Just before I went to print my pager, I changed my cover a final time after a series of tests because I wanted to incorporate more of the light aspect of the Zero movement. So I took some experimental photos of the shadows created when lifting the cut out pattern I did a couple of weeks ago and really liked how they turned out so I decided to use that. Playing around with how to place it I eventually made up my mind on a design and stuck with it. The problem I have had with the red bit in the pager I tried to solve by taking the red completely off and focusing on grey instead so I did some tests with a drawing I did a couple of days ago where I using my fingers, created shadows on silver lines so the image looked like waves. Tried to place it in my layout in several different ways but none of them felt right so I ended up deleting that image completely and instead using the cut out pattern I used for the cover so they link.
Cover trials and layout decisions
And this is the final design:
Decided to develop some of my letterpress work into more refined outcomes so I made some posters out of them that reflect the Zero movement; focusing on repetition and the monochrome and creating light. The two last ones are developments of my own tests from a previous post where I made my own Klein inspired paintings.
Zero posters, by Lisa
I quite like these results! It’s a bit tricky to capture the design of the movement without making it look like copying but I feel like these both are zero and my own aesthetics at the same time.
Experiments with letterpress to generate some ideas that reflect my movement. Started out with the word zero and then thought about the countdown to zero as well so I incorporated numerals too. The most ideal typeface to use for this had been Futura but as that wasn’t available, the closest I could get was Gill Sans which because of the super round O works pretty well (although the fancy R annoys me somewhat).
Sketchbook, by Lisa
Then I started thinking about using the letters as shapes instead and made patterns with o and i which turned out pretty interesting. I really like the zero123 but also the red lines below and the pattern to the left of it. The countdown reflects the movement very well and the launching of a new way to look at and create art so using numbers in this way is something I could develop and refine to make it work better. Using Futura might make all the difference.
I have been looking more into the zero movement and especially the works of Yves Klein. Klein was maybe the most experimental out of the people associated with the movement and the real motor, working a lot with performance, sculptures and experimental painting. He painted using his hands, people’s bodies, fire and was obsessed with blue as he saw it as the perfect colour.
Works by Yves Klein
I looked into Heinz Mack’s work more as well. He does installations, sculptural work, textures.. but the thing I am interested in the most is his work with lines and his passion for making vibration. Pretty abstract and strange sounding maybe, but looking at his work it makes more sense:
To drive this project further forward, I decided to investigate 3D printing the pavilion but after testing drawing the shapes I needed to build it in 3ds Max, I am thinking about going a different way. The program was too complicated for me, and even though I had a tutorial beforehand, I didn’t manage to create what I wanted and after an hour of pure frustration I had to give up.
The super weird shape I managed to make in 3ds Max..
So, even if I am not 3D printing anything I thought I could still build the pavilion digitally and use it for my explainer video as I am not liking the way the paper one looks. It would also be cool and more developed if I made something the camera could pan in to so it feels like you are walking through the pavilion- like how it is supposed to work in real life. Makes more sense. So I turned to sketchup instead and found that easier to master so after a couple of hours I had the model done. The design is different to my paper model though as I couldn’t make all the shapes I wanted and had to change around some things.
As I have now started designing my book I know it’s gonna contain a lot of white space and digital stuff and the overall look will be very minimal as that is how I design and I want the book to reflect me. I bought a book a couple of weeks ago called “MIN” which is a collection of projects by different designers and companies done in a minimal style and I found it really inspiring. I like how design can be really strong using as few elements as possible and thinking about that I have decided to not have something elaborate on my cover. I could never decide on one final design and they don’t reflect me as I would like. So I am making my cover a solid red with the title in white and that red will also flow through the rest of the book, functioning as chapter dividers. As the projects throughout the book will be so different in style and colour, I want the red to be a consistent calming factor that binds it all together.
However, I don’t want my book to be too digital as that doesn’t reflect me either and because the overall look will be so strict in a way I thought a good way to loosen it up a bit could be to incorporate some handmade type. I got really inspired by the book “Dear Data” for this as it is so playful in its expression and really have that handmade vibe without making it look sloppy. Thinking about this page (below) I made some tests of my own.
A spread from the book Dear Data by Stefanie Posavec and Georgio Lupi
This project has been on hold for a while for several reasons but the main one being that I still wasn’t happy with my idea and that has made it really difficult to continue with it. Doing more research, I went back to some of my original inspirations: Jessica Walsh and her usage of bright colours and a lot of blue, pink and purple, architectural photography focusing on geometry and angles (but this time I looked more into colour and minimalist photography) and text.
Moodboard, by Lisa
Inside my pavilion I want something that give the walls more life and I was thinking about projecting a wave simulation on them with text explaining the connection with the leather theme. I did a test in After Effects creating “digital water” kind of but it still looked too static and a bit dull actually as seen below.
Water mockup test, by Lisa
So I looked more into how other types of waves can be visualised to make the water projection more abstract and dynamic. From researching heat waves, sound waves, light waves, magnetic waves and radio waves I made this moodboard as a summary of what I found:
Today has been model making day and I feel completely creatively drained. I had planned to create shapes/ sculptures with lots of gluing together paper but after trying this method out for a couple of hours becoming more and more annoyed by the glue stains I managed to get on the paper and the overall panicky feeling I got when my glue-y fingertips continuously stuck to everything, I gave up. Instead I focused on folding only, creating shapes by bending the paper. This method was better for my sanity but it still took a lot of tries and tests before I got to a result I was happy with. It also works better visually actually as it looks more like big pieces of metal than what it did in my first approach, and that’s exactly what I want it to be. This model isn’t finished, I want to add light to it somehow (been looking into mini glowsticks and might go with that as I then can have coloured light). I’m thinking the glowsticks can go on the floor inside this pavilion to represent screens but I’ll have to try this out before making up my mind. I also need to make a little person standing in front of it for scale. One thing at a time though, now I need some rest. Phew.
Front and back of model, by Lisa
Though he did other sculptures as well and many paintings, Alexander Calder is essentially mobiles and I want one in my pastiche. A real one. Trying out some animation in After Effects and thinking about how to build something that can move and spin only ended up in me being frustrated because it didn’t look good at all. Because Calder’s designs are so clean and restrained in their visual language, animating something using only lines and dots seemed like a good way to echo his style but in my attempt of doing so I realized I lost that handmade factor that I would like to capture. What I made seemed too disconnected from the sculptor’s rustic studio overlooking the grassy hills of Saché, France. And that’s not good.