Initial idea for mapping book project - Maps the journey of a standard relationship.
Partially inspired by the youtube video ‘Strangers Again’ by Wong Fu Productions and informed by theories on relationships by Knapp and Devito.
The content to be later compiled to take the form of a book, perhaps reflective of a fold out road map, or manual book. Now time to experiment…

Information design workshop 28.02.12 - Waist sizes from 4 random individuals.

I knew those left over letters from last night would come in handy!…
Poster #2 draft - Ethel Smythe (suffragette) description of a protest that took place in 1912.
Font face - Goudy Stout - resembles that of defaced suffragette penny, thus civil disobedience and reaction against
Each character composed individually and grouped together as whole words to replicate the wobbly style seen on the coin.

Typeface 2 - Franklin Gothic - designed 1902, often used for newspaper headlines, and many of the suffragettes posters/banners/propaganda.
Bold, and striking, symbolic of the “brave, fearless, and dedicated” suffragettes.

Quite pleased with this as a first draft. Definitely want/need to incorporate colour into the design though - probably green and purple as these are the suffragette colours and an important aspect of suffragette propaganda. Colour also important as suffragette propaganda was one of the first which used colour as an integral part of the design.

Initial idea for poster 1 - Suffragette Anthem by Ethel Smythe
Suffragette Motto… “Deeds not words”… hence invisible type.
Typeface: Franklin Gothic - designed 1902, often used for newspaper headlines, and many of the suffragettes posters/banners/propaganda.

Typography Brief 2: Research your given typography term and create a photographic, metaphorical poster to represent your findings. Poster must be A3 and in black and white.

Ligatures: Two or more letters joined together as a single character.

For this poster I chose to represent the three types of ligatures (stylistic, decorative and diphthong) through railings as railings themselves bind together individual bars so as one whole object.

The railing on the left represents stylistic ligatures, moreover, the ‘fi’ ligature in which the hood of the ‘f’ overhangs the type block, and so is crafted to morph with the tittle of the ‘i’ in order to create balance, stablity and clarity. Similary with the railing, the cross bar on the top joins together two individual bars as one, and thus stabilises their angle and conflicting heights.

Decorative ligatures serve no other function other than to add decoration to text. Equally, the swirly, intricate forms found in this steel railing have no other purpose other than to make the railing/property look ‘pretty’/’elegant.

Finally, and unfortunately quite literally, I found a railing which looks like an O and an E joined together - reflective of a common diphthong ligature.

By morphing the 3 different photographs of the diffferent types of ligatures together I intended to reinforce the idea of a ligature - binding together 2 or more individual characters as an entity.
While I feel that the metaphorical concept could have been stronger, I think visually this poster is relatively successful.
Again however this is very much a work in progress, and there are various elements that need developing - such as the concept itself, as well as more careful consideration to detail such as the backgrounds behind the railings.

Typography Brief 1: Research into given font, write 150-200 word summary of research, create A3 poster based on/including this. Poster must use only black and white.

“Verdana’s large x height, lack of serifs, loose letter spacing and
large counters certainly fulfils Matthew Carters intention of creating
a font that can be easily read in small sizes on screen. Since it’s
creation in 1996 it has become a popular font choice for a large
number of websites (such as BBC News and Amazon) and in turn
Verdana has become to be a symbol of homogeneity.
However when taken out of context and used for print based
design, like with IKEA’s catalogue in 2009, this homogeneity
becomes mind numbing and thus evokes a strong feeling of
detachment from the image or objects the text is meant to
reinforce. Unoriginal, cheap and dumbed down, Verdana is
arguably “like using Lego to build a sky scraper, when steel
is superior choice.”
Have some originality; Verdana is for pixels, not for print.”

From my research I identified the key issues surrounding the Verdana font is scale and the fact it was designed for pixels, not for print.
Over the week I had for the project I combined these two different aspects (originally as two individual posters) into a single poster.
In short, scale is represented in my poster through the contrast between the large ‘a’ and ‘b’ characters, while the repetition of blocks saying “Verdana is for pixels not for print” intends to visually represent pixels and the homogenic, mind numbing, unoriginal characteristics of the font.

For now this ‘final’ poster acts as a work in progress - There are things I need to change such as the positioning and size of the whole typography in relation to the page (i.e. make the typographic image smaller as a whole, creating and balancing surrounding white space), as well as experiment with the layout of the title and summary text, and the use/relevance of the characters ‘a’ and ‘b’.

Devastation

Bored, wishing it was summer already.

Lush sunset, homeward bound from uni.