Draft 1
In the chapter titled ‘Methods of Iterating’, I have replicated Katrijn Oelbrandt’s graphic artwork. I am attempting to print the image onto its designated sticker material, which is equipped with a proprietary grid system. By employing a process of meticulous stripping and adhesive application, I amalgamate elements from both images to generate two distinct and original compositions. This fascinating journey allowed me to personally engage in image deconstruction, recombination, and secondary editing within the realm of graphic communication design. Additionally, it opened up possibilities for utilizing sticker materials more practically in graphic design applications while harnessing their unique properties for effective image communication.
In regards to her work, Katrijn stated: “The grid on the sticker sheets is always solid. It gives me a kind of certainty but also gives me the opportunity to burst out of that system and break the rules. It’s a working method that can be used in different ways, by following your gut but also following some kind of premeditated pattern. There are no bad decisions, you just have to play with game and have fun.” Katrijn endeavors to explore the interplay between the original grid on the sticker and the image, utilizing this very grid as a means of disrupting and transcending traditional imagery. The ultimate goal is to create never-ending graphic design in an accessible way.
Draft 2
In the chapter titled ‘Methods of Iterating’, I have replicated Katrijn Oelbrandt’s graphic artwork. I am attempting to print the image onto its designated sticker material, which is equipped with a proprietary grid system. “The grid on the sticker sheets is always solid. It gives me a kind of certainty but also gives me the opportunity to burst out of that system and break the rules. It’s a working method that can be used in different ways, by following your gut but also following some kind of premeditated pattern. There are no bad decisions, you just have to play with game and have fun.”(Katrijn, 2021) It also made me realise that the unique properties of the sticker material are ideal for application in children’s logic puzzle books as it can increase audience interaction and engagement. Furthermore, as the text behind the paper can be revealed by peeling off the stickers and the screen can be covered by the labels, I found it possible to explore different narratives of the story at the same time.
Furthermore, it was because Beatrice Warde concluded that design (the glass) should be a transparent vessel for content (the wine) that I as a designer needed to provide relevant and more impactful design for content and to empower content. Besides, Rizzoli (2013) noted the children’s book is the purest venue of the designer/author because the content is negligible and the evocative potential of the form unlimited. potential of the form unlimited. I feel the same way about this, the form is unlimited and has a great potential to engage our audience. In terms of narrative, I wanted to break away from the original linear narrative and also try to adopt a non-linear narrative approach. Rizzoli also believed the genius of Hitchcock’s film direction was his ability to mould the form into his own style in a truly unique and entertaining way, and the meaning of his work is not in the story but in the storytelling. Therefore, how to narrate a story or make the audience read the story better is the most important thing for the whole story, so the key question I ask in this new context is “How can we use sticker materials to achieve graphic narrative in children’s logic puzzle book and to increase the visual experience and interactivity for the audience?”
In the final experiment of the third week, I challenged the fixed grid system by using a sticker material without an inherent grid structure. Throughout this experiment, I enhanced both color and material of the paper, carefully cut it, and reshaped the sticker. As a result, I discovered that it created a more captivating and multifaceted visual effect while also increasing audience engagement. Additionally, to effectively convey graphic narrative arrangement, each image was thoughtfully organized chronologically with deliberate connections between them. The storyline itself is relatively simple as it aims to create a relaxed atmosphere suitable for children audiences with clear and concise storytelling. Ultimately, through this iterative process, I fully realized that sticker materials offer limitless possibilities in graphic design. The act of peeling and pasting stickers inherently invites viewer interaction while also allowing exploration into sequential interpretation through actions such as peeling and covering – which greatly appeals to me.
Reference
【1】’Fuck Content’ Multiple Signatures: On Designers, Authors, Readers and Users New York: Rizzoli [1996] [2009] 2013 pp. 45–56, 91–95
【2】Katrijn OELBRANDT plays with the grid systems of sticker packs in an innovative tactile twist (no date a) It’s Nice That. Available at:
https://www.itsnicethat.com/articles/katrijn-oelbrandt-stickers-030321 (Accessed: 03 March 2021).
Draft 3
In the chapter titled ‘Methods of Iterating’, I have replicated Katrijn Oelbrandt’s graphic artwork. I am attempting to print the image onto its designated sticker material, which is equipped with a proprietary grid system.
“The grid on the sticker sheets is always solid. It gives me a kind of certainty but also gives me the opportunity to burst out of that system and break the rules. It’s a working method that can be used in different ways, by following your gut but also following some kind of premeditated pattern. There are no bad decisions, you just have to play with game and have fun.” (Katrijn, 2021)
It also made me realise that the unique properties of the sticker material are ideal for application in children’s logic puzzle books as it can increase audience interaction and engagement. Furthermore, as the text behind the paper can be revealed by peeling off the stickers and the screen can be covered by the labels, I found it possible to explore different narratives of the story at the same time.
Furthermore, it was because Beatrice Warde concluded that design (the glass) should be a transparent vessel for content (the wine) that I as a designer needed to provide relevant and more impactful design for content and to empower content. Besides, Rizzoli (2013) noted the children’s book is the purest venue of the designer/author because the content is negligible and the evocative potential of the form unlimited. potential of the form unlimited. I feel the same way about this, the form is unlimited and has a great potential to engage our audience. In terms of narrative, I wanted to break away from the original linear narrative and also try to adopt a non-linear narrative approach. Rizzoli also believed the genius of Hitchcock’s film direction was his ability to mould the form into his own style in a truly unique and entertaining way, and the meaning of his work is not in the story but in the storytelling. Therefore, how to narrate a story or make the audience read the story better is the most important thing for the whole story, so the key question I ask in this new context is “How can we use sticker materials to achieve graphic narrative in children’s logic puzzle book and to increase the visual experience and interactivity for the audience?”
In the final experiment of the third week, I challenged the fixed grid system by using a sticker material without an inherent grid structure. Throughout this experiment, I enhanced both color and material of the paper, carefully cut it, and reshaped the sticker. As a result, I discovered that it created a more captivating and multifaceted visual effect while also increasing audience engagement. Additionally, to effectively convey graphic narrative arrangement, each image was thoughtfully organized chronologically with deliberate connections between them. The storyline itself is relatively simple as it aims to create a relaxed atmosphere suitable for children audiences with clear and concise storytelling. Ultimately, through this iterative process, I fully realized that sticker materials offer limitless possibilities in graphic design. The act of peeling and pasting stickers inherently invites viewer interaction while also allowing exploration into sequential interpretation through actions such as peeling and covering – which greatly appeals to me.
Reference
【1】’Fuck Content’ Multiple Signatures: On Designers, Authors, Readers and Users New York: Rizzoli [1996] [2009] 2013 pp. 45–56, 91–95
【2】Katrijn OELBRANDT plays with the grid systems of sticker packs in an innovative tactile twist (no date a) It’s Nice That. Available at: https://www.itsnicethat.com/articles/katrijn-oelbrandt-stickers-030321
(Accessed: 03 March 2021).
