Archives for posts with tag: Experimentation

Following the development with the letter ‘T’ it was decided to progress to using the word geometry and using a more complex grid.

The font Apple Gothic was used due to its simple geometric forms, simple descenders and easy manipulation. The descender of the character ‘g’ was extended to drop below that of the ‘y’, signifying its importance. The ‘m’ was then connected to the ‘g’, retaining even spacing allowing the ‘o’ in ‘geo’ and the ‘e’ in ‘metry’ to align.

For development here only half the word, Geo-Me was utilised, due to the time consuming nature of the task. The development of the geometric piece from the simple elements aligning to a strict grid  again echoes the exterior of the Pompidou Centre.

Investigations were undertaken as to the correct representation of geometry, and it was decided the outlined bars were more effective, however the composition as a whole was failing to be successful. The geometry resembled a pattern, therefore the next step was to return to a more effective graphic utilising various elements as demonstrated by the below sketch.


The idea continued to develop to forming letters from geometric shapes in order to create a word. From this experimentation begun with ‘hiding’ the word amongst further elements of the geometric design. This became quite challenging and time consuming. It was interesting to gauge the reaction of others to the legibility of the word or letter. It was deemed important to ensure the word was legible enough to be recognisable, however hidden enough to be of interest to the viewer to investigate.

Hidden T

Hidden Y

Following my investigations into modern geometric precedent, I decided the next step was to begin experimenting with the relationship of geometry and type, therefore the use of geometry within letter forms.

As previously detailed, I prefer to work in a manner by which I assess the previous foundation for my experimentation to ensure I can build upon the discoveries of other designers and also prevent repetition.

Firstly using the primary geometric shapes (circle, square and triangle) a task was undertaken to create each letter form using only these shapes. I set myself this task to investigate the legibility of letterforms and the scope for geometric letters using a strict set of rules.

This combination of geometric shapes naturally takes precedent from the Bauhaus [as further explained in Influences – Geometric Type II] and I also intended to create a complimentary piece to that of Wete’s Roke 1984, however unlike Wete conforming to strict rules in order and focussing on the geometric shapes themselves opposed to the transformations.

Initially a physical model was utilised, formed from translucent plastic in order to view the overlapping forms.

This was then transferred into a digital format.

Letter forms were created from overlapping translucent equally sized shapes. Two shapes were required to create each letter form, the shapes may be the same however the colour may not in order to retain the required contrast.

The end result was one of abstract letter forms, similar to the Science Museum Logo they are initially difficult to read. This explored the possibility of forming letters from the minimum possible geometric shapes.

I was interested in the idea of forming letter forms from the smallest geometric shapes. Something I would like to investigate within my final piece, the possibility of break letters down, or forming them from the smallest, simplest components.

Following this letters formed from a variety of different sized primary geometric elements were investigated. Influenced again by the Bauhaus approach to utilising simple geometric forms to create characters sets and the previously mentioned Lego am and Lego pm project. Using a variety of techniques and rules to experiment it was interesting to observe how letter forms can be seen in abstract shapes.

Following these primary investigations I decided I wanted to progress in the direction of forming a complete word from smaller geometric shapes, following more complex rules than those initially investigated here.

From reading Steven Heller’s “Cult of the Ugly” (1993) and watching Paula’s speech regarding “Serious Play” interesting arguments were evoked in the world of postmodernist graphic design.

Several themes of agreement connect between Heller and Scher’s observations:

  • Firstly, Heller and Scher agree that experimentation, and fundamentally failure are requirements for progression within design. However disagreement is raised with regard to the necessary components. Heller states that instinct, intelligence and discipline are required, while Scher advocates playing and a complete lack of former knowledge.
  • Secondly, Heller comments that students at the Cranbrook Academy of Art have “deliberately given themselves warts”, making their designs ugly by convention in an attempt to follow an alternative approach. Similarly Scher, in her initial position as a designer of music covers wished to fight the tradition of her peers and as a result would experiment with a mixture of various movements instead of following the rules dictating ‘attractive’ design at the time.
  • Furthermore the view that previous perceptions of art and design were one dimensional is held by both Heller and Scher. They both saw the necessity to fight modernism, demonstrated by Scher with her reaction to the “helvetica” generation, expressing her view with parody posters.
  • While Scher never intentionally set out to shock with her campaigns, this was the result, which she later regarded as positive, equivalent to Heller’s statements that shocking the viewer can result in good design.
  • Finally both Heller and Scher agree that once something becomes mainstream, it becomes boring and less effective. The Public Theatre identity campaign by Scher is a prime example, once it became famous, the unique identity dissolved. Similarly Heller agrees (quoting Emerson), as with modernism, that once a design becomes standard, it may as well not be designed at all.

Agreement to postmodernist theory

Both Heller and Scher ask the reader and viewer to accept non-conventional standards.

Through postmodern theory, reality is only a social construct, and therefore subject to change. Similarly Scher points out that what is seen as good within design is flexible, in agreement with Heller and his belief that beauty is subjective.

Postmodernist theory attacks the existing accepted rules, seeking to break all. However unlike other movements, the postmodernists were aware that reaction was entirely subjective, and one could no-longer define beauty. It is impossible to form something ugly to each one of the seven million people on the earth, therefore it is impossible to fully contradict beauty.

By focussing with the extreme of ugly design the viewer is forced to consider, to investigate the possible beauty in ugly design. As Heller shows us ugly forms can result in food design, for example Art Chantry’s Punk Vernacularism.

Various Art Chantry Album Covers

“Extremism gave rise to fashionable ugliness” – Heller

Meanwhile Scher states, we must stop being solemn, resonating with postmodernist theory of disregarding all concepts connected to the solemn nature of capitalism and the narrow nature of the western world. Furthermore Scher wishes to oppose that which is socially correct, necessary and accepted as it is not the best way to form good design. Similar to the postmodernist belief that the socially acceptable modernist design needed changing.

Furthermore Scher shows us serious design is about invention, change and not about perfection. Again aligning with postmodernist theories regarding experimentation.

Scher believed that by fighting Helvetica, she was fighting the fascism of the time, again a fundamental backbone to the postmodernist movement. Hating lead to serious play, which is to Scher her best time of design. Many argue that the postmodernist movement is in fact born out of hate. Hating can bring good design, by truly fighting to oppose something, something new and wonderful can be achieved. Heller finally argues that what was previously considered ugly, can now be beautiful without the oppression, hence with the success of postmodernism.

What can be learnt about postmodernist experimentation?

As both Heller and Scher agree, postmodernist experimentation is fundamentally necessary for advancement in the field of design. Initial attempts by some postmodernist designers sought to deliberately oppose beauty, the Cranbrook Art Students’ Output magazine, cited by Heller.

“Ugly” Postmodern Design

Output Magazine – 1992

However, looking deeper into Postmodernist, it will be understood that the crucial principle of beauty, is that it is entirely subjective, therefore impossible to oppose. Just as Voltaire taught that an ‘ugly’ toad will find beauty with another ‘ugly’ toad, an ugly design will have an element of the beauty.

Those who believe beauty can be entirely disregarded, do not understand beauty. Physical beauty can still be admired in those who are not conventionally beautiful. Architectural beauty can still be seen in buildings which are commonly regarded as ugly. For example, who would admire a multi-story car-park on the surface? However consider the engineering required to hold each story of the car-park together, preventing sagging and structural collapse. Consider the calculations required to ensure the ramps are suitable for all cars regardless of weather conditions, yet steep enough to prevent using extra space for circulation. Beauty can be found in the functionality and necessity of the design.

With regards to failed experimentation, this is of paramount importance for advance of design. If all experiments were successful and led to instant progression humans would have nothing left to discover and would fail to be captivated with experimenting. It is the failure that is often more exciting than the success.

Again, opinions echoed in the work of Scher and Heller, show that challenging the current design paradigm should not only be tolerated but encouraged, as this sort of play can result in serious play.

Scher’s statement that to truly experiment and succeed one must have no idea what they are doing, can resonate with modern designers. By following trends, pre-described rules after learning so much one can only achieve similar to what has been laid before. However by disregarding the trends, and perhaps the best way to achieve this is by knowing nothing of them, truly original work can be created.

Maybe it should be questioned when something is considered a failure in design? If, even something deemed unsuccessful and ugly, paves one part of the path to a successful unique design was it ever a failure?

The modern designer must learn from the values held by the post-modernist, taking a gamble is not a bad thing, only through experimentation and mistakes can anything of value be learnt.


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TED, 2008. Serious Play. [Video Online] Available at: [Accessed 28th October 2011].

Heller, S., 1993. Cult of the Ugly. Eye Magazine, 9. Available at: [Accessed 28th October 2011].