Investigation into Language: Evaluation

Evaluation

For this task the design engaged in an investigation into language, with the intention of producing an outcome that was informed fully by the findings of its research. As such, there was no preconceptions for how the final outcomes would look.  

The area chosen for investigation was extremely broad, which was a lot to handle at first. This was a result of the design wanting to cover all languages and not just English, to further the overarching investigation into aesthetics and mentalities of East versus West, and in producing all-inclusive design that reflects a universalism. 

The design moved from idea to idea, without being able to condense all the findings into one. However, when the solution presented itself, it managed to incorporate all the findings into one coherent design resolution. The research covered a range of theoretical and practical contexts, from written language, to psychology and culture of language, presentations of language, foreign and alien language, populisms, symbolisms, histories and origins, to modern day technological advances represented through the information language of data and code. 

The subsequent problem discovered for the design to solve was essentially how can design be used as a tool to present other ways of thinking and seeing the world, as language constitutes a large part of this for an individual. The context for this was based off the evolutionary quality of language, as being reflective of human evolution and thus controlled by future generations and circumstance. For example, the growth in the importance of typography started with the invention of the printing press and evolved now through the incorporation of screen-based design into our daily lives, making the scope for various typefaces more relevant today than ever before. 

The research for this project started a while before the design did, meaning ideas had time to sit and develop. This meant the process of design was efficient. Additionally, as this was the final project of the year, my skills had developed considerably in all the softwares used, so methods of production were at a higher quality and faster paste. This in turn meant a lot was achievable in a short timescale.

The advantage of this process of design was letting the outcomes be carried by pure context and theory, providing a weight that allowed it to be considered and engaging. As such, the project has much space for growth beyond the submission. With the vast array of imagery generated, there is scope for each poster logogram to represent a series of characters, whereby the variations represent different tones. Ideas for this include the different amount of lines and densities connoting urgency, for example. With more time this could be explored and presented, as well as further development of the video stage. 

Finally, as the design evolved off primary research responses, there was little control over the definitions which meant certain unique aspects of human emotion and language were left out. It was realised at the end key emotions such as love and peace were largely absent, and thus this is something that could be furthered in the future. 

Investigation into Language: Production

The final poster series were printed on A3 for production, to show how they would look in printed form. They were also put in sequence in digital format for product, range and distribution. 

  

 

The final video was then placed onto the developed futuristic screen composition for production.

https://vimeo.com/332546931

Investigation into Language: Design Development - Futuristic Context

As the design concept is set in the future, it was felt that there should be some development into how this code may look in application. 

The design thus decided to produce a futuristic video that is set in the time of the concept:

It's the future.
Human consciousness has evolved so much that words have lost all meaning.

We have minimal data storage left.

We barely communicate by other means than through technology.

We now use a set of logograms that depict words and meaning through responsive code.

This language is largely emotional, combining the literal and the lateral.

This language is universal, genderless, all-inclusive and screen-based.

This video would utilise a tech-based aesthetic to communicate the logogram series 'code'. This would be achieved through choices to both visual and audio. The visual should utilise screen-based design that acknowledges computer malfunction, or simply visuals limited to digital outputs. The sound will apply futuristic electronic computer noise, with high pitches that replication buttons and engines working at high speed. This can be achieved through manipulation of existing computer fan/oscilloscope/machine/loading/clicking sounds.  

Evolving the imagery

If the design considers the research, language evolves with the generation and environment. As such, if this concept was to be applied to a future where this language was being used, the logograms would have progressed from their original states. This is particularly likely if there are used solely on a digital platform and through AI. As such, the design sought to layer the imagery with more computer manipulation, as to produce an outcome that is both contextually and aesthetically relevant to this prospect of a future. 

The design used a variation of editing techniques to generate evolved versions of the logograms. This included distortion techniques like scanning, liquifying, zooming, mirroring, blurring, as well as converting the line into 3d grids, pixels and scenes, and layering imagery. A 'mash' editing preset was also discovered that allowed the computer to mash up the image in what ever direction the user selects. This produced a very relevant 'glitch' quality that carried the concept of the computer evolving the language. 

Less successful edits

Evolved imagery used for progression:

Turning the more successful imagery monochrome to fit the design concept. 

Inverted qualities were also tested with consideration for this making a motion video more flashy. However, the design decided to keep a consistent black background to adhere to the idea of RGB/ a fully screen-based language. 

The design then found software that converted any image into a full composition of emojis. This was a relevant development for applying emojis with greater subtlety for a more authoritative and futuristic tone. A similar technique was then applied using a coding preset that turned all the lines of an image into numbers, symbols and letterforms. This was a perfect aesthetic to use for connoting the techtopian evolution of a code language. The effect was used on the 'knowledge' code and then overlaid on all the other logogram due to its horizontal linear structure which resembles computing.

Initial video:

Adding futuristic electronic sounds:

Placing the code into context

After the video sequence of the futurist language was rendered, the design considered ways of presenting it in context. This was developed through questioning what type of screen we would have in a future with limited data storage, and the sort of design this thus would entail. 

The development constructed a loading page for the exemplar 'received message' exploring ideas of how this would look in the future to give the design more substance. Using After Effects, the presentation of such ideas was advanced, utilising layering techniques. 

Simple black and white grid imagery was gathered to use as a backdrop for the screen, to visualise the limited data and stripped back aesthetic. 

Possible loading animations were created for the introduction section, and then audio was added to provide the full illusion. 

The design experimenting with typographic treatments to communicate the 'loading' section. 

Type experiment 1

The first type development used the full wording 'loading' and sought to utilise the loading graphics to type place the language title 'code'. Although this worked well for the circular qualities of 'c' and 'o', this application was less successful for the succeeding letters 'd' and 'e', and so this idea was left.

Type experiment 2

The second development removed the word 'loading' as it felt this completely disregarded the point of the new language rendering all words meaningless. It was felt the ellipses '...' could stand alone in communicating this message.  Nonetheless, the 'generating code' part was still tested with qwerty wording to test its aesthetic before final production. 

Final production - without type

After experimenting with type variations, it was concluded that the use of type was unnecessary and contradictory. The ellipses and motion graphics alone provide enough visual language to communicate the 'loading' section, and so the final production simply uses geometric form for this purpose. 

In a chip 1

The final video was then placed in a chip to provide a more detailed contextual production. This was the one place the design thought the use of colour could be effective, as it is not being used to display the LED screen itself, but what the viewer would be watching it on. The use of green here therefore furthers this futuristic visual language. 

Final refinement

After showing the initial production to people it was evident that the loading section needed shortening, as people were shutting off early on. The video was therefore refined, speeding up and cropping the loading section, limiting it to 10 seconds.

Final video

The design also decided to keep the contextual visual monochromatic, to fit a consistent aesthetic. Further research was then done gathering purely black and white futuristic screen imagery. On Photoshop, the design developed a final chip-like futuristic screen composition to use for the final production. This was done by taking geometric qualities from the various imagery, removing all letterforms/words to ensure the application would be contextual relevant, and re-formatting to make the design square instead of rectangular.

Investigation into Language: Design Development - Logogram Posters

The development then progressed with the most successful layout design previously tested. Using the information gathered from primary research, the design selected 10 words to represent each logogram. These words were then searched in a thesaurus and dictionary, to further research specific symbolic references and synonyms in order to allocate an appropriate range of language and meaning. The main title word would then constitute an embodiment of the groupings and responses. This method allowed for a broad variation of wording that was also contextual.

20 was decided to be an appropriate and manageable number for the final Code series. With an alphabet of 26 letters, the design felt that in a progressive future where things are condensed and concise for ease, 20 would be suitable for convenience. The design also decided on an 100 day transition period, where one poster would be released to the public every five days. This was thus included as information on the bottom. 

Sizing and layout of the logograms was then played around with. Breaking the image section into four, provided a grid that worked nicely in producing a range of layouts that utilise the entire space. This design decision provides the illusion that the logograms are alive and moving within this black area, which in-turn echos a screen.