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BEGINNING OF WORK AT THE BOTTOM AND FINAL RESULTS AT THE TOP

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BEGINNING OF WORK AT THE BOTTOM AND FINAL RESULTS AT THE TOP

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IN WHITE

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IN GREEN

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IN ORANGE

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IN BLUE

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IN RED

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original colour for the background from a picture that I took whilst at the park.
The little letter s between the foot print marks (the top right corner), is so small and hidden because is silent and the way that I experienced silence the letter is like a noise, is there but is not there.
Also, I made the letter s by moving around and distort foot print marks (that have been vector on Illustrator), because I wanted to keep as original as possible the shoe prints to emphasize the untouched personal experience of that moment.

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Gradient colours to enhance the idea of silence, something that vanish away

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I presented this to the group Crit but I wasn't too sure this would have been the right colour so, I decided to change it, using for the background an original colour from a landscape picture that I took whilst at the park. I chose a very dark green

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Try to incorporate the texture of muddy footprints into the letter S to keep the feel of a personal experience

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Original picture where I took the green from

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Original picture where I took the green from

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Ink pencil and water

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I liked the idea of gradient colour from the Alzheimer campaign but I soon realised that I was using more than 2 colours

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Medium: muddy shoes

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Secondary Research + respond and development 

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Secondary Research + respond and development 

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After looking at Alzheimer campaign from Studio Dumbar, I connected with the message, the blurred bubbles as to blurred minds.
I focused my attention on the use of gradient colours to symbolize something that is vanishing.
I got this message and try to apply it to my letter, a vanishing, silent S. Represent the noise of shoes on gravel and the vanishing sound farer and farer as it leaves.

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Competition between charity organizations is fierce. They all need to raise funds for important causes, but there is no way of ranking the seriousness of the problems each organization is working to solve or alleviate. Gaining sympathy is crucial. Our priority for Alzheimer Nederland was to speak to people's hearts in a powerful way, but also quietly, without shouting - with impact and integrity.

Having met patients, families and carers to experience the disease first-hand, we developed a strong and instantly recognisable identity. The new logotype is bold and confident, but like the human mind it also changes... The 'vanishing points' - the blurred, fading elements in the typographic style - visualise the effects of dementia, while some people have also seen them as sources of light and hope.

The most important moment in the process came when the identity was shared with patients and carers. We were delighted and relieved when their feedback was so positive, and people continue to comment on how they feel an immediate emotional connection with the identity.

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Studio Dumbar/DEPT® is an international design agency specialised in visual branding and online branding, located in Rotterdam.

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Medium: muddy shoes

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Medium: muddy shoes

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same process as before, little S in the middle

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Letter S formed by moving around some details of the footprint right in the middle

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Enlarged version of first set of Photoshop trials

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Enlarged version of first set of Photoshop trials

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Footprint follow an S shape

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Description hand written, left page

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Contact sheet enlarged from sketchbook trials

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Contact sheet enlarged from sketchbook trials

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Influenced by the work of Lucy Biggs (letter c) and Angela Roche (letter n) both on the right page, I wanted to try to visualize my ideas digitally.
I experimented with illustrator, trace image (on the left page). But I soon realized that I was taking away the main part of my work which was the physical work I did by catching the silence with shoes print on paper and the sky light with brush strokes.

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I choose a particular spot to experience the feeling of silence. After reflecting over the idea of some recordings that I made I realized that I needed to choose a place to start analyse silence in depth and on a personal note.
I went to Chorlton Water Park, went for a walk and stopped in a fairly quiet spot.
I sat down and started recording silence. Here I tested the idea of what would change if I listened with my eyes closed or opened?
With my eyes opened I was influenced by the surroundings, the colours and the movements around me. With my eyes closed all I could hear was the birds, and the noise of running shoes on gravel.

1st Trial= walking on white paper with dirty muddy shoes, in a way that resemble the letter s
2nd Trial= catch the silence with what I could see in front of me in that moment, the sky

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Testing with letter S

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enlarged photos printed on sketchbook

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Looking at the video of John Cage 4'33 song I started making marks from noises I could here (top left corner) and also I reflected over the influence of my marks if I did keep my eyes closed or oped, could it affect my perception of silence?

I was also trying to picture an image of silence in my mind and the painting of William Turner "Sunrise" (1775-1851) came in my mind. The landscape, the colour palette and the abstract brush strokes evoked a feeling of silence.
I experimented with this reflection by representing the letter S (Right side sketchbook page), firstly I choose to use ink mixed in pva glue to create texture and after I choose to deconstruct the letter S, influenced by Studio Dumbar work and the idea of abstract in William Turner painting. The deconstruction for me symbolize a broken pattern like silence.

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Studio Dumbar, I was reflecting over the motion of the dots and how they shape into different letters, I looked at it as a process of construction and deconstruction. Which inspired me to play around with the letter S in a nonconstructive way, like silence.

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Cumulus Park aims to nurture an environment where a broad spectrum of organisations can thrive, independently and collectively: a community where people work together and play together, exchanging ideas, sharing skills, and fostering the spirit of innovation. To reflect this goal, Darwin's 'diversity breeds' became the leading principle for the strategic positioning.

Darwin's thinking about diversity and adapting to changing circumstances provided the spark for our concept. Motion design became a driving force early in the project. Individual letters (forming words such as 'share' and 'grow') are composed of small, dynamic 'particles'. These elements are constantly on the move - shifting, changing position, moving from one letter to another; reflecting a desire to share and exchange ideas. To make this possible, we created a bespoke programme, providing the Cumulus Park identity with a truly unique character.

Studio Dumbar/DEPT® design embodies a spirit of innovation, by adopting a new approach to visual identity, integrating technology and design, and encouraging motion graphics to play a key role.

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Studio Dumbar/DEPT® is an international design agency specialised in visual branding and online branding, located in Rotterdam.

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contact sheet pictures biger from sketcbook pages N.1

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contact sheet pictures biger from sketcbook pages N.1

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I tested visually the idea of "Opposites" (on the left page), I was thinking at silence exists because noise does. tried on illustrator, but with this idea my work didn't have any personal attachment.

On the right page I development my work by testing on Photoshop, (the top 4 images are the originals but scanned) layering 3 papers of foot prints with the colored background of the painted sky.
In this testing session I wasn't focusing on the brief requirements, it was more testing the idea of how to visualize something that is silence?
I thought by experimenting myself silence in the park and producing work there under the influence of the situation I could then relate to the image and put in what I experienced as silence.

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First thoughts for letter S. Personal experiences association with letter S, speed when I drive and S for spider, fear of spiders. I was experimenting by looking at the letter S potential moves for speed or wobbles out of fear.

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Anthony Burril's process.
I like the idea of using materials from a chosen place to produce a screen print.
He used the oil from the oil spill incident, happened in the Gulf of Mexico in 2012, that left tonnes of chemical oils on the north shore. The medium used enhance the meaning of the message.
I decided to use the materials found from my chosen place to make my letter S. I wanted my letter to be unique and personal so, I used muddy foot prints to communicate how I experienced silence.

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Oil & Water Do Not Mix

Overview

This screen-printed poster was made with oil collected from the 2010 Gulf of Mexico disaster. Proceeds from the sale of the print were donated to CRCL (Coalition to Restore Coastal Louisiana) a non-profit organisation dedicated to restoring the Gulf of Mexico's coastal wetlands. The project was conceived and produced in collaboration with Happiness Brussels.

Project Credits

Concept & Production:

Happiness Brussels

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This screen-printed poster was made with oil collected from the 2010 Gulf of Mexico disaster. Proceeds from the sale of the print were donated to CRCL (Coalition to Restore Coastal Louisiana) a non-profit organisation dedicated to restoring the Gulf of Mexico's coastal wetlands. The project was conceived and produced in collaboration with Happiness Brussels.

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contact sheet pictures biger from sketcbook pages N.2

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contact sheet pictures biger from sketcbook pages N.2

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I was looking at sunrise palette colors using Adobe Color to extract colors and use them potentially for my 2 colors letter space

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After listening to Julian Dodd explanation of John Cage's piece I really focused on natural sound and made me think rather than from people noises, from nature.
I started then visualize a specific time of natural silence. Sunrise. quiet, peaceful.

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[from] Nos. 509-19: Unfinished Paintings, mainly of Liber Studiorum Subjects, c. 1840-50.

THIS group of late , roughly similar in size, style, colouring and degree of finish, is remarkable in being based largely on compositions used much earlier by Turner for the Liber Studiorum. Only Sunrise, with a Boat between Headlands (No. 516 []) and with River and Distant Mountains (No. 517) seem to be entirely new inventions. In addition all but three of the remaining paintings are of subjects that Turner classified as 'E.P.', almost certainly 'elevated pastoral'. Of the others, one, Norham Castle, Sunrise (No. 512 []) is a 'P' or 'pastoral' subject, Inverary Pier (No. 519) is an 'M' or 'marine' subject, while Europa and the Bull (No. 514) is based on a detail of the frontispiece, which was not given a classification. The degree of dependence on the Liber model varies. In the case of Landscape with a River and Bay in the Distance (No. 509), Chepstow Castle, which forms the main topographical motif of the Liber plate, 'The Junction of the Severn and the Wye', is omitted, but in two other cases, rather surprisingly, Turner makes the late oil more topographically specific than the Liber plate, Landscape with Walton Bridges (No. 511) and The Ponte delle Torri, Spoleto (No. 518 []).

All the paintings are unfinished and seem to be in the state in which Turner took such unfinished works into the Royal or the British Institution before completing them on varnishing days; see in particular John Burnet's description of such unfinished pictures as being 'divided into large masses of blue, where the water or sky was to come, and [with] the other portions laid out in broad orange yellow, falling into delicate brown where the trees and landscapes were to be placed' (Burnet 1852, p. 100; 1859, pp. 84-5), and Rippingille's description of Turner at work on The Burning of the House of Lords and Commons at the British Institution in 1835 (see No. 359). It has, however, been suggested that these works are more than just a random selection of late unfinished pictures. Lawrence Gowing, at the Turner Symposium held at Johns Hopkins University, Baltimore in April 1975, suggested that Turner may have painted this series as a trial run to see if such 'sketchy' pictures were marketable. At the same symposium Jerrold Ziff suggested that, although towards the end of his life Turner appeared to become increasingly occupied with images of disaster, this group of oils, mainly of 'elevated pastoral' or 'pastoral' subjects, shows that Turner still felt that there was a place for the idyllic in the repertoire of a landscape painter and that he may have intended the group to stand as a reaffirmation of his faith in Nature in her more tranquil moods.

On the other hand, one cannot guarantee that Turner, in completing these unfinished works, might not have radically changed their mood; Frith's anecdote about Turner adding the dominant blue to Undine giving the Ring to Massaniello (see No. 424 []) shows how drastic Turner's alterations could be. Turner's last four exhibits in 1850 (Nos. 429-32 [N00552-]) could all have been painted over such a lay-in as Sunrise, with a Boat between Headlands (No. 516 [N02002]). Moreover, if this group of works is as late as has sometimes been argued (see below) one has to face the fact that Turner may have been at a loss for new compositions. Of the three works he exhibited between 1847 and 1849 inclusive, one was an early work left untouched, Venus and Adonis (No. 150), while the other two were also early works, reworked for the occasion, The Hero of a Hundred Fights (No. 427 []) and The Wreck Buoy (No. 428).

Turner's use of Liber Studiorum subjects has been associated with his revival of interest in that publication; in May and June 1845 he had McQueen's run off fifteen new sets (see John Pye and J. L. Roget, Notes and Memoranda respecting the Liber Studiorum of J. M. W. Turner, 1879, p. 71 n., and Gage 1980, p. 206). In addition, it has recently been discovered that the paintings from the series now in the Tate Gallery were painted on supplied by the firm of T. Brown that bear stamps of a form that does not seem to have been used before about 1839 and also, in one case, a second stamp incorporating an element that gives the year in which the canvas was made: Norham Castle, Sunrise (No. 512 [N01981]) bears an example of this second form of stamp implying the date 1844 (see Butlin, loc. cit.). This means that the dating to c. 1835-40 given in the first edition of this catalogue must be wrong and that the whole group must date from c. 1840 or later, with Norham Castle, Sunrise after 1844. In reviews of our first edition Luke Herrmann had already suggested that at least some of this group could date from the later 1840s or even to c. 1850 and Eric Shanes (1981) had suggested a dating of c. 1845, when McQueen reprinted the Liber; Andrew Wilton had also suggested that this group of oils 'are products of Turner's last years'. More recently John Gage has also dated the group to c. 1845 (1983-4, loc. cit.), and Eric Shanes has gone further (1984), suggesting an actual order of completion beginning c. 1845 with the 'initial delicacy and control' of Norham Castle and Inverary Pier (Nos. 512 [N01981] and 519) and ending c. 1848, Turner's physical limitations having become acute, with 'the somewhat rougher and clumsier handling' of paintings such as Sunrise, a Castle on a Bay and The Ponte delle Torri, Spoleto (Nos. 515 [[] and 518 [N02424]). However, if one is correct in seeing these pictures as unfinished works it is probably going too far to derive dating arguments from their precise degree of finish and subtlety.

Although four of these works remained in Turner's collection and became part of the Turner Bequest the remaining seven were dispersed, either during his lifetime or relatively soon after his death. How they left Turner's studio is a mystery. Two of the series (Nos. 511 and 513) were sold at Christie's in 1865 from the collection of John Pound, the son by her first marriage of Mrs Booth, Turner's mistress and later housekeeper in his last years at Chelsea. Turner had presumably given these pictures either to her or to her son, or they had been left in his Chelsea studio at his death and been appropriated, but none of the other pictures in the series can be shown to have come from this source. There is a possibility that they were among the approximately eighty pictures that were rejected from the Turner Bequest by the National Gallery in 1856 on the grounds that they were not genuine, but against this suggestion must be weighed both the fact that these exclusions were made by Sir Charles Eastlake, a friend of Turner's who knew his work well, and also that a number of canvases that were still less 'finished' than those in this series were accepted for the Bequest. Nor can these works be identified in the Schedules of 1854 and 1856, which listed all the works in Turner's possession when he died, whether by him or not. They may have simply remained as a pile of unstretched canvases, perhaps rolled up together, and have been removed from Turner's studio; Stefan Slabczynski, former Keeper of Conservation at the Tate Gallery, who cleaned No. 509 for the Louvre, reported that it had formerly been rolled up as had others of the group (see Nos. 510 and 517). A letter written by Effie Ruskin to her mother on 24 August 1852, telling her that Ruskin had renounced the executorship of Turner's will as he was sickened by all the disputes over it, continued '... certain it is that already Turner's lawyer has stolen a bag of ', which makes it sound as if the studio was open to pilfering of this kind. (Incidentally, had the late codicil to Turner's will that restricted the works that were to go to the nation to his 'finished pictures' not been set aside, none of this group, nor any other of Turner's unfinished pictures, would have formed part of the Turner Bequest.)

Lit. Rothenstein and Butlin 1964, pp. 62-4; Gage 1975, pp. 454-6; Herrmann 1978, p. 773; Wilton 1979, pp. 224, 247; Butlin 1981, pp. 43-5; Shanes 1981, pp. 45-6; Gage in exh. cat., Paris 1983-4, pp. 149-51; Shanes 1984, pp. 284-8.

THE TATE GALLERY, LONDON (1981)

Canvas, 35 3/4 × 48 (91 × 122)

Coll. Turner Bequest 1856; transferred to the Tate Gallery 1914.

Exh. Paris 1938 (145); New York, Chicago and Toronto 1946-7 (54, pl. 46); Amsterdam, Berne, Paris, Brussels, Liege (34), Venice and Rome (39) 1947-8; Paris 1953 (82); New York, St. Louis and San Francisco 1956-7 (112, pl. 13); Tate Gallery 1959 (354); R.A. 1974-5 (650, repr. in colour p. 184).

Lit. MacColl 1920, p. 29; Clark 1949, p. 107, pl. 87; Rothenstein 1949, p. 24, colour pl. 2; Clare 1951, p. 102; Herrmann 1963, p. 38; Rothenstein and Butlin 1964, pp. 50, 62-4, pl. 124; Lindsay 1966, p. 203; Gage 1969, pp. 40-41, 126, 254 n. 250, pl. 35; Holcomb 1974, p. 47, pl. 10; Andrew Wilton, 'Retrospect: Norham Castle 1798-1840' in exh. cat., R.A. 1974-5, pp. 172-4, repr. in colour p. 184; Herrmann 1975, pp. 54, 234-5, colour pl. 177; Wilton 1979, p. 224; Butlin 1981, p. 45, repr.; Hawes 1982, pp. 42-4; Shanes 1984, p. 287.

This is one of the examples of a later development of a plate from the Liber Studiorum, in this case published on 1 January 1816 under the catagory 'P' for 'Pastoral' (R. 57, repr. Finberg 1924, p. 227 and Herrmann 1975, pl. 188; the preliminary pen and sepia drawing, CXVIII-D, repr. Finberg 1924, p. 226 and Herrmann 1975, pl. 187, and the underlying repr. Finberg 1924, p. 226). The plate is inscribed as being from 'the Drawing in the Possession of the late Lord Lascells', the watercolour from the Harewood Collection that is one of two closely related compositions, one of which was exhibited at the R.A. in 1798 as 'Norham Castle on the Tweed, Summer's Morn' with a quotation from Thomson's Seasons (both versions are in private collections, one ex. Laundy Walters, the other ex. Mrs Thwaites; the first repr. Armstrong 1902, pl. 16 and Gage op. cit., pl. 33, the second exh. R.A. 1974-5 (640)). Two large watercolour studies for the 1798 exhibit are in the British Museum (L-B and C, the first repr. Herrmann 1975, pl. 186). Turner had sketched this view in 1797 in his 'North of England' sketchbook (XXXIV-57, repr. Herrmann 1975, pl. 184) and again in his 'Helmsley' sketchbook on his way to Scotland in 1801 (LIII-42 -50, especially 44 verso and 45, repr. Herrmann 1975, pl. 185).

In its turn the somewhat revised Liber composition led on to a number of later versions. A finished watercolour in the British Museum (Turner Bequest CCVIII-O; repr. Rawlinson and Finberg 1909, colour pl. 14, Gage 1969, pl. 34 and Herrmann 1975, pl. 189) formed the basis for two further engravings , one done by Charles Turner in 1824 for the Rivers of England Part ii, pl. 1 (repr. Herrmann 1975, pl. 190), the other by Percy Heath in 1827, perhaps for the Literary Souvenir. A further engraving, done by William Miller in 1834 for Scott's Provincial Antiquities of Scotland, was based on new on-the-spot sketches made in the 'Abbotsford' sketchbook in 1831 (CCLXVII-59 verso) and on another finished watercolour formerly in the collection of Munro of Novar and now in the United States. Armstrong lists three further finished watercolours, dating them 1800-02, c. 1820 and 1820-25 ( op. cit., p. 268; see also Wilton 1979, nos. 225-6, 277, 736, 1052, 1099).

Of two colour beginnings in the British Museum, one (CCLXIII-22) probably dates from c. 1817 while the other (CCLXIII-72) may date from as late as the oil painting. Nevertheless, the oil is closer in general composition and in the presence of cattle in the water to the Liber plate. The mass of the castle is however assimilated with the central bluff rather than standing above it silhouetted against the sky, and the other forms, including the barely-sensed hut on the left, are much more impressionistically defined. (For Turner's preoccupation with this subject, and its development, see in particular Wilton, 1974-5.)

The canvas of this picture bears not only a Thomas Brown stamp in the form used from about 1839 but also a second stamp that seems to include the date [18] 44 (see Butlin, loc. cit.). Despite the thin, watercolour-like appearance, the paint was partly worked with the end of the brush (or perhaps Turner's thumb-nail) and also bears fingerprints, presumably his.

Published in:
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984

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'Norham Castle, Sunrise', Joseph Mallord William Turner, c.1845 | Tate

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'Norham Castle, Sunrise', Joseph Mallord William Turner, c.1845 on display at Tate Britain.

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Julian Dodd explains John Cage's piece.
He explains why 4.33 isn't music (definition= organized noises produced by musicians that follows instructions of notes arrangements) and instead is a work of conceptual art. Making us reflect over the natural sound

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John Cage affirmation that there isn't such thing as silence.
I agree because silence is still an activity itself, in fact you need to stay in silence, the activity is try to not to move to don't make any noise. I think whilst I am in silence my brain isn't, my brain is reflecting and talking in my mind.

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4'33" by John Cage - John Cage Live at the Barbican - BBC Four Collections

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Recording silence at home

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Birds and running shoes on gravel

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Recording silence in the car

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The lowercase "a" is the logo for a ink art supplier. I can see the ink drop at the bottom of the letter. That made me think is the letter been achieved by sketching the drop first and then the letter has been added later to fit the drop? I can see a potential technique that I could Use to design my letter

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Commentary - Mar 23, 2020

By Paula Scher for Creative Review
This essay originally appeared online in Creative Review, 28 February 2020.
Designing a logo for any corporation, brand or cultural organisation today almost invariably requires that the designer also create a bespoke font to accompany it. Sometimes the font is derived from a newly designed mark that has some form of an eccentric character and can be extended to create an entire font. Or the font can be created from a wordmark that could also be extended to a complete alphabet. The font would have to have enough specific idiosyncrasies to create a recognisable visual language that separates it from its competitors.

So much of this activity is facilitated by today's excellent software in the hands of knowledgeable and talented type designers. I would argue that the technology, talent and knowledge of typographers today make it the best period for typography and type design in my life as a practicing designer. This type movement continues to grow and there is so much wonderful craft to be admired now. But the most recognisable font I have ever seen came out of a logo was designed in the 1960s. The man who designed the font was my future husband, Seymour Chwast. The name of the font was Artone.

In 1964, Seymour designed a package for Artone Ink, a relatively small company that manufactured art supplies. He designed the lowercase letter 'a' with a very extreme, extended lower half. It looked like an ink drop and read as an 'a'.

The little 'a' with a big bottom was instantly recognisable and the package was beautiful. Seymour proceeded to design a whole font of drip-bottom characters. The font appeared on promotions for Artone inks, but other than winning awards in the design field, the font had little impact with broad audiences. The client never maintained ownership over the font, which would be the norm today. Seymour allowed Photo-Lettering, a popular US phototype company, to sell the font, and he maintained a small royalty.

The font became a hit. There were many rip-offs of Artone. All a type company had to do was alter the font very slightly and change its name. In the days before type trademarks and licensing this was very easy to accomplish.

I began to recognise the font Artone when I was a sophomore in college in 1968. It was everywhere. It was a ubiquitous youth culture font. You found it on paraphernalia in head shops, on record covers, underground comics and newspapers, and in youth-culture clothing stores. There were many versions of it, but none as good as the original. Little by little I began to recognise the bastardised versions as different from the original.

At that time, I had no idea Artone came from a logo on an ink bottle package. I thought it looked the way it did because it was visually related to bell-bottom pants, which were all the rage back then (wide-bottomed legs and wide-bottomed letterforms). I assumed it was a hippie font, the way I assumed that fonts that looked like Helvetica and Univers were establishment fonts. I was a hippie of sorts, so Artone was my font.

A year later, in 1969, I began my major in Graphic Design and found out about the Artone ink-packaging. I learned who Seymour Chwast and Milton Glaser were, and I learned about the work of Pushpin Studios. In my beginning days of design I didn't understand typography. I didn't understand the Swiss International style. I couldn't recognise the difference between Helvetica and Univers. (Sometimes, I still have difficulty with that.) But I could always recognise Artone. I could even recognise the rip-offs. It made me love typography.

Seymour has designed a lot of fonts over the years and has sold them through the now defunct Photo-Lettering. (Some of the Photo-Lettering fonts were picked up by House Industries.) Seymour never mastered typographer's software, and he still draws fonts by hand for his books and posters.

All of the fonts have a recognisable character, but Artone is the only one that coupled with all the bastardisations, came to represent a decade. I don't know if all the carefully trademarked, licensed or bespoke fonts that are designed today to represent corporation, brands and cultural organisations will ever be able to accomplish that now. Maybe it's impossible.

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Commentary - Mar 23, 2020 By Paula Scher for Creative Review This essay originally appeared online in Creative Review, 28 February 2020. Designing a logo for any corporation, brand or cultural organisation today almost invariably requires that the designer also create a bespoke font to accompany it.

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Angela Rohe "N" made me think using texture but from the actual places. I can achieve that with oil pastels rubbings.

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"No Place Like Home: an exploration into patterns found within everyday items around my home. Featuring bathroom lino, soap tray, throw, kitchen tiles, radiator, blinds, tea towel, shirt, jumper, hair brush and lamp shade!"

Angela got into design after seeing a flyer created by a graphic design student whilst she was studying for a degree in business. Realising that graphic design was an actual 'thing', she switched vocations and went back to university to study it. Angela now runs brand and digital agency, Design By Day, in Manchester.

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Limited edition of 26

Screen print, 420 x 594mm, unframed

Ink: White

Paper: EduCraft Poster Paper Purple, Slater Harrison

Printed by Dan Mather Screenprint

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"No Place Like Home: an exploration into patterns found within everyday items around my home. Featuring bathroom lino, soap tray, throw, kitchen tiles, radiator, blinds, tea towel, shirt, jumper, hair brush and lamp shade!" Angela got into design after seeing a flyer created by a graphic design student whilst she was studying for a degree in business.

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Lucy Biggs layered 9 different style of C. Potential technique I could use to express a silent S. Is the you can see and cannot see effect that I am interested in

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"This letterform is a combination of 9 letter 'C's which were once present on shop fronts in Macclesfield town centre during the late 1800s and early 1900s. Some of the buildings still stand but the letterforms are no longer there. They are now typographic ghosts, representing a once golden typographic presence on the cobbled streets of Treacle Town."

Lucy Biggs, founder and curator of the Letterspace project, is a graphic designer, educator and researcher, with a ceaseless love for typography. Lucy previously worked as a graphic designer for The Guardian newspaper and the Institute of Contemporary Arts and as an art director for M&C Saatchi in Sydney. In addition, she spent several months working with Oded Ezer in Israel. Lucy studied typography and graphic design at London College of Communication and is currently Senior Lecturer on the BA (Hons) Graphic Design course at Manchester School of Art, a fellow of the HEA (Higher Education Academy) and Membership Officer of the Graphic Design Educators' Network.

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Limited edition of 26

Screen print, 420 x 594mm, unframed

Ink: Clear Varnish

Paper: CenturaMetallic Old Gold, Slater Harrison

Printed by Dan Mather Screenprint

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"This letterform is a combination of 9 letter 'C's which were once present on shop fronts in Macclesfield town centre during the late 1800s and early 1900s. Some of the buildings still stand but the letterforms are no longer there. They are now typographic ghosts, representing a once golden typographic presence on the cobbled streets of Treacle Town."