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· Part III case study
1) Assignment and constraints
As a graphic design practitioner one often engages with a new project as a doctor would with a new
patient ; the practice involves the assessment of a design issue which needs to be solved and implies
an understanding of the existing parameters along which a new system of visual communication
can be built and implemented. The degree of input, requirements, and interference that comes with
each assignment depends on a large number of variables ranging from the personal involvement of
a client to elaborate marketing objectives. In this particular case, the initial oral briefing was rather
concise consisting of only a few guidelines or prerequisites and some elementary constraints. The
brief put forward the following constraints: the designation of the entity as the “Australian Centre
for Visual Technologies” and the integration of a secondary descriptive headline or tagline
“Innovation and education in visual information processing” as well as the use or at least the
emulation of the University of Adelaide’s existing color palette (fig.1).
Figure 1
Subsequent to the initial brief, a period of gestation or ideation moved the project into its
conceptual phase. A concept outline was then formulated to situate the creative intention and how it
might relate to communication objectives and the entity’s profile.
Please refer to “appendix 1” to review the initial briefing report, visual identity objectives and
shape exploration (this document was submitted to the client in week 26).
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When a sign is extracted from a paradigm of pictographs to be reassigned as a logo, its metonymic
qualities are subdued in favor of a new meaning which usually relies on a metaphorical mechanism.
Regardless of a metonymic relationship between a pictogram and a designation (word), the implied
associative relationship between pictogram/designation and the entity is often arbitrary.
In the case of the ‘Australian Centre for Visual Technologies’, the objective is to associate an
abstract yet evocative pictograph to a quite literal formulation of the entity’s activities. The
metonymical relationship between the pictograph and the designation retrieves a set of associated
attributes and delivers them as a metaphor to stand for the entity thus creating an independent logo
with its own intrinsic meaning. In this particular case, my strategy is to create an evocative rather
than representational logo in relation to the words ‘visual’ and ‘technology’ by using an element
from a paradigm of graphical optical illusions to stand as a metonym and deliver meaning as a
metaphor. From these theoretical implications of a design concept based on a communication
strategy it is now time to move into the creative process.
4) Methodology and grammar
In order to regulate the creative process, a set or system of methods, principles, and rules needs to
be established. The nature, complexity and range of application of a methodology will vary from
one design practitioner to another and from one design case to another. In this context, rules and
methods will situate the design process within a constrictive and generative frame. The constrictive
nature of the process will naturally generate purposeful derivations as well as contingent events.
My initial set of rules was devised to produce an array of derivations based on a selection from the
initial paradigm of graphical optical illusions. In effect, I selected and reproduced 5 elements (fig.4)
from the initial paradigm of graphical optical illusions on a vectorbased computer program.
Figure 4
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Each element displays a particular combination of graphical attributes and devices operating within
the same paradigmatic plane. By using principles of derivative shape grammar in conjunction to
applying the colors palette (fig.1) I generated 15 variations or derivations per element (fig.5). These
derivations are part of a new set of elements that can now be referred to as a vocabulary of elements
generated by a particular set of rules. While the initial selection from the paradigm emulates
graphical attributes related to specific optical illusions, the newly generated set of vocabulary is
original and diverse.
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Part IV derivative design
1) Creative process analysis
Element 4.1
The graphical attributes of element 4.1 can be described as a square shape duplicated and scaled in
regular increments from its center, with each new square adopting a different and progressive hue
to achieve an effect of optical illusion such as depth or relief.
Figure 5.1 shows the progression of the derivative design process in numerical sequence. In the first
derivative instance 5.1.1 the central shape is changed to a circle, in reference to the metonym
identified previously, and follows 6 incremental steps changing both in scale and in shape to
become the outer square.
Figure 5.1
The next string of derivative instances, from 5.1.2 to 5.1.9, explores variations of color, hue and
rotation. A significant change occurs at the level of instance 5.1.10 as the central shape reverts to a
square and the outer shape to a circle with an incremental rotation added to the incremental change
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however does not retain the same graphical attributes as the previous instances and in step 5.2.11 a
contingent event comes to light, the new shape can be perceived as a stylized letter. It could stand
as a symbol for the letter A, C and/or V which coincidentally are part of the initials of the
‘Australian Centre for Visual Technologies’. In the last derivative instance 5.2.15 a fourth shape is
finally added to represent the T letter and the color palette is used to balance the construction.
In this series there were 2 major turning points where decisions were made to bend the rules in
order to privilege contingent events and explore new instances of perceptive shape grammar.
Element 4.3
The core attributes of the initial element rely on the relationship between two vertical segments of
the same length. When these segments are in position between two pairs of opposed diagonal
segments, one of them appears to be shorter. The original element 4.3 is contained in a frame and
its vertical segments are sitting on the edges of a sequence of opposed trapezoidal shapes.
Figure 5.3
Derivative instance 5.3.1 simply eliminates the two main vertical segments; reverting the element to
an optical illusion based on trapezoidal properties, while instances 5.3.2 and 5.3.3 retrieve the
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original relationship between the trapezoidal shapes and the vertical segments. In derivative
instance 5.3.4 an important change occurs, as the two vertical segments are substituted by dots or
filled circles in reference to the metonymic relationship between ‘visual’, ‘optical’ and ‘circle’ (or
oval as a shapes). In terms of focal intensity and balance, this new configuration retains some of
the attributes of the initial version. However, this similarity is lost in instance 5.3.5, when one of the
circular shapes is removed and the focal point becomes singular. The next turning point occurs as
the remaining circular element is also removed and vivid colors are added to further enhance the
trapezoidal shape configuration (5.3.9). The circle shape returns in instance 5.3.11 and again
becomes a strong feature, first as a singular focal point then as a dual focal point (5.3.12); note that
the sequence or combination of colors slightly shifts the perceptual balance of the configuration.
Once the frame is removed (5.3.13) a further perceptual alteration occurs as the trapezoidal shapes
and the circles seem to flatten and take on a more horizontal character which is also due to the
combination of colors. Finally, in derivative instances 5.3.14 and 5.3.15, the trapezoidal shape at
the center of the configuration is entirely removed and the circles subtracted to enhance the optical
‘suggestion’ created by the space between the left and the right trapezoid.
Element 4.4
This powerful triadic configuration is composed of three circles and a triangle. The center point of
each circle is placed on a different corner of the triangle so that the circles are equidistant from each
other. The triangle is then subtracted from the circles and the space left between them validates the
suggestion of the triangular shape.
With color applied to them, the first three derivative instances ( 5.4.1, 5.4.2 and 5.4.3) still retain all
the attributes of the original element 4.4. It is noticeable however, that instance 5.4.3 is not as
balanced as its predecessors, due to a proportional reduction of space between the circles. Instance
5.4.4 references the idea of a metonymic link between ‘visual’, ‘optical’ and ‘circle’ and breaks up
the sequence but should not be considered as a turning point even if it. Derivative instance 5.4.5
retrieves the original configuration but changes the perceptual balance because contrasting colors
were added to the subtracted triangle parts intersecting with the circles. The next derivative instance
5.4.6 is similar to instance 5.4.4 in that it retrieves the same metonymic theme as a concentric focal
point; in this instance however its relationship to the original element 4.4. is evident as it swaps the
position of the triangle with that of the circles.
An important turning point occurs, as instance 5.4.7 again reverts to the original configuration of
shapes, when the proportions of all three circles are altered while their original positioning is
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As a graphic sign, each item or instance can stand on its own; however, to exist as a vocabulary
item it must be part of a system. The process that spawned these instances is based on an array of
associations, metaphors and metonymic relationships which were synthesized into a design concept.
The result is a graphical vocabulary of 75 connotative signs. The value of each sign depends on its
relation to other signs within its system and is in fact determined as much by what it is, than by
what it is not 17
.
It is also important to acknowledge the ambiguity of some of these signs, not the least because the
system of signs cannot be exhaustive and originates from an arbitrary selection of signs, itself
extracted from a paradigm of graphical optical illusions.
Each sign or instance derives from a particular set of attributes, which references the basic
metonymic relationship that lies at the core of the design concept. Consequently, each graphical
configuration is an exploration of these attributes and naturally, some are more successful than
others; in this context discrepancies between original graphical attributes and remaining attributes
are emphatic and should be considered as an integral and indeed crucial part of this particular
design process.
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· Part V from sign to logo
1) Derivative instance 5.2.9
The objective up to this point was to produce a consistent if not exhaustive vocabulary of signs,
whose individual and distinctive graphical attributes could visually represent the entity. Once the
vocabulary of graphical derivations was produced, it was presented to the client and one vocabulary
item or derivative instance was selected as a placeholder for the new ACVT logo.
I should mention that in this particular case, I chose not to interfere or confer with the client about
the choice that was made nor did I remove or favor any of the instances as I felt that it was
important for the subsequent case study to rely on an ‘impartial’ selection.
Derivative instance 5.2.9 was thus selected:
The selection of this particular derivative instance effectively implies the selection of its graphical
attributes and qualities. Furthermore, its attributes and qualities are directly related to the initial
element 4.2 (below).
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2) Construction sequence and configuration of shapes
In order to understand the core attributes, both graphical and perceptual (as relating to the paradigm
of optical illusions) of this element, it is essential to refer to the construction sequence and
configuration of shapes as shown in Figure 7.
Figure 7
The informal description of element 4.2.:
The graphical attributes of element 4.2 are based on the superposition of 6
equilateral triangles, their subsequent equidistant displacement and their partial
subtraction which produced three identical shapes on three different rotational
increments. The achieved optical effect can be described as the suggestion of a 3
dimensional construction from a 2 dimensional point of view based on three
identical and intertwined objects revolving around a centre point.
Figure 8 recapitulates the construction sequence of derivative instance 5.2.9. (it is understated that
like all the other derivative instances, instance 5.2.9 should not be considered as a “finished” sign
but rather as a rough sketch).
It becomes apparent that the original shape’s (8.1) graphical and perceptual attributes are essentially
three identical (8.2) and intertwined objects revolving around a centre point. So, by applying a rule
where straight lines are changed into curves without displacing anchorpoints by means of the
Beziers curve tool, a new derivative instance is produced. As a result of the intervention (see 8.3,
8.4 and 8.5), the shape of the object moves away from the stern and grounded configuration of the
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Figure 9
The step between 9.2 and 9.3 was to be the determining event that eventually led to a
reconsideration of the basic rule “where straight lines are changed into curves without displacing
anchorpoint by means of the Beziers curve tool”. It wasn’t the desired effect of the rule which
became questionable, but rather its modus operandi. I identified two reasons for this.
The first reason was that it became very difficult to produce a curved shape that could be assembled
into a balanced triadic configuration (as in Fig. 7). The second reason was that since the initial
element was based on an equilateral triangle, it seemed more appropriate to revert to the original
shape and start the refining process at the core rather than from a derived shape (8.2 from fig. 8).
I decided to rethink the construction of my configuration of shapes without compromising the
desired graphical and perceptual attributes of derivative instance 5.2.9.
A further exploration, this time involving the construction method rather than derivative instances,
took place. Instances 9.4 to 9.7 are the result of inconclusive variations that eventually led to the
final construction method displayed and described in figure 10.
