I began to love myself I found that anguish and emotional suffering are
only warning signs that I was living against my own truth. Today, I
know, this is AUTHENTICITY.
As I began to love
myself I understood how much it can offend somebody as I try to force my
desires on this person, even though I knew the time was not right and
the person was not ready for it, and even though this person was me.
Today I call it RESPECT.
As I began to love
myself I stopped craving for a different life, and I could see that
everything that surrounded me was inviting me to grow. Today I call it MATURITY.
I began to love myself I understood that at any circumstance, I am in
the right place at the right time, and everything happens at the exactly
right moment, so I could be calm. Today I call it SELF-CONFIDENCE.
I began to love myself I quit steeling my own time, and I stopped
designing huge projects for the future. Today, I only do what brings me
joy and happiness, things I love to do and that make my heart cheer, and
I do them in my own way and in my own rhythm. Today I call it SIMPLICITY.
I began to love myself I freed myself of anything that is no good for
my health – food, people, things, situations, and everything that drew
me down and away from myself. At first I called this attitude a healthy
egoism.Today I know it is LOVE OF ONESELF.
began to love myself I quit trying to always be right, and ever since I
was wrong less of the time. Today I discovered that is MODESTY.
I began to love myself I refused to go on living in the past and worry
about the future. Now, I only live for the moment, where everything is
happening. Today I live each day, day by day, and I call it FULFILLMENT.
I began to love myself I recognized that my mind can disturb me and it
can make me sick. But As I connected it to my heart, my mind became a
valuable ally. Today I call this connection WISDOM OF THE HEART.
no longer need to fear arguments, confrontations or any kind of
problems with ourselves or others. Even stars collide, and out of their
crashing new worlds are born. Today I know THAT IS LIFE!
In the sense, teachers and students both assume role of teachers for their self-learning and mutual exchange of thoughts and ideas. This reminded me of all my teachers, whose presence has been the source of a constant growth and increasing confidence.
Project summary This project will investigate user interaction with bilingual typographic information in Hong Kong. The main focus is the effect of ‘typographic articulation’ (commonly known as ‘hierarchy’) on how users perceive, access and assimilate information through spatial organization and graphic devices. Project background Typography is one of the most important and complex aspects of visual communication. In short, typography can be described as ‘language made visible’. While written language is a way to capture the transient verbal language into a more permanent form, typography is a visual coding system (or one might call this ‘visual language’) imposed upon written language that influences how meaning is constituted. Typography functions on denotative as well as connotative levels and operates on conscious as well as subconscious levels. Text, from a visual communication standpoint, can be read, seen, as well as felt. Like any language, the visual language inherent in typography is bound to the cultures within which it operates. Designing with different languages requires not only an acceptable command of the language itself, but also knowledge of the conventions, aesthetic principles and nuances that are indigenous to the culture. Bowers (1999) writes: ‘When we communicate, we cannot be certain that the message of a sign is understood, especially when communicating to persons from other cultures. We each have our own biases, experiences, and knowledge that influence how we process and act upon messages.’ It is not difficult to imagine the complexity and challenges that bilingual typography presents to the visual communication designer. Walker (2001) also writes, ‘No description of visual organization, or indeed effective designing, can take place without knowing something about the intended readers, circumstances of use, means of production, and the content of the information, as each of these parameters offers its own constraints and opportunities.’ This project therefore rightly puts the emphasis on the users rather than the designers.
Objectives The proposed project aims to find answers to the following research questions: How do Hong Kong users perceive, access and assimilate information presented to them in a Chinese/English bilingual typographic design? How does Chinese/English bilingual typographic design function on connotative as well as denotative levels? What are the requirements for effective bilingual typographic design within the Hong Kong context?
For the purposes of this project, the term ‘coexistence’ is defined as: Two languages appearing together on a single surface in a two-dimensional medium (such as a page, a sign, or the facade of a building), thus creating an impression that they exist parallel to each other in terms of their literal meaning; One language is embedded into another, termed as ‘code-mixing’ in linguistics. Both are frequently used for various purposes in Hong Kong.
South Indian cities a decade ago brimmed with hand painted hoardings! Colorful hoardings gave life and identities to cities along with livelihood for thousands of artists. Artists and artisans who labored to provide panoply of films advertisements, cut-outs of politicians, film stars and Republic Day parade tableau vehicles are now replaced by digital technology that verge on assembly line production in making vinyl hoardings. Creativity and talent wasted in menial labor struggling to make ends meet! This film is intended to portray the plight of the hoarding painters and the destitution of their art in the wake of digital vinyl technologys ruthless intervention.
बिन कोई स्वार्थ रखे, जो हमेंशा तुम्हारा साथ दे, वो है 'माँ' तुम्हें आगे बढ़ते देख, जिसकी ख़ुशी की कोई सीमा ना रहे, वो है 'माँ' जो घर में ममता और प्रेम की डोर से सारे परिवार को संजो के रखे, वो है 'माँ' तुम्हारे मित्रों को जो प्रेमपूर्वक अपनाए और उन्हें महत्ता दे, वो है 'माँ' तुम्हारी खिलखिलाती हंसी को जो बरकरार रखे, वो है 'माँ' तुम्हारे गम में अमर आशाओं को जो सदैव जागृत करे, वो है 'माँ' अंतरमन का सबसे सुन्दर रूप जो दर्शाए, वो है माँ
ऐसी है मेरी, तुम्हारी और हम सबकी माँ माँ के तो क्या कहने, क्यूंकि.... जो साक्षात् आदिशक्ति का अंश हैं, वो हैं 'माँ'
- नानकी नाथ दिनांक: २७-७-२०१३ स्थान: भारतीय प्रौद्योगिकी संस्थान, मुंबई, भारत
Ask any visual communication student/researcher about clear distinctions between the seemingly synonymous, yet realistically two very individualistic words (or rather conceptions about) - SIGN and SIGNAGE - the descriptions are generally ambiguous. Often this confusion amongst students, researchers, practitioners and faculty teaching sign design is understandable. The foremost reason being, that both the terms SIGN and SIGNAGE share the four letter word SIGN as a common binding concept.
As aresearcher in the area of sign design, this ambiguity needs to be solved. There has to be a concrete and identifiable distinction between the two terms. However, in the context of the science of signs (Semiotics / Semiology), we'll see that somewhere this distinction gets blurred.
Giving all due respect to the historical roots, 'signs' have been the most fundamental elements since 18,000 B.C. signifying the Paleolithic Age of Cave paintings. They were not only the means of human to human discourse, but were a marquee of spiritual andritualistic concepts in nature symbolism. Slowly, as man progressed from the primitive state to the civilized nature of his world, these 'signs' assumed more roles and functions in different spheres of human living and the world. Therefore, a visible division of the land in form of continents, countries, states within the countries, cities, districts, locales, villages and towns sprang up as a result of scientific, historical, social, cultural, economic, political etc. development of human mind and intelligence to create systems out of tangible and intangible sources from nature and its surroundings. With humans inventing objects, building shelters, constructing cities, thinking about concepts, ideas, methods with their constantly evolving cognitive and intutive faculties of mind also developed smaller, functional entities that are all various forms or kinds of signs. They are the diverse modes given to human expression(s) that help establish an evolving interface between the human instinct to search, know and experience world around. This beauty in diversity has various forms - be it symbols, icons, indices, metaphors, ideas, gestures (the holistic forms); and also the present day billboards, posters, labels, placards, kiosks, banners and signage (the practical/ functional and tangible forms that aid humans to navigate easily and find their way in built spaces and environments).
So, can we say that 'signs' formulate the larger 'paradigm' or the 'ground' to carry all smaller entities. And, amongst these functional forms, 'signage' is one of the most significant requirements in terms of creating 'interactive' discourses that require the presence of a certain profile of audience. However, from the Semiosis of 'signs', it is apparent, that the discourse happens (be it interactive or not, meaning that the presence of an audience is not mandatory). This makes everything and everybody, so on and so forth a 'sign'. Therefore, 'sign' was defined byFerdinand de Saussurein one of the most versatile and open to discussion way. The definition being -
" A sign is something which stands to somebody for something in some respect or capacity. It addresses somebody, that is creates in the mind of that person an equivalent sign, or perhaps a more developed sign. The sign which it creates I call the interpretant of the first sign. The sign stands for something, its object."
In the most widely discussed examples, Rene Magritte's 'The Betrayal of Images' (1929) posits the simpler version of understanding a sign. In the painted 'image of the sign', the text contradicts the image and tells us that 'This is not a pipe'. It reveals the arbitrary nature of language as a 'sign'. So, it is neither the truth or lie, black or white, objective or subjective, natural or artificial. It is the physical/visible presence of pipe on the medium that also 'represents' the image of the pipe. Likewise, the painted technique again 'represents' the image of pipe (the image of pipe= signifier) - ultimately creating a more 'developed sign' of an idea about the 'image of pipe' (but, not the actual pipe in its 3D shape, form, texture, mass and dimensions that could be sensed through touch). The title 'The Betrayal of Images' communicates the largely open, adaptive, flexible, debatable, fluid and arbitrary essence of what makes a 'sign'.
'The Betrayal of Images' by Rene Magritte 
As goes for the term 'Signage', the term first came into existence in 1972. Its etymology refers to road signs or signs outside stores, coming from from sign (n.) + -age.
Designer and paper crafterTommy Perez collaborated with Orlando, Florida-based print and design studio Mama’s Sauce to produce a brilliant business card design that features an interactive, 3D type-based logo.
As a creative director I get to cast my eye over my fair share of portfolios from fellow creatives and I am often asked for my opinion on the contents. Lately I have found myself increasingly at a loss for words as I attempt to sugarcoat my response. The reality is; I am often left deeply saddened by the amount of students and young designers that simply neglect typography and don’t actually know an ampersand from their elbow. As a Typographer and Type Designer myself, I am always naturally drawn to the intricacies and nuances of the way designers set type and the reasons for their choice of typeface. I believe this detail speaks volumes about the way a person approaches their work and problem solving in general. Interestingly, it isn’t the lack of detail that concerns me – these are skills you learn over time with experience – it is the lack of the basic knowledge of typography and its rules that are most alarming. Many students fail to understand basic terminology such as leading, kerning, ascenders, widows, orphans and counters. And one didn’t even know what an ampersand was!... ...if these skills are not passed on correctly, the future will be bleak. It will consist of generations of designers who believe that it is ok to set an email in Comic Sans! #Type #Typeface #Truth The Death of Typography?
comparative list of signs from the Easter Island script and the Indus
script, comparison made by de Devesy. From this it is likely that the
scripts are related.(The columns with even numbers represent the Easter
Island script, those with odd numbers represent the Indus Valley
Click on the image above to see the original source citing the image of the comparative view
The script, according to Heyeerdahl, was brought to the
island from South America, South America was colonized from India both
by the Pacific and the Atlantic routes, in the third and fourth
millennia B.C., but most often via the Mediterranean and the Atlantic. Courtsey: Prof. Mukund Gokhale Founder Director at Script Research Institute January 2000 to present
Poster for your research paper is a smart method to visually represent the research aims and methodologies applied for the study. The following poster was displayed during tea break after a brief five minute podium presentation. The presentation acts as a teaser to ignite curiosity among the audience. They get more curious to know the details of your study. It gives the audience more time for discussions with you along with the poster display later.
Designers want to challenge the reader, to provoke them and to entertain them. We also want to design on the edge – or at least to tip our hats to the edge – and acknowledge the design era in which we practice. We want to serve the profession and the art of typography. But how? The way to create expressive typography is to predigest the copy, understand the message, and show off its meaning and its importance to the reader. This cannot be separated from the editing process. Know what the thrust ought to be, then make that point clear through design choices.
Contrast type style, size, weight, position, color, or treatment to show hierarchy and give enough information for the reader to decide whether to become involved with the text, where the story really is.
Gui Bonsiepe wrote: “Design means, among many other things, arranging elements into a whole that makes sense… In typography, order is mainly a question of relationships within groups of elements and the distribution of these elements on a page.” Bonsiepe defines two kinds of order: 1) The order of the system in which each type element is a part. Fewer differences between elements increases the degree of order of the whole. 2) The order of arrangement refers to the precise way elements relate to each other and the frequency with which elements align. Read and absorb full :) Book Excerpt: Thinking in Type: The Practical Philosophy of Typography