black as the outlines of the circles were very harsh when viewed on a bright white background, so a black background was more soothing to the eye.

Once I had my thumbnails in place I started to physically cut out the geometric shapes in various sizes out of black and white paper and began to experiment with using the cropping tools. I did not do this with all of my designs, only with those that I thought needed improvement or could be aided by cropping.

Below are my five final designs that I digitally rendered.


Tranquility – Outlines of circles which are placed on top of each other and increasing in size. They meet in the middle and appear to be radiating out calm pulsating waves.


Stressed – The negative space between two circles creating a form that appears to be stretched out and under a lot of pressure and force.


Inquisitive – Circles of alternating tone placed on top of each other increasingly reducing in size to create depth, as if peering into something unknown.


Bored – A straight continuous line that does not change representing the monotony of boredom.


Alienated – A single shape in the corner surrounded by negative space highlighting how distanced it is.


The feedback I received during the group critique was very positive, the tutors could all correctly identify roughly what each emotion was and supported my reasoning behind the design choices that I made. They also found the fact that I used mainly black designs refreshing as many other students had primarily white designs.