WebExpo Talk #2: Elis Laasik

Beyond Design Tools: Prototyping in code

In this second post, I want to recap the talk of Elis Laasik at WebExpo 25, where she discussed the topic of design prototyping in code. Elis, with her extensive experience in the field, explained how prototyping using basic HTML, CSS, and JavaScript—along with some JavaScript frameworks—can be an efficient way to approach web development. She highlighted that this method is especially valuable in professional contexts, where prototyping plays a crucial role in shaping the user experience, testing ideas, and ensuring that the final product aligns with business goals.

One of the main points that Elis emphasized was that these prototypes don’t require a backend or a database. Instead, the focus is entirely on the front-end elements, like the user interface and customer journey. This approach allows teams to test how the website or app behaves in real time, which can be much more useful than static design mockups. Since the prototype is coded directly, it is much closer to the finished product, giving stakeholders a more accurate sense of how the final product will look and function. The fact that it’s interactive and responsive adds another layer of realism to the process, which can be especially valuable in understanding the user experience.

This approach to prototyping really stood out to me, as it closely mirrors the way I work on personal projects. When I’m building a website on my own, I tend to start coding right away, rather than creating a design in tools like Figma first. I find that coding a prototype feels more “real” because I can see the project develop as I work on it. It also allows me to directly address how the website will behave, rather than just looking at a static design. I could relate to what Elis was saying because, for me, starting to code early gives a more authentic sense of the project’s progress and helps me figure out how the website will work from a functional perspective.

Elis also mentioned that prototyping in code can be particularly useful when dealing with complex user interactions or when there is no shared vision across the team. By coding the prototype, it’s easier to explore different solutions and test how users will actually engage with the site or app. This kind of flexibility and control can be crucial in situations where the design needs to be flexible or constantly evolving.

That said, Elis pointed out that there are certain scenarios where using code for prototyping might not be the best approach. For smaller projects or when branding design is a significant focus, she suggested it might be better to start with a traditional design tool like Figma. In these cases, the need for high-fidelity visuals or design accuracy might take precedence over functionality in the early stages. I completely understand this perspective, especially when the main goal is to define the visual identity of a brand before diving into the technical aspects.

In conclusion, Elis’ talk provided a lot of valuable insights into the practical use of code-based prototypes. It was interesting to see how this approach is applied in professional environments and how it can be a useful tool for creating realistic, interactive designs. For me, it reinforced the idea that prototyping with code isn’t just about creating something functional—it’s about exploring possibilities, improving user experience, and aligning the product with business objectives.

WebExpo Talk #1: Nadieh Bremer

Creating an effective & beautiful data visualisation from scratch

The field trip to Prague is over, and I’ve been thinking about the really interesting talk by Nadieh Bremer. Nadieh is a freelance data visualization designer from the Netherlands, and her work focuses on turning raw data into interactive and static visual art. It was fascinating to see how she approaches data, especially since my interest in data visualization started a few years ago during my bachelor’s in graphic and information design. This talk made me think in new ways about the potential of visualizing data, and I’m excited to dive deeper into it.

One of the things that stood out to me the most during the talk was how Nadieh works with D3.js, a JavaScript library for creating (interactive) data visualizations. I was amazed by how quickly she could take raw data—just numbers—and turn them into beautiful, meaningful visualizations. She made it look so easy, and the fact that she could transform the data into something visually stunning in such a short amount of time really caught my attention. I had heard about D3.js before and had been meaning to check it out, but like most people, I never had the time. So, this talk came at the perfect moment for me, and it made me realize just how powerful and useful this tool is for working with data.

As someone who has mainly worked with data in print media, I’ve always focused on static visualizations. Most of the techniques I’ve learned are for creating things like printed charts, posters, or other fixed formats. But seeing how Nadieh used D3.js to create interactive, dynamic visualizations opened up a whole new world for me. The idea that data can be more than just something to look at on paper—that it can be experienced and interacted with—was something I hadn’t fully considered before. With D3.js, the data is not just displayed; it’s alive and engaging. You can hover over elements to get more information, zoom in to explore trends, and see the data change in real-time. This is something you simply can’t do with traditional print media, and I’m excited to explore how I could bring this kind of interactivity to my own work.

What I also found really interesting was how data can be art. Nadieh’s visualizations weren’t just about presenting data clearly; they were also about making the data visually appealing and impactful. She showed that data visualization doesn’t have to be cold or purely functional—it can be something beautiful. This idea was a bit of an eye-opener for me, as I’d always thought of data as something to be communicated in a straightforward, no-frills way. But seeing her work made me realize that data can be both informative and artistic, and it’s something I want to try in my own designs.

The talk really showed me the potential of D3.js and how it can take data visualization to a whole new level. It’s not just about making a chart or graph anymore. It’s about telling a story through data, using color, motion, and interactivity to make the information more engaging and easier to understand. This is something that I think would take much longer to achieve using traditional print techniques, and it’s a huge opportunity for people like me who are interested in graphic design and information design.

Overall, I’m really glad I got to experience Nadieh’s talk. It made me realize just how much more there is to data visualization and how powerful tools like D3.js can be for creating engaging, interactive, and even artistic visualizations. I’m excited to start experimenting with D3.js myself and see where it takes me. I’ve learned that data doesn’t have to be static and technical—it can be creative and expressive, even be used in an artistic sense. And that’s a new perspective I learned and will keep in mind as I continue to work with data.

Speed Dating: Prototyping

This post will be a quick recap of the speed dating session at the start of the semester. The goal was to create prototypes for a possible master’s thesis topic. In class we divided into two groups and talk about each others prototypes in a small amount of time. Due to my decision on swapping majors after the first semester, this task was a challenge for me. I had no clue what to do actually and just tried to connect my previous knowledge with the goal of this task. My love for typography always played a big role in my work and I tried to develop a playground to interact with letters and their movement.

The first concept was to have some kind of object that will is suppused to be thrown against a wall. It should invite people to let out their emotions. Imagine it like a rage room but the collision of the object and the wall is interactive. Depending on the speed of the object, the wall displays a collection of words as type.

The second prototype was a more relaxing way to interact with typography. Based on movement and impact on pressure plates, the wall shows different letters being formed by the people. My idea was to show their behavious in form of typography. Letters are always expression a kind of personality. In this case I want the people to connect with letters and get to know the power of expression through typography.

Class Feedback

It was interesting to see that noone acutally understood what I actually wanted to express. This also lead to a feedback saying the second concept could be offensive to some extent. As I mentioned in the first paragraph, it was hard to create something understandable as a lofi prototype, so I understood the reactions and i tried to reflect how I could make it more understandable. So I knew I had to get more experience to learn more about prototyping and interaction.

Prototyping a Data Visualisation Installation

In this second part of the IDW25 recap I want to talk about the prototype I created of my CO2 project. The goal for me was to build an installation to interact with the data visualisation. For this I chose makey makey and built a control mechanism with aluminium foil and a pressure plate. To send the data from processing to the projector I used Arena Resolume. My concept was based on the CO2 footprint. So you activated the animation with steping on the pressure plate. Here are first sketches of my idea.

I thought about making an interactive map where you step on different countries and realease fog in a glas container. But that was too much to create in one week so I reduced the concept to projecting the boundary I showed in my last blog post. I kept it simple and connected the makey makey to aluminum foil to control the time line with a finger tap. The processing output is being projected on the wall.

Conclusion

It was interesting to get to know the possibilities of the used technology to visualise data and therefore I had a lot of fun during production. I will definitly keep working on this project to see where it can go. Also expand the data set to compare more countries. In the first part of the blog post I mentioned that there are probably better programs to make more visually appealing animations for such a topic. But for a rough protoype this was completly fine.

Data Visulisation with Processing

The International Design Week 2025 is over and this first part of the blog will be a recap of my process. I joined the workshop #6—Beyond Data Visualisation with Eva-Maria Heinrich. The goal was to present a self chosen data set on a socio-political topic. I chose a data set on the Co2 emission worldwide per country (https://ourworldindata.org/co2-emissions). The process started with evaluating the data span I want to show and the method of visualisation. Because the task of the workshop was to present data in an abstract way and to step back from the conventional methods, to make the experience more memorable.

Cutting the Data with Python

So to get a specific range of data to make a prototype i used python to cut the csv file to my liking. I used the pandas tool for python to manipulate the file. At first I wanted to compare three countries, but later in the process I realized that this goal was a bit too much for the given time, since I haven’t used python like this before. It was a nice way to get to know the first steps of data analysis with coding.

I created a new csv file with a selected country, in this case it was Austria in a time span from 1900—2023. Now it was time to visualise it.

Let’s get creative!

In my research on how CO2 was being visualised before I looked up some videos of NASA showing how the emission covers the world. I got inspired by this video.

I chose processing to create my own interpretation of visualising emission. In hindsight, there are probably better tools to do that, but it was interesting to work with processing and code some visuals relative to a data set. I created a radial boundary which is invisible. Inside this shape, i let a particle system flow around which is relative to the CO2 emission in the specific year, shown in the top left corner. This visualisation works like a timeline. You can use your LEFT and RIGHT arrow keys to go back and forth in 10 years steps. The boundary expands or be reduced, which depends if the emission of that year is higher or less. The particle system also draws more or less circles, depending on the amount of CO2.

After the workshop was done I tried out other methods to make the particle system flow more and create a feeling of gas and air.

Conclusion

The whole week was a nice experience. I got to try out new techniques and tools and create something i never done have before. A problem I encountered was the time. It’s hard to estimate what you can do, if you try out something completly new. The presentation day at the end was really inspiring and emotional to see what the all the other students have created and talking about their process and results.

Between Space and Sound—How Instruments Can Shape the Room

As an interaction design student, I’m always fascinated by how technology, form, and human experience intersect. Recently, I read the paper “Exploring Design Patterns for Spatial Instruments” by Enrique Tomás, Florian Goeschke, and Martin Kaltenbrunner—and it offered a fresh perspective on how sound can be more than just something we hear. It can be something we shape, move, and play with in space. The authors argue that spatialization tools—the systems and interfaces we use to place and move sound in 3D space—should be considered musical instruments in their own right.

What I liked as a designer

What stood out to me is how the authors focus on the user—how artists and performers find creative ways to control spatial sound, often by reusing or adapting existing tools. It reminded me that great design doesn’t always start from scratch.

I also loved the idea of music as space—that sound can actually shape how we feel in a space, not just exist within it. That concept feels very close to interaction design, where space, experience, and emotion often connect.

Things that could be improved

At times, the paper was very technical and hard to follow, especially the parts about synthesis techniques and mathematical descriptors. As someone without a lot of experience in this field, I found myself getting a bit lost sometimes. I would have loved more diagrams or simple examples to make some of those parts easier to understand.

Also, while the artistic examples are great, I wish there was more discussion about how these instruments could be made more accessible—both in terms of cost and learning curve. A lot of the setups seem very complex or custom-built, which makes it harder for newcomers to try them out.

Interesting Case Study

The most exciting example for me was Tangible Granular Spatialization. It’s a physical object you play with your hands, and the sounds you make are analyzed and broken into small pieces (sound grains). Each grain is sent to a different spot in 3D space based on its timbre. So when you change the texture of your touch, the sound doesn’t just change—it moves differently in space. That’s amazing to me. It turns sound design into a physical, spatial performance.

A tangible score. Photo Elisa Unger

As a designer, it makes me ask:

What other objects could work like this? How can we make sound feel more tactile and intuitive? Can we design interactions where space and sound feel like one thing?

Final Thoughts

This paper reminded me that sound isn’t just something you hear. It can be something you move, something you sculpt, and something that can even shape your perception of a space. As a designer, that inspires me to think beyond screens and apps – and to consider how physical, spatial experiences can become creative tools too.

Source

https://nime.org/proceedings/2024/nime2024_19.pdf

#10 Experimenting with Letterforms: Intersection of 3D Letterforms and Typography

Typography, traditionally limited to two dimensions, has been transformed with the rise of 3D design. With advancements in technology, particularly in digital media, designers can now create typographic elements that seem to leap off the screen, interact with the viewer, and evoke a physical presence. This evolution has opened new possibilities for how text can be used not just as a means of communication but as a dynamic, engaging visual experience.

The Key Drivers of 3D Type

The shift from print to digital has paved the way for 3D typography, allowing designers to create text that feels interactive and lifelike. Advancements in software and rendering tools enable more intricate and realistic 3D designs, while the immersive nature of 3D typography captures attention and enhances user experience. As designers continue to explore new creative possibilities, 3D typography offers an exciting and innovative medium for expression. The future of 3D typography looks bright, with ongoing technological advancements and increasing demand from designers and brands. As augmented reality (AR) and virtual reality (VR) continue to grow, 3D typography will play a crucial role in shaping interactive and immersive experiences. The integration of AI and machine learning could also elevate the creation and use of 3D text, offering even more possibilities for designers.

Amsterdam: i am amsterdam Schriftzug

Experimental 3D typography is revolutionising design by offering new ways to captivate audiences and communicate messages. By pushing beyond traditional typography, designers are crafting innovative and engaging visual experiences. With technology constantly advancing, the potential for 3D typography is boundless, paving the way for an exciting future in this ever-evolving field.

Source:

https://www.instagram.com/p/C6dwkYpMGrl/?igsh=aDZvaWZtNjJmcTVj&epik=dj0yJnU9aDhYM05qNUlMUmZsdDB3QzB3UFU2bjN5Zy02UXJIaDImcD0wJm49aV9zbUlFV0lfVXktTDFQSVh3VlNXUSZ0PUFBQUFBR2VaRENn (img1)

#9 Experimenting with Letterforms: Kinetic Typography

In the last post I spoke about the Variable Font technique. This leads me to another interesting topic which is getting bigger every year and is a widely spread trend in the field of graphic design. Which web technologies evolving and the ability to have a range of a typeface design which can be changed by axis regulation, interesting things can be created. Animating type on screen is not a recent innovation—it originated in the 1950s with the rise of film title design as a creative discipline. However, its popularity has surged dramatically in recent years.

What and Why?

Kinetic typography, or moving text, combines animation with typography to bring letters to life, allowing them to shrink, expand, move, change colors, or distort in creative ways. This technique pushes the boundaries of traditional text, enabling designers to emphasize ideas, evoke emotions, and transform simple text into impactful messages. With modern tools and faster web speeds, creating dynamic text animations has never been more accessible, making it a versatile choice for everything from web design to advertising and delivering memorable visual experiences.

Apple Kinetic Type Campain

Source:

https://www.linearity.io/blog/kinetic-typography

https://www.instagram.com/reel/C0MyGO1L8_T/?utm_source=ig_embed (example2)

#8 Experimenting with Letterforms: Unlocking Design Flexibility with Variable Fonts

The advent of variable fonts has revolutionized web typography, offering unprecedented flexibility and efficiency in digital design. By leveraging CSS attributes, designers can now adjust font weight, style, and width dynamically, eliminating the need to embed multiple font files. This innovation not only enhances creative possibilities but also improves website performance by reducing load times.

Streamlining Web Typography

In traditional web design, each font weight or style required embedding a separate font file, increasing the website’s loading time and potentially impacting user experience. Variable fonts, however, consolidate these styles into a single file. Designers can modify attributes like Light to Bold or Condensed to Extended without loading additional resources. This reduces the strain on bandwidth and ensures faster rendering of text, creating a seamless user experience.

Infinite Possibilities for Creative Expression

Variable fonts provide incredible control over letterforms. For instance, font width can now be adjusted via CSS numeric values without distorting the design’s integrity. This precision ensures that letters maintain their aesthetic quality, avoiding the “stretched” or “compressed” look common with traditional fonts. Beyond width, attributes like stroke thickness, italicisation, slant, and even optical sizing can be customised, opening up limitless design opportunities while preserving the essence of the typeface.

Variable fonts are not just a tool for better performance—they are a canvas for creativity, enabling designers to create dynamic, responsive, and visually stunning typography that elevates the digital experience.

Source:

https://www.lukas-rudrof.de/blog/variable-fonts-potenzial-webdesign (img1)

https://www.clementcases.com/articles/britney-typeface (img2)

#7 Experimenting with Letterforms: Digital Era

The rise of digital technology has broadened the possibilities for experimental typography. With a wide range of design software and tools available, designers can now craft complex typographic works more easily than ever before. The addition of animation and interactive features enhances the experience, making the interface more engaging and dynamic. As digital technology progresses, typographic experiments continue to lead the way in design innovation, influencing how we experience and engage with text in the digital age.

The Freedom of Digital Font Creation

One of the most exciting aspects of experimenting with letterforms today is the ability to design custom fonts with precision and ease. Software like Glyphs, FontForge, and Adobe Illustrator empowers designers to create typefaces from scratch, allowing for unique interpretations of traditional letterforms. Variable fonts take this further, offering dynamic typefaces that can shift weight, width, and slant in real-time, adapting to different contexts and devices. This flexibility opens up endless possibilities for creative exploration in branding, web design, and more.

Interactive Typography: Text Comes to Life

Digital tools enable designers to integrate animation and interactivity into their typographic experiments. Words can morph, rotate, or even respond to user input, creating an immersive experience for audiences. Interactive typography is widely used in websites, apps, and digital art installations, where text transcends static representation to become a living, breathing part of the design. This approach not only enhances engagement but also challenges how audiences perceive and interact with language.

Pushing Boundaries with Digital Layouts

Digital design has revolutionised typographic layouts, allowing for experimentation that was previously impossible in print. Responsive web design enables type to adapt seamlessly to different screen sizes, while tools like Figma and Adobe XD give designers the ability to test unconventional grids and overlapping text. Layering, distortion, and asymmetrical compositions are just a few techniques that designers use to break traditional rules and redefine how letterforms are presented.

Source:

https://medium.com/%40ameermuaviaa116/exploring-experimental-typography-pushing-the-boundaries-of-text-b30fdd2bbf74 (img1)

https://www.monotype.com/resources/introduction-software-type-design?utm_source=chatgpt.com

https://alphaefficiency.com/experimental-typography?utm_source=chatgpt.com (img2)