Work
This is the portfolio, blog and web stream of Lilian Tula – a recently graduated interactive designer with a long-standing obsession for theory, fine art and cats. My current ambition is to obtain a masters within my field to deepen my understanding of theoretical frameworks and their applicability to design and code. However I am also looking to broaden my experiences within the industry and am willing to negotiate work.
colourfeed
With the internet growing exponentially through the use of social networks it is becoming harder to find relevant or interesting information through conventional semantic methods. Search terms provide a black and white interpretation of space within the realm of the internet, allowing users to navigate through the use of words. However, language is abstract and does not always convey the intended meaning. Let’s take colour as an example.
Colour is not just used to describe things on a visual basis. It carries its own connotations and meaning – red is the colour of blood and associated with violence but is also the colour for several charitable organisations. Purple was traditionally associated with opulence but it is also used to describe writing which is so embellished that it is completely out of context. As such, what can we expect by searching for colour terms? What can we expect from searching for blood, violence, charity, opulence or literature?
What I am demonstrating through these visualisations is how information can be displayed according to the colour terms used, and then according to the tags attributed to those colours. I have used Twitter to pull various tweets on the subject of colour – although this could be done with any information on any topic. It allows the user to browse information through the use of both semantic and visual tagging. It allows the opportunity to browse for something specific, or something random. It creates unique colour combinations and word connotations.
It shows that whilst data relies on semantic comprehension there are also other factors which could be included to deepen the meaning of the words attached. By colouring tweets with the colours mentioned within them, we are able to see what colours people are tweeting about right now. We can determine the visual narrative that is unfolding this very minute within the realm of colour – whether it be contempt socialists rebutting Gordon Brown, D&B lovers sharing a remix of a Pink Floyd classic or the occasional English slip in a Chinese tweet.
colourfeed is a commentary on contemporary uses of colour related language, as well as a bridge between visual and semantic tagging of data. It is a rainbow narrative, a concept for more meaningful browsing and oddly voyeuristic. To see live examples, visit colourfeed.me and explore the visualisations.
The Conspiracy of Type
http://www.typeconspiracy.com/
Consider the art of typography as an esoteric art in which secret knowledge and understandings are imposed on the viewer without conscious intervention on their part. Typography is everywhere, and this notion alone makes it susceptible to conspiracy. Just what is being communicated with type, when the typeface itself is screaming its own message?
Thus the conspiracy of type was born – a fictional narrative (or is it?) through which the protagonist has to make their way through a series of puzzles in order to uncover the truth. The first series of puzzles were flash based, telling the story of the narrative through a series of animations. Each animation somehow reflected the nature of conspiracy through enigma codes, hidden messages and a visible grid which is usually a hidden element in design.
Soon the conspiracy grew as new opportunities to expand its reach arose. Instead of having it as a black and white narrative which force-fed the story, why not abstract it? Soon the notion of a government investigation took shape, complete with evidence that supports the conspiracy of typography leaving the viewer to come to their own conclusions about what it could be.
The conspiracy is accompanied by an archive, reflective of browser games such as thisisnottom and not notpr0n. The answers are hidden in plain sight, alluding to the use of other online tools, decoders, and secret messages in the code itself. This concept of secret messages in plain sight is one commonly associated with typography.
For example, Helvetica is commonly perceived as a neutral typeface to which any meaning can be prescribed, but the reality is that it tells millions of stories. Whether it be directions to the nearest train station, the logo of a world famous brand or the opinions of designers in the documentary dedicated to the typeface, Helvetica is anything but neutral. This also made it an excellent candidate for the antagonist of the conspiracy narrative.
lilula Promotional Work
Whilst researching to create a visual method in which to promote myself as a professional I’d decided that I was having an identity crisis. Like many creatives, I feel I’m multifaceted and have several niches and interests which span what is purely creative. But in what way can those facets be represented without becoming too heavy? A professional identity should be complimentary to the ethos, and sensitive to the content.
Given this context, I decided to base my identity on the theme of narrative. There are many aspects of narrative which interest me – abstract, linear, literary devices, psychological devices, exploratory – but most importantly narrative is a recurring theme throughout my work. Whilst it can be said that all visually based projects tell a story (thus is the nature of semiotic theory), my work often focuses on an actual story through which a plot, antagonist and protagonist are at play.
Whilst in some projects this notion of narrative is obvious – the Type Conspiracy which is a scripted piece – others are more abstract. colourfeed provides a narrative on contemporary uses of colour related language, showing that colour is not just used to provide linear visual descriptions but also a powerful metaphorical device which richens our experience of colour. The live Twitter stream is an unfolding story as tweeples add their 140 limited characters to a never-ending story.
This concept itself is the core for my identity. All visual research that spawned from it is simply complimentary to my thoughts as an additional narrative to an already written story. The colours, visuals, processes, research, annotation, typography, grids and photographs are all tributes to previous work as I begin to make sense of how I am growing as a creative both professionally and personally.
More work to come soon as I print business cards, a portfolio and CV.
Salt
http://salt.lilula.co.uk/
http://www.salt-on-everything.co.uk/
This project was part of an assignment in which three other designers and I had to create an identity for ourselves as a group. Our shared love for process and comedy became apparent throughout our work as our identity progressed. Decisions were based upon themes within bodies of work we’d all had a share in, eventually leading us to a niche we all felt reflected us as a group and as individuals.
Since most of the roles were shared in equal parts, all work produced was one of a shared mentality. Therefore I can’t claim to have been the sole creator of the work showcased for this project. However I feel that pieces were the ones in which I had the most influence – particularly as the photographs were set up in my personal study (one of the sources of inspiration for our colour identity).
The website was recently redone to better reflect our identity and give the layout clarity in order to promote the work within. All work can be found at salt.lilula.co.uk. The other designers who partook in this collaboration can be found at their respective websites: Christopher Chatburn, Sophie Colverson and Lee Churn.
Non Objects
Context is often what drives design, and it is the responsibility of the designer to ensure that they communicate effectively within those limitations. A simple gesture can symbolise a great variety of ideas across different cultures, environments and people. Something that was initially thought to be basic or neutral carries a wealth of information which cannot always be controlled. Vandalism is illegal and undesirable, yet locals cover Banksy’s work to preserve the notorious street artist’s pieces. Duchamp’s Fountain is proudly displayed in exhibitions, despite being a urinal. It’s this latter point on which this project was based – the non-importance of objects and the process of recontextualisation of those objects through the medium of art.
Many will testify the importance of stuff – objects which carry value (whether it be emotional, physical or spiritual) and non-objects which have no value whatsoever. The subject of these paintings are non-objects. However, considering the context in which they’ve been placed have they become objects of worth? A burnt camera is rendered useless through destruction, but its value is reinstated when it becomes a painting. Or was the camera always a non-object seeing as it was disposable enough to burn? Dead birds become the subject of a still-life, their bodies long since decomposed. Does it constitute as a non-object? Do we in effect become a non-object in death?
