Writing
↘
INTRODUCTION
You are a black circle ⚫️
in the middle of nowhere, walking_______________________________________ on a long black line following a (non) linear diagrammatic journey. Each decision will lead you to a different path, coming across different elements that will shape your story and help you explore what is around you. A collection of shapes, lines and arrows. A sequence of the simplest diagrammatic elements that all together investigate and communicate something.
tool
The project spreads around a main area of research: The diagrammatic language and its use, with emphasis on its potential to form narratives while exploring how the brain functions. A visual study on diagram elements as facts versus interpretation, clarity versus ambiguity, and subjectivity versus objectivity.
I found myself identifying with how Ricardo Basbaum approaches the diagram, treating it as a “tool for intervention, a sort of drawing (or visual poem) that mediates the dynamic flow between words and images – discursive and non-discursive spaces – or literary and plastic spaces” (Basbaum, 2016). Breaking the boundaries between the classic form of diagrams and illustrations, which consist of simple shapes and lines, I have been using diagrams as a storytelling intervention. A tool to create conversations, stories and “spaces” that people can relate/interact with, or feel lost.
context and content
However, the above are associated with how our brain and eyes are trained to approach graphic However, this is associated with how our brains and eyes are trained to approach graphic elements and connect/create patterns in order to come up with an interpretation. Therefore, what contextualises the project is the brain itself and how its complexity can be explored through a graphic communication lens. A journey where the brain is being transformed, taking new dimensions; revealing how can be visualised using diagrams, and how thoughts are developing.
In contrast to the above objective point of view, the project creates an opposite relationship concerning subjectivity. This is what makes the work more personal, approaching it from my perspective; communicating my personal interpretations around a variety of (random) thoughts and experiences through diagrams, text and images.
medium
I am introducing the artist’s book as a medium that questions the two (objectivity/subjectivity) and allows I am introducing the artist’s book as a medium that questions the two (objectivity/subjectivity) and allows a collection of various printed media (publications, posters, cards), to be packed together, offering to the reader an engaging experience. Taking any form, the artist’s book can be perceived as an object that extends the usual limits of publication and distribution according to three factors that shape its structure; material, form and content (Farman, 2008).
A Brainful of Diagrams takes an alternate form, treated as a medium to explore and record my own concerns around the topic. Nevertheless, it challenges the reader to interact with it and go through the different parts (in any order); observe, analyse, think, and form their own interpretations. A factor that plays a significant role in how the reader perceives each piece of information, is the size of the different printed media as well as the binding and paper choices. Important design decisions I have taken advantage of to communicate something specific based on the purpose and intentions
of the project.
The artist’s book, when packed, takes the form of a stack (105 x 148 mm), visualising the brain that holds a huge amount of information and various thoughts, stacked one over the other, that can then be The artist’s book, when packed, takes the form of a stack, visualising the brain that holds a huge amount of information/thoughts, stacked one over the other, that can then be unfolded and studied. Targeting an audience that is passionate about printing and book production, the artwork is made to be displayed as a one-of-a-kind book, in part of an exhibition.
Figures 1 and 2. Panagi, A. (2022) A Brainful of Diagrams, Artist’s Book.
↘
SELF-REFLECTION
Everything starts from a small idea which then becomes bigger and bigger, to end up living in the real world. Like a tiny circle that with the help of an arrow is passing through a square, following a journey, changing form, becoming stronger and alive.
In my case, it all started with the interest in exploring storytelling through diagrams. Creating narratives in a diagrammatic form that breaks the boundaries between written text and storytelling. An unusual type of language and narration; a different approach that uses diagrams to explore a topic and form a story. LIn my case, it all started with the interest in exploring storytelling through diagrams. Creating narratives in a dia[grammatic] form that breaks the boundaries between written text and storytelling. An unusual type of language and narration; a different approach that uses diagrams to explore a topic and/or form a story. Asking meaningful questions during the design process helped me develop my work and find what interests me as a designer. Investigating a methodology that can be applied in any other project, makes me feel more confident.
I have realised that being as specific as possible with my enquiry; narrowing down my area of research, will provide better decisions that will lead me to new paths, expanding my position in the field of Graphic Communication Design. Focusing on the elements of diagrams (shapes, lines, arrows), helped me iteratively explore these simple graphic forms, and understand their use and meaning (Leborg, 2006) in order then to apply them in my own work. Working with a system based on some rules (line weight, black colour, use of same elements), helped me explore how the reader’s eye can be trained, and how viewers perceive what they see. Worth mentioning is that each person has a different way of seeing and interpreting based on their personal beliefs and experiences (Berger, 2008), well-defined through my earlier experiments.
I strongly believe that the field of Graphic Communication Design can be associated with any other field. It is like using a magic (GCD) lens that allows you to approach and filter information through a design I strongly believe that the field of Graphic Communication Design can be associated with any other discipline. It is like using a magic lens that allows you to approach and filter information through a design angle. This is where the exploration of how a brain functions takes place in my work, treating it with a design lens and not a medical/scientific one. The diagrammatic system I have developed can be applied in a variety of projects. However, the most interesting to me is the construction of a narrative out of simple elements. Creating spaces, and sharing thoughts/stories using elements that can mean anything. What is giving them a meaning/symbolism is their context, layout, and/or the additional text, if needed. Moreover, the size and form of a publication, its paper type and foldings, are also key factors that contribute to the communication and interpretation of a story.
A very important aspect for me as a designer is the realisation of the project. Not only the outcome itself but also the documentation and how I present/communicate my work to the world. Every detail matters, emphasizing the importance of the materials (paper) used that can cause a particular feeling A very important aspect for me as a designer is the realisation of the project. Not only the outcome itself, but also the documentation and how I present/communicate my work to the world. Every detail matters, emphasising the importance of the materials used that can cause a particular feeling (experience) to the reader, and also affect the overall view of the artist’s book I have created. Finding the best possible form to construct and display my work using the most suitable materials, felt like a great challenge.
The whole journey inevitably affected my position in the field. Not only developing my own personal language of visualising/communicating an idea through Graphic Design, but also building my identity as a researcher and creator in the design community. Whatever the following steps will be, the principles are ready to be applied.
Reference List
Basbaum, R. (2016) Diagrams, 1994 – ongoing. Berlin: Errant Bodies Press.
Berger, J. (2008) Ways of seeing. UK: Penguin Modern Classics, pp. 8-9.
Farman, N. (2008) ‘Artists’ books: managing the unmanageable’, in Library Management, Vol. 29, No. 4/5. West Yorkshire: Emerald Publishing, pp. 319-326.
Leborg, C. (2006) Visual Grammar: A Design Handbook (Visual Design Book for Designers, Book on Visual Communication). New York: Princeton Architectural Press, p. 22.