The dialogue with Jasmin Morris —helped me sharpen my inquiry into how various media shape communication. What struck me most was the way Jasmin uses technology to communicate complex social themes, a method that deeply aligns with my own curiosity about the interplay between form, content, and perception in graphic design.
During our chat, we unpacked the ways in which digital and print media influence the audience’s reception and interaction with content. This conversation pushed me to explore the nuances of communication across different platforms. It also gave me a framework to articulate the often-overlooked dynamics of print and digital spaces.
We also discussed the implications of new technologies, especially the ones that are set in 3D spaces, in the creation of digital environments that can evolve in real-time. Her practice made me reflect on my own interests and practices. We discussed incorporating languages and cultures as expressions and how using these mediums we have the potential to explore self expression.
Jasmin’s encouragement to “keep the iterations going,” to explore through short, iterative prototypes. This approach reinforces the idea that experimentation, especially in the digital space, is a key driver of innovation. It’s about using technology not as a mere tool, but as a medium with its own language—a language that can be continually revised and expanded. Jasmin’s own practice highlights how technology can amplify or complicate social themes, adding layers of meaning through real-time interactivity.
By considering these iterations as “short and small prototypes,” I can see how the enquiry can progress without the burden of large, fully-formed projects. Instead, smaller explorations allow for a more fluid process of understanding how the audience engages with typography in different environments. These prototypes could experiment with varying degrees of interactivity—such as creating text that responds to user inputs, or using 3D tools like Blender to transform typographic forms into spatial, animated entities. Each iteration becomes part of a larger conversation between designer, medium, and audience.
Jasmin’s insights pushed me to think about how my own work can delve deeper into this realm. Her suggestion to explore VR and AI systems was particularly thought-provoking. With AI, we can create digital environments that are not just reactive but informed by real-time data, constantly evolving to reflect ongoing societal shifts. This presents new possibilities for typography, where content might not only be shaped by the designer but also adapted based on user interaction or external inputs. The concept of “realistic interactions” could take typography to a dynamic space, where the form, meaning, and perception of text continually evolve.
Jasmin’s encouragement to play, experiment, and iterate will shape the next phase of my exploration, where I intend to further investigate how different media—whether print, digital, or augmented—can transform the way typography communicates and is perceived.