LCC MAGD 2015

MAJOR PROJECT
DEFINITION I UNIT 2.3
WERONIKA RAFA
TABLE OF
CONTENT

interactive features

works after clicking on:

word --- a link to another page

appears after rolling over:

[word]-- a reference to Unit 2.2
word*-- a term definition or
additional information

research aims and

1 2 5 audience
question objectives

context:
context: field context:
9 10 survey and 12
of study survey
review

action plan:
13 14 15 17 18
methodology

action plan: proposed

evaluation output bibliography 24
schedule bibliography
RESEARCH
QUESTION

Can the idealised notion of romantic love, manifested through

cliché catchphrases from a reality TV show the Bachelor, be
questioned through playful use of typography and lettering
based graphic wit, which invites the recipients’ participation?

What is
it about?
AIMS AND
OBJECTIVES

In my exploration I would like to By choosing to work with

direct the recipients’ attention at
the idealised notion of a fairy tale
romance, specific for Western
culture and reinforced through
the language of popular media.
linguistic material I will additionally
explore the power words and
phrases have in shaping the
before mentioned concept.

I would like to make people

aware how culturally developed
concepts influence their beliefs
and choices. As an example I will
use the perfect romance fantasy.*

My aim would be to encourage

the audience to question
this fantasy and reflect on
what love means to them.

As a result I would like to propose

to cherish reality more than the
mentioned, idealised expectations.

How is it
beneficial?
AIMS AND
OBJECTIVES
(FIRST DRAFT)

Credland, T. (2015) The study would explore the most
Price, V. (2015)
Rose, G. (2015) cliché catchphrases from the reality
TV show the Bachelor, American
edition. These expression would
be a metaphor or a symbol for the
idealised notion of romantic love,
popularised through media, pop
culture and linguistic expressions.
The research would progress
through the use of typography
and lettering based graphic design,
aiming to challenge the implied
message of the phrases. One of the
employed methods would be to
include humor and graphic wit* as
a way to mock cliché concepts.
The study would explore the most
cliché catchphrases from the reality
TV show the Bachelor, American
edition. These expression would
challenge the implied message of
the phrases. One of the employed
methods would be to include humor
and graphic wit* as a way to mock
cliché concepts. The study would
explore the most cliché catchphrases
from the reality TV show the Bachelor,
American edition. These expression
would be a metaphor or a symbol
for the idealised notion of romantic
love, popularised through media, pop
culture and linguistic expressions.
The research would progress
through the use of typography
and lettering based graphic design,
aiming to challenge the implied
message of the phrases. One of the
employed methods would be to
include humor and graphic wit* as
a way to mock cliché concepts.

What are
be a metaphor or a symbol for the
idealised notion of romantic love,
popularised through media, pop

the areas?
culture and linguistic expressions.

The research would progress through

the use of typography and lettering
based graphic design, aiming to
AUDIENCE

The intended audience are

adults familiar with the
concept of a perfect romance
fantasy, who understand its
prevalence in Western culture.

As I am choosing to work with

linguistic phrases formed in
the English language the
recipients have to understand
it on a communicative level, to
participate in the message.

The knowledge about the structure

of the Bachelor is not needed for
the audience, but they should be
familiar with the concept of looking
for love on the national television.

The idea for the research

challenging the fantasy of a
perfect romance is based on

Who is it
an issue relatable to everyone
growing up in Western culture.
The outcomes should benefit

aimed at?
the audience by suggesting
that picture perfect romantic
love is a cultural construct*, not
necessarily based on reality.
CONTEXT: FIELD
OF STUDY

The study would explore the

fantasy of a perfect romance
as manifested through the most
cliché catchphrases from the
reality TV show the Bachelor,
American edition. These
expressions would act as a
symbol for the idealised notion
of romantic love, popularised
through media, pop culture
and linguistic expressions, I
have worked with before.

From a design standpoint

the research would progress
through typography and
lettering based artwork,
created to involve the recipient
in experiencing the message.

The desired participation

What are
would be achieved either
through graphic wit*,
because of the use of
interactive design methods or

the areas?
as a combination of those.

CONTEXT:
SURVEY

The Bachelor is a franchise in in them waiting for a romantic

which traditional courtship ideals encounter that may never happen.
are mixed with contemporary
In her research on the ways
attitudes. It takes place in a
how television affects people’s
vacuum-sealed alternate universe
beliefs Julia Lippman said that
that barely resembles the world
in which real people actually date, romantic ideals that people hold
as stated by Goldstein (2014). often correlate with the types
of media messages they are
Nighteen season in, the Bachelor exposed to.(2014) This confirms
is the most popular dating my reflections on the subject.
show on TV, with the record set
Reality TV shows about finding
by season 2 finale watched by
love are based on these idealized
26 mln viewers. Goldstein says
romance expectations, born and
the show relies on the simplest
developed in Western culture.
premise: our all too human hope
By using certain language and
that you can find love anywhere,
show-specific catchphrases (e.g.
anytime, with anyone. (2014)

What
This is the most dramatic rose
From what I have researched ceremony*) the producers form a
similar expectations fit into the structure that becomes a recipe

informs
idea of a perfect love, reinforced for falling for another person.
by romantic comedies, fairy tales
Additionally, people participating in
and certain idiomatic expressions.*
these shows tend to repeat certain

the project?
I believe that by receiving
all this information people
subconsciously assume that
some of it is true, what results
sentences to create a narrative or
describe the way they are feeling
at the moment (e.g. I can see
myself falling in love with him*).
CONTEXT:
SURVEY

I think that similar responses show

the human need for connection
and believing in the ideal romance
fantasy, under the assumption that
[perfection] would equal happiness.

Exploring the issue with interactive

or inviting participation, [witty]
graphic design is my way to
connect with the recipient and
make the project more relatable,
interesting and less threatening.

In general, it is not common

to discuss and question one’s
romantic beliefs, as they are a
personal and emotional subject.
Because of that, people may

What
not want to question the idealised
romance fantasy, as this concept
is something already familiar for

informs
them and believing in it is safe.

I feel that visually engaging,

sometimes funny or even

the project?
inappropriate graphic design
is a good approach to
explore such intimate and
culturally coded concepts.
CONTEXT: SAID BY THE BACHELOR NEGATIVE VOCABULARY
THE BACHELOR
CATCHPHRASES
SAID BY CONTESTANTS NEEDS AND DESIRES

SHOW SPECIFIC VOCABULARY EMOTIONAL VERBS

POSITIVE VOCABULARY DRAMATIC VOCABULARY

She/he isn’t here for I didn’t realize it would I’m not here to make friends. I’m definitely falling for him/her. Can i steal you for a second? I’m 20-35 and this is my
the right reasons. be this hard. last chance to find love.

[City name] is the most This isn’t going to be easy. I’m in love with two If that’s the kind of guy/ This helicopter ride I really want the first
romantic city on earth. different people. girl she/he likes then maybe helped us overcome our impression rose.
I shouldn’t be here. fears and fall in love.

I have something I need time with him/her. There’s only one rose on This is the best group When you’re ready. He/she deserves to find love.
important to tell you. this date and I want it. of guys/girls ever.

We’re in this beautiful hotel, I hate group dates. This is the most dramatic This is the most dramatic This is the final rose tonight. I can see myself falling in
it’s perfect for finding love. rose ceremony ever. finale in bachelor history. love with him/her.

The men/women tell all. I knew it from day one. [Whatever action] is just I’m starting to feel We have a great connection. Take a moment and say your
like falling in love. something for him/her. goodbyes.

Will you accept this rose?

CONTEXT: SURVEY
AND REVIEW
(RESEARCH DEVELOPMENT
SINCE UNIT 1.3)
Since the previously stated
proposal I have been exploring
the meaning of romance related
English idiomatic expressions
and how their content could
be altered with the use of
lettering and typography.
Even though I am proposing to
change the linguistic material,
both idioms and the catchphrases
imply the possibility of a perfect
romance and in that way they
both relate to the research aims.
I approached the idioms by
employing different methods
of graphic wit*, to question the
What was
subconscious message they
carried. From all the experiments
the most effective ones provoked
consulted
the reaction from the audience,
by making a connection with
recipients and inviting them
to experience the design.
& deduced?
As mentioned by McAlhone
and Stuart: The idea has to be
‘seen’ or decoded (...) Wit invites
participation because it asks the
reader or viewer to take part in the
communication of the idea. It is as
if the designer throws a ball which
then has to be caught. (1996)
Knowing the right semantic
encoding* people can participate
in the design message. I believe
it forms a dialogue between a
reader and a designer, what is
something I would like to explore.
At the beginning I looked into
the work of Mirko Borsche
and David Shrigley to explore
[achromatic design]. Both sources
manage to use black and white
in an expressive way, showing
the playfulness of the form.
By conducting the expressive
[expressions] experiment I was
trying to prove that limiting the
colour directs the attention to
the form and the message. The
experiment did not produce
relevant outcomes, as the results
drifted away from the subject.
CONTEXT: SURVEY
AND REVIEW
(RESEARCH DEVELOPMENT
SINCE UNIT 1.3)

During [Type, Time and Space] would let me develop as a

workshop with Amandine graphic designer. It would be
Alessandra I was able to explore my goal beyond the course.
the impact of black and white
again. I reassured myself that
using those two colours makes
a strong statement when
working with typography.

Reflecting on the workshop now

I can see that a lot of my later
[exploration] was somehow
related to what I did for 2.1. Most
importantly, I have started to enjoy
the all-manual process introduced
when making the posters. I have
found out this way of working may
result in the outcomes that would

What was
have been harder to get from a
computer. It is important to notice
that all my [posters] were based

consulted
on a loose grid, what was different
than the [idiom] experiment.

I am wondering what impact

& deduced?
could I get if able to [connect]
the two approaches: the clean
and geometric with the expressive
and emotional. I believe this
CONTEXT: SURVEY
AND REVIEW
(RESEARCH DEVELOPMENT
SINCE UNIT 1.3)
Coming back to the workshop,
another advantage was having
to work in three dimensional
space. This made me discover
how the [surrounding] (lights,
shadows, the elements) influences
what I make. I have also started
to crop the photos applying
the principles of Swiss graphic
design (to create a connection
with the previous stage). This way
of capturing continued [later].
The main difficulty that had
emerged was whether to
continue working with the idioms. I
realised they represent only part of
the idealized romantic expectations
What was
people have, so I started to
broaden the [field of enquiry].
consulted
The idea to use reality TV seemed
interesting because of the not
scripted yet staged nature of the
shows. The catchphrases from
& deduced?
the Bachelor, in their exaggerated
form, are a good representation
of the imagined, perfect romantic
connection. Linguistically, they
are partly regular sentences,
partly slogans, what is similar
to idioms and proverbs.
The difference between these
phrases lies in the context they
appear – idioms are learnt with
the language acquisition* while
catchphrases develop because
of the need to express certain
information. I have learnt they may
refer to the show’s branding (This
is the final rose tonight* - said by
the host, during every episode.) or
be a part of the show’s vocabulary,
because they have been repeated
in previous seasons (She’s not
here for the right reasons. I can
see myself falling for him.).
I used these phrases in the primary
research exploration, trying to
distort their message. The idea
behind it was to use [digital] and
[manual] processes as a metaphor
for challenging the belief of a
perfect romantic love. By exploring
legibility with typography I was
hoping to find the optimal balance
CONTEXT: SURVEY
AND REVIEW
(RESEARCH DEVELOPMENT
SINCE UNIT 1.3)

between distorting the phrases and The projection and video

keeping them readable. The results
were visually attractive enough
to connect with the recipient, but
their message was not completely
clear. Still, I consider them useful,
because they let me to represent
the implied perfect meaning
imperfectly. These experiments
could be expanded in the future.
experiment combined my recent
approaches (working outside
of the computer screen) with
linguistic play (connecting
words dramatic and romantic)
and with the invitation for the
viewer (by asking a question).

The biggest limitation to all the

outcomes was that they did not
form a sufficient connection with
the recipient. Manually based work
was a bit more relatable, as it was
developed and photographed
in the real world – this way of

What was
exploration could be continued.

Wanting to include the recipient in

consulted
the dialogue, I have transformed
all the catchphrases into questions
and used that as a base for the
[projection] experiment. I think

& deduced?
questions may be a good direction
to follow, because they include the
audience in the process and let
the viewer decide what they think.
CONTEXT: SURVEY The common point of everything

AND REVIEW I have been researching so far is

that all these areas depend on
(RESEARCH DEVELOPMENT
SINCE UNIT 1.3) what is implied and suggested,
rather than directly explained.

Credland, T. (2015) The study would explore the most
Price, V. (2015)
Rose, G. (2015) cliché catchphrases from the reality
TV show the Bachelor, American
edition. These expression would
be a metaphor or a symbol for the
idealised notion of romantic love,
popularised through media, pop
culture and linguistic expressions.
The research would progress
through the use of typography
and lettering based graphic design,
aiming to challenge the implied
message of the phrases. One of the
employed methods would be to
include humor and graphic wit* as
a way to mock cliché concepts.
The study would explore the most
cliché catchphrases from the reality
TV show the Bachelor, American
edition. These expression would
challenge the implied message of
the phrases. One of the employed
methods would be to include humor
and graphic wit* as a way to mock
cliché concepts. The study would
explore the most cliché catchphrases
from the reality TV show the Bachelor,
American edition. These expression
would be a metaphor or a symbol
for the idealised notion of romantic
love, popularised through media, pop
culture and linguistic expressions.
The research would progress
through the use of typography
and lettering based graphic design,
aiming to challenge the implied
message of the phrases. One of the
employed methods would be to
include humor and graphic wit* as
a way to mock cliché concepts.

What are
be a metaphor or a symbol for the
idealised notion of romantic love,
popularised through media, pop

the areas?
culture and linguistic expressions.

The research would progress through

the use of typography and lettering
based graphic design, aiming to
ACTION PLAN:
METHODOLOGY
In the future I would like to explore
the new linguistic content I have
collected and use it to question
the idea of a perfect romance.
I will examine distortion,
friction and juxtaposition of
the semantic layer and the
chosen visual representation.
Because of the need to attract
and connect with the viewer,
I will progress by using the
approaches that are relatable,
interesting, engaging or funny.
Relatable ways of presenting the
subject would involve making
a connection between the
glamorous and romantic world of
the Bachelor and an [ordinary]
life. I would therefore like to place
some of the chosen phrases in
an everyday surrounding, as
typographic installations. In a
Now what?
way by experimenting with the
phrases outside of the digital
environment I would bring the
reality TV back to the reality.
To find inspiration for these
experiments I would like to research
typography based installations
set in unexpected places. Another
area worth mentioning would
be witty comments left in the
public space*, because of their
honest, real and rebellious nature.
As my exploration concerns social
issues, I would like to include
the recipient in experiencing it.
Digital interactive design would
be one of the options, but the
idea of interacting with the screen
does not fit in the overall concept.
Instead, I will research interactive
installations that let the viewer have
some control over the outcome.
By researching design aimed to
invite the recipient’s participation
I will educate myself on the
methods and approaches used
in interactive and participatory
design. This would be conducted
to make my project more
engaging for the viewer.
ACTION PLAN:
METHODOLOGY
Another way to do this would
be by employing the method
characterised as graphic wit. This
way of working seems to fit my
concept, because witty ideas
are all about suggestions and
invitations to participation.
This relates to what I proposed
earlier, in 1.1, with the metaphor
about the grey areas. It is
important for me to encourage
people to reflect on their beliefs
and not follow blindly a concept
that they have been presented.
As one of the sub-areas of graphic
wit is humor, I would like to
explore irony and ridicule some
of the phrases. This would help
in forming a connection with the
viewer, as it (humor) detonates
a shared understanding. When
the witty idea is ‘over and
understood’ it produces a flash of
Now what?
insight and creates a link. It is a
bit like the way two people can
be attracted to each other in a
large meeting by recognising a
common attitude. (McAlhone,
B. and Stuart, D. (1996)) Playful
approach could also balance
the seriousness of the cliché
declarations I am working with.
Practical visual experiments
I plan to undertake will be
typography and lettering based.
I should start by exploring the
new content, visualising it and
photographing the outcomes. The
placement, tools and processes
used to represent the phrases
cannot be accidental. I will care
for their semantic connotations
and possible additionally meaning
they can bring to the outcome.
Because of the power of the
perfect romance fantasy I feel I
should aim to make something
striking and noticeable. One
of the ways to achieve that
would be to experiment with a
bigger scale. A billboard sized
installation could be a good start.
ACTION PLAN:
METHODOLOGY

Another direction, which has

not been fully explored yet, will
be to focus on unconventional
materials and their combinations.

I have started to experiment with

[light] – this could be continued.
I could examine what impact it
has when paired with man made
materials, like concrete, foil, wood,
fabric and with natural surrounding.

The main limitation of the

projections was that they did
not produce anything real, only
the projected representation. I
would then have to consider
writing or painting on/in the
previously mentioned surfaces.

Regardless of the different ways

of exploration I should remember
about my main goal to connect
with the recipients and make the
outcome interesting and engaging.

Now what?
I would have to think of the ways
how could I make them to interact
with the idea and share some of
their own beliefs and opinions.
ACTION PLAN:
SCHEDULE
july
further research on
interactive installation,
secondary graphic wit in emotional
research design, the influence of
light and exhibition and set
design, the reading list
linguistic and semantic
manipulations with the
small scale found catchphrases,
primary research typologising them,
searching for a
new meaning
developing some already
made experiments,
bringing the reality
large scale TV back to the reality
primary research
through typographic
installations set outside,
tumblr development
other academic peer review, sharing the
responsibilities gathered knowledge
august
adding to the research
from July: searching for
the objects and materials
that could semantically
influence the installations
using typography and
lettering to visualise
some of the phrases,
deciding on the best
way to include people
in the outcome
work based on secondary
research from July and
August: typographic
installations and interactive
design, large scale
installation set outside,
tests with interactivity
september october november
adding to the research
from August: ordering
the necessary materials
deciding on the final
outcome (if not decided
earlier), binding the finalising the design,
evidence of the work making last tests
in progress, deciding if necessary
on the way to display
the outcomes
developing and
developing one of
producing the final idea, setting up the outcomes
the typographic
ideas, caring about
promoting the work, for a degree show,
inviting the recipients to documenting it for
including the recipients
come, sending e-mails the portfolio
in the experience
or paper invitations
tutorials tutorials
EVALUATION

In order to evaluate the project I

would have to go back to my aims
and think to what extend the design
outcomes would have met then.
Specifically, will the ideal romance
fantasy have been challenged?

As the whole project is being

developed with the recipient’s reaction
in mind, thinking about the criteria
of evaluation, it seems clear that I
would have to get the outcomes to my
audience and examine their response.

A degree show would be one of the

opportunities, but ideally I would
do this through the internet. The
evaluation would depend on the
interest created by the project and
public response to the outcomes.

How to
evaluate?
OUTPUT

At this point I expect to produce

an installation or a miniature
set design based on a dating
script, where my typographic
outcome would be showcased.

The final piece and the way of

showcasing it would have to be
inviting, so I would ideally like
to produce something that could
be touched, interacted with and
experienced. One of the ways to
achieve this would be to use ordinary,
date-related objects, such as cinema
seats, a table for two or a bench.

As the outcome would have to

be visible from a distance, certain
methods of presentation will not

What could
work. At this point I see potential in
interactive installations, typographic
posters or projections. A careful
attention to details would be

be the
important to make the viewing
experience as real as possible.

outcome?
PROPOSED
BIBLIOGRAPHY

1. Anderson, G.
and Heller, S.
Typographic Universe
2. Antonelli, P. and Hunt, J.
Talk to Me: Design and
the Communication
between People
and Objects
3. Atkins, R., Frieling,
R. and Groys, B. The
Art of Participation
4. Bench.li
5. Designspiration
6. Heller, S. Design
Humor, the art of
graphic wit
9. Klanten,R.,Ehmann,S.
and Sinofzik, A. Taken
by Surprise: Cutting-
Edge Collaborations
between Designers,
Artists and Brands
10. Klanten, R. and
Feireiss, L. Staging
Space: Scenic Interiors
and Spatial Experiences
11. Klanten, R. and
Hubner, M. High Touch:
Tactile Design and
Visual Explorations
12. Saccani, A.
Letterscapes: A Global
Survey of Typographic

What
Installations
7. Heller, S. and Ilić, M.
Lettering Large: The
Art and Design of

will be
Monumental
Typography

8. Klanten,R.,Ehmann,S.

consulted?
and Hanschke, V.
A Touch of Code:
Interactive Installations
and Experiences
BIBLIOGRAPHY

WRITTEN SOURCES

Bruinsma, M. (2004) ‘Official

Anarchy: Dutch Graphic
Design’, Typotheque.

Available at: https://www.typotheque.com/

articles/official_anarchy_dutch_graphic_
design (Accessed: 14 June 2015).

‘Encoding (memory)’ (2015)

Wikipedia.

Available at: https://en.wikipedia.org/wiki/

Encoding_(memory)#Semantic_encoding
(Accessed: 20 June 2015).

Goldstein, J. (2014) ‘The Bachelor’

has a Secret: the Psychology
that keeps Million of Americans
tuned in’, Think Progress.

Available at: http://thinkprogress.org/

culture/2014/05/25/3440927/the-bachelor/
(Accessed: 20 June 2015).

Heller, S. (2002) Design

Humor, the Art of Graphic

What
Wit. Canada: Allworth Press.

Lindorff, A. ‘ The Most

Ridiculous Cliché Lines from
The Bachelor’, Ranker.

was
Available at: http://www.ranker.
com/list/bachelor-cliche-lines/
amylindorff?var=3&utm_
expid=16418821-119.rk_BoRtrRJ
WlKfF9iZbujQ.2&utm_referrer=

mentioned?
https2Fwww.google.co.uk
(Accessed: 20 June 2015).

McAlhone, B. and Stuart, D.

(1996) A Smile in the Mind. Hong
Kong: Phaidon Press Limited.