Stage two: iterations and adaptations part two

I decided to use my developed letterforms from what I had done previously to then use as part of my practice-based research within the method of screen printing as this was suggested to me in exploring. Below you will see images showing my process in setting up to screen print one of my refined ideas to explore.

Photo showing me setting up my screen (Jones, 2023)

Photo showing me setting up my screen (Jones, 2023)

Video showing me running some test prints (Jones, 2023)

I found myself fully immersed in the art of making whilst using only the processing nature of screen print and different materials in paper stock and acrylic paint, as my primary source of materials to use. I feel this is partly what materiality connotes, especially in my own practice which I feel I am starting to establish.  

Below you will see some of my final outcomes from my iteration stage supporting my own practice-based research. I was very happy with the overall outcomes of each screen-printed image, as it visually shows how different materials can enhance an image through the medium of print design. The use of black acrylic expresses the aleph letter to be a bold statement clearly visualised on the different materials used. I feel that this works very well overall and creates a strong piece of print design that has further room for exploration to connote the meaning towards materiality and how this can support my question of research. 

I also decided to include an old test print from my BA Major project on Flexible Visual Systems in Constructivism. This was because I wanted to create a textured piece of print design that allows for an overlay appearance to take shape within the design. I found this to be one of the most successful pieces at allowing me to visually understand how materiality can enhance the user/audience within my own practice. I felt visually drawn to this piece by analysing the print by the overall texture that you get from the design and how it responds towards a tactile nature which also supports materiality. 

This could be something of a breakthrough for me and could be explored further within different printed methods which I want to explore next using this style of layering technique within print design. 

The image shows screen-printed iterations explored by the letter Alef.

I decided to step back for a moment in my current making stage to analyse the current designs that I had done for the Alef letter. I felt that I needed to refer back to my collection of primary research of a textural nature that I had brought back from my trip away to Krakow. This is because I found myself doubting my current design to be visually inaccurate in displaying the letter type as Hebrew.

Below are developments in making alterations to the current design to make it accurate as a modern letter type to illustrate Alef. 

The image shows a screenshot taken of my recent alterations to the design

As you can see from the above image, I decided to make alterations to the design by making it visually signify similar features to what I had researched. I decided to make the design feel more symmetrical by breaking the design down into modular shapes of component pieces seen below. This allowed me to make the design accurate by its overall meaning and to allow myself to consider how I could explore this design in a modular sense as part of my ongoing research. 

The image shows a screenshot of the components of the design as pieces are broken down 

The design now looks and feels more symmetrical and has a strong visual balance. The design still connotes its original intentions of being a modernised and contemporary letter type, but making the minor alterations has created a better visual response to its meaning and functionality in terms of making it into a modular typeface which is something I am considering exploring next.