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This is my final essay complete with Front cover, Chapter opener, Main body of the essay and back cover. I did my essay in the style of a Netflix documentary, with added graphics and design details. As it was a documentary, my contents page appears as a mock up of the Netflix display.

If I were going to try to fund this project, I would consider a number of options. Firstly, as this is an independent film, I would look at applying for independent film, offered by the BFI and the BBC etc. as well as Arts Councils. If that didn't work out then I would consider crowd-funding on a platform like Kickstarter. This is also a great way to promote and advertise the film.

To launch  the documentary I'd organise an exclusive film premiere and invite members of the local Canterbury Satanist group, as well as the London branch of The Satanic Temple, and representatives from Canterbury Cathedral.

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Workshop challenge FINALLY - it's online

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Workshop challenge FINALLY - it's online

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After God knows how long, I have put together the essay and blog post and everything for this week. I hope you enjoy reading my essay and blog post.

I have uploaded a couple of mockups, however there is also a link to the full essay as well as moodboard for this project.

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This task was quite overdue, but finally managed to put it together. Following up from the previous weeks, my essay was about the crime scenario in Malta (check out the elevator pitch here and essay here). As seen in my previous blog posts, I wanted the final publication to look handmade, sort of an evidence file of an investigation.

I really like these unconventional publications. Even traditional books that include something simple as a fold-out, it already makes it more interactive in its simplicity. With this publication, whilst I wanted to shed more light on the topic in question, I wanted to convey that 'dark' and 'secretive' kind of vibe. In addition, different textures of paper (the thicker cardboard of the manila folder in comparison to the sheets and Post-It notes inside) give different sensations, giving also a tactile experience to the reader. In ideal circumstances, it would be interesting if the actual publications would be withered slightly and packed in zip-lock bags prior to being distributed. Below is the final product and a mockup of how it would look like if produced.

Below is the final product and a mockup of how it would look like if produced.

As for the launch... - Promoting, Funding and Launching methods for the What Goes in the Shadows essay

Given the limited market, the book publication business in Malta is very healthy. For my publication, I am thinking of launching it round the time for Malta's National Police Day (12 th July) and the International Day for Social Justice (17 th July). I think that these two dates will do well as a springboard to launch my publication online. As for funding, I am considering crowdfunding. However, I want to make sure that I can cover the expenses myself should the crowdfunding does not work. The funds will cover editing, promotion fees and printing. Promoting it on television is also an option. In Malta talk shows that discuss current affairs are quite popular, as well as shows that showcase various local talent from different fields, so a spot on either one of these would give the publication a good boost.

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Design and Critique: My stint at Self-Publishing

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This task was quite overdue, but finally managed to put it together. Following up from the previous weeks, my essay was about the crime scenario in Malta (check out the elevator pitch here and essay here). As seen in my previous blog posts, I wanted the final publication to look handmade, sort of an evidence file of an investigation.

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Workshop Challenge: Visual Culture Piece

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Workshop Challenge: Visual Culture Piece

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BEYOND THE BIG FIVE: The Unaccounted Women of the San Francisco Psychedelic Design Era. My piece fully mocked up and in flat layout in the attached PDF. I hope with this piece to create a bespoke collector's item for those interested in women's contributions to design during this unique period of history. The women of this movement made an impact on this time in design history. I aimed to honor them with a bold design including a cover that evokes feminism, strength, and beauty.

Production and Promotion

This book's target demographic are designers, rock and roll enthusiasts and supporters of women's rights to equality. The production of the book would be in an initial short run of 500 books working with Bay Area print and bindery specialists such as the San Francisco Center for the Book, The Key Printing and Binding, and The Aesthetic Union Letterpress.

The book set would include a hot foil stamped exterior slipcase with thumb-cut openings with holographic foil and a hot purple painted edge. The book itself would be a charcoal grey cloth again with a holographic foil hot stamped front and back covers. The interior of the book would be produced with a split fountain interior bookplate with another holographic foil hot stamp. The interior pages would be printed on a 100lb text weight bright white smooth opaque paper.

A Kickstarter campaign will be used to help drive promotion and fundraising for the initial print run. Additional promotions via the local record stores such as Amoeba Records in the Haight to sell alongside their vintage poster collections. Social media and a microsite for the book would also be utilized for the promotion of the book. A limited edition poster could be a value-add for early Kickstarter backers.

Enjoy!

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Visual Culture Piece - Beyond the Big Five Mockups and Layout small

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Visual Culture article and process on the blog -https://dairet.com/week-8-design-critique/

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I closed my eyes and saw this.. My blog, the reasoning & the article (interactive), it's all there - whoot!

https://jazzstew.wordpress.com/tag/gde720week8/

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Last one.
Here's a link to my blog and my final submision.

Enjoy!
Peace out! ✌️

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Final Essay
Please check out my Visual Culture Article (Essay). It's roughly 3,000-words delivered as a PDF titled 'Visual Culture Article'. It includes my original, self-generated images and some generously given from Coloquixs followers. The main focus of the finished design was to deliver 4 pages mocked up. Front cover, chapter opener, spreads and back cover. I chose to go with a traditional publication style magazine/book. I did go through different ideas but, this seemed the best fit for how I wanted to showcase the article.

One of the ideas of the final piece being to colour the front cover how every you wish or just leave it plain. I decided to leave it blank and invite buyers to be creative. Use paint, felt pens, crayons, fabric do it as a montage? The list is endless what can be used to create a 'one-off' personalised design.

I want to take this opportunity to thank each and every person that got involved with helping me create this final article design. And even BIGGER thanks to Coloquix for taking time out to give some detailed and amazing insights into his world.

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MD2-Wk:8 Visual culture article - Jamie Snarski

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Final Essay Please check out my Visual Culture Article (Essay). It's roughly 3,000-words delivered as a PDF titled 'Visual Culture Article'. It includes my original, self-generated images and some generously given from Coloquixs followers. The main focus of the finished design was to deliver 4 pages mocked up.

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Here's my blog about research and development of my magazine :-)
BLOG

Enjoy!

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Visuals and concepts shown, all but original text and images…

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Week 8: Workshop Challenge

The Challenge

This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project.

Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas. Be brave and ensure this is the focus and you do not attempt to implement a more pedestrian approach.

We accept the format of your publication may not be in a traditional book form. If using digital, performance or installation platforms, for example, please ensure you communicate this clearly within the final presentation.

Design a visual synopsis of your publication, to include the following:

Front cover (with title)

Chapter opener

Two double page spreads

Back cover (using your previously written short synopsis)

Your final design should include your full 3,000-word text and original, self generated images.

Write a short paragraph about the methods by which you might fund, promote and launch your project, if you were an independent author.

Words to date

Currently 'The Virus' is stopping my day-in-the-life experience and therefore a large section of the 3000 words is still to be written, the bulk of the essay and image content was planned to come from there.

100 word synopsis.
I've re-written the text from week seven to fit in better with this weeks' task. Originally it was to describe the idea of the article to the group. This week needs it to describe it to anyone who cares to pick it up.
[Edit]

Over the last few years the Market Hall in Shrewsbury has become ever more popular, there's a real community inside, it's now a real 'place to be'.

Completed in 1965, it is filled with a wide range of lifestyles, from traditional fruit and veg merchants, butchers, florists, many have traded there for over 30 years.

Now new traders have set up alongside; a coffeehouse, traditional barbers, organic wine merchant, even artists studios. This is an example of a day-in-the-life of the market, an observational essay with interviews and insights from the wide variety of tenants, backed up with candid images of their everyday goings on.

The Market Hall Shrewsbury. [Edit]

A large Victorian market hall was in a poor state of repair and was condemned as unhygienic, dingy and "no longer fit for purpose". It was the 1960s post-war Britain, the country was looking to a new age.

Within the vista of medieval steeples stands a 240ft tall slender red brick clock tower. In the heart of Shrewsbury is the Market Hall, a indoor market and ground-floor shopping centre officially opened on September 16, 1965. It was hailed "the most modern building in Shropshire", and "a prime example of cutting-edge modern architecture". In post-war Britain, the country was looking to a new age.

Developed by the Second Covent Garden Property Company and designed by David du Rieu Aberdeen[1], a respected architect of his day having designed the former Swiss Centre in Leicester Square[2], the City offices of the Swiss Bank, the redevelopment of Paddington General Hospital and the City headquarters of the First National City Bank of New York.
(Insert Visual examples)
The new Market Hall cost £1 million to build, equal to £16.5m today[3]. (Really?!)

The Pevsner Architectural Guide pronounced the new Market Hall 'a good example of modern architecture'. With modern building materials of concrete, glass and metal being used, Pevsner talks of the "clean lines and simple forms. The town's timber-framed traditions are evoked - the upper storey is jettied out on a reinforced concrete structure and faced with vertical black fins in an echo of close studding.

Despite the credentials of its architect the Market Hall's design was controversial from the start. Its contemporary critics were opposed to the demolition of the old Victorian market hall and predicted the new building would be a 'white elephant'. The new market stood for progress and the previous 'Victorian monstrosity' stood for 96 years.

The building was officially opened by the Lord Lieutenant of Shropshire Viscount Bridgeman whilst the Mayor of Shrewsbury Henry Rhodes Beckett, R.A.F. (retired), claimed: "We have erected something I think we can all be proud of".

The inside of the Market Hall is two-tier, with permanent stalls around the perimeter of the market floor and gallery and in the centre, the traditional Victorian method of trading on benches was still found to be the best, and this method continued for well over two decades. But around 25 years ago the current canopied stalls replaced the benches, and more permanent market businesses took their places.

Over the years the fortunes of the market have fluctuated.
(WAITING INFO ON HOW) (Compare how good things are now with slumps in the past?)
The market was being managed by two sets of agents on behalf of the building's owner, the Scottish Widows Pension Fund, and both sets seemed to be leaving any duty of management to the other.

In 2006, a vacancy was advertised for a new Facilities Manager. Kate Gittins took over. Kate lived locally and had used and championed the market for more than twenty years so when the job for the manager came up, the stallholders insisted she applied. "When I first started, it was running at about 40% occupancy. There was nothing here [on the gallery], it had the cafe in that corner, the cakes in this, maybe another stall along from there. Nobody knew what was going on, the maintenance men were being given the rents by the stalls, the owners where nowhere to be seen".

Her vision was to make the Market central to life in the town, to make it so diverse and untraditionally traditional. They now enjoy 100% occupancy, there's even a waiting list. It's thanks to some significant turning points over the years, one of them being a champagne bar. That certainly aroused interest. That gave the fishmonger the idea to set up his own seafood bar and so it went on...

Then came the Bird's Nest Cafe, creating a fabulous seating area out of willow creating a giant nest. Again, this inspired others to follow...

Now more cafés, artisan producers, vintage sellers, quality gift boutiques, artists and craftspeople are all busy alongside the traditional fresh fruit and veg stalls, family butchers, the florist and the baker. People don't just come to buy goods, it's a place to meet, a place to hang out. A new Gin bar has added yet another dimension to the place, and given it the confidence to launch a series of regular Late Night openings which have been an overwhelming success, raising the profile and introducing the Market Hall to a whole new audience.

--

A Day-in-the-life of the Market Hall

(Don't want to say 'We or I', so? Just narrate what happens, not 'I/We spent a day with...)

(Start as a story: It's (time) and outside the hall...)

--

SIGN OFF

--

The core offering - the butchers, fruit and veg, florist, baker - all the things that say "market", hasn't been forgotten, but it's what else has been woven into this market that gives it its diversity and vitality.

The overwhelming sentiment for the future again is optimism.

[1] https://en.wikipedia.org/wiki/David_Aberdeen

[2] https://en.wikipedia.org/wiki/Swiss_Centre,_London

[3] https://www.inflationtool.com/british-pound/1965-to-present-value?amount=1000000

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This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project. Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas.

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A little disjointed for this week but will tidy up at a later date if I get a chance!

Project Launch
Essay
Essays Designed
Exhibition Layout
BLAD

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I had spent this weekend attempting to write a conclusion to my essay, however, this task proved challenging and in order to alleviate the situation, I had begun to work on some ideas for the cover.
Thematically, I am reflecting on a diverse selection of ideas: The fear that had surrounded physical disability; The fear of feeling exposed; The unease that can be felt by those that are disenfranchised by society; The sterile aesthetic of a post-modern vision of the future; The parasitic nature of social-hierarchies.
I welcome any feedback or views on the composition, below.

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So sorry to have gotten cut off mid crit last night, broadband in my new place is being tested so we have these very badly time service interuptions. Thank you for your feedback guys

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- I may come back and revisit it but for the moment, I'm going to leave my publication as is. You can see the full publication on my blog as well as the 100 words task. Below is an excerpt and there are a few sample double page spreads attached. Hope everyone is doing okay.

The publication is a photo book looking at the results of city planning in Newcastle upon Tyne in the Sixties. Accompanying the images, is a text that explores the influence of the 'Linear City Manifesto', the work of T. Dan Smith and the legacy both of these factors have on Newcastle. It sets the scene historically however the publication is intended to reevaluate what is considered a fairly contentious period of city planning. The photographs are placed relevant to the accompanying text however they are not labelled as the intention would be to inspire people to go out and see if they can spot these examples of everyday and unusual beauty. The cover of the book will be comprised of two fine concrete plates joined by a cloth spine and with indented text, the inside pages would be produced on high quality paper.

The fonts used are Futura Book, Futura Medium, Futura Medium Oblique and Impact. These were chosen to reflect the style of architecture and are used in conjunction throughout the text signifying the effect the modernist architecture has on the landscape of the city.

The approach is unapologetically subjective, because hometowns have an odd effect on a person - even more so when one is faced with the prospect of not being able to explore it as you like.

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I not sure how well I explained the angle of my article in the crit...

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I not sure how well I explained the angle of my article in the crit...

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but this is the text. Thanks for the feedback everyone!

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Something for Tony that I just saw. Using stretch for text for your living murmur

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Here's the full story and background for my publication that we were talking about in the crit.

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Here's the full story and background for my publication that we were talking about in the crit.

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Fair warn it's long.

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Progress of the page layout.

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So for my publication, I am actually sticking with a book format to talk about the architecture in Newcastle. Was thinking that it wasn't that exciting but after last night's webinar - if a photo book is good enough for Edward Ruscha, it's good enough for me :)

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I always struggle with font choices but this time I have help.When a roll of fabric is printed the pattern, fabric composition and other details are printed on the selvage edge (the untrimmed edge of the fabric which is un printed) I can't find an image of a Crysede fabric selvage but I can imagine it would have been the basic typewriter/industrial style of functional items at the time. (like the lower one in the image attached) I will use something inspired by that for my titles (and something simple for text body)

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My Cornish/Walker print design (cover graphic)

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My Cornish/Walker print design (cover graphic)

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Styles of Walker's print designs for Crysede from the 1920's/1930's

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Styles of Walker's print designs for Crysede from the 1920's/1930's

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Worry aside, I found joy in the Block Prints. I have been working on my cover for the piece and have developed a design inspired by the Cornish influences on Alec Walker and the contemporary textile designers.

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Blog post about what to think about when launching and what I would do to do it.

Plus, my 100 words is on this post too.

https://rachelwise240483.wordpress.com/2020/03/17/project-launch-a-moment-in-time/

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These are some of the images I've been working on so far. The idea is that I'd present it in the style of a Netflix documentary entitled 'Satan Comes To Canterbury'.

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International contemporary as well as late 19th century painting, drawing, sculpture, installation, photography, and video works.

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A4 Page.

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Ok so the video is a bit naff but the book is great. Zoom 2 is not quite as effective.

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This A4 page is designed to act as a chapter opener, and seeks to explore the themes of Social-isolation(on-trend!) The obscuring of perspective; The loss of form; And allude to the process of dehumanisation, as a consequence of the industrialised society.

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And, others are quite fun too.

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Mysteries of vernacular: Pants - Jessica Oreck

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From 4th Century Roman Saint Pantaleon to the trousers we wear on our legs, Jessica Oreck details the story of the word 'pants.'

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The world feels a bit surreal at the moment… I’m working from home (probably until June we’ve been advised!) so hoping it’ll give me a sneaky chance to catch up on some work. Hope everyone is staying safe and sane!

This week has been about finalising my text – still not quite there but my latest draft is on my blog post along with my initial thoughts on how I’m going to bring it all together.

https://alicemarlow.home.blog/2020/03/19/week-8-design-and-critique/

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Used during the Tour de France one year by the Livestrong cancer charity. As I remember it, you could text messages which would be printed on the roads being used in the stages of the Tour in yellow chalk.

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No a very happy one. The names of 3000 victims of femicide are painted on the ground in Mexico

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Germaine to this week in more than one way. I think this is https://standardregular.com/ work for the NYT

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Haven't been posting much, been an eventful week at work! I'm working from home for 14 days (yippee) so will be trying to catch up.

Working on the written part moreso than the design part at the moment but I don't think I'll have anything ready for the crit tomorrow :(

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Deadlines and the impact of coronavirus (COVID 19)

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Deadlines and the impact of coronavirus (COVID 19)

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This module deadline update email was sent to you today. I'm copying here, incase anyone missed it:

–

Hi everyone, I wanted to let you know what the situation is with your deadlines and continuing to study under the impact of Coronavirus.

Firstly, I want you to know that Stuart and I, and the team, are well aware that even though this is a distance learning course and that you are used to studying remotely, that doesn't mean you are not impacted by the physical and mental impact of the coronavirus pandemic, wherever you are in the world. We understand that everyone is worried and that inevitably will have an effect on your studies. Consequently, we are doing the following:

• I am going to offer specific times to anyone on the course who wants to talk about anything – starting today and then as often as I can within working hours around other commitments. You are welcome to drop in, or not, as you see fit and if you need to talk. If you do wish to talk to me please contact me for 121 tutorials at a mutually convenient time. You can also email.

• For all formal assessment deadlines it is business as usual, and we encourage you to continue your studies as a normal routine – apart from anything else we know from research that focused work and keeping to routines is good for mental health. So, wherever possible, keeping to deadlines is a good, positive move. For those who can’t, or who have atypical carer responsibilities, and those who are actually ill, then applying for ECs in the normal fashion is the way forward. We will be as flexible and as accommodating as we can, within the boundaries of the Falmouth system and the rules of EC approvals.

• Thursday sees our institutional deadline for all ECs and resits. This hasn’t changed, and if it affects you then please get in touch with me if you haven't already.

Do let me know if you have queries or concerns, or need clarity on any of the above. Our course will run as usual throughout this unusual situation.

Wishing you well ,
Susanna

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Too much, no doubt. A quantity vs quality approach.

http://schokotrunk.com/2020/03/18/week-8-the-medium-is-the-prepackage/

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Artwork for the play I intend to curate, more likely storyboard, from the article.

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Was talking to @Tony about this during tonights tutorial. Thought others might be interested...

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Was talking to @Tony about this during tonights tutorial. Thought others might be interested...

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Butch Auntie. Projection Mapping on the Tuner Contemporary in Margate.

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Turner Contemporary - Poetry: Lemn Sissay

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Workers of Art
Clever Projections
and Butch Auntie

Olympic poet Lemn Sissay created a poem for Thanet...

Lemn Sissay worked with three communities within Thanet - Minster, St Nicholas at Wade and Margate. From the communities he gathered thoughts, feelings and memories about the places they live - these then inspired the poem he wrote for the people of Thanet.

The poem was presented as part of a community celebration on the 26th January 2012 in each of the three places about which it had been written. In St. Nicholas at Wade the poem was translated into a song, in Minster a dance was performed at the Abbey and in Margate the poem was projected large onto the Turner Contemporary building.

Among the local artists taking part were the company "StevensonThompson" in collaboration with associate dance company "Moving On". They produced a thought provoking interpretation of Lemn's poem featuring intergenerational dancers, students from the University of Kent & nuns from Minster Abbey.

International composer, conductor and musician Tony Castro created a song inpsired by the poem. This was sung by a local community choir "The Big Sing".

The Project aimed to explore the role of the artist within our changing communities and more specifically to promote, inspire and stimulate a love of poetry.

Poetry Isle has been disigned and delivered by Workers of Art in partnership with Community Development at Thanet District Council and Arts Council England. This event launched Thanet's celebration of culture and heritage taking place throughout 2012.

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Like everyone else, current events have pulled my immediate thoughts from the course. I hope everyone is doing OK.
Here's my blog post explaining a bit about what I am doing, as it's ... experimental and in progress. I'll post up progress pics as I go.

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So to keep people up-to-date ... I have gone through many changes with the content and I've settled on a multi-narrative of a run I did on Sunday morning with experiments on music beats and intersecting reality coming in. Here's a Google doc to show where I've got to. I understand that in this form that it's not very easy to 'get' but designing will help with this. In plain text form, it's not clear which voices are which and why.

I must say that I owe a lot of dues to Annie and J who really helped me talk through my writing block in the Peer-to-Peer session on Sunday. I began writing not in this form, but with a pen on paper on the way to the race, a scribble on paper, and then on the run informed this narrative. I've been adding to it over the days, and used my running playlist to jog (ha!) my memory of thoughts that I might have forgotten at the time.

I carried on writing on scraps of paper, and as I've got bits typed up overwritten these in pure desperation of paper! Stuart's notes from our Essay tutorial last night are also there, and I'll type up here to solidify them in my brain.

The format came much quicker, and before the firm narrative. At first glance, it looks like a book.

and when you open it ... a series of concertinas. This text is screenprinted in green over the top. I'd like the text to be more distorted and Wim Crouwel, so I'm working on it.

I'd like the text to be more distorted and Wim Crouwel, so I'm working on it.

Hidden behind those is the narrative (you can see the text boxes in red):

I'm now going to start laying out my text using feedback from Stuart and a strict 3pt baseline grid...

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So to keep people up-to-date ... I have gone through many changes with the content and I've settled on a multi-narrative of a run I did on Sunday morning with experiments on music beats and intersecting reality coming in. Here's a Google doc to show where I've got to.

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Note to self - remember the writing part…

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Week 8: Workshop Challenge

The Challenge

This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project.

Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas. Be brave and ensure this is the focus and you do not attempt to implement a more pedestrian approach.

We accept the format of your publication may not be in a traditional book form. If using digital, performance or installation platforms, for example, please ensure you communicate this clearly within the final presentation.

Design a visual synopsis of your publication, to include the following:

Front cover (with title)

Chapter opener

Two double page spreads

Back cover (using your previously written short synopsis)

Your final design should include your full 3,000-word text and original, self generated images.

Write a short paragraph about the methods by which you might fund, promote and launch your project, if you were an independent author.

Words to date

Currently 'The Virus' is stopping my day-in-the-life experience and therefore a large section of the 3000 words is still to be written, the bulk of the essay and image content was planned to come from there.

100 word synopsis.
I've re-written the text from week seven to fit in better with this weeks' task. Originally it was to describe the idea of the article to the group. This week needs it to describe it to anyone who cares to pick it up.
[Edit]

Over the last few years the Market Hall in Shrewsbury has become ever more popular, there's a real community inside, it's now a real 'place to be'.

Completed in 1965, it is filled with a wide range of lifestyles, from traditional fruit and veg merchants, butchers, florists, many have traded there for over 30 years.

Now new traders have set up alongside; a coffeehouse, traditional barbers, organic wine merchant, even artists studios. This is an example of a day-in-the-life of the market, an observational essay with interviews and insights from the wide variety of tenants, backed up with candid images of their everyday goings on.

The Market Hall Shrewsbury. [Edit]

A large Victorian market hall was in a poor state of repair and was condemned as unhygienic, dingy and "no longer fit for purpose". It was the 1960s post-war Britain, the country was looking to a new age.

Within the vista of medieval steeples stands a 240ft tall slender red brick clock tower. In the heart of Shrewsbury is the Market Hall, a indoor market and ground-floor shopping centre officially opened on September 16, 1965. It was hailed "the most modern building in Shropshire", and "a prime example of cutting-edge modern architecture". In post-war Britain, the country was looking to a new age.

Developed by the Second Covent Garden Property Company and designed by David du Rieu Aberdeen[1], a respected architect of his day having designed the former Swiss Centre in Leicester Square[2], the City offices of the Swiss Bank, the redevelopment of Paddington General Hospital and the City headquarters of the First National City Bank of New York.
(Insert Visual examples)
The new Market Hall cost £1 million to build, equal to £16.5m today[3]. (Really?!)

The Pevsner Architectural Guide pronounced the new Market Hall 'a good example of modern architecture'. With modern building materials of concrete, glass and metal being used, Pevsner talks of the "clean lines and simple forms. The town's timber-framed traditions are evoked - the upper storey is jettied out on a reinforced concrete structure and faced with vertical black fins in an echo of close studding.

Despite the credentials of its architect the Market Hall's design was controversial from the start. Its contemporary critics were opposed to the demolition of the old Victorian market hall and predicted the new building would be a 'white elephant'. The new market stood for progress and the previous 'Victorian monstrosity' stood for 96 years.

The building was officially opened by the Lord Lieutenant of Shropshire Viscount Bridgeman whilst the Mayor of Shrewsbury Henry Rhodes Beckett, R.A.F. (retired), claimed: "We have erected something I think we can all be proud of".

The inside of the Market Hall is two-tier, with permanent stalls around the perimeter of the market floor and gallery and in the centre, the traditional Victorian method of trading on benches was still found to be the best, and this method continued for well over two decades. But around 25 years ago the current canopied stalls replaced the benches, and more permanent market businesses took their places.

Over the years the fortunes of the market have fluctuated.
(WAITING INFO ON HOW) (Compare how good things are now with slumps in the past?)
The market was being managed by two sets of agents on behalf of the building's owner, the Scottish Widows Pension Fund, and both sets seemed to be leaving any duty of management to the other.

In 2006, a vacancy was advertised for a new Facilities Manager. Kate Gittins took over. Kate lived locally and had used and championed the market for more than twenty years so when the job for the manager came up, the stallholders insisted she applied. "When I first started, it was running at about 40% occupancy. There was nothing here [on the gallery], it had the cafe in that corner, the cakes in this, maybe another stall along from there. Nobody knew what was going on, the maintenance men were being given the rents by the stalls, the owners where nowhere to be seen".

Her vision was to make the Market central to life in the town, to make it so diverse and untraditionally traditional. They now enjoy 100% occupancy, there's even a waiting list. It's thanks to some significant turning points over the years, one of them being a champagne bar. That certainly aroused interest. That gave the fishmonger the idea to set up his own seafood bar and so it went on...

Then came the Bird's Nest Cafe, creating a fabulous seating area out of willow creating a giant nest. Again, this inspired others to follow...

Now more cafés, artisan producers, vintage sellers, quality gift boutiques, artists and craftspeople are all busy alongside the traditional fresh fruit and veg stalls, family butchers, the florist and the baker. People don't just come to buy goods, it's a place to meet, a place to hang out. A new Gin bar has added yet another dimension to the place, and given it the confidence to launch a series of regular Late Night openings which have been an overwhelming success, raising the profile and introducing the Market Hall to a whole new audience.

--

A Day-in-the-life of the Market Hall

(Don't want to say 'We or I', so? Just narrate what happens, not 'I/We spent a day with...)

(Start as a story: It's (time) and outside the hall...)

--

SIGN OFF

--

The core offering - the butchers, fruit and veg, florist, baker - all the things that say "market", hasn't been forgotten, but it's what else has been woven into this market that gives it its diversity and vitality.

The overwhelming sentiment for the future again is optimism.

[1] https://en.wikipedia.org/wiki/David_Aberdeen

[2] https://en.wikipedia.org/wiki/Swiss_Centre,_London

[3] https://www.inflationtool.com/british-pound/1965-to-present-value?amount=1000000

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This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project. Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas.

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Unbound is a crowdfunding publisher that gives people the tools, support and freedom to bring their ideas to life.

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Today I was given access to Nott County's ground. I had it all to myself which was a great experience.

More photos here.

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My article subject matter is all about the experience and the performance – performance of the teams, and performance of the people who retell the story who, in a way, are performing as they get very enthusiastic and animated about the game. With this in mind, I think my solution should be an experience or a performance… so that would be an exhibition or a stage play. I think a stage play would be appropriate as I also talk about the whole thing being a comedy Opera with the Italians and Greek Gods etc. Just not sure how to present it visually? @syed @stuart

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As well as the write-up I'm thinking of ways to visualise the interview content and quotes around the interior of the Market building. They have a lot of staircases…

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Here's a useful link about using Harvard Referencing, for any sources used in your final essay.

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Just moved house, in a new city and I don't have internet yet. I'm only able to get online in cafes for the foreseeable future. That's not helped by the fact we're supposed to be socially distant right now to avoid spreading Coronavirus... Doing what I can but things are a little upside down just now! :<

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This was to make some oversized spray paint cans.
Do spreads to fit each one and run it as a series.
- Spray cans with vivid colours first, let dry then add transparent stickers over the paint with the article and pieces of work printed onto it. That way any ‘white space’ would then become the background colour 👍🏻

Done a little mockup (only rough to see what space I could play with on each bottle).

Thoughts most welcome 👍🏻
Thanks!

Peace out ✌️

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One of my thoughts of the day.
Thinking of doing a plain black white uncoated stock, hardback cover.
The cover would have a plain print by the artist so each person could customise it or leave it plain. They could colour, paint, spray go create with. Similar to Stuart’s limited edition book covers 👍🏻

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Found this article last night while scrolling!
There are some great examples of design / editorial work here.

Hope it helps 👌

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Whether you're designing a newspaper, newsletter, magazine or digital publication, the principles of good editorial design and layout are universal. But whether it's print design or online, each project comes with unique challenges - and it can be useful to see how other designers have tackled these in their own work.

So here we bring you six stunning examples of editorial design from leading creatives, find out how they created them, and share some lessons that can be applied to all your editorial projects, large and small.

Over 10 years, the iconic German designer Otl Aicher created a poster series based on the small town of Isny im Allgäu. It was groundbreaking in eschewing the typical "colourful postcard" style in favour of a stark, reductive and monochrome approach. In a limited edition book, released this September to accompany a London exhibition of the work, dn&co delves into this groundbreaking project across 116 pages.

"When it came to the layout of the book, the team felt a real sense of responsibility," says creative director Patrick Eley. "We kept asking ourselves 'What would Otl do?' - shorthand for how we could bring rationale and order to the project.

"It was a matter of ensuring the design was consistent with Aicher's recognisable aesthetic, without being a copycat of it."

The dn&co team opted for Univers, a typeface that was used as part of Isny's branding, as well as for the Munich Olympics, the project Aicher is best known for.

"It's a simple but effective structure - the editorial frames the work, which is printed on an uncoated paper to reflect the material that the Isny posters were originally printed on," says Eley. "The surrounding narrative is reproduced on a coated stock so the photos of the town pop out."

The pictograms only exist as physical prints, not vector artwork, so they had to photograph everything in high resolution to enable us to reproduce it as accurately as possible. And that led to some interesting dilemmas.

"We wanted to reflect Aicher's strongly gridded approach to his work for Isny," says Eley, "but the closer we worked with it, the more we noticed the inconsistencies. For example, nothing is actually square as it originally appears and that caused a few headaches with our own grid."

Eley's main tip for anyone embarking on a similar project? "Good filing is vital," he says. "Knowing where everything is, who took what photo and whether you've got something at a high enough resolution to print it is absolutely key."

Ultimately, he adds, you have to become really familiar with the book's content. "Get close to the narrative, and remember that design and typography is a fundamental part of delivering any story.

"In this case, we were very conscious that we didn't want to 'out art the art'. The design of this book needed to be recessive to the content, which was the real hero. So it had to be quiet and unopinionated, while acting to frame another designer's work and give it context. Ultimately it was a question of respect."

This Is Me, Full Stop: The Art, Pleasures, and Playfulness of Punctuation is a book created by London design agency Here Design that harnesses beautiful design to explore "the secret life of punctuation marks".

It's a fun, tongue-in-cheek way to explore a niche topic, and makes great use of simplicity and whitespace to tie everything together; a trick that might look easy but is much harder to achieve in practice.

"When it came to layout," says Here Design's Caz Hildebrand, "our biggest decision was to make the text the formal consistent element throughout and allow the illustration and design to spread out and play as much as it wanted to, so that it could support and enhance the text's meaning. It is always a joy to work with whitespace, though of course it is a challenge to have so much freedom."

"The book's text font was chosen to be reasonably friendly and approachable with the authority and strength of character to appeal to a broad audience range," he continues. "It's also worth noting that we created all the illustrations and designs using real-life typefaces - over 50 of them from Apple Chancery to Wedding Text; there's a full list at the back. Championing typefaces both known and unsung was always part of the ambition."

High production values were also central. "To find the simplest way of expressing our book's main idea, we used white foil lettering on black substrate, creating a striking contrast between matte and gloss that helps the book stand out," he says.

"For solidity, we had the book trimmed flush (we love seeing it in bookshops; it stacks up really nicely). And inside we used black end papers and chapter dividers to bring the reader back to the centrality of the cover."

Hildebrand offers the following advice for a designer coming fresh to editorial design: "Think about the experience of the reader."

He continues: "Not all consciously designed things are necessarily friendly to read. So be the designer, but also be the reader - what would you expect to see? What would surprise you in a delightful way? In other words, it's not just how it looks, it's how it reads.

"Help the text, don't hide it. Typography can really endorse the words you are saying. And always remember that books evolve over many pages, so they need to retain an inherent formal structure while being able to break free."

Circular 19, the 12th edition of The Typographic Circle's magazine, was designed by Pentagram and marks the 40th anniversary of the volunteer-run and not-for-profit organisation, which aims to bring designers with an interest in type and typography together.

"Circular, which comes out every 18 months, is an unusual publication as it does not carry any advertising and therefore is far more independent and we can do as we wish," says designer Domenic Lippa. "It's also important it appeals to its core audience of type enthusiasts."

The design of the publication is most noticeable for its use of big type. "We use this to create impact and to challenge preconceptions around what type is used for," says Lippa. "For us, it's as important as imagery and is not used purely for information."

When it comes to the design in general, each issue is a standalone piece, he adds. "We often decide upon an approach before we start designing and this includes the typefaces, the general look and feel and the colour palette. The colours help create a thread for the whole magazine."

Even within each issue, they aim for variety, he adds. "We want to keep challenging ourselves and stretch ourselves and not get bored, so each spread has a sense of individuality about it - we're not design fascists!"

"For me, relationships of scale between various pieces of text is the most important element of editorial design; you should not be afraid to use type confidently," he says.

"I do believe that as designers we need to keep questioning the status quo; why are we doing it this way? Never stop learning and never stop trying things, otherwise you just dry up as a designer and as a thinker."

Charm, Belligerence & Perversity: The Incomplete Works of GBH is a monograph written by Jason Gregory, Mark Bonner and Peter Hale, founders of GBH London. And the first thing you notice about it is its striking cover.

"We wanted to make something that supported the idea that we'd only just begun and that we weren't finished yet," explains Mark Bonner. "We're fascinated by our evolution and we loved the twist on the old idea that 100 monkeys in a room, given time, could create the complete works of GBH. We only have 25 at GBH, but give us a chance."

The team wanted the book to do two things, he says. "We needed to explain what went into the design of each project, and we wanted to have a wider dialogue with our readers about the insecurities and bravery that entwine in us all while we are making them.

"We felt no-one had ever spoken about these uncomfortable truths. So many books on design are self-aggrandising, but we wanted to be honest and share the fact that we go through a lot of emotions in making new things."

In any editorial design project, Bonner believes it's important to "read the text, feel it, know it intimately before you even think about trying to lay it all out."

And with this book especially, the typography needed to be accessible, and feel easy to read, he adds. "So we worked hard to find a typographic system that allowed the 'show and tell' of the project stories and the psuedo-sycology to co-exist."

05. Mr B & Friends 'Comfriendium' 10 Year book

To celebrate 10 years of creative collaborations, Bristol design studio Mr B & Friends produced Comfriendium, a statement piece to send to their clients. It's an impressive publication with punchy colours and a high quality finish, including a gloss black and white foiling on the cover that adds subtlety and impact.

"Editorial permeates everything we do," says executive creative director Steve Richardson. "From digital magazines and websites to annual reports and books, the content drives the message.

"Gone are the days when an idea could be rolled out to a template; now the reader can click-off, turn the page and move to the next thing, so our goal is to guide the eye with storytelling merging words, graphics and imagery."

He offers the following tips for anyone working in editorial design: "Invest in the best copywriting you can afford. If the words are brilliant, the design falls out onto the printed or digital page. Work closely with the author to get into their head so you understand the nuances.

"Use wit," he adds. Be playful with your use of highlights, illustrations, icons and imagery.

Choose typefaces that work well online and in print. Good pairings that give light and shade to all communications, so you can tailor the editorial message to the medium."

And final tip is to add pace. "Each page and screen view should take the eye on a journey, sometimes punchy and energised, and sometimes subtle and soothing. Choose illustration and imagery to help reflect this."

All the examples we've included so far are print products, but as Steve Richardson mentions above, editorial design is just as important online; in many ways more so. A good example of editorial design on the web is Photo District News, a photography magazine that was redesigned in 2018 under the art direction of Brooklyn-based designer James Johnson.

There's an awful lot of information to be uncovered here, but the flexible, responsive layout of the site is designed with generous use of whitespace and elegant proportions that avoid ever feeling cluttered, whichever device you use it on.

"Unlike print, on the web an article is usually designed as a whole, with all of its body copy on one page, and often the designer will not have control over how it's presented," says Johnson. "It could be a phone, it could be printed out, or something else altogether. So it's important to make the articles flexible and resilient to changing conditions.

"Keep layouts simple and embrace responsive design techniques," he continues. "Try to get the main ideas across in each format and don't sweat the small differences between them. This is in contrast to the two-page spread of the magazine, where a designer decides exactly how the content will appear and when.

"Aside from that, keeping a page clean, with lots of whitespace and clear, readable typography, is even more important on the web than in print. Reading is hard on a screen so it's best not to distract the readers with a cluttered page."

The biggest mistakes Johnson sees online often stem from poor typography. "Line widths that are too wide is probably the biggest issue there," he says. "I also see a lot of sites that try to use a print typeface for body copy."

Getting it right is partly about effective collaboration, he adds. "The designer's role is to provide a tangible form for the underlying concepts provided by the editor. This can't happen without a good relationship between the designer and editor.

"So I can't stress this enough; work with your editors and really get to know their content and editorial philosophy before attempting to design anything. This will go a long way in ensuring that people want to read the article."

In terms of design, you have to catch the reader's attention right away and get them interested in the article, he adds. "The title and deck are key to this. Readers should be able to glance at the page and instantly know what the article is about. Write a great title and design it to really stand out. Adding a great photo or illustration that works with the title, conceptually and visually, will really bring it home.

"Once you have their attention, great content backed by solid design will keep it. Pick a good web typeface and set the body copy large enough to be read easily. Break the article into sections and write headlines for each and use strategically placed images, pull quotes and other design elements to encourage readers to scroll."
You might also like:

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6 fantastic editorial designs and what we can learn from them

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Whether you're designing a newspaper, newsletter, magazine or digital publication, the principles of good editorial design and layout are universal. But whether it's print design or online, each project comes with unique challenges - and it can be useful to see how other designers have tackled these in their own work.

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How Kickstarter became one of the biggest powers in publishing

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How Kickstarter became one of the biggest powers in publishing

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Four months after launching on Kickstarter, a children's book that tells the stories of 100 inspiring women has raised more than $1m (£754,000), making it the biggest original publishing project in the crowdfunding site's history. Almost 20,000 backers from 71 countries around the world have signed up to order Rebel Girls, which introduces young readers to role models from the Brontë sisters to Serena Williams.

The sums involved in the majority of Kickstarter's publishing projects coming this autumn may be a little smaller, but the breadth and scope of the books is impressive: everything from a comic novel of smalltown Canada from a Québec humour columnist and broadcaster, to an account of looking after a rescued Staffordshire bull terrier, charting the dog's journey from troubled crackpot to treasured companion, to a graphic novel about a Victorian girl who is the only one in her village to notice a series of sinister goings-on.

Of course, Kickstarter doesn't get involved in the messy business of producing books - it's a platform that puts people who want to produce books in touch with others all over the world who want to support their projects. But if you put the 1,973 publishing pitches that were successfully funded in 2015 together with the 994 successful comic and graphic novel projects, then last year's tally of 2,967 literary projects puts the crowdfunding site up among publishing's "Big Four": Penguin Random House, Harper Collins, Hachette and Simon and Schuster. The latter, which is the smallest of the Big Four according to Publishers Weekly, publishes "over 2,000 titles annually".

Kickstarter's publishing "lead", Margot Atwell, wants to make it clear that the site "definitely doesn't supplant the role of editor, publicist or publisher" and is really "just one more tool an author or publisher can use to connect with readers and spread the word about their book". But writers all over the world are choosing this new route to publication in unprecedented numbers. The books and comics section has grown steadily since the site's launch in 2009, and accounts for around 13% of successful projects. In 2015, pledges totalled $35.2m and already in 2016 more than $20m has been pledged for more than 1,500 projects.

This dwarfs competitors such as Crowdfunder.co.uk, which has raised £475,000 for publishing projects in the six years since the site was founded in 2010, or the bespoke publishing platform Unbound, which has published 79 titles since launching a year later. Indiegogo, who didn't provide any data on their writing category, has raised a total of $1bn across all categories since its 2008 launch - just 40% of Kickstarter's $2.5bn - with a 2013 estimate suggesting they trail in writing and comics by as much as 10 to one.

Using Kickstarter lets creators make something great that they might not otherwise have been able to make

Margot Atwell, Kickstarter

For Atwell, projects that tend to be successful on the site are "ideas that ignited the imaginations of a community, creators providing greater access to their creative process, and voices that are often underrepresented among the most commercial success stories".

"Certain communities, such as the comics world, have been faster to integrate Kickstarter into their process. Using Kickstarter lets creators gain support for their project in advance, so they can make something great that they might not otherwise have been able to make. Projects to create beautiful hardcover books, especially art books, children's books, and comics in colour, tend to be more costly to produce, which might be why we see a lot of those creators coming to Kickstarter to make their projects," she says.

Compared to the UK market as a whole, Kickstarter is funding a far bigger percentage of fiction, children's books and comics. According to Nielsen Bookscan, fiction accounted for 5% of new titles in the UK, with children's books at 10% and graphic novels only 0.3%. On Kickstarter, 10.1% of successful publishing and comics projects were fiction, with children's books at 14.2% and graphic novels representing 8.8%.

As a publishing veteran who launched her own imprint (via Kickstarter) last year, Atwell says one of the most exciting things about crowdfunding is the way it inverts publishing's conventional publicity dynamic.

"When you're creating a book, it's very affirming to know that it's something there is desire and demand for, versus the traditional publishing model of investing in an author and the production of a book, trying your darnedest to get the word out and reach readers, but not really knowing whether there is a readership."

The writers and publishers using the site are "innovative, tech-savvy, and very willing to talk directly with their readers and fans", she continues, with some combining crowdfunding with more traditional approaches.

"Some of the most exciting projects we've seen in the past year have been run by great independent publishers such as Copper Canyon's Then Come Back, a book of lost poems by Pablo Neruda, or Milkweed Books, a project to create a new independent bookstore, which is live on the site right now," Atwell explains. "I've also seen projects by hybrid authors who are published by mainstream Big Four publishers but also do projects on Kickstarter, such as Kate Milford, who has run two great projects for novellas."

Pitch and presentation are vital, when trying to stand out from thousands of other projects. Kate-Mia White, who raised more than £2,000 to fund the third volume of her Dark Forest series, spends a few days on every pitch she makes. "I think it's important to create an eye-catching video with a strong theme, and keep the whole page in that theme," she says.

White never even considered traditional publication, "partly because I was producing 16-page comics and partly I feel the internet is now a better way of reaching an audience."

For David Hill, who raised more than £3,000 to publish his memoir of living with a Staffordshire bull terrier, the "relentless" pitching didn't come easily.

"I was advised to share the link on multiple social media accounts several times a day, and talk about it until I thought I'd talked about it too much, but then carry on talking about it anyway," Hill says. "I found the first week or so to be quite dispiriting, but once the ball was rolling and it gained momentum, I started to feel encouraged, and finally, elated when it was successfully funded."

When strangers are sharing their money to help with a project, the dynamic between writers and their backers can become very personal. "Most of the backers know about my struggles with anxiety, job loss, and all the sacrifices that I've made to give this rescue dog the life she deserves," Hill says. "Everyone's been so supportive, and I've been really humbled by that support."

The artist-led model has seen substantial sums of money devoted to projects in areas where traditional publishing often struggles. Literary journals raised more than $200,000 on Kickstarter in 2015, while poetry received almost $300,000. Anthologies brought in almost $500,000, while art books picked up more than $4m.

"[Crowdfunding] certainly gives the writer much more creative freedom, and the ability to tell their story exactly as they originally envisaged," Hill says. "I believe it's really enriching the art of storytelling, and giving readers a much wider selection of stories to choose from."

The broad range of projects that Kickstarter supports is no accident: in 2015, the business reincorporated as a public benefit corporation, a profit-making model that includes having a positive impact on the world as a legally defined goal. Atwell says this is part of the site's mission "to support a more creative, equitable world, and to fight inequality". And while traditional publishing struggles to address problems with diversity, crowdfunding offers an alternative route to publication for writers who are struggling to be heard.

"I believe it's critical to our culture and our society that people from every conceivable background have the opportunity to share their stories, and find stories that resonate with them and their experience," Atwell says. "Even more than that, I think it's important for people to seek out stories that seem alien to them, so they build greater understanding and empathy for others. Empathy seems to be in short supply in the world today, and I really do believe in the power of literature to help increase it."

This article was amended on 20 September 2016 to make clear that Rebel Girls is Kickstarter's biggest publishing project for an original work. Bibliotecha raised more than $1.4m for a new edition of the Bible in 2014.
Topics

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How Kickstarter became one of the biggest powers in publishing

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Four months after launching on Kickstarter, a children's book that tells the stories of 100 inspiring women has raised more than $1m (£754,000), making it the biggest original publishing project in the crowdfunding site's history.

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Done a few test stencils today. Needs a bigger sheet and need to find a way to get it to lay flush with the surface but, pretty happy with my first attempt 👍🏻

how it works for the final piece? Maybe a big sticker I could use, stick it on spray it and then peel to reveal 👍🏻

Can anyone work out what it says? 😊👊🏻

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Follow editorial.grid for magazine, book, publication design....

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This week we want you to bring together your writing and design into one holistic form and experiment with innovative ways to launch your project.

Please bear in mind that we are looking for original, innovative, exciting and appropriate design ideas. Be brave and ensure this is the focus and you do not attempt to implement a more pedestrian approach.

We accept the format of your publication may not be in a traditional book form. If using digital, performance or installation platforms, for example, please ensure you communicate this clearly within the final presentation.

Design a visual synopsis of your publication, to include the following:

Front cover (with title)

Chapter opener

Two double page spreads

Back cover (using your previously written short synopsis)

Your final design should include your full 3,000-word text and original, self generated images.

Write a short paragraph about the methods by which you might fund, promote and launch your project, if you were an independent author.

––––––––––––––––––––––

Please note, your final 3,000-word Visual Culture Article should be delivered as a PDF titled ‘Visual Culture Article’. It should include your 3,000-word essay, original and self-generated images as well as the synopsis and design for the front cover, chapter opener, spreads and back cover. We accept the format of your publication may not be in a traditional book form. If using digital, performance or installation platforms, for example, please ensure you communicate this clearly within the final Visual Culture Article PDF.