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Getting there!
Here's my manifesto for week 5.
Really enjoyed researching this.

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Written communication:

Making, researching using words,

publishing and new discourse

The use of language is what distinguishes graphic designers

from illustrators. It encourages opinions and debate between

art / design / society and politics.

Before and during the first world war (1914) there was a spike

in modern art movements. It was a period of period of

revolution, rebellion and a creation of modern art.

Cubist fragmentation.

Blast magazine. Self indulgent of British art and culture.

Reproduce a new living abstraction. Each page is set out like a

manifesto and is set out as a dramatic piece of graphic design.

The front cover is bright pink so it would have really stood out

when it was published in 1914.

Jan Tschichold 1928 - inspired by Bauhaus

In the late 1950's a group of young designers, grasped the idea

of objective Graphic Design - design that used photography and

typography. The design needed to be sober, simple and photos

were preferred over illustrations. It was launched in 1958.

The magazine was called Neue Grafik / New Graphic

Design/ Graphisme actuel.

Designed by Joseph Neiler Brokman. It's been designed in 3

different languages. Its set in a 4 column grid, all

identical. It's used an early version of helvetica.

It's extremely plain. Lohse and Müller-Brockmann - together

with Hans Neuburg and Carlo Vivarelli - were the editors of

Neue Grafik.

"Neue Grafik's design may have served as both manifesto and

manual for the New Typography, but its editorial scope went

beyond type to embrace art, photography and science."

this-authentic-trilingual-landmark

Siegfried Odermatt - Poster for Globus Department Store 1960.

An Ikea type add, selling furniture. It shows the designers of the

furniture. There isn't any photo styling, it's photographed like

police forensic photography. The designers were reacting to the

idea that the war that had rocked europe had caused political

prejudice, reactions, violence, propaganda, so the simplified

language eliminated the extremity out of the lives of the people.

A force for cultural good. A feeling it could be used for cultural

Swiss design. Carlos Vivarelli - Advertisement for Adolf

Feller AG Horgen 1953-1961 Wall Plugs The photos in the adds

are photographed perfectly with the type around it in a grid.

No complication.

Emil Ruder - Typographer - Swiss. Letter press typography,

the importance to communicate through typography.

By the mid 20th Century, Bauhaus, & Art Deco were being

incorporated into Graphic Design studios work to produce

modern graphic work.

Paul Rand An 'Art Director' and Graphic Designer, known to

create 'IBM, ABC, UPS, NeXT' - "The value of a designer is that

they can add a great deal of value to their product. They can

improve the quality by making it look better, by improving the

look of the product but improve the product itself. A good

designer can make it memorable and improve the general

quality of life. "

"A logo only becomes meaningful after it's used. The

illustration that represents the logo is the product and not the

logo. So that comes after the logo and that requires the thing

thats seen and associated and the association is what makes

the logo. " I will be able to find the rest of the interview online.

He wrote the book 'Thoughts on Design' Paul Rand - power to

contribute design in every day life.

Adrien Shaughnessy - Spin - Unit Editions - He is one of the

co founders of Unit Editions. Tony Brook is the other Co

Founders. Design books for designers by designers. They are

designers first and foremost, not publishers. They want books

that are different, the kind that other mainstream publishers

wouldn't want to touch, and they wouldn't know what to do

with. Also the subject matter has to have subject relevance

with a contemporary view point.

Design and Identity Guidelines. Now these don't really get used

because we have everything online so many were being thrown

away. They were asked to re work and create 2 volumes. They

re designed and put together two books of these information designs. They photographed the manuals very carefully and edited them carefully to create the books. These have been very successful.

In Loving Memory of Work. By Craig Oldham, social issues, document of the impact of the miners strike in 1984-1985. What the miners fought for throughout the country. He printed the lettering in the wrap around with coal dust from the Yorkshire mines.

Oh Shit What Now? His book for insight for gradates.

Octavo - Typographic journal 1986 - 1992. British Graphic designers. Collectable journal.

Stuart's Book - Collector's Edition. A celebration of the nature of print. Includes interviews. He wanted to create a limited edition of the book but the publisher had reservations due to the budget. So he invited featured artists to draw directly onto the cover of a standard book to create a series of one off art works. The brief was the same for each artist, to create an original art work that reflects the essence of your case study example that features in the book. They created one off art pieces on the front covers. AMAZING! This took many different forms. An example being from Sir Paul McCartney, Wayne Coyne the lead singer in the Flaming Lips, reflects the gummy skull music release. He created a wax skull and baby onto the front and hand painted the book and decorated it with glitter and ink. There were 10 of these books in total which all sold at an auction in honour of Stuarts Nan, therefore all £6000 raised went towards an Alzheimer's charity.

Stuart Tolley's Collector's Edition

Workshop Challenge Notes

How can content, format and production

communicate a narrative in the most

effective way?

Chanel No 5 - Book to showcase there Parfum. The fashion brand wanted

her to have as much creative freeness as she needed. She spent time at the

fashion house. Boom uses embossing a lot throughout her work but she

used it as the only source of printing with no ink involved at all, she used an

old pressing machine. The designs are all hand drawn and were embedded

onto an aluminium plate, then turned into a mound that the pages are then

pressed against. The book is 5cm thick. The concentration is on the images

text and tactility.

I watched this video for a little more information on Boom's

approach to producing the book and how she used numbers throughout the

production of the design, as did Chanel.

A book called the Architecture of the book. All about structure. It fits in the

palm of your hand. and is inspired by the thumbnail printouts that designers

can look at to analyse the flow and structure of a book project.

Weaving as a metaphor - created by Irma Boom for weaving textile artist Sheila Hicks. Named as the most beautiful book in the world. All white brick like object. Edges aren't cut and finished, the book itself is an actual work of art.

Below is a video I watched for further research into how she created this publication. I find her work fascinating and love that so much thought and process goes into each publication. She reacts to each brief in a unique and different way. Her work is extremely tactile and I'm finding myself wanting to own everything she makes!

Ghostly International

Black city totes, for musician Matthew Dear.

Limited edition album releases. A giant engraved sugar cube for the band

beacon. The MDBC Totum was designed as an identity for listeners

everywhere to consider the relationship between music and the digital form.

The MBDC Totum is the black faceless city scapes. This is taking the cd / vinyl

into a more sculptural / artefact. I really like that this is taking

communication of an album release to another level.

" Vaguely reminiscent of one of the soot-blackened skyscrapers that might

populate Dear's creeping, nameless city, the stacks upon the totem also call

to mind the many shaped prongs of a universal power adaptor. In this sense,

the totem is not simply a miniature building, but an abstract key to an

unknown door. The branding of the totem has been purposefully reduced to

its bare essentials only the letters MDBC and unique four-digit suffixes are

included so that the totem's meaning remains discernible only to its beholder.

Each MDBC Totem is inscribed with a unique four-character suffix that will

allow users access a private page on matthewdear.com, where Black City

may be streamed in its entirety from any web-accessed computer, or

downloaded. Owners of the totem will also receive an exclusive track, not

previously available on the standard album release."

A fan having this totem will have a physical sculpture which is something to

treasure in itself, but it will unlock an exclusive track along with being able to have Black City streamed in full from any computer. I feel there's something quite magical about that, something the digital world just wouldn't be able to conquer. It wouldn't give you the same feeling if a code was sent out in an email.

Anna Gerber & Britt Iverson. 'Visual Editions: Part Revolution, Part Reinvention'

London based book publishers. An example being they published a book for

Jonathan Safran Foer - Tree of Codes. Looks like an ordinary book on the

outside but inside it has lots of squares cut out. It would take around 45 mins

to read through the entire thing. A short story. They think about readers and

what they would like to experience. They want to give them a surprise. They

like to give people a different book experience, looking at book publishing in

a different way. To play and to explore, to try things.

New zealand book council - where books come to life. A playful film,

capturing the tactility of paper through film.

Tristram Shandy, writer by Laurence Sterne. Their publication was around the 131 edition of this book. . An extremely creative book but it got lost in all the re creations. When it was first created, back in the 18th century, the story was created around a boy who died, and when the boy died the page went black, chapters missing, lines running through the text. The brief for the designers was to bring a new life into it.

They were aiming to produce a book in a box. A box full of loose pages, so the reader creates the order of the story, all about pushing boundaries.

01. Research into the genre of graphic designers who write.

02. Analyse digital and print production techniques used by graphic designers to tell a story.

03. Deliver a 400 word article, exploring one of the preselected themes, that's presented as a typeset In-Design document.

04. Deliver a sketch to outline how you will use digital or print production techniques to elevate the content of your article.

05. Document your research, ideas and visual development on your blog.

This week we want you to generate written and visual content that explores the relationship between content and form.

Please consider your choices about form, layout, typeface selection, colour approach, materials and medium, in order to effectively tell your story. Ensure all components of your writing are embedded into the overall narrative, from tone of voice through to structure and pacing.

Write the first two paragraphs (approx. 400 words) of an article exploring one of the following themes:

Present the story by itself (In-Design file, for example).

Develop a simple design sketch of your final design proposal that explores the relationship between your written content and design form.

Create a manifesto for printers persuading them to use natural dyes.

I don't have much expertise with writing, as my last piece was my dissertation for my Textile Design Degree, which I wrote back in 2012. I really enjoyed writing this and felt it was an opportunity to explore the realm of my studio practice through further research. Although I enjoy researching and collecting information, I am struggling to find a pull in any of the directions to the list above. I studied English Literature for my A Level and used to really enjoy picking writing apart, however that was many years ago now and story telling and fictional writing scares me! So that eradicates a few of those options.

I thought Stuart's lecture on written communication was brilliant and it gave a great insight into how publications can be produced and the thought process behind them. I particularly loved the work and publication 'In Loving Memory Of Work' by Craig Oldham. A visual record of the UK minors strike.

I've been looking into the work of the book and how he came about using the font, which again is really interesting. The abstract below is taken from his website.

"STILLINGFLEET, is the third of a triptych of typefaces inspired by the typography of the UK miners' strike 1984-1985. Following on from Liaison, inspired Liaison Committee For The Defence Of The Trade Union (LCDTU) placards, and Ferrymoor, drawn from the reverse of the National Union of Mineworkers Ferrymoor Riddings Branch banner, Stillingfleet's origins are found in the creative enterprise of the miners themselves.

In June 1984, just months after the strike had officially commenced, and days after the infamous events at Orgreave Coking Plant, the Yorkshire Miners' Gala was held in Thornes Park, Wakefield. The talk of the day surrounded the call by National Coal Board (NCB) chairman Ian MacGregor for a "return-to-work" ballot, something that was vehemently opposed by the miners' unions and their supporters. "If you get a ballot paper, you burn it" declared President of the Yorkshire NUM, Jack Taylor, a sentiment echoed by MP for Bolsover, Dennis Skinner who added "And if you've got an effigy of MacGregor and Thatcher, it will make it last a little bit longer." However there was one Stillingfleet miner in the crowd who one-upped the statements with one of his own; his t-shirt bearing the message, in distinct geometric type; "Come home to a living fire, burn Ian McGregor [sic]".

Captured that day by revered social photographer Martin Jenkinson, who took some of the most enduring images of the struggle, the shirt of Mark Davies has inspired the reinterpretation of the typography into the Stillingfleet typeface. With its unique diagonal cut to the tops of characters, the face features solid but striking quirks which compliment its structure, such as the tails of the G and Q. Completing the set, the font has been developed as an uppercase and small-cap display face with contemporary hairline glyphs to complement Liaison and Ferrymoor before it."

Once thing that really caught my attention about this work, was Oldham using coal from Barnsley's main Colliery for the wrap around the book. He also created a poster too. I love that he uses the materials from the site and mixes it to form the ink for screen printing. It's incorporating the story into his book and embedding it deeper into the meaning. I think using your means around you makes something much more personal and creates a bigger impact than if you were to use a standard ink, and Oldham absolutely accomplished that. The video below is a short clip of how he goes about serving the coal to mix it into the ink, through to screen printing it.

Examples of Design Manifesto

Central Saint Martins students Ellen Jonsson and Irene Albino knitted a 25-metre long manifesto. Titled </unravel>.

The project is a combination of graphic design, coding and knitting to challenge the idea of binarisms. Explaining that "Weaving and the Jacquard loom is the first form of programming," Ellen and Irene's intention is to confront gender stereotypes of male-dominated computer hacking and the domesticated, feminine "quick and easy" hobby of knitting.

They got hold of a knitting weaving loom where you would usually inset an school floppy disk to tell it what to knit, so they had to re code it to trick it into weaving their essay (which of course wasn't on a floppy disk). They spent months researching how to hack the knitting machine but finally they did it.

During their degree show, their essay was knitted and unravelled day by day, producing a 25m length. It would pile high into a mound so people could come along, stretch it out and read it. This gave real interaction with their audience. "it was important for us that people read the texts and reflect, as we did, upon the issues we were trying to tackle," say the pair. "For that reason, knitting a bibliography was essential to track down the sources of the text and give people the opportunity to read more if they wished."

Sustainability in fast fashion. It's time for change.

The world is depending on more eco friendly resources, with mining and oil extraction being the most polluting industry with the fashion industry coming close behind. We have turned into a consumption hungry world with fast fashion being at the forefront. The factory workers work long, laborious hours, usually in unsafe conditions with very little pay, most workers unable to afford one of the garments they would have been working on after their monthly pay. There is around £140 million worth of clothing going into landfill every year.

Each garment you wear which has been dyed or printed will have usually been produced with synthetic dyes. Where do you think the excess dye goes? Located just 70km east of Jakarta in Indonesia, West Java's Citarum River can turn red, yellow, green, navy blue and return back to black all within the space of an hour, and this is 27 million people's source of water and washing. They dump the untreated chemicals which contain formaldehyde, chlorine, lead, and mercury in the rivers. The chemicals in these excess dyes can cause skin conditions and causes exposure to infectious diseases. This happens all over the world and effects billions of our population.

This isn't safe. We need to take action now.

Lets ask questions before purchasing a garment, keeping in mind that one cotton shirt and one pair of jeans will consume 10,000 - 20,000 L of water. Will this garment last long enough to warrant the economical impact on the world and the manual hours put into making it? Will it last long enough to justify the resources it's made from?

Think about how colour has been applied to the garment as this has a huge role to play. Ask yourself if you know how the colour has been applied, has the garment been died or printed with natural or synthetic dies? Are these dyes harmful to our environment? Has the wastewater been treated and do they dispose of it appropriately? Is it colourfast and will it withstand your usual washing routine? If we ask ourselves these series of questions and push the manufacturer to respond, we would be finding the answers and begin to purchase garments that wont damage our world further.

What would happen if we shared our findings with 20 friends and family? It would reduce the numbers of garments bought between 21 individuals, sharing information of the best sites, markets and shops to purchase from. If each of these individuals tried to hold on to each of their garments for an extra 9 months by re dyeing them with natural dyes or fixing them by hand, it would dramatically improve the environmental impact.

We can do so much better. We can have beautiful garments and love them more.

We need to do this. Together.

A sketch of Sommerset house with the manifesto in sections placed where I would project them.

My thinking behind this is I wanted to showcase the manifesto without using any inks, paper or fabric. I didn't want to add to any landfill, especially at the moment with Covid-19, landfills are being filled up more than ever with factories being shut down due to UK companies pulling orders, resulting in millions of pounds worth of stock not being shipped and sold. I didn't want to add to any environmental issues by doing so. By projecting the manifesto, no materials are being used and it is easy for members of the public to read.

I wanted to place this somewhere that would prompt questions to the fashion world, so what better place than London Fashion week, against Somerset House where a large proportion is based. I also thought about high street fashion stores such as Topshop on Oxford street.

Sustainability in fast fashion. It's time for change.

Manifesto mock up projection upon Somerset house where London Fashion Week takes place.

Pure white text projected against the building to keep it clean and simple with the only colour upon the colour in the river (red, yellow, green and blue) to demonstrate just how un natural that is.

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Written communication: Making, researching using words, publishing and new discourse The use of language is what distinguishes graphic designers from illustrators. It encourages opinions and debate between art / design / society and politics. Before and during the first world war (1914) there was a spike in modern art movements.

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Better late than never! :) I found images from the reactions to the movement all over the world and used their signs/banners to paste up my speech. I felt this was a strong way to reinforce my words through design. Finished blog post up soon too!

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Dear Diary, nobody is listening..
A diary entry about the climate crisis.

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It took me a while to nail down an idea, but I've done it. I've decided to choose the manifesto theme, and since this is about communication, I thought including others would be a perfect compliment. I've gotten responses and now my blog is  updated.

Manifesto of Advice from the World of Publishing
https://jazzstew.wordpress.com/2020/03/04/written-communication/

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This week I have decided to go down the speech route using this as my sample text :-)

Enjoy!

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Independence Day (4/5) Movie CLIP - The President's Speech (1996) HD

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A love-letter, to landscape.

Inspired by both the Constructivists and the Post-Expressionists, I had endeavoured to construct a landscape that tells the story of urbanisation-The jagged forms of the hills made from metal, reflective of the world's most substantial land-fill sites, specifically those across India.
The type is arranged in a manner that conveys the emergence of man-made structures, reaching skyward.

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A love-letter, to landscape.

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Sketch Up of final article + Blog post about Workshop Challenge

https://lucysmagraphicdesignblog.wordpress.com/2020/03/01/week-5-workshop-challenge-article-and-sketch-up/

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My final workshop piece (text only) + Blog Research post:

https://lucysmagraphicdesignblog.wordpress.com/2020/02/29/week-5-workshop-challenge-research/

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How to look good at protesting.

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I've been struggling to get what I'm thinking to fit into what we're being asked to do - but I can see a way in…
Building up for the 400 words.

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Week 5: Workshop Challenge

The Challenge

This week we want you to generate written and visual content that explores the relationship between content and form.

Please consider your choices about form, layout, typeface selection, colour approach, materials and medium, in order to effectively tell your story. Ensure all components of your writing are embedded into the overall narrative, from tone of voice through to structure and pacing.

Write the first two paragraphs (approx. 400 words) of an article exploring one of the following themes:

A news story

A children's story

A launch document for a new brand

A love letter

A business plan

A diary

A manifesto

A speech

Present the story by itself (In-Design file, for example).

Develop a simple design sketch of your final design proposal that explores the relationship between your written content and design form.

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This week we want you to generate written and visual content that explores the relationship between content and form. Please consider your choices about form, layout, typeface selection, colour approach, materials and medium, in order to effectively tell your story.

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Finally got through this week after a crazed weekend and brain-mush!

400 words, typeset to look like a brand document. I had to add pictures, I couldn't resist! :)

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Written in the form of five diary entries.

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A quick sketch made in illustrator as requested

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A quick sketch made in illustrator as requested

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Read about my attempts to write like the Donald here

I chose diary entry as my style to imitate this week.

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I was struggling to get started this week and following a tutorial I decided to use my 400 words to write a treatment for a television show that in itself is a love letter to M*A*S*H – this approach was partly because in researching the different styles of writing, I noticed that there was often an overlap of styles and a love letter really doesn’t need to be a physical love letter, does it?

I’ve written a blog post about my mostly confusing week – hopefully it might shed some light on how I’ve ended up where I have. https://theworkshedoes.wordpress.com/2020/02/27/written-communication-workshop-challenge/
For some reason I can't attach the typset 'article' but you can see it on my blog and here - and below is how it would look if ever published

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Whatever immediately follows Anonymous will pale in comparison...

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Whatever immediately follows Anonymous will pale in comparison...

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...so something not entirely unrelated...

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High Quality Michael GIF - Find & Share on GIPHY

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Discover & share this High Quality GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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https://spartacus833234253.wordpress.com/2020/02/27/anonymous-incognito/

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All you need is sellotape and a photocopier

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All you need is sellotape and a photocopier

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Or £7k+

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SNIFFIN' GLUE 1 to 12 Complete Punk Fanzine ~ First Edition 1976 1977 Mark Perry | eBay

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Sniffin' Glue. of the rare original punk fanzine. London : Mark Perry, 1976-1977. Includes Alternative T.V.'s "Love Lies Limp" flexi 7" with #12 on SG Records. Very Good to Near Fine. Issue #9 signed on first page top margin by guest editor Steve Mick (Stephen Micalef, author ofThe Punk Kings of Dyslexia ).

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which I would like to blame on the weekend's confusion, but it was probably other things.

Speech to follow.

http://schokotrunk.com/2020/02/27/week-5-in-letterspacing-no-one-can-hear-you-scream/

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A little late, but this might be of interest

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A little late, but this might be of interest

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Manifesto for online teaching

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I chose to look at the style of 'Manifesto' and have been doing some research into both Art Manifestos and Political Manifestos.

My chosen topic is 'Aerial Fitness', which is one of my hobbies. So far I've got a list of tenets of Aerial  Fitness, which I'm planning to use in my sketch up as a Front Cover/large image for my manifesto, with my text on the facing page.

The Tenets of Aerial Fitness:
1. No Fear
2. Always practice on both sides.
3. Love your bruises.
4. There's no such thing as a bad practice session - it's all good conditioning.
5. Point your toes and try to smile.
6. No Shame - it's fitness.
7. If you slip, use some grip.
8. Engage your muscles.
9. Always stretch
10. Don't be a Susan

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I surprised myself this week, and chose to write my 400 words in the style of a love letter – the only theme that I totally dismissed on my first read through of the task! Now to think about what it might look like – so far I’m thinking scrapbook style…

First draft -

I love you, Minecraft. I love your blocky textures and your never-ending worlds. I’ve spent night after night mining deep underground, hunting for those elusive diamonds you love to tease us with. And I’ve always maintained that those pesky creepers are just misunderstood – it must be pretty lonely knowing that you’ll explode if someone comes too close… Oh, and I’m sorry for all the times I rage-quit on you, too. Thank you for always forgiving me when I come crawling back.

And as for you, Tetris… where do I start? We’ve had an on-off relationship for at least the last twenty years now. I’m sorry for all those times I’ve left you for something shiny and new. I always come back though, and it’s just like old times… Did you know you’ve sold over 500 million copies now? You won’t forget me, will you, now you’re the best-selling game of all time and all that.

I love you, too, Diablo. Thank you for always being my punching bag at the end of a long day. I guess Minecraft isn’t the only one I’ve rage-quit on… I’m sorry for that time I lost my hardcore character and wouldn’t speak to you for 3 months. We got through it, though I suppose I still have some trust issues, I don’t play hardcore mode with you anymore… maybe it’s time we tried again?

I’ve saved you until last, Pokémon. We’ve stuck together through it all, right? Do you remember seven-year-old me choosing Charmander for the very first time? We grew up together, you and me – I watched you go from black and white to colour, and from console to phone. We’ve been loyal to each other for 21 years, and I still love you just as much as the day we first met.

Still writing up notes on my blog but here is where I’m at so far, falling a bit behind this week - https://alicemarlow.home.blog/2020/02/26/week-5-written-communication/

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Verso page combining riso colours and playing around with type, size and page boundaries

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Context: The subject of urbanisation, as conveyed in the style of a "Love-letter"
I welcome any feedback that you may have, as it was rather difficult to balance the subject-matter, with the lyricism of a love-letter.

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Complex simplicity: History Revealed
Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define the identity of your location. Deliver a short written description to contextualise and communicate your research into how type design reflects the identity of your location. Collaborate through group discussions on the Ideas Wall.
Research: How does Typography inform the identity of a city/town?

The typographic narrative that is present in Leominster is, in my opinion, typical of a market town in England. By typical, I mean to say that it is wrought with tension and engulfed in a self-perpetuating battle between the pleasantries of the past and the desperate, economic need to embrace an unknown future.

The first chapter of this story is built on the history of the town itself and is conveyed through the implementation of an array of serif fonts, often accompanying the branding of a local business. With the selected fonts presented in a manner that aspires to communicate the values of the town: Traditional, Proud, Respectful, Industrious, Cultured, Consistent, the town endeavours to project an identity that seeks to communicate an idyllic interpretation of itself. This message is conveyed through the use of serif fonts, script fonts, and decorative fonts-All of which are imbued with an aesthetic that evokes nostalgia.
"A good typeface creates an emotional response in relation to the message it is conveying," Jonathan Barnbrook, founder of the website Virus Fonts, told the BBC. "You're trying to get that tone of voice right-you can shout or whisper. And you want to sum up the spirit of the age, because they do date quite quickly."
In response to this attachment to the past, and how detrimental this can be to a small rural community, we can observe the presence of a more contemporary and unified typographic language, in the form of signage and word-marks. These communications represent the large, international conglomerates that small towns such as Leominster have come to rely on economically.

Culturally, the typographic language adopted by the town is reflective of the mindset that has established itself here. The businesses a reflection of the social hierarchy and the disparity in the income of the town's residents. A predominantly upper middle-class area the town is home to businesses that reflect the affiliated pass-times of such social groups. The presence of this class system is evident too in the selected typography and permeates the subtext of the messaging therein. Therefore, we can state that typography is able to communicate large swathes of cultural-data, through the use of colour, shape, and letterforms. And working harmoniously, these elements can forge an emotional connection with the reader and communicate the identity of the collective, as well as the singular.

A Brief History of Leominster, Herefordshire.

Leominster is the largest of the five market towns in Herefordshire, situated twelve miles from the Cathedral city of Hereford the town boasts picturesque views and a rich history that can be traced back to the period known as early, pre-history.

There is much uncertainty pertaining to the naming of the town, with the explanations ranging from linguistic in nature to the purely fantastical. However, it is widely accepted that the name Leominster is constructed from a two part structure. The first part, that being Leo is a corruption of the Welsh word Lei, meaning to flow and is believed to refer to the geographic relationship between the town and the rivers Orney and Lugg. The second part of the name being the suffix, Minster and refers to a Christian community or Church.

A second explanation references the Anglo Saxon Earl known as Leofric, whom had held dominion over the area during the 10th and 11th Century. It was during this period that Leominster became know as a centre for excellence in the raising of Ryeland sheep and so valued was the wool, that it became known as Leominster Ore (Gold).

In 1121, Henry the 1st Gifted the land and the town to the monks at Reading abbey and they used the revenue that had been generated by the lucrative wool trade, to erect a Benedictine abbey in the centre of the town. This structure was later subject to raids by the welsh armies led by Owain Glyndwr and invading, Viking war-bands. Today, the site is inhabited by the Priory and continues to serve as a centre of worship for the town and the wider community.

The town has played a prominent role throughout the history of the British Isles, from post Roman Britain through to the Industrial Revolution and beyond, the town has been at the forefront of the economic and political landscape of Britain.

From approximately 1748-1754 Leominster was home to one of the first four Paul-Wyatt cotton-mills in the world As a consequence of being home to such an innovative production facility, the town had enjoyed a period of prosperity during this time.

This week we were tasked with documenting the typographic identity of our local area.
For this task I had chosen to record my findings using the camera on my phone, as this method would allow for a more practical approach to the task at-hand.
I began the week by walking around Leominster, beginning at the centre of town and setting forth on a cyclical route that would allow me to observe much of the towns layout. I placed an emphasis on observing the layout of the streets and how this related to the history of the town. With much of the original architecture still present, many of the buildings can be read as a visual-history of the town and its fortunes.

I was intrigued to discover a visual-dialogue that was seemingly present at various points on the chosen route. It seemed to me that this narration reflected the changing fortunes of the community and more interestingly, the spiritual identity of the towns inhabitants. This was particularly evident in the number of buildings that had at one time served as a church or home to a church-affiliated organisation. Subsequently, I had began to reflect on how this occurrence reflected too, the decline in the role of the church as a foundation stone of the community here, and in many of the rural communities across the UK. If this is the case, we could view the typographic legacy of such institutions as a social-commentary.

In-keeping with this notion I further analysed the interplay that was taking place between the typographic-narrative and the towns history, as a centre of worship. This was further demonstrated by the emergence of a more contemporary vocabulary in the form of Sans Serif letterforms, which announced the arrival of a post-modern philosophy, that was in direct contrast to the more traditional cultural-identity, of the town itself. This minimalist aesthetic was indicative of the changing cultural landscape and the emergence of the large international conglomerates that have established outlets, here in the town.

The presence of these multi-nationals has begun to dictate the visual narration within the town-square, and is in-conflict with the many decorative fonts that are synonymous with the local businesses. The subtext of the sans serif fonts can be read as advocating progress and a breaking with the past, where as many of the decorative fonts celebrate heritage and legacy. In response to this tension, I found myself contemplating the subject more broadly and reflecting on the risk to the linguistic integrity of rural England. By admitting international brands to establish a presence in these communities, is the country complicit in the systematic degradation of its own legacy? Or is this merely a question of having to progress, in order to survive?

In my view, it is this dialogue between the past and the present that dominates the townscape, this exchange depicts the social changes and economic upheaval that is taking place in many of the communities, across the country. We are living in a period of transition, economically, socially, technologically and philosophically. And it is this layering of change that is reflected in the typography of Leominster. And it this tension between legacy and progress that I intend to explore, further.

Final 5 examples + 100 word Analysis.

Swan Brewery
Here we have an example of how, by referencing a more traditional aesthetic, the local proprietors are continuing to retain a connection with the history of the town.
Once again, the choice of materials has value and contributes to our understanding of the messaging. It is this application of the chosen materials that provides the viewer with a visual prompt and establishes an emotional connection between the brand-message and the members of the public.
What do we take from this outcome? Our attention is directed towards the past, of an idealised interpretation of history, which may in-turn evoke a sense of nostalgia and a yearning for our own past.
ALL
What can we say about a seemingly nondescript example, of contemporary way-finding?
For me, this application of low-cost paint on a poorly maintained tarmac road is allegorical in nature and indicative of the economic state of many of the rural communities around the UK.
Often starved of funding and dismissed in favour of more commercially viable towns and cities, the traditional market town is often reliant of low-cost materials and is seldom prioritised in the awarding of funding or in the provision of vital resources. This visual is a damning statement on the failing infrastructure, that is on display all across the UK.
Court/Centre/Inform
The second major building in Leominster is The Grange, a Tudor building that is regarded as the finest surviving example of a timber-framed building, from that period. The structure was designed and built by the Kings' carpenter, who is believed to have been a native to the town.
Today, the building is located in a large open parkland in the centre of the town and is used for a multitude of purposes, including: The hosting of cultural events and private functions.
This interplay between contemporary life and legacy is evident in the choice of font and in the application of the materials, which instils the letterforms with a sense of dignity and elegance. Together, the combination of polished metal and traditional typography directs the reader once again to the past, however, here we are also informed of the buildings intention to endure and transcend the changes taking place within the modern age.
Youth Hostel
The interplay between modernity and the history of the town is ever transient, and here we can observe an example of how a previous attempt at modernising the signage in the town has been dismissed by the passage of time. The typography resigned to the besieging gestures of the natural processes that have occurred, within the environment.
This example possesses a visually stimulating assemblage of organic matter and man-made materials, and as a consequence of this juxtaposition of materials, we can view the signage as a metaphor for the overall narrative of the towns history.
War Memorial
Here we can see how Type has been used in the construction of a war memorial. The brass plate is secured to a tree that was brought from the battlefields of Verdun during the 1914-1918 war. The tree stands adjacent to the towns war memorials, the Priory Church, and a children's play park. In my view, this gives the placing of the object a more profound presence and signifies a relationship between all three locations. This is evident in the choice of font, which aligns itself with the tone of the subject in question. The typography takes on a greater meaning when viewed in-situ, and communicates a firm connection between the memorial and the adjacent priory. It tells the viewer that the landscape in which the memorial is located possesses an almost divine quality, which in-turn contributes to the elevation of the message itself. The materials too, are indicative of the narrative that is being conveyed to us. The weathering of the brass and the cosmetic damage that is present on the surface of the structure denoting the destructive nature of mechanical warfare. In response to the tone of the message therein, which is arguably one of loss and forlorn hope, we must once again refer to the placing of the signage. Adjacent to this sign is the children's play park, and for me this geographic relationship establishes both a literal and philosophical dialogue between life and death. The children's play area evoking a sense of rebirth and new life, free of the burdens of war.
References:

Peate S., (©2018). Font psychology and typography inspiration in logo design [online]. Fabrikbrands. [Viewed 1 February 2020]. Available from: https://fabrikbrands.com/font-psychology-and-typography-inspiration-in-logo-design/

Fabiano G., (©2016). Typography of place: How fonts shape a city's identity [online]. Blueprint. [Viewed 1 February 2020]. Available from: https://blueprint.cbre.com/typography-of-place-how-fonts-shape-a-citys-identity/

Complex Simplicity: Story Told

Studio Practice
Define and analyse your research into local typographic language and experiment with new and original letterforms. Develop, design and make new and original letterforms, which create a new and unique title typeface that spells out the name of your town or city.
Research

Inspiration

Life and Death + Industry.
In attempting to refine my initial-observations, I have compiled a selection of the photographs that I had taken during week one. Using these examples I will endeavour to create and develop a series of design-proposals, that seek to communicate the history of Leominster and it'a inhabitants, past and present.
A community is a living organism, with each aspect of that entity responsible for the continued survival of the whole. We can observe these processes taking place in the everyday lives of those around us, and indeed in our own lives. Each of us contributes to the successful continuation of society, subscribing to universal truths and accepted forms of conduct. We abide by the law, we don't commit acts of violence or infringe upon the lives of others, we attend school and seek employment, and we contribute to the whole. The ability to do so is essential in the up-keep of a stable community. And it is this cyclical exchange between decay and rebirth that is on display in the typography of Leominster, with the fingerprints of the past deeply embedded in the towns vision for the future.

Therefore, the key objective this week is to explore and communicate the layered history of Leominster's inhabitants, past and present. Specifically, I wish to tell the story of the town as a spiritual centre, throughout the history of Christianity in the British Isles and how this relationship with spirituality is imbued in the fabric of the landscape.
Much of the narrative that is present within the given examples, is reflective of that history and the history of the economic fortunes of the community. With many of the surviving signage systems repurposed or placed upon former communications, the interplay between the past and the present is in plain-view. This process of decay and rebirth can be applied too, to the town as a whole. And is a story that I endeavour to communicate, through the work that I produce this week.
Development Process

The starting point will be the selection of material, and for this task I have decided to incorporate the use of acetate. I intend to use this material to provide texture and added depth to the typographic elements in my design. This will be achieved by printing directly onto the acetate, using a laser-printer. Subsequently, I will then scan the acetate and save the files in Photoshop.

In my sketchbook, I then began to deconstruct the selected words and cut and paste them onto the page. I placed an emphasis on pairing letterforms, that when placed next to each other would create a strong visual contrast. The canvases were selected in order to provide texture, in an effort to recreate the weathered surfaces of the examples given, previously.

The next phase of development consisted of me taking the scanned, hand-made letterforms into Photoshop and experimenting with different digital processes. With the objective being to recreate the cosmetic damage and effects of weathering, that had been observed in the given examples.

Progressing this idea forward I had expanded my objectives to include an exploration of the effects of light and moisture, and how this contributed to the visual-narrative taking place, within the letterforms. Observing, how a build-up of moisture could obscure the letterforms and corrode the structure of the type, itself. I was also intrigued by the interplay between the build-up of water droplets and the source light, with the resulting effect being the illusion of movement within the letterforms. This too, was an occurrence that I had attempted to recreate, below.

The next phase of development was to focus on composition, and through the process of deconstruction I was able to explore the relationship between positive, and negative space. Endeavouring to create moments of drama in their interactions and to further enhance the overall impact of the end result.

One of the more interesting outcomes of this exercise, was in the emergence of the two compositions below. In my opinion, the two designs had begun to resemble fully formed, logo-type. Upon further reflection, I had began to imagine said forms on all manner of brand-communications and marketing collateral. For me, these two monotone images best represent a more contemporary aesthetic and could be further developed into a stylish, contemporary and unique logotype. Was this the image that Leominster should aspire to project, going forward?

Speaking of a more contemporary aesthetic, the two subsequent images were the result of a decision to realign the approach and to establish a more vibrant and on-trend, visual-language. The aim was to project a positive, contemporary and stylish visual representation of the town's cultural identity and in the process, lay-out a minimalist vision for the future.

The following iterations were inspired by the industrial landscape and how man-made products interact with the natural world, specifically how the dispersion of solvents and industrial-chemicals interact with water. This idea was the result of observing said chemicals running into small, pools of rain-water. And how, the consequences of this contamination conjured-up all manner of hues, on the surface of the water.

Workshop Challenge
This week we want you to use your initial visual research from Week 1 to create a new and unique title typeface. Do not forget to document your visual developments, and be experimental with form and legibility to create something entirely new. Use the DNA of your initial visual research from Week 1 to create a new and unique title typeface that spells out the name of your town or city.
Your new title lettering should reflect the identity of your town or city.
Consider the interplay between provenance and historical story, in contrast to more strategic alignment to a design's positioning.
Outcome

Reasoning.

The above work was primarily designed to be a meditation on the relationship between Leominster's past, as a centre of worship and its decline as a hub for national industry. It is part social-commentary, part artefact. The composition seeks to evoke the presence of the monastic-orders that were synonymous with the town, during the Middle Ages. And to act as a monolith, lamenting the loss of the industry that had given the town much of its cultural relevance.

In regards to the composition I had established a grid that allowed me to operate freely, whilst still retaining a structured form. The drama that is taking place between the separate elements is designed to instil the viewer with unease, and allude to the violent relationship between industry and landscape. It speaks too, of the spirituality that is imbued in the natural structures, throughout the landscape.

Stylistically, I had taken much of my inspiration from the work of Chris Ashworth, specifically his hand-made collages. The appeal of these works is in how they retain an element of imperfection, and yet appear refined and modern. Much like the Japanese philosophy, Wabi-Sabi, Chris's work celebrates the imperfect. And that too, is a part of Leominster's narrative.

References

Ashworth C., (2020). Instagram [online]. @ashworthchris. [Viewed 3 February 2020]. Available from: http://www.instagram.com/@ashworthchris

Carson D., (2020). RayGunmagazine [online]. DavidCarsonDesign. [Viewed 4 February 2020]. Available from: http://www.davidcarsondesign.com/t/tag/raygun/

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History and Futures Week_01 Complex simplicity: History Revealed Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define...

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Here is my copy for this week, pre-edit:

Books are never created by one person alone. A beautiful spectrum of roles and processes combines skills to form them, from a spark between neurons through years of crafting to a place on our bookshelves. A missing step in the publishing journey leaves the idea unloved by all who could.

Stories are an art form; books are a product. Shaping words into dark woods, scary monsters, unrequited lovers, to narrate between people, is not only as old as humanhood but a part of what we consider to be human. It is how we understand ourselves, our societies and the world around us.

Books are a new player in the stories game: after the proliferation of the printing press in the fifteenth century, books for children were not conceived until the nineteenth century. Many, not one, factors like lithographic printing and the adoption of half-tone dots from intaglio photography, allowed this to happen. Halftone dots create the optical illusion of a riot of colour as words fashion worlds in our mind.

Children’s books needed one more ingredient: the value of the childhood experience as we know it. Stories had begun to be written especially for children and not as an adaption of adult tales prior and the 1870 Education Act allowed children to stay in education and placed value in them. With a new market of literate readers, and means to produce books for them, children’s books exploded as a genre.

Sometimes author and designer are distinct, sometimes the roles blend in one person. Their stories are told through the shape of objects, of words, and bring to life all the senses. Saul Bass and Paul Rand are well-remembered designers of the 1950s for jumping into children’s books, playing with how the physicality of books gives tactility and how letters are meaning-infused shapes.

The article below explores how the publishing industry approaches children’s books, how illustrators and designers see their role within writing stories and why some creators choose to self-publish.

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@Stuart
@Richard

I am in need of feedback in regards to the weekly objectives and the content within my blog, as I feel that I may have veered off-course.

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Complex simplicity: History Revealed
Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define the identity of your location. Deliver a short written description to contextualise and communicate your research into how type design reflects the identity of your location. Collaborate through group discussions on the Ideas Wall.
Research: How does Typography inform the identity of a city/town?

The typographic narrative that is present in Leominster is, in my opinion, typical of a market town in England. By typical, I mean to say that it is wrought with tension and engulfed in a self-perpetuating battle between the pleasantries of the past and the desperate, economic need to embrace an unknown future.

The first chapter of this story is built on the history of the town itself and is conveyed through the implementation of an array of serif fonts, often accompanying the branding of a local business. With the selected fonts presented in a manner that aspires to communicate the values of the town: Traditional, Proud, Respectful, Industrious, Cultured, Consistent, the town endeavours to project an identity that seeks to communicate an idyllic interpretation of itself. This message is conveyed through the use of serif fonts, script fonts, and decorative fonts-All of which are imbued with an aesthetic that evokes nostalgia.
"A good typeface creates an emotional response in relation to the message it is conveying," Jonathan Barnbrook, founder of the website Virus Fonts, told the BBC. "You're trying to get that tone of voice right-you can shout or whisper. And you want to sum up the spirit of the age, because they do date quite quickly."
In response to this attachment to the past, and how detrimental this can be to a small rural community, we can observe the presence of a more contemporary and unified typographic language, in the form of signage and word-marks. These communications represent the large, international conglomerates that small towns such as Leominster have come to rely on economically.

Culturally, the typographic language adopted by the town is reflective of the mindset that has established itself here. The businesses a reflection of the social hierarchy and the disparity in the income of the town's residents. A predominantly upper middle-class area the town is home to businesses that reflect the affiliated pass-times of such social groups. The presence of this class system is evident too in the selected typography and permeates the subtext of the messaging therein. Therefore, we can state that typography is able to communicate large swathes of cultural-data, through the use of colour, shape, and letterforms. And working harmoniously, these elements can forge an emotional connection with the reader and communicate the identity of the collective, as well as the singular.

A Brief History of Leominster, Herefordshire.

Leominster is the largest of the five market towns in Herefordshire, situated twelve miles from the Cathedral city of Hereford the town boasts picturesque views and a rich history that can be traced back to the period known as early, pre-history.

There is much uncertainty pertaining to the naming of the town, with the explanations ranging from linguistic in nature to the purely fantastical. However, it is widely accepted that the name Leominster is constructed from a two part structure. The first part, that being Leo is a corruption of the Welsh word Lei, meaning to flow and is believed to refer to the geographic relationship between the town and the rivers Orney and Lugg. The second part of the name being the suffix, Minster and refers to a Christian community or Church.

A second explanation references the Anglo Saxon Earl known as Leofric, whom had held dominion over the area during the 10th and 11th Century. It was during this period that Leominster became know as a centre for excellence in the raising of Ryeland sheep and so valued was the wool, that it became known as Leominster Ore (Gold).

In 1121, Henry the 1st Gifted the land and the town to the monks at Reading abbey and they used the revenue that had been generated by the lucrative wool trade, to erect a Benedictine abbey in the centre of the town. This structure was later subject to raids by the welsh armies led by Owain Glyndwr and invading, Viking war-bands. Today, the site is inhabited by the Priory and continues to serve as a centre of worship for the town and the wider community.

The town has played a prominent role throughout the history of the British Isles, from post Roman Britain through to the Industrial Revolution and beyond, the town has been at the forefront of the economic and political landscape of Britain.

From approximately 1748-1754 Leominster was home to one of the first four Paul-Wyatt cotton-mills in the world As a consequence of being home to such an innovative production facility, the town had enjoyed a period of prosperity during this time.

This week we were tasked with documenting the typographic identity of our local area.
For this task I had chosen to record my findings using the camera on my phone, as this method would allow for a more practical approach to the task at-hand.
I began the week by walking around Leominster, beginning at the centre of town and setting forth on a cyclical route that would allow me to observe much of the towns layout. I placed an emphasis on observing the layout of the streets and how this related to the history of the town. With much of the original architecture still present, many of the buildings can be read as a visual-history of the town and its fortunes.

I was intrigued to discover a visual-dialogue that was seemingly present at various points on the chosen route. It seemed to me that this narration reflected the changing fortunes of the community and more interestingly, the spiritual identity of the towns inhabitants. This was particularly evident in the number of buildings that had at one time served as a church or home to a church-affiliated organisation. Subsequently, I had began to reflect on how this occurrence reflected too, the decline in the role of the church as a foundation stone of the community here, and in many of the rural communities across the UK. If this is the case, we could view the typographic legacy of such institutions as a social-commentary.

In-keeping with this notion I further analysed the interplay that was taking place between the typographic-narrative and the towns history, as a centre of worship. This was further demonstrated by the emergence of a more contemporary vocabulary in the form of Sans Serif letterforms, which announced the arrival of a post-modern philosophy, that was in direct contrast to the more traditional cultural-identity, of the town itself. This minimalist aesthetic was indicative of the changing cultural landscape and the emergence of the large international conglomerates that have established outlets, here in the town.

The presence of these multi-nationals has begun to dictate the visual narration within the town-square, and is in-conflict with the many decorative fonts that are synonymous with the local businesses. The subtext of the sans serif fonts can be read as advocating progress and a breaking with the past, where as many of the decorative fonts celebrate heritage and legacy. In response to this tension, I found myself contemplating the subject more broadly and reflecting on the risk to the linguistic integrity of rural England. By admitting international brands to establish a presence in these communities, is the country complicit in the systematic degradation of its own legacy? Or is this merely a question of having to progress, in order to survive?

In my view, it is this dialogue between the past and the present that dominates the townscape, this exchange depicts the social changes and economic upheaval that is taking place in many of the communities, across the country. We are living in a period of transition, economically, socially, technologically and philosophically. And it is this layering of change that is reflected in the typography of Leominster. And it this tension between legacy and progress that I intend to explore, further.

Final 5 examples + 100 word Analysis.

Swan Brewery
Here we have an example of how, by referencing a more traditional aesthetic, the local proprietors are continuing to retain a connection with the history of the town.
Once again, the choice of materials has value and contributes to our understanding of the messaging. It is this application of the chosen materials that provides the viewer with a visual prompt and establishes an emotional connection between the brand-message and the members of the public.
What do we take from this outcome? Our attention is directed towards the past, of an idealised interpretation of history, which may in-turn evoke a sense of nostalgia and a yearning for our own past.
ALL
What can we say about a seemingly nondescript example, of contemporary way-finding?
For me, this application of low-cost paint on a poorly maintained tarmac road is allegorical in nature and indicative of the economic state of many of the rural communities around the UK.
Often starved of funding and dismissed in favour of more commercially viable towns and cities, the traditional market town is often reliant of low-cost materials and is seldom prioritised in the awarding of funding or in the provision of vital resources. This visual is a damning statement on the failing infrastructure, that is on display all across the UK.
Court/Centre/Inform
The second major building in Leominster is The Grange, a Tudor building that is regarded as the finest surviving example of a timber-framed building, from that period. The structure was designed and built by the Kings' carpenter, who is believed to have been a native to the town.
Today, the building is located in a large open parkland in the centre of the town and is used for a multitude of purposes, including: The hosting of cultural events and private functions.
This interplay between contemporary life and legacy is evident in the choice of font and in the application of the materials, which instils the letterforms with a sense of dignity and elegance. Together, the combination of polished metal and traditional typography directs the reader once again to the past, however, here we are also informed of the buildings intention to endure and transcend the changes taking place within the modern age.
Youth Hostel
The interplay between modernity and the history of the town is ever transient, and here we can observe an example of how a previous attempt at modernising the signage in the town has been dismissed by the passage of time. The typography resigned to the besieging gestures of the natural processes that have occurred, within the environment.
This example possesses a visually stimulating assemblage of organic matter and man-made materials, and as a consequence of this juxtaposition of materials, we can view the signage as a metaphor for the overall narrative of the towns history.
War Memorial
Here we can see how Type has been used in the construction of a war memorial. The brass plate is secured to a tree that was brought from the battlefields of Verdun during the 1914-1918 war. The tree stands adjacent to the towns war memorials, the Priory Church, and a children's play park. In my view, this gives the placing of the object a more profound presence and signifies a relationship between all three locations. This is evident in the choice of font, which aligns itself with the tone of the subject in question. The typography takes on a greater meaning when viewed in-situ, and communicates a firm connection between the memorial and the adjacent priory. It tells the viewer that the landscape in which the memorial is located possesses an almost divine quality, which in-turn contributes to the elevation of the message itself. The materials too, are indicative of the narrative that is being conveyed to us. The weathering of the brass and the cosmetic damage that is present on the surface of the structure denoting the destructive nature of mechanical warfare. In response to the tone of the message therein, which is arguably one of loss and forlorn hope, we must once again refer to the placing of the signage. Adjacent to this sign is the children's play park, and for me this geographic relationship establishes both a literal and philosophical dialogue between life and death. The children's play area evoking a sense of rebirth and new life, free of the burdens of war.
References:

Peate S., (©2018). Font psychology and typography inspiration in logo design [online]. Fabrikbrands. [Viewed 1 February 2020]. Available from: https://fabrikbrands.com/font-psychology-and-typography-inspiration-in-logo-design/

Fabiano G., (©2016). Typography of place: How fonts shape a city's identity [online]. Blueprint. [Viewed 1 February 2020]. Available from: https://blueprint.cbre.com/typography-of-place-how-fonts-shape-a-citys-identity/

Complex Simplicity: Story Told

Studio Practice
Define and analyse your research into local typographic language and experiment with new and original letterforms. Develop, design and make new and original letterforms, which create a new and unique title typeface that spells out the name of your town or city.
Research

Inspiration

Life and Death + Industry.
In attempting to refine my initial-observations, I have compiled a selection of the photographs that I had taken during week one. Using these examples I will endeavour to create and develop a series of design-proposals, that seek to communicate the history of Leominster and it'a inhabitants, past and present.
A community is a living organism, with each aspect of that entity responsible for the continued survival of the whole. We can observe these processes taking place in the everyday lives of those around us, and indeed in our own lives. Each of us contributes to the successful continuation of society, subscribing to universal truths and accepted forms of conduct. We abide by the law, we don't commit acts of violence or infringe upon the lives of others, we attend school and seek employment, and we contribute to the whole. The ability to do so is essential in the up-keep of a stable community. And it is this cyclical exchange between decay and rebirth that is on display in the typography of Leominster, with the fingerprints of the past deeply embedded in the towns vision for the future.

Therefore, the key objective this week is to explore and communicate the layered history of Leominster's inhabitants, past and present. Specifically, I wish to tell the story of the town as a spiritual centre, throughout the history of Christianity in the British Isles and how this relationship with spirituality is imbued in the fabric of the landscape.
Much of the narrative that is present within the given examples, is reflective of that history and the history of the economic fortunes of the community. With many of the surviving signage systems repurposed or placed upon former communications, the interplay between the past and the present is in plain-view. This process of decay and rebirth can be applied too, to the town as a whole. And is a story that I endeavour to communicate, through the work that I produce this week.
Development Process

The starting point will be the selection of material, and for this task I have decided to incorporate the use of acetate. I intend to use this material to provide texture and added depth to the typographic elements in my design. This will be achieved by printing directly onto the acetate, using a laser-printer. Subsequently, I will then scan the acetate and save the files in Photoshop.

In my sketchbook, I then began to deconstruct the selected words and cut and paste them onto the page. I placed an emphasis on pairing letterforms, that when placed next to each other would create a strong visual contrast. The canvases were selected in order to provide texture, in an effort to recreate the weathered surfaces of the examples given, previously.

The next phase of development consisted of me taking the scanned, hand-made letterforms into Photoshop and experimenting with different digital processes. With the objective being to recreate the cosmetic damage and effects of weathering, that had been observed in the given examples.

Progressing this idea forward I had expanded my objectives to include an exploration of the effects of light and moisture, and how this contributed to the visual-narrative taking place, within the letterforms. Observing, how a build-up of moisture could obscure the letterforms and corrode the structure of the type, itself. I was also intrigued by the interplay between the build-up of water droplets and the source light, with the resulting effect being the illusion of movement within the letterforms. This too, was an occurrence that I had attempted to recreate, below.

The next phase of development was to focus on composition, and through the process of deconstruction I was able to explore the relationship between positive, and negative space. Endeavouring to create moments of drama in their interactions and to further enhance the overall impact of the end result.

One of the more interesting outcomes of this exercise, was in the emergence of the two compositions below. In my opinion, the two designs had begun to resemble fully formed, logo-type. Upon further reflection, I had began to imagine said forms on all manner of brand-communications and marketing collateral. For me, these two monotone images best represent a more contemporary aesthetic and could be further developed into a stylish, contemporary and unique logotype. Was this the image that Leominster should aspire to project, going forward?

Speaking of a more contemporary aesthetic, the two subsequent images were the result of a decision to realign the approach and to establish a more vibrant and on-trend, visual-language. The aim was to project a positive, contemporary and stylish visual representation of the town's cultural identity and in the process, lay-out a minimalist vision for the future.

The following iterations were inspired by the industrial landscape and how man-made products interact with the natural world, specifically how the dispersion of solvents and industrial-chemicals interact with water. This idea was the result of observing said chemicals running into small, pools of rain-water. And how, the consequences of this contamination conjured-up all manner of hues, on the surface of the water.

Workshop Challenge
This week we want you to use your initial visual research from Week 1 to create a new and unique title typeface. Do not forget to document your visual developments, and be experimental with form and legibility to create something entirely new. Use the DNA of your initial visual research from Week 1 to create a new and unique title typeface that spells out the name of your town or city.
Your new title lettering should reflect the identity of your town or city.
Consider the interplay between provenance and historical story, in contrast to more strategic alignment to a design's positioning.
Outcome

Reasoning.

The above work was primarily designed to be a meditation on the relationship between Leominster's past, as a centre of worship and its decline as a hub for national industry. It is part social-commentary, part artefact. The composition seeks to evoke the presence of the monastic-orders that were synonymous with the town, during the Middle Ages. And to act as a monolith, lamenting the loss of the industry that had given the town much of its cultural relevance.

In regards to the composition I had established a grid that allowed me to operate freely, whilst still retaining a structured form. The drama that is taking place between the separate elements is designed to instil the viewer with unease, and allude to the violent relationship between industry and landscape. It speaks too, of the spirituality that is imbued in the natural structures, throughout the landscape.

Stylistically, I had taken much of my inspiration from the work of Chris Ashworth, specifically his hand-made collages. The appeal of these works is in how they retain an element of imperfection, and yet appear refined and modern. Much like the Japanese philosophy, Wabi-Sabi, Chris's work celebrates the imperfect. And that too, is a part of Leominster's narrative.

References

Ashworth C., (2020). Instagram [online]. @ashworthchris. [Viewed 3 February 2020]. Available from: http://www.instagram.com/@ashworthchris

Carson D., (2020). RayGunmagazine [online]. DavidCarsonDesign. [Viewed 4 February 2020]. Available from: http://www.davidcarsondesign.com/t/tag/raygun/

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History and Futures Week_01 Complex simplicity: History Revealed Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define...

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I've just finished writing my piece for this week's task. The tone of voice is what a brand guideline should be, I feel, but with the twist that it's a personal brand. When I was writing it I thought about writing it as an interview with a designer, so I might lay it out as a newspaper article as an interview, or as a brand guideline itself.

Not sure yet, but I have some typesetting to do. :)

Written piece: https://rachelwise240483.wordpress.com/2020/02/26/the-graphicat-brand-400-words/

Blog posts.
Tone of Voice Examples
What Makes a Brand Guideline

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Saul Bass created film opening credits as we know them (see Richard's video earlier this week) and also wrote & illustrated Henri's Walk to Paris. It's so beautiful that I keep on stopping to gaze.

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Pulling together the history and modern examples

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Pulling together the history and modern examples

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Looking in more detail at each of the writing styles. Not my strongest work but i'm wary of getting everything finished in time this week.

View it here

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I've just watched the both emotional and funny Craig Oldham lecture. It's made me think up my subject for this week's brief.
Seeing the home-made signs and leaflets on there put me in mind of basic/early self-published fanzines or manifestos, such as Sniffin' Glue, etc. during the punk scene, to the reasonably recent trend of the buzzword 'Zine' as well as kids drawing their own comics like Zoom Rockman. There are a few ways to present it: ransom-note, or felt tip pens, etc.
Going to gather a few together…

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"Zoom Rockman has achieved more than most adults do before they are 40"
- British Vogue "Zoom Rockman: the comic kid who's more than a marvel"
- Evening Standard "The Zoom! is a snappy, satirical critique of urban life"
- The Observer Magazine Funny, pointed, satirical, sophisticated irreverent wit'
- Cory Doctorow, Boing Boing "Young comic genius" - Daily Telegraph

"Detailed, witty, exuberant and packed with larger-than-life characters" - The Independent
'As well as his art skills, Zoom's a fantastic writing talent. He's full of great ideas and has a keen eye for the absurdities of grown-up life and pop culture'
- Mike Stirling, Editor-in-Chief, The Beano

Zoom Rockman (born in 2000) is a British Artist/Satirist whose comic strip, Skanky Pigeon first appeared in the Beano when he was 12 years old. Age 16, he became the youngest cartoonist in Private Eye Magazine history. Described as "A rising star with edgy wit and genuine cultural awareness well beyond his years." The Evening Standard named Zoom as one of the most inﬂuential Londoners under 25.

Zoom's Art humours and heroes the everyday grime and energy of London and has become increasingly collectible. His solo exhibition at The Hospital Club, Covent Garden was a sell-out event. Zoom is Young Ambassador for the world's biggest arts charity, The Big Draw. He is passionate about the importance of creativity in education and has been invited to speak on this subject at the House of Commons, Advertising Industry events and various art galleries.

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"Zoom Rockman has achieved more than most adults do before they are 40" - British Vogue "Zoom Rockman: the comic kid who's more than a marvel" - Evening Standard "The Zoom!

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Terry Jones, on the legacy of ID Magazine.

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Terry Jones, on the legacy of ID Magazine.

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This week, as part of my research I am exploring the publication, ID magazine.
In this brief interview, Terry Jones discusses the design process and why breaking the rules can be beneficial, in the creation of engaging narratives.

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So, I’ve been having a look at the different styles and my thought for this week was that I would try and write an article in the style of a love letter about M*A*S*H. I had never seen the tv series until about five years ago but it would make for a good subject of an article – the characters, the dark comedy plus the formats of some of the episodes were quite experimental. I guess I'll see how it goes!

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Kinetype Animation. John Cage - Writings, 1977

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Kinetype work.

Animation: Eleanor Bell
Music: Renaud Hallee – Sonar - 2009

Politecnico di Milano 
Facoltà del Design
Laurea magistrale in Design della comunicazione
Corso di Artefatti Comunicativi e Sistemi Complessi
Prof. Dina Riccò e G. Balzerano
A.A 2012/2013


The video has been realized by kinetic typography use, on a visual poetry (Writings - 1977 - John Cage).
John Cage’s typographical  suggestions and the studies on the repetitiveness of the music, led me to imagine the Silence Theory (the silence is pure sound) applied to Typography.
As well as notes combine together to create a sound, punctuation marks are combined with letters to create a text phonetically correct, and as we are inevitably surrounded by sounds, we are surrounded by lettering.

Punctuation:
Punctuation is essential for the harmony of our writing, marks our style, determines and defines it.
Punctuation is significant for its ability to combine with the words, anticipating it or accompanying it.
As a subject of animation I choose to use the POINT, punctuation element for excellence by which, for an instant or forever, it stops the narrative.

The video consists of three phases:
1) The point is seen as the element that puts an end to the words (silence is intended in its common definition).
It moves in a typographical world in which the letters do it jump, holding out an "ambush" that aim to remove it,  or look it curiously and intimidated (the point, in thypography, is an end, so for letters it is a kind of threat).

2) The poem breaks into the scene dropping the point: the elimination of the sign, in favor of the phonetic words birth, represents  the new silence's conception and the death of the old.

3) Il punto rinasce assieme ad atri due punti  a simboleggiare la rivoluzione operata da Cage: il silenzio è suono ed è costantemente presente (i tre punti di sospensione rappresentano un continuum temporale).

Points make crashing the visual poetry to symbolize the breaking, operated by John Cage, with traditional music and the next renewal put in motion by the composer.

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The History of Typography - Animated Short

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A paper-letter animation about the history of fonts and typography.
291 Paper Letters.
2,454 Photographs.
140 hours of work.
Created by Ben Barrett-Forrest
© Forrest Media - 2013
www.forrestmedia.org
www.facebook.com/forrestmedia
www.twitter.com/benbf
Video on Youtube: http://youtu.be/wOgIkxAfJsk
Information Sources:
Thinking in Type by Ellen Lupton
Just My Type by Simon Garfield
If this video sparks any ideas, I would love to hear about them!

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The Gothenburg printing business consists of three different business areas: Gothenburg Printing, BusinessPrint and Box & Display – check out their inspiration page, for examples of beautiful book design and production.

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Göteborgstryckeriet är ett av Nordens ledande kvalitetstryckerier. Vi producerar trycksaker och förpackningar inom high-end segmentet. Se våra produktioner och inspireras av alla möjligheter!

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I've been fairly quiet this week so far, but I've had a lot of admin stuff to do regarding student feedback. I've spent this evening analysing the ten different styles of writing though and I'll put a blog post together on it tomorrow.

What direction is everybody's work taking this week then? I quite like the idea of analysing some of Trump's speeches and writing an intro to an article that looks at them using his characteristic speech patterns.

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A slightly old resource but quite interesting nonetheless

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A slightly old resource but quite interesting nonetheless

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Electronic Literature Collection Volume One

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Electronic Literature Collection 1 · Hayles Montfort Rettberg Strickland

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@stuart

I just want to take a moment to commend you, on assembling a comprehensive lecture.
The content was well selected and your focus on, the history of Art-movements and the influence that they had on contemporary practice, was insightful and instructive.
I am a firm advocate of Paul Rand and his legacy, and I feel that it is hugely important for practitioners/students to understand just how ahead of his time, he was. His work and his opinions are still valid, today.

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some random thoughts based on the resources this week

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A couple of quotes from Steven Heller. The latter with thanks to Syed.

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A couple of quotes from Steven Heller. The latter with thanks to Syed.

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“I believe that design must be integrally wedded to editorial content. Some people read images, others read words, but most of us read both. So the overall design, art, photography, text, and sometimes even the typography should be, in the best of cases, considered “content.” Hence the art director’s content must complement the editor’s content.”

"Designers are routinely called upon to write about the images and designs they create. Writing and research skills are more necessary now than ever before—from basic business to advanced criticism. Writing about design is not just for the trade; it must be accessible to everyone with an interest in design"

Steven Heller

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I understand there's a bit of confusion. Please note, I've sent a group email. If you're still unclear I will set up a group webinar/conference at 18:00 (GMT) tonight (Mon 24th Feb). Please feel free to drop in....

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GRADUATION PROJECT.
Animation which shows typography evolution from paper to screen.
The animation is divided in two parts.
The first deals with the basic rules of typesetting.
The second, is about the evolution of typography in cinema.
Used mainly for Opening and Closing title.

Music : 
Clair de Lune - Debussy
Shoot the Piano Player: Poursuite - Hugh Wolff & London Sinfonietta - Georges Delerue

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So I've been talking to a couple of people and some of us don't really understand what the task is this week... I'm concerned because there aren't any tutorial slots on the calendar for me so I can't book one to ask and get clarification from tutors.

Can anyone help clear up what the task actually entails because the way it's worded makes it really unclear...

Do we have to write up 400 words based on an article we've found on one of the themes, or do we copy and paste the first two paragraphs / 400 words of the article we've found and lay it out in a way we think represents the theme? Or something totally different?!?

Don't really want to sit on this for a couple of days waiting to figure out what we have to do! :(

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Are children's books illustrators the same as designers...?

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Are children's books illustrators the same as designers...?

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Starting to delve deeper...

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How, exactly, do you become a graphic designer without losing your soul? How do great graphic designers think? Thankfully, not that many graphic designers are the strong, silent types, and plenty of them have chosen to impart the wisdom they've garnered throughout their careers in the pages of an educational book or two. It's rare to find a writer get 10 or 20 years into their careers and suddenly decide to take on a couple of visual identity projects, yet hordes of designers decide to write books later in their working life. But what makes them worth reading?

The audience for books about graphic design is pretty niche: graphic designers. Where art books serve more than just artists-they also provide inspiration to those prone to frequenting the Met, who aren't necessarily part of the "art world" (and they're handy, classy go-to for gift ideas). The same applies to photographic volumes. It's really only design books that preach to the choir.

For Michael Johnson, co-founder of London branding consultancy Johnson Banks, his book Branding. In Five and a Half Steps looked to bridge a gap between"academic branding books that are incredibly dry and hard to follow," and "identity books aimed at designers that act as little more than logo eye candy for creatives a bit stuck for inspiration." He explains, "Branding is a specialized industry with its own unique language and methods, but it's an industry split in two. On one side, there are strategists wielding impenetrable charts, proprietary methods, and PowerPoint decks, whose job it is to research, distil, and provide insight. On the other, the designers and communicators who interpret the strategic ideas and bring a brand or a campaign to life.

"The books available tend to be written for one side or the other... by opening up the process, especially the early stages, I could be doing everyone a big favour, from foundation students to clients and peers. It's fair to say, however, that those who want to protect their smoke, mirrors, and proprietary processes aren't so happy with me!"

His concern is that by being so open about the process, he's made himself redundant. Designer Radim Malinic, of the agency Brand Nu, says similar things about his Book of Ideas. "I wanted to open the door wide open and show the world how I arrived at where I am today," he says.

"The creative industry can be quite a tricky beast, and we need to know how to tackle it."

It seems natural that in an era in which everyone shares the minutiae of their lives and careers online, that books would begin to offer a similar promise of lifting the curtain (albeit a very carefully constructed one) and showing a designer's personality as well as their portfolio.

This was an important consideration for Kate Moross when writing her book, Make Your Own Luck. " I like design books when they have advice and anecdotes, so you can get to know someone. Personally I'm not a fan of pretentious or austere design books, which are just about concept and execution," she says. "I like to see someone's personality in a book. Alan Fletcher's books are a perfect example of an educational book that's full of personality."

For Moross, making a book was all about speaking to young designers like herself about an industry that's rapidly changing. "I wanted to show how accessible everything is, and not make it into this mysterious and unobtainable career," she said.

"I took the DIY and punk attitudes and applied that to trying to make it as a designer or illustrator. I wanted to light a fire under people, and get them out of that cycle of fear that they aren't good enough; that all they need to do is go out there, make work and show it off."

Naturally, a designer writing a book isn't simply doing so as a philanthropic way of imparting wisdom to the world. It will (or so they hope) have an impact on client work in the future. The easiest projects to get image clearance and offer insight on are, of course, your own; so for all their eye-opening, designers' books will almost always act as a neat little portfolio of case studies, too.

This was certainly the case for The studio has never been the same. If you look at our early work for the department store Aizone, you'll see the impact immediately. And both the Stefan Sagmeister and his book, Things I have learned in my life so far. "T he series [of typographic works in the book] had an enormous impact on our regular client work. Happy Show and the Happy Film came out of it."

Sagmeister's approach to that publication was rather different, serving almost as a miniature monograph. He went about taking entries from his diary and turning these aphorisms into typographic works that later appeared across the world on billboards (in France and Portugal), in a Japanese annual report, on German television, in an Austrian magazine, as a New York direct mailer, and on an American poster campaign. These were then gathered into the book.

But why that format? " Initially I had integrated some of these projects in my regular design talks, and the feedback was good, so I ultimately held talks exclusively about them," says Sagmeister. "Again, the feedback was good. This is where the idea came to make a self-contained book out of them." He says that he felt he wanted to show that "it is possible to use the language of graphic design and express much more personal content. And of course, as I had written these maxims at one point into my diary, I really did believe in them. No cynicism here."

This seems to be a common trait among designers turned authors; finding a way to journal and take stock of themselves, but in a very public forum that feels at once masochistic and cannily promotional. There's nothing wrong with that-if you're a graphic designer who doesn't promote yourself or show your work to others, it's unlikely much work will come your way, but there's something interesting in the idea of getting to a certain point in your career and having to both remind yourself how far you've come, and examine where you want to go next.

"I wrote the book for myself so I don't end up making the same fuck ups over and over again. It's somewhere between a design book, monograph, self-help journal, and biography of mistakes and mishaps," says Malinic. "Many design books are manuals or instruction guides offering a set of rules to follow. I wanted to question common problems, ethics, and philosophies with my own take on them while offering open-ended questions to let the reader make up their own mind."

Tellingly, Malinic's book doesn't always offer answers to these questions. Maybe as with authors of fiction, prose, journals, or essays, designers' books can be as much a personal sense of figuring things out as a way of showing how much the author knows.

"Thus far, I haven't been very interested in a record of my work and would query quite how useful that would be," Johnson muses. "I'm more interested in the patterns and process of what I, and others do, not the printed equivalent of the 'my work' lecture."

Everyone I spoke with bemoaned the sheer hard work that it takes to write a book, especially when balanced with client work. For Johnson, it meant "about a year of almost constant weekend working, plus a punishing period of 5:30 a.m. starts to allow for a stretch of writing before my 'proper' day would start." For Malinic, "I wrote most of the copy on my iPhone while travelling to and from meetings... It affected my project workflow but I got the work done." Sagmeister sums up his writing process rather neatly: "It was scary in the beginning, fine in the middle and joyful at the end."

While assessing any creative endeavour is entirely subjective, a few designers' books are referenced time and again as not only useful and well designed, but well written. Many reference Pentagram partner Michael Bierut's book How to... and 79 Short Essays on Design; Alan Fletcher's The Art of Looking Sideways; the more image-led design classic Visual Comparisons by Forbes, Fletcher Gill; Design, Form and Chaos, by Paul Rand. The obvious link between this little metaphorical library is that these books were all penned by design heavyweights. Hindsight allows us to see they they were destined to be classics, given the enduring legacies of their authors' work. The quality of their design also means they look stunning, too.

So if you're a designer considering sharing your wisdom, work, and process, our advice is to make it look amazing, have something new and original to say and, again, make it look amazing- heck it's a book for designers, after all. You could also do worse than to keep Sagmeister's words in mind:

" A good book either helps or delights other people. A bad book does not."

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How, exactly, do you become a graphic designer without losing your soul? How do great graphic designers think? Thankfully, not that many graphic designers are the strong, silent types, and plenty of them have chosen to impart the wisdom they've garnered throughout their careers in the pages of an ed

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I have a dream about what my country can not do for me on the beaches and landing grounds.

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I have a dream about what my country can not do for me on the beaches and landing grounds.

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For those looking at speeches. I can’t yet find the reference, but I vaguely remember a comparison between Hitler’s and Churchill’s speech strategies. Both practiced and rehearsed  them extensively, but they had different approaches. While Hitler would focus on perfection, the rhythm, and speed up his delivery during the speech to whip up emotion, raising heartbeats (Tony) and frenzy, Churchill actually practiced pauses,  breaks, and imperfections to have the (ironic) effect that what he was saying was not rehearsed, thus making him part of the people to whom he was talking, or just being an individual with whom the audience could identify - that he was in this with, or one of, them,

Like I said, I can’t find the reference, so I might be getting this wrong, but it had something to do with needing the audience to connect with the orator on a visceral level.

There is also a theory (?) that humans attending large gatherings is the equivalent of apes and monkeys checking each other for fleas, I think Jimmy Carr (you know - an equal to Churchill and Hitler)  speaks to how we laugh more when we are in the same place at the same time as compared to viewing humour on individual screens as we are hardwired to form groups and ultimately societies and cultures.

https://www.artofmanliness.com/articles/guide-to-public-speaking/

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For those looking at a news story, I think I read this first in 'Made to Stick' by the Heath brothers.

I think it is also known as the 'Inverted Pyramid.'

https://www.commpro.biz/two-of-the-best-writing-stories-youll-ever-read-with-life-long-lessons-for-prjourno-writers/

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I'm just going to get this out of the way, as we all know these and would have posted them, and I believe have done on other Idea Walls.

Bruce Mao.
https://image.slidesharecdn.com/bruce-mao-incomplete-manifesto-1216318022849097-9/95/incomplete-manifesto-for-growth-by-bruce-mao-1-728.jpg?cb=1216292468

Ken Garland
https://victoriaashtonblog.files.wordpress.com/2017/10/ken-garland-manifesto.png

Adbusters
https://www.adbusters.org/manifesto

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What is a Publication? A talk by Matthew Stadler.

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What is a Publication? A talk by Matthew Stadler.

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In the lecture there are some really key points when thinking about what a publication is. I'm posting this now to set an overall tone for brief 2. This is not exclusive to week 5 and does have a definite overlap into week 6 and broadly underpins the 2nd brief.

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What is Publication? A talk by Matthew Stadler

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Matthew Stadler, co-founder of Publication Studio, gave this talk as a keynote at Richard Hugo House's writer's conference, "Finding Your Audience in the 21st Century," on May 22, 2010. This is a condensed version of the talk.

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The hook question for this week:
How can content, format and production communicate a narrative in the most effective way?

Workshop Challenge:
This week we want you to generate written and visual content that explores the relationship between content and form.

Please consider your choices about form, layout, typeface selection, colour approach, materials and medium, in order to effectively tell your story. Ensure all components of your writing are embedded into the overall narrative, from tone of voice through to structure and pacing.

Write the first two paragraphs (approx. 400 words) of an article exploring one of the following themes:

A news story

A children’s story

A launch document for a new brand

A love letter

A business plan

A diary

A manifesto

A speech

Present the story by itself (In-Design file, for example).

Develop a simple design sketch of your final design proposal that explores the relationship between your written content and design form.