Drawing for Research

This project started off with situating drawing in context with Graphic design. The first introductory session explored – What do we mean by a sense of space & place? from this we then continued to develop a language in drawing according to our intentions as designers. We also looked into developing drawing and to utilise a more critical capacity focusing on function and purpose.

To try and expand our thinking space we then went onto explore the world we don’t see. Things such as the Universe, Scale + time, who are we?/ who am I?, Cosmology – expanding the universe & can we explore space & typography were all topics that were taken into consideration in this session. Different drawing techniques to look at were things such as Abstraction, Observation, Non representational and 2 dimensional which we could all link to time and space.

After looking at drawing in the 21st century we then went onto perspective drawing. Focusing mainly on the use of grids and how they can help us make sense of a chaotic world. From looking at perspectives we initially started with a 2 point perspective drawing of stairs which was good to reminder of how to do it.


After a 2 point perspective we then moved onto 3 point perspective of which I did this drawing of a building, however there are some lines on the image that are in the wrong place. On reflection I would draw it again or draw another image perspectively in the same way. Below was my attempt at a 5 point perspective drawing showing the urbanised world from above.


These are some perspective experiments done with typography to change the way the words are written on the page by adjusting the angle and tone to create a 3D feel. When photographed I feel as if it looks more effective than when seen done on the page.


The next topic we went onto with Amanda was understanding the universal principles of design and how these are based on the laws of geometry and physics which have stayed the same for centuries. We discovered that drawing is thinking about design. Things such as typography are based on grids and spaces to achieve their structure and form. We looked at complexity, language and linguistics which is based on a number of different systems & structures in language and applied that to graphics design principles.

We studied language in composition and the historical forms of language and how these developed graphically & typographically into these styles. I have constructed a composition on the basis of geometry, structure & form and thus stretching out my conceptual thinking. I had to construct my design work together using form, function and conceptual ways to allow the language & design work together.

From this session I noticed systematic grids are everywhere which has changed my visual thinking. With out knowledge were were able to produce more sophisticated abstract work from understanding the golden section which would be altered in relation to different paper sizes.

Ultimately looking at how relevant geometry from Edward Wright was, this then lead onto different kinds of strokes one can make from drawing and language. I’ve also learnt about basic type classification in context with my work.

For this second section I knew I wanted to do something in another language and the one most recognisable to me is French. I looked into how the different languages vary when written which is where I came up with the idea of Vowels.

French uses several accents in their vocabulary: grave accents (à, è, and ù) and acute accents (é). A circumflex applies to all vowels: â, ê, î, ô, û. A tréma (French for dieresis) is also applied: ë, ï, ü, ÿ. Two combined letters (called orthographic ligatures) are used: æ and œ.

From this I then decided to stick with vowels, so I focused on the merging of the letters to create abstract conceptual symbols which are intriguing to the eye. The main symbol I comprised was with the merging of a “u” upside down & the letter “ï” to create something that looked quite Japanese. I then had the basis to a design idea so I had a little play around on photoshop with colours, collaging and editing to see what layouts I came up with. This was just a way of saving time by achieving very different outcomes.

compositional layout

Below is my final composition of the artwork expressing french vowels. It took me a while to find a placement of the symbols and circles on the page of which I was happy with.


I also decided to do a purely plain typographic piece which would state: French Vowels – The contrast in languages and their effect on vowels. I did this piece focusing my inspiration mainly from french wines and the labels produced for them. The colours chosen are that of the french flag, blue white and red, with the vowels a,e,i,o,u in red.


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