Month: February 2022

Our group wanted to ask whether this symbol-based system is intuitive and multicultural? We each took individual positions and explored our different understandings of certain symbols in the system by translating them intuitively in order to compare our results. When comparing our different positions for each object we noticed there is one that stands out. When discussing Margaret Calvert and Jock Kinneir’s standardized road sign system we realized we do not all understand it the same way. We were particularly interested in the designer’s intent to create an intuitive and standardized system, built from visual-reduced symbols that aspire to communicate objects, situations, instructions and warnings effectively. We used other references we found about Colvert’s design process, symbol, and color research, meaning, and past creation of symbols and trademarks to form our survey. We therefore decided to focus on investigating and exploring the feasibility and readability of a road sign system and chose to use screen printing as a printing method to explore the multi-layered meanings of coexistence. People in different countries have different understandings of graphic symbols under different language and national cultural backgrounds. At the same time, standardized symbols will affect our understanding of situation, society, and hierarchy.

Critical Graphic Design: Critical of What?——By Francisco Laranjo

In the book The Reader (2009, cited in Francisco, 2014), the design researcher Ramia suggests that,

“The second form of criticality in design is the ‘building of a meta-level or disciplinary discourse.’…trying to challenge or change traditions and paradigms.” The critical plane is the constant emergence of changes over time and the evolution of design and development, so we decided to redesign the disabled graphic symbols in a critical way. The original disability symbol is incomplete, because disability is more than just a wheelchair. However, it is precisely because of this incompleteness that many misunderstandings and prejudices arise. A critical approach can help us to show more types of disabilities in more detail in the graphic symbol “disabled”, making it more inclusive.

Cultural Criticism and Transformation——By Bell Hooks

In cultural criticism and transformation, popular culture can reach the masses and be understood, and is more and more liked by the masses. As Bell (1997) states that, representation in popular culture has the power to influence our personal and social lives, and so popular culture has broad international influence. Graphic symbols are still improving after being criticized, however, it is still difficult to achieve global unity in the understanding of graphics, so this is what we decided to challenge graphic symbols.

Critical Wayfinding——By Ellan Luption

Likewise, the color and shape of road signs can affect our understanding and perception in different contexts. For example, green obviously gives people a sense of security that they can travel smoothly. Red gives people a sense of warning, and the red cross symbol gives the feeling of representing a hospital. As according to Ellen (1993), “The sign for “women’s toilet” in a Saudi Arabian university has been modified by the addition of the silhouette of a veil, since the long dress depicted could just as easily signify the traditional robes worn by Muslim men.” Different religious or cultural backgrounds will produce different interpretations. Therefore, we decided to challenge the redesign of the road sign “School”, which is intended for everyone to translate using understandings from different cultural contexts, and contrast and overlap to form a new culturally diverse road sign. In addition, for the “stop” road sign, it is designed in different national languages. The language background also has a great influence on the understanding of graphics. Overlapping different languages ​​in different colors, the most familiar native language is sure to be recognized first. Our idea is to try to redesign road signs in a language-differentiated way. On the one hand, different colors also highlight the diversity of languages, and on the other hand, the same font size means that there is no hierarchy of language.

This means this, this means that: Semiotics — the study of meaning.——By Mario Van der Meulen

Mario’s explanation of the scientific theory of semiotics helps us to explore and translate our own signposts better subjectively. When people see graphics or symbols, they will react to them immediately. Whether you understand its true meaning or not, you will make the most subjective understanding and judgment in a split second. These responses may be influenced by the mood of the moment, or by the inherent national language or cultural background. Semiotics are now influencing our social and cultural interactions. According to Mario (2019), “The fabric of a modern society comprises different cultures, with different perspectives on assigning meaning to what and how they perceive.” Therefore, different languages and cultural backgrounds will have different understandings of the same graphic symbol, and there are It helps to explore the feasibility and readability of the road sign system and explore the multiple meanings that road sign symbols may coexist. We are designing for systems that alter, transform, re-contextualize, and self-interpret their environments.

ISOTYOPE——By Gerd Arntz

Initially, our projects were interpreted and translated differently from their respective perspectives, and street signs represented different meanings in the eyes of different characters. We tried to translate five road sign graphics each, and in my first work, I had a different understanding of the cross symbol. In China, this red cross is frequently seen in medical-related places, so slow down to avoid accidents. This also makes us think about whether the understanding of symbols is also related to cultural background. Therefore, we try to verify this problem through games. We each did a symbol selection and comparison on the Isotype (1930) website for the same nouns. Fortunately, when we played on the word “noise,” everyone in the group understood it very differently. These include the sounds of crying children, musical instruments, clamoring in meeting rooms and car horns. We found that perhaps the international road sig system may not be as global as thought.

‘Twenty-six Characters’ Nokia Pure——By Hugh Miller, Bradley Zimber, etc.

How to reflect the different positions and diversity of each person in the works has become a question that needs to be considered next. Fortunately, we found the font work “Nokia Pure” by Hugh (2021) in the works shared on social platforms. The font design work for the book cover gave us inspiration. The overlapping of letters of different colors not only shows their differences, but also reflects the diversity of content. Therefore, we will screen-print the logo graphics in an overlapping manner. On the one hand, screen-printing can present the effect of mixing different colors. On the other hand, the screen-printing pattern of split printing also echoes the fusion of different cultural backgrounds in our works.

Bibliography references：

Francisco, L., (2014), Critical Graphic Design: Critical of What? [online] Available at: https://modesofcriticism.org/critical-graphic-design/.

Bell, H., (1997), Cultural Criticism and Transformation, [online] Available at: https://arts.kanopy.com/node/41521/preview.

Ellen, L., (1993), Critical Wayfinding, [online] Available at: https://ellenlupton.com/Critical-Wayfinding.

Mario, V. M., (2019). This means this, this means that: Semiotics — the study of meaning. [online] Available at: https://uxdesign.cc/this-means-this-this-means-that-semiotics-the-study-of-meaning-84cd9e800214.

Gerd, A., (1930), Isotype, [online] Available at: http://www.gerdarntz.org/isotype/products.

Hugh, M., etc., (2012), ‘Twenty-six Characters’ Nokia Pure, [online] Available at:https://www.dandad.org/awards/professional/2012/typography/19505/twenty-six-characters/.

Through last week’s attempts, different cultural backgrounds are valid for different understandings of road signs, so we subjectively select symbols related to words and compare them. We wanted to see how our different positions affect our choice of images. We use the extended ISOTYPE file to select a symbol to mark the meaning of four words.

After the first week of exploration, we decided to focus our research and explore the feasibility and readability of a road sign system. We chose to use screen printing as a printing method in order to explore the multiple layers of meaning that coexist. We worked together to challenge three original logo designs and what they represent. Each new logo contains a different level of understanding in one view. All three were designed and printed together as a team.

What have we learned?
Standardised symbols can affect our understanding of situations, society and hierarchy.

Reducing ideas to symbols (the simplification of ideas) can have a cost for society.

Systems such as the road signs and ISOTYPE are claiming to be intuitive and therefore multicultural, but we believe they are not.

I used to think that graphics can transcend language and convey information across language barriers. Therefore, the road signs of the international standard specification may be completely applicable to anyone and any situation. However, through this group project I found that the idea that graphics can ignore language barriers is one-sided. People in different countries have different understanding of graphics under different language backgrounds and national cultural backgrounds, so some road signs may have problems of identification obstacles or ambiguity. 

Of course, there may be similarities in understanding in different cultural contexts, but there is also diversity.

Group members：Ella Krispel, Myoungae Kim, Xintong Wang, Yunze Si.

Our group visited the Rapid Response Collection exhibit at the V&A Museum together. And each chose the object of our initial interest.

After answering the questions in the brief, we found that each of us has a personal understanding of the project, our positions are not only different, but similar, so we decided to discuss the issues and background about the song project together.

When comparing the different positions of each object, we noticed a protrusion. While discussing Margaret Calvert and Jock Kinneir’s standardized road sign system, we realized that there is a stark difference in our understanding of road signs. We were particularly interested in the designer’s intent to create a standardized system constructed from visually simplified symbols aspired to effectively communicate objects, situations, instructions and warnings.

Our group’s initial investigation was to examine whether such a symbol-based system has intuitive/multicultural viability. We decided to explore our different understandings of certain symbols in the system by intuitively translating them in order to compare our results.

In my first work, I tried to translate the guide signs and warning signs with my own understanding. I have learned driving, but I have vaguely remembered the meaning of some road signs. So I have different understandings of the third, fifth and last road signs. For example, the third one looks like a hospital logo, which means driving more carefully to avoid traffic accidents. The fifth icon looks more like a reminder that you are about to encounter other vehicles and you should slow down. Last is watch out for the pedestrian icon. I tried to replace it with the graphics of people with mobility inconvenience， and the graphics of the Beatles crossing the road. It can enable drivers to receive pedestrian signals more clearly.

In the first iteration of the experiment, I chose several different food inks, including Coffee, Red wine, Ketchup, Egg yolk, Cream, Nutella (chocolate), Drinks (Coke, Juice)

Since the printing ink of choice is food, it is expected that the effect may iterate over time, producing physical or biological changes, such as drying out or mold. However, due to the small amount of ink required for the printing experiments, the food ink dried quickly and did not show mildew.

There are many interesting and unexpected results in the printing experiment.

First of all, there is randomness in food ink printing, and the printing effect of each printing is different.

Second, after egg yolks are printed as ink, the ink dries and takes on a glossy finish over time, similar to the UV printing process.

Third, increasing the amount of food ink creates a special build-up texture. For example: Ketchup will have a vein texture, Cream will have a letterpress effect, Coffee and Red wine will have a watercolor effect.

Of course, there are some uncontrollable problems. For example, when printing, I need to control the amount of ink used. If there is too much ink, the printed content may overflow the edge of the text.

Moreover, some drinks cannot be printed as ink, such as Coke and juice, perhaps because the color is too light to render on paper.

Through the printing experiment of food ink, I found that food ink will present more special textures and effects, which can be used as an additional printing process for artistic creation. However, this printing method is quite challenging, and the amount of ink is difficult to control, so this tool requires trial and error on the amount of ink used.

I also try to print ketchup as ink on a variety of different materials and mediums, simulating the common and uncommon printing processes in life. Although the printing process is more complicated, food ink does have the function of printing.

All in all, food ink printing is a tool that may be difficult to apply to general printing jobs, but can be used as an innovative form of printing.

Tutorial Feedback：

What’s working:

· Tried different types of food inks that worked

· Do a lot of iterative experimental research on food ink printing to analyze the unique effects of different foods

· The iterative process not only included various food inks, but also experimented with different effects of food on various printed materials

· Using food as a printing ink produces interesting effects

What’s no working:

· Limited to printing with the same logo pattern, you can choose patterns or content that are more related to food inks for printing experiments

· The way of iterative experiment is still relatively limited, you can try to explore a wider range and method related to the printing effect of food ink

· I missed two tutorials due to illness, so I missed a lot of opportunities to get feedback during the iteration process, so no further iterative experiments were produced in the printing iteration.

To development further/in future projects:

· If you combine food ink with more professional printing processes such as letterpress, screen printing, printmaking, etc., there may be more possibilities

· Need to continue to think and complete the next iteration of the way, thinking about the relationship and impact of the selected tools on graphic design

· It is possible to combine traditional printing methods with 3D or digital media to express the presentation effect or other unique features of food inks, and carry out the next iterative experiment.

·Try to combine the printing effect of food ink with food branding, and do some final work in brand direction