Stereo Graphics

Going beyond the 2-dimensional (2-D) world back-lit screens, modern image makers are getting their hands dirty making products of graphic quality and dabbling with spacial layout for their final design using paper, wires foam boards and other objects.

Here is a collection of an extracted material from a book called “Stereo Graphics: Graphics in New Dimension” that i found very interesting.

"2008 Quebec annual graphic design studios guide, 2008" by Julien Vallée Grafika

In this work Jullien Vollee has used paper to create a very dynamic composition that represents the merge of 2D and 3D. What i find most interesting here, that in the title “Guide Annuel” he uses the natural thickness of the paper it self in combination with camera perspective to create the weight of the font.

Next example is another work by Jean Jullien, Unlike in the first instance here the author used 2D hand rendered type that is situated in 3D environment.

"Cliche Future" by Jean Jullien

Sweeden Graphics has created this bus stop advert for VI Magazine. Using combination, of paper cut type, Photography and digital 3d renders, designer has successfully mixed 2 and 3-dimensional type, creating a very strong illusion of a 2-d media of how it could work in 3D.

SCAN

Zumtobel by Emillie Rigaud.

This fictive report has been made for Zumtobel, a real Austrian lighting company.
The text is considered here as a raw material: the typographic texture becomes lighter and lighter, then the number of words per page decreases, until the pages become totally white and finally there is nothing left but the intrinsic luminosity of the paper.
The volume letters composing the name “Zumtobel” give rhythm to the book in a playful way, but at the same time they repeat and glorify this name with a bit of irony, as company reports seem to display excessively company’s pride.

What I like in this work is that designer has explored the use of space and how typography made in 3D paper folds interacts with the environment around it.

"Zumtobe" by Emilie Rigaud


"Zumtobe" by Emilie Rigaud

Rationale

I have selected brief number 5 from the range of ISTD 2010 projects.
The brief requires to produce a new edition of 1889 novel called “Flatlands” that tells about Victorian social class system in a form of satirical science fiction. Apart from having a strong insight into the social world of Victorian times, the novel is an incredible blueprint for scientific breakthrough on laws of dimensional space and the formation of our universe.

Personally I have a lot of interest in the subject from both points of view , in terms of understanding the evolution of social classes and from mathematic/scientific point as well. But I would like to undertake this project strictly from the point of view that deals with understanding dimensions.

My aim is to present a new edition of a novel in a multidimensional space, where typography could be explore in not just a flat 2-dimensional form but in 3D, time and possibly 5-dimensional space.

In this project I would like to explore the possibilities of introducing an extra or a less dimension to the original 2-dimensional view o typography and explore it through print.Ideas
My final outcome would be a box set containing a number of folded brochures and brodsheets that would not only provide the whole content of the book, but also include a typographic manual that will explain dimensions in a simplest form possible.

I would imagine that my demographic would capture quite a wide range of skilled professionals in the areas of science,math and design.

My idea to represent typography in multidimensional space is to create an edition of a book that would read in more then just 2 dimensions here is a step by step example how it could be done.

Type in one dimension:
If we would observe type in one dimension it would appear to us a series of lines and dots. And such things as paragraphs and line spacing simply would not exist, because everything is placed in terms of just right and left.

Type in 2 dimensions:

Typography as we see it every day in magazines, books and newspapers could be considered a representation of type in 2-dimensional space as it lies on a page as a flat(even though the page itself has thickness and is a 3-dimensional object).

Just as it works on a flat surface we could bring type into 3-dimensional environment by either adding space or depth to it. Such techniques as embossing or die cutting could work well as a representation of type in 3-dimensional space.

Embossed type

Die-cut type

To represent 4th dimension , it is possible to use stacks of die cut -type over the number of pages, so as the viewer flicks the pages the thickness changes and as a result type changes over time.

Finally we get into an attempt to represent 5th dimension in print. So far the only possibility I see is representing it through use of hypertext,,using an alternative layout, font size or combination of type characteristics over a number of pages. 5th Dimension Link

Subtitles

Subtitles represent another typographic solution of presenting type in time. As every bit of speech is transcribed in written from the placement and form of typography changes the form o the visual element.

The 5th dimension

From my point of view “Flatlands” represents a perfect description of typography as a form. Because the majority of type as we experience it comes in 2-dimension form. The fifth dimension is explained as something that exists in 3-dimensional space and evolves over time and also is able progress in more then one routines. If we were to transform this into typographic terms we would arrive to a decision that typography in 5-th dimension could be represented as hypertext.

Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links which provides a new context for non-linearity in “literature” and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.

In print that could be achieve through a use of references that lead the reader to a multiply amount of choices. One of the greatest examples of that would be Vladimir Nabokov;s “Pale Fire”.

Rita Toewes gives an interesting outlook on hypertext fiction in her article LINK

Title sequences as type in 4-dimensional space

Another interesting way to represent type in 4-dimensional space, is as it done in film, title sequence.Unlike in print title sequence presents type in evolving environment , that changes over time. Here is an example of title sequence designed by Kyle Cooper, from a film called “Seven”.

Type in time

If we were to think of he most common example of how to represent type in 4-dimensional space the first thing that comes to mind is books, every time you flick a page the tyope setting you examine changes, it might not be the same type of body text, same paragraph or even same text but as we experience type as an observer we accept it as it is in 4 dimensional space already, because as we look at it it in a moment it moves with the time.