I believe I have always started with this question in the back of my mind. I wanted to think economically in solving problems, so I though how many multiples I could get out of 1 object. This helped me think within the third dimension to solve this problem. I wanted to apply this experimental question within a real application to make the experimental process more practical, so this exploration would be used for environmental signage. Reading multiple messages or a single message from different angles and distances will ultimately increase retention of the viewer. Seeing the words "exit left" once while driving very fast might be difficult to read altogether or comprehend, if placed at certain angles and repeated within a single form, you will get double the retention with half of the economical space; you wouldn't need to create two of the same signs to succeed.
Narrative helped me learn to make the project more exciting and fun by finding words and definitions that reflected the essence of the question. The most successful of the word combination was "united & divide." Two contrasting words to represent 2 contrasting planes fusing within one form was a successful experiment of words and narrative in itself. After all the reading, I've finally realized that image and type can coexist, this experiment has taught me that type and image can only do this if they respect the space they're in.
The question at hand had great potential through the many levels of distances, perspectives, and number of messages created. The unknown element of what the message will turn into and at which angle I will read it at, gives a sense of anticipation and creates more interest. The anticipation kept me dedicated, reflecting, and asking more questions. The results kept getting more interesting and opening up more options and more experiments. Sometimes the results of flattening the 3 dimensional forms into silhouettes were more dynamic that the 3D.
From transparency of layers to bending flat forms for successful reads at different distances through scale and color (more than 2 letters), to a modular grid structure that can be interchangeable through tessellation; the experimenting of this one question kept opening up more and more options, questions and techniques to solve this problem. Even though I have found several ways to succeed at answering my question, to a certain degree, I know that there are more and more ways to push this idea and to efficiently solve the economics of my question.
I've learned through these series of experiments that two or more messages can be economically be present within a single form. I've also realized that the Z-axis holds an infinite amount of opportunities to create letters and messages that viewers are much more prone to comprehend. My digital and physical craft has improved from the multiple iterations of grid work, 3D Google Sketchup, foam core prototypes, etc. I believe the level of thought, work ethic, time and narrative put into this project reflects the standard expected of a Typography IV experimental exploration.
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