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Anna Smith 1300650 Visual Thinking BA (Hons) Graphic Design


Contents 1. Distincitive Characters 2. Perect Binding 3. Workshops • Letterpress • LetterMPress • Japanese Book Binding • Chromaphilia • Work Inspired by Workshops 4. Lectures • Digital Materiality • Notions of Taste • Propaganda 5. Exhibition


Distinctive Characters: Typography as a Semiotic Resource. Working in groups of two choose an initial letter from the following set and based on the terminology and glossaries contained within the brief create a word that is related to the unit - you can produce it in caps or lowercase. After careful planning and research you are required to design and make a three dimensional initial character that communicates the meaning of the word. The model can be made of found objects but must finally be wall-mounted. Produce an A6 postcard with the image on one side and a brief description of word on the other. Resources: InDesign, Photoshop, Layout and pre-print specification


For this Project My Partner was Georgia Shorey and we had the difficult task of designing the letter Y

After quite a bit of research we found that the range of words that we could use that began with Y was quite limited. Here is what we came up with....

Yard Yawn Yell Yoga Yolk

Yummy Yacht Year Yellow Yodeller

Yogurt Youth Young Yuck Yarn


The ‘y’ is not extreemly obvious in some of these photos so needs to be made more prominent. So to do this I tried to overlap the cakes and biscuits.

Firstly I tried taking some photos of some cakes, as that was what came up most, when asking poeple what they found yummy.

This worked out better but after taking these photos the feedback showed that these photos didnt really show ‘yummy’


Development

My Partner put this together which had a really good response for ‘Yummy’ however we next needed to try it with our own photos of doughnuts.


Our second idea was to use the word years Here my Partner put together an idea of showing dates to show years, however we needed to give this more context.

1692 1706 1926 1784 1957 1927 1955 1962 1974 1965 1982 1980 1984 1988 1989 19901993 1999 2006 2009


Development


To develope My Partner’s idea we went out to get our own doughnuts and I then photographed them, however during transportation the pink doughnut became slightly squashed which had a really bad impact on the final design.


Research - History of Typography To give our years deisgn more context I started to research typography and found a list of fonts, the date they were designed and who they were deisned by. I then precieded to put it into the Y and because I had found lots of information when putting it into the Y, the shape was a lot more prominant. 1900 – Century Expanded – M.F Benton, Behrens - Sans serif running text 1901 – Copperplate Gothic – F Goudy 1904 – Frankin Gothic – M.F Benton 1908 – News Gothic – M.F Benton 1910-1915 – Hobo – M.F Benton 1914 – Souvenir – M.F Benton 1915 – Century Schoolbook – M.F Benton 1915/16 – Goudy Old Style – F. Goudy 1916 – Centaur – Bruce Rogers 1918 – Apollinaire calligrames published 1919 – Copper Oldstyle – Oz Cooper 1923 – Newland – Rudolph Koch 1925 – Universal Alphabet – Bayer 1927 – Futura – Renner 1928 – American Modernist Typography 1928-1930 – Gill Sans – Eric Gill 1929 – Broadway – M.F Benton 1930 – Joanna – Eric Gill 1931 – Essay on Typography – Eric Gill 1931 – Stymie – M.F Benton 1932 – Times Roman – Morrison 1932 – Peignot – A.M Cassandre 1948 – Trade Gothic – Mergenthaler 1950 – Expermenat typographica 1950 – Brush – Harold Brodersen 1950 – Palatino – Herman Zapt 1952 – Melior – Herman Zapt 1953 –Mistral – Roger Excoffon 1955/6 – Eygptienne – Adrian Frutiger 1957 – Miedinger – Haas Grotesque (later named Helvetica by Stemplefoundry) 1957 – Meriden – Adrian Frutiger 1957 – Univers – Adrian Frutiger 1962 – Eurostyle – Aldo Novarse 1962 -1966 – Antique Oliver – Roger Excoffon 1964 – Sabon – Jan Tschicold 1964 – Massin Designs – The Bold Soprano 1965 – Snell Roundhand – Mathew Carter 1967 – Avant Garge Gothic – Lubalin & Carnase 1967 – Serifa – Adrian Frutiger

1968 – Syntax – Hans E.Meier 1970 – Machine – Carnase & Bonder 1970 – International Typography Corporation – Lubalin & Carnase 1970 – Avant Garge Typeface international typographic style becomes dominant through the world 1974 – American Typewriter – Joel Kadan, ITC Tiffany, Ed Benguiat, Lubalin Graph, Lubalin, diSpigna, Sundwall 1977 – Benguiat – Ed Benguiat 1978 – Bell Centennial Galliard – Mathew Carter 1979 – Glypha – Adrian Frutiger 1980 – Novarese – Aldo Novarese 1981 – Barcelonia – Ed Benguiat 1982 – Versailles – Adrian Frutiger 1984 – Macintosh Computers – Macintosh Screen Fonts 1985 – Émigré Fonts 1987 – Charter – Mathew Carter 1987 – Stone Fonts – Summer Stone 1987 – Charlemagne – Carol Twombly 1989 – Adobe Garamond – Robert Simbach 1989 – Trajan – Carol Twombly 1989 – Rotis – Oti Aicher 1990 – Adobe Caslon – Carol Twombly 1990 – Arcadia – Neville Brody 1990 – Beowolf – Just Van Rossum & Erik Van Blokland 1990 – Dead History – P.Scott Makela 1990 – ITC Officina – Eric Spiekermann 1990 – Template Gothic – Barry Deck 1991 – FF Erikrighthand – Eric Van Blokland 1991 – Print – Summer Stone 1992 – EndsMeansMends – Summer Stone 1992 – Minion Multiple Master – Robert Slimbach 1992 – Poetica – Robert Slimbach 1993 – Fella Parts – Ed Fella 1994 – Exocet – Jonathan Barnbrook 1994 – Penal Code – Elliott Earls 1995 – Jesus Loves You – Lucas de Groot 1995 – Walker Font – Mathew Carter 1995/6 – HTF Fetish No.126 – Jonathan Hoefler 1996 – Univers Revolved – Ji Boyl Lee http://www.counterspace.us/typography/timeline.html


1900 – Century Expanded – M.F Benton,

Behrens - Sans serif running text. 1901– Copperplate Gothic – F Goudy. 1904 – Frankin Gothic – M.F Benton. 1908 – News Gothic – M.F Benton. 1910 - 1915 - Hobo - M.F Benton. 1915 – Century Schoolbook – M.F Benton. 1915/16 – Goudy Old Style – F. Goudy. 1916 – Centaur – Bruce Rogers. 1918 – Apollinaire calligrames published. 1919 – Copper Oldstyle – Oz Cooper. 1925 – Universal Alphabet – Bayer. 1927 – Futura – Renner. 1928 – American Modernist Typography. 1928-1930 – Gill Sans – Eric Gill. 1929 – Broadway – M.F Benton. 1931 – Essay on Typography by Eric Gill. 1931

– Stymie – M.F Benton. 1932 – Times Roman – Morrison. 1948 – Trade Gothic – Mergenthaler. 1950 – Brush – Harold Brodersen. 1950 – Palatino – Herman Zapt. 1952 – Melior – Herman Zapt. 1953–Mistral – Roger Excoffon. 1955/6 – Eygptienne – Adrian Frutiger. 1957 – Miedinger – Haas Grotesque (later named Helvetica by Stemplefoundry). 1957 – Meriden – Adrian Frutiger. 1957 – Univers – Adrian Frutiger. 1962 – Eurostyle – Aldo Novarse. 1962 - 1966 – Antique Oliver – Roger Excoffon. 1964 – Sabon – Jan Tschicold. 1964 – Massin Designs – The Bold Soprano. 1965 – Snell Roundhand – Mathew Carter. 1967 – Avant Garge Gothic – Lubalin &

1967 – Serifa – Adrian Frutiger. 1968 – Syntax – Hans E.Meier. 1970 – Machine – Carnase & Bonder. 1970 – International Typography Corporation – Lubalin & Carnase. 1970 – Avant Garge Typeface

Carnase.

international typographic style becomes dominant through the world. 1974 â&#x20AC;&#x201C; American Typewriter â&#x20AC;&#x201C; Joel Kadan, ITC <QĐ&#x201E;IVa-L*MVO]QI\4]JITQV/ZIXP4]JITQVLQ;XQOVI ;]VL_ITT1977 â&#x20AC;&#x201C; Benguiat â&#x20AC;&#x201C; Ed Benguiat. ²%HOO &HQWHQQLDO*DOOLDUG²0DWKHZ&DUWHU 1979 â&#x20AC;&#x201C; Glypha â&#x20AC;&#x201C; Adrian Frutiger. 1980 â&#x20AC;&#x201C; Novarese â&#x20AC;&#x201C; Aldo Novarese. 1981 â&#x20AC;&#x201C; Barcelonia â&#x20AC;&#x201C; Ed Benguiat. 1982 â&#x20AC;&#x201C; Versailles â&#x20AC;&#x201C; Adrian Frutiger. 1984 â&#x20AC;&#x201C; Macintosh Computers â&#x20AC;&#x201C; Macintosh Screen Fonts. 1985 â&#x20AC;&#x201C; Ă&#x2030;migrĂŠ Fonts. 1987 â&#x20AC;&#x201C; Charter â&#x20AC;&#x201C; Mathew Carter. 1987 â&#x20AC;&#x201C; Stone Fonts â&#x20AC;&#x201C; Summer Stone. 1987 â&#x20AC;&#x201C; Charlemagne â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Adobe Garamond â&#x20AC;&#x201C; Robert Simbach. 1989 â&#x20AC;&#x201C; Trajan â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Rotis â&#x20AC;&#x201C; Oti Aicher. 1990 â&#x20AC;&#x201C; Adobe Caslon â&#x20AC;&#x201C; Carol Twombly. 1990 â&#x20AC;&#x201C; Arcadia â&#x20AC;&#x201C; Neville Brody. 1990 â&#x20AC;&#x201C; Beowolf â&#x20AC;&#x201C; Just Van Rossum & Erik Van Blokland. 1990 â&#x20AC;&#x201C; Dead History â&#x20AC;&#x201C; P.Scott Makela. 1990Č&#x201A; Â&#x2C6;Ď?Â&#x2039;Â&#x2026;Â&#x2039;Â?Â&#x192;Č&#x201A;Â&#x201D;Â&#x2039;Â&#x2026; Spiekermann. 1990 â&#x20AC;&#x201C; Template Gothic â&#x20AC;&#x201C; Barry Deck. 1991 â&#x20AC;&#x201C; FF Erikrighthand â&#x20AC;&#x201C; Eric Van Blokland. 1991 â&#x20AC;&#x201C; Print â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; EndsMeansMends â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; Minion Multiple Master â&#x20AC;&#x201C; Robert Slimbach. 1992 â&#x20AC;&#x201C; Poetica â&#x20AC;&#x201C; Robert Slimbach. 1993 â&#x20AC;&#x201C; Fella Parts â&#x20AC;&#x201C; Ed Fella. 1994 â&#x20AC;&#x201C; Exocet â&#x20AC;&#x201C; Jonathan Barnbrook. 1994 â&#x20AC;&#x201C; Penal Code â&#x20AC;&#x201C; Elliott Earls. 1995 â&#x20AC;&#x201C; Jesus Loves You â&#x20AC;&#x201C; Lucas de Groot. 1995 â&#x20AC;&#x201C; Walker Font â&#x20AC;&#x201C; Mathew Carter.


Development - Years

Typography of the 1900s

1900 â&#x20AC;&#x201C; Century Expandsal Alphabet â&#x20AC;&#x201C; Bayer. 1927 ed â&#x20AC;&#x201C; M.F Benton, Behrens â&#x20AC;&#x201C; Futura â&#x20AC;&#x201C; Renner. 1928 â&#x20AC;&#x201C; - Sans serif running text. American Modernist Typog1901â&#x20AC;&#x201C; Copperplate raphy. 1928-1930 â&#x20AC;&#x201C; Gill Sans Gothic â&#x20AC;&#x201C; F Goudy. â&#x20AC;&#x201C; Eric Gill. 1929 â&#x20AC;&#x201C; Broad1904 â&#x20AC;&#x201C; Frankin Gothic â&#x20AC;&#x201C; way â&#x20AC;&#x201C; M.F Benton. 1931 M.F Benton. 1908 â&#x20AC;&#x201C; News â&#x20AC;&#x201C; Essay on Typography by Gothic â&#x20AC;&#x201C; M.F Benton. Eric Gill. 1931 â&#x20AC;&#x201C; Stymie â&#x20AC;&#x201C; 1910 - 1915 - Hobo - M.F M.F Benton. 1932 â&#x20AC;&#x201C; Times Benton. 1915 â&#x20AC;&#x201C; Century Roman â&#x20AC;&#x201C; Morrison. 1948 Schoolbook â&#x20AC;&#x201C; M.F Benâ&#x20AC;&#x201C; Trade Gothic â&#x20AC;&#x201C; Merton. 1915/16 â&#x20AC;&#x201C; Goudy Old genthaler. 1950 â&#x20AC;&#x201C; Brush Style â&#x20AC;&#x201C; F. Goudy. 1916 â&#x20AC;&#x201C; Harold Brodersen. 1950 â&#x20AC;&#x201C; Centaur â&#x20AC;&#x201C; Bruce Rogers. â&#x20AC;&#x201C; Palatino â&#x20AC;&#x201C; Herman 1918 â&#x20AC;&#x201C; Apollinaire calliZapt. 1952 â&#x20AC;&#x201C; Melior â&#x20AC;&#x201C; grames published. 1919 Herman Zapt. 1953â&#x20AC;&#x201C;Mistral â&#x20AC;&#x201C; Copper Oldstyle â&#x20AC;&#x201C; Oz â&#x20AC;&#x201C; Roger Excoffon. 1955/6 Cooper. 1925 â&#x20AC;&#x201C; Univerâ&#x20AC;&#x201C; Eygptienne â&#x20AC;&#x201C; Adrian Frutiger. 1957 â&#x20AC;&#x201C; Miedinger â&#x20AC;&#x201C; Haas Grotesque (later named Helvetica by Stemplefoundry). 1957 â&#x20AC;&#x201C; Meriden â&#x20AC;&#x201C; Adrian Frutiger. 1957 â&#x20AC;&#x201C; Univers â&#x20AC;&#x201C; Adrian Frutiger. 1962 â&#x20AC;&#x201C; Eurostyle â&#x20AC;&#x201C; Aldo Novarse. 1962 - 1966 â&#x20AC;&#x201C; Antique Oliver â&#x20AC;&#x201C; Roger Excoffon. 1964 â&#x20AC;&#x201C; Sabon â&#x20AC;&#x201C; Jan Tschicold. 1964 â&#x20AC;&#x201C; Massin Designs â&#x20AC;&#x201C; The Bold Soprano. 1965 â&#x20AC;&#x201C; Snell Roundhand â&#x20AC;&#x201C; Mathew Carter. 1967 â&#x20AC;&#x201C; Avant Garge Gothic â&#x20AC;&#x201C; Lubalin & Carnase. 1967 â&#x20AC;&#x201C; Serifa â&#x20AC;&#x201C; Adrian Frutiger. 1968 â&#x20AC;&#x201C; Syntax â&#x20AC;&#x201C; Hans E.Meier. 1970 â&#x20AC;&#x201C; Machine â&#x20AC;&#x201C; Carnase & Bonder. 1970 â&#x20AC;&#x201C; International Typography Corporation â&#x20AC;&#x201C; Lubalin & Carnase. 1970 â&#x20AC;&#x201C; Avant Garge Typeface international typographic style becomes dominant through the world. 1974 â&#x20AC;&#x201C; American Typewriter â&#x20AC;&#x201C; Joel 3ILIV1<+<QĐ&#x201E;IVa-L Benguiat, Lubalin Graph, Lubalin, diSpigna, Sundwall. 1977 â&#x20AC;&#x201C; Benguiat â&#x20AC;&#x201C; Ed Benguiat. ²%HOO&HQWHQ QLDO*DOOLDUG²0DWKHZ&DUWHU 1979 â&#x20AC;&#x201C; Glypha â&#x20AC;&#x201C; Adrian Frutiger. 1980 â&#x20AC;&#x201C; Novarese â&#x20AC;&#x201C; Aldo Novarese. 1981 â&#x20AC;&#x201C; Barcelonia â&#x20AC;&#x201C; Ed Benguiat. 1982 â&#x20AC;&#x201C; Versailles â&#x20AC;&#x201C; Adrian Frutiger. 1984 â&#x20AC;&#x201C; Macintosh Computers â&#x20AC;&#x201C; Macintosh Screen Fonts. 1985

This is the First of my final designs. I really thought that the gold for the dates really stood out making the the design show â&#x20AC;&#x2DC;yearsâ&#x20AC;&#x2122;.


Typography of the 1900s

1900 â&#x20AC;&#x201C; Century Expanded â&#x20AC;&#x201C; M.F ic â&#x20AC;&#x201C; Mergenthaler. 1950 ²%UXVK %HQWRQ%HKUHQV6DQVVHULI ²+DUROG%URGHUVHQ1950 â&#x20AC;&#x201C; Palatino running text. 1901â&#x20AC;&#x201C; Copperplate â&#x20AC;&#x201C; Herman Zapt. 1952 â&#x20AC;&#x201C; Melior â&#x20AC;&#x201C; Herman Zapt. 1953â&#x20AC;&#x201C;Mistral â&#x20AC;&#x201C; Roger Gothic â&#x20AC;&#x201C; F Goudy. 1904 â&#x20AC;&#x201C; Frankin ([FRÍžRQ1955/6²(\JSWLHQQH *RWKLF²0)%HQWRQ1908 â&#x20AC;&#x201C; News *RWKLF²0)%HQWRQ1910 - 1915 â&#x20AC;&#x201C; Adrian Frutiger. 1957 â&#x20AC;&#x201C; Mieding+RER0)%HQWRQ1915 â&#x20AC;&#x201C; Cener â&#x20AC;&#x201C; Haas Grotesque (later named WXU\6FKRROERRN²0)%HQWRQ Helvetica by Stemplefoundry). 1915/16 â&#x20AC;&#x201C; Goudy Old Style â&#x20AC;&#x201C; F. 1957 â&#x20AC;&#x201C; Meriden â&#x20AC;&#x201C; Adrian Frutiger. 1957 â&#x20AC;&#x201C; Univers â&#x20AC;&#x201C; Adrian Frutiger. Goudy. 1916 ²&HQWDXU²%UXFH 1962 ²(XURVW\OH²$OGR1RYDUVH Rogers. 1918 â&#x20AC;&#x201C; Apollinaire calli1962 - 1966 â&#x20AC;&#x201C; Antique Oliver grames published. 1919 â&#x20AC;&#x201C; Copper Oldstyle â&#x20AC;&#x201C; Oz Cooper. 1925 ²5RJHU([FRÍžRQ1964 â&#x20AC;&#x201C; Sabon â&#x20AC;&#x201C; ²8QLYHUVDO$OSKDEHW²%D\HU Jan Tschicold. 1964 â&#x20AC;&#x201C; Massin De1927 â&#x20AC;&#x201C; Futura â&#x20AC;&#x201C; Renner. 1928 â&#x20AC;&#x201C; VLJQV²7KH%ROG6RSUDQR1965 â&#x20AC;&#x201C; Snell Roundhand â&#x20AC;&#x201C; Mathew American Modernist Typography. Carter. 1967 â&#x20AC;&#x201C; Avant Garge 1928-1930 ²*LOO6DQV²(ULF*LOO Gothic â&#x20AC;&#x201C; Lubalin & Carnase. 1929²%URDGZD\²0)%HQWRQ 1967 â&#x20AC;&#x201C; Serifa â&#x20AC;&#x201C; Adrian Frutiger. 1931 ²(VVD\RQ7\SRJUDSK\E\ 1968²6\QWD[²+DQV(0HLHU (ULF*LOO1931 â&#x20AC;&#x201C; Stymie â&#x20AC;&#x201C; M.F %HQWRQ 1932 â&#x20AC;&#x201C; Times Roman 1970 â&#x20AC;&#x201C; Machine â&#x20AC;&#x201C; Carnase & â&#x20AC;&#x201C; Morrison. 1948 â&#x20AC;&#x201C; Trade Goth%RQGHU1970 â&#x20AC;&#x201C; International Typography Corporation â&#x20AC;&#x201C; Lubalin & Carnase. 1970 â&#x20AC;&#x201C; Avant Garge Typeface international typographic style becomes dominant through the world. 1974 â&#x20AC;&#x201C; American TypeZULWHU²-RHO.DGDQ,7&7LÍžDQ\(G%HQJXLDW/XEDOLQ Graph, Lubalin, diSpigna, Sundwall. 1977²%HQJXLDW²(G%HQJXLDW1978²%HOO&HQWHQQLDO*DOOLDUG â&#x20AC;&#x201C; Mathew Carter. 1979 â&#x20AC;&#x201C; Glypha â&#x20AC;&#x201C; Adrian Frutiger. 1980 â&#x20AC;&#x201C; Novarese â&#x20AC;&#x201C; Aldo Novarese. 1981 ²%DUFHORQLD²(G%HQJXLDW1982â&#x20AC;&#x201C;Versailles â&#x20AC;&#x201C; Frutiger. 1984 â&#x20AC;&#x201C; Macintosh Computers â&#x20AC;&#x201C; Macintosh Screen Fonts. 1985 â&#x20AC;&#x201C; Ă&#x2030;migrĂŠ Fonts. 1987 â&#x20AC;&#x201C; Charter â&#x20AC;&#x201C; Mathew Carter. 1987 â&#x20AC;&#x201C; Stone Fonts â&#x20AC;&#x201C; Summer Stone. 1987 â&#x20AC;&#x201C; Charlemagne â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Adobe Garamond â&#x20AC;&#x201C; Robert Simbach. 1989 â&#x20AC;&#x201C; Trajan â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Rotis â&#x20AC;&#x201C; Oti Aicher. 1990 â&#x20AC;&#x201C; Adobe Caslon â&#x20AC;&#x201C; Carol Twombly. 1990 â&#x20AC;&#x201C; Arcadia â&#x20AC;&#x201C; Neville Brody. 1990 â&#x20AC;&#x201C; Beowolf â&#x20AC;&#x201C; Just Van Rossum & Erik Van Blokland. 1990 â&#x20AC;&#x201C; Dead History â&#x20AC;&#x201C; P.Scott Makela. 1990Č&#x201A; Â&#x2C6;Ď?Â&#x2039;Â&#x2026;Â&#x2039;Â?Â&#x192;Č&#x201A;Â&#x201D;Â&#x2039;Â&#x2026; Spiekermann. 1990 â&#x20AC;&#x201C; Template Gothic â&#x20AC;&#x201C; Barry Deck. 1991 â&#x20AC;&#x201C; FF Erikrighthand â&#x20AC;&#x201C; Eric Van Blokland. 1991 â&#x20AC;&#x201C; Print â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; EndsMeansMends â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; Minion Multiple Master â&#x20AC;&#x201C; Robert Slimbach. 1992 â&#x20AC;&#x201C; Poetica â&#x20AC;&#x201C; Robert Slimbach. 1993 â&#x20AC;&#x201C; Fella Parts â&#x20AC;&#x201C; Ed Fella. 1994 â&#x20AC;&#x201C; Exocet â&#x20AC;&#x201C; Jonathan Barnbrook. 1994 â&#x20AC;&#x201C; Penal Code â&#x20AC;&#x201C; Elliott Earls. 1995 â&#x20AC;&#x201C; Jesus Loves You â&#x20AC;&#x201C; Lucas de Groot. 1995 â&#x20AC;&#x201C; Walker Font â&#x20AC;&#x201C; Mathew Carter. 1995/6 â&#x20AC;&#x201C; HTF Fetish Â&#x2018;Ǥͳʹ͸Č&#x201A; Â&#x2018;Â?Â&#x192;Â&#x2013;Â&#x160;Â&#x192;Â? Â&#x2018;Â&#x2021;Ď?Â&#x17D;Â&#x2021;Â&#x201D;Ǥ1996 â&#x20AC;&#x201C; Univers Revolved â&#x20AC;&#x201C; Ji Boyl Lee.

This is the second of my final ideas. The idea of the aged paper for the background I think really adds to the design as it reinforces â&#x20AC;&#x2DC;yearsâ&#x20AC;&#x2122; to the reader as the typeography used is all from the past and so the aged paper adds to the meaning of the past.


The second of the two designs turned out to be the most popular


Typography of the 1900s

ic â&#x20AC;&#x201C; Mergenthaler. 1950 ²%UXVK 1900 â&#x20AC;&#x201C; Century Expanded â&#x20AC;&#x201C; M.F %HQWRQ%HKUHQV6DQVVHULI ²+DUROG%URGHUVHQ1950 â&#x20AC;&#x201C; Palatino â&#x20AC;&#x201C; Herman Zapt. 1952 â&#x20AC;&#x201C; Melior â&#x20AC;&#x201C; Herrunning text. 1901â&#x20AC;&#x201C; Copperplate man Zapt. 1953â&#x20AC;&#x201C;Mistral â&#x20AC;&#x201C; Roger Gothic â&#x20AC;&#x201C; F Goudy. 1904 â&#x20AC;&#x201C; Frankin ([FRÍžRQ1955/6²(\JSWLHQQH *RWKLF²0)%HQWRQ1908 â&#x20AC;&#x201C; News *RWKLF²0)%HQWRQ1910 - 1915 â&#x20AC;&#x201C; Adrian Frutiger. 1957 â&#x20AC;&#x201C; Miedinger â&#x20AC;&#x201C; Haas Grotesque (later named +RER0)%HQWRQ1915 â&#x20AC;&#x201C; CenWXU\6FKRROERRN²0)%HQWRQ Helvetica by Stemplefoundry). 1957 â&#x20AC;&#x201C; Meriden â&#x20AC;&#x201C; Adrian Frutiger. 1915/16 â&#x20AC;&#x201C; Goudy Old Style â&#x20AC;&#x201C; F. Goudy. 1916 ²&HQWDXU²%UXFH 1957 â&#x20AC;&#x201C; Univers â&#x20AC;&#x201C; Adrian Frutiger. 1962 ²(XURVW\OH²$OGR1RYDUVH Rogers. 1918 â&#x20AC;&#x201C; Apollinaire calligrames published. 1919 â&#x20AC;&#x201C; Copper 1962 - 1966 â&#x20AC;&#x201C; Antique Oliver ²5RJHU([FRÍžRQ1964 â&#x20AC;&#x201C; Sabon â&#x20AC;&#x201C; Oldstyle â&#x20AC;&#x201C; Oz Cooper. 1925 ²8QLYHUVDO$OSKDEHW²%D\HU Jan Tschicold. 1964 â&#x20AC;&#x201C; Massin DeVLJQV²7KH%ROG6RSUDQR1965 1927 â&#x20AC;&#x201C; Futura â&#x20AC;&#x201C; Renner. 1928 â&#x20AC;&#x201C; American Modernist Typography. â&#x20AC;&#x201C; Snell Roundhand â&#x20AC;&#x201C; Mathew Carter. 1967 â&#x20AC;&#x201C; Avant Garge 1928-1930 ²*LOO6DQV²(ULF*LOO Gothic â&#x20AC;&#x201C; Lubalin & Carnase. 1929²%URDGZD\²0)%HQWRQ 1967 â&#x20AC;&#x201C; Serifa â&#x20AC;&#x201C; Adrian Frutiger. 1931 ²(VVD\RQ7\SRJUDSK\E\ 1968²6\QWD[²+DQV(0HLHU (ULF*LOO1931 â&#x20AC;&#x201C; Stymie â&#x20AC;&#x201C; M.F 1970 â&#x20AC;&#x201C; Machine â&#x20AC;&#x201C; Carnase & %HQWRQ 1932 â&#x20AC;&#x201C; Times Roman %RQGHU1970 â&#x20AC;&#x201C; International â&#x20AC;&#x201C; Morrison. 1948 â&#x20AC;&#x201C; Trade GothTypography Corporation â&#x20AC;&#x201C; Lubalin & Carnase. 1970 â&#x20AC;&#x201C; Avant Garge Typeface international typographic style becomes dominant through the world. 1974 â&#x20AC;&#x201C; American TypeZULWHU²-RHO.DGDQ,7&7LÍžDQ\(G%HQJXLDW/XEDOLQ Graph, Lubalin, diSpigna, Sundwall. 1977²%HQJXLDW²(G%HQJXLDW1978²%HOO&HQWHQQLDO*DOOLDUG â&#x20AC;&#x201C; Mathew Carter. 1979 â&#x20AC;&#x201C; Glypha â&#x20AC;&#x201C; Adrian Frutiger. 1980 â&#x20AC;&#x201C; Novarese â&#x20AC;&#x201C; Aldo Novarese. 1981 ²%DUFHORQLD²(G%HQJXLDW1982â&#x20AC;&#x201C;Versailles â&#x20AC;&#x201C; Frutiger. 1984 â&#x20AC;&#x201C; Macintosh Computers â&#x20AC;&#x201C; Macintosh Screen Fonts. 1985 â&#x20AC;&#x201C; Ă&#x2030;migrĂŠ Fonts. 1987 â&#x20AC;&#x201C; Charter â&#x20AC;&#x201C; Mathew Carter. 1987 â&#x20AC;&#x201C; Stone Fonts â&#x20AC;&#x201C; Summer Stone. 1987 â&#x20AC;&#x201C; Charlemagne â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Adobe Garamond â&#x20AC;&#x201C; Robert Simbach. 1989 â&#x20AC;&#x201C; Trajan â&#x20AC;&#x201C; Carol Twombly. 1989 â&#x20AC;&#x201C; Rotis â&#x20AC;&#x201C; Oti Aicher. 1990 â&#x20AC;&#x201C; Adobe Caslon â&#x20AC;&#x201C; Carol Twombly. 1990 â&#x20AC;&#x201C; Arcadia â&#x20AC;&#x201C; Neville Brody. 1990 â&#x20AC;&#x201C; Beowolf â&#x20AC;&#x201C; Just Van Rossum & Erik Van Blokland. 1990 â&#x20AC;&#x201C; Dead History â&#x20AC;&#x201C; P.Scott Makela. 1990Č&#x201A; Â&#x2C6;Ď?Â&#x2039;Â&#x2026;Â&#x2039;Â?Â&#x192;Č&#x201A;Â&#x201D;Â&#x2039;Â&#x2026; Spiekermann. 1990 â&#x20AC;&#x201C; Template Gothic â&#x20AC;&#x201C; Barry Deck. 1991 â&#x20AC;&#x201C; FF Erikrighthand â&#x20AC;&#x201C; Eric Van Blokland. 1991 â&#x20AC;&#x201C; Print â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; EndsMeansMends â&#x20AC;&#x201C; Summer Stone. 1992 â&#x20AC;&#x201C; Minion Multiple Master â&#x20AC;&#x201C; Robert Slimbach. 1992 â&#x20AC;&#x201C; Poetica â&#x20AC;&#x201C; Robert Slimbach. 1993 â&#x20AC;&#x201C; Fella Parts â&#x20AC;&#x201C; Ed Fella. 1994 â&#x20AC;&#x201C; Exocet â&#x20AC;&#x201C; Jonathan Barnbrook. 1994 â&#x20AC;&#x201C; Penal Code â&#x20AC;&#x201C; Elliott Earls. 1995 â&#x20AC;&#x201C; Jesus Loves You â&#x20AC;&#x201C; Lucas de Groot. 1995 â&#x20AC;&#x201C; Walker Font â&#x20AC;&#x201C; Mathew Carter. 1995/6 â&#x20AC;&#x201C; HTF Fetish Â&#x2018;Ǥͳʹ͸Č&#x201A; Â&#x2018;Â?Â&#x192;Â&#x2013;Â&#x160;Â&#x192;Â? Â&#x2018;Â&#x2021;Ď?Â&#x17D;Â&#x2021;Â&#x201D;Ǥ1996 â&#x20AC;&#x201C; Univers Revolved â&#x20AC;&#x201C; Ji Boyl Lee.


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Letters in the landscape - A lexicon of urban typography This unit begins with a visit to Poole where you will identify, collect and photograph, examples of vernacular letterforms in the town. Your images could be literal interpretations of details of road signs, hand painted signs, neon signs, fragments of words, individual characters, manhole covers, gravestones or shop-front signs. Documenting these typographic havens is crucial to rebuff the constant threat from planners and councils that choose to subvert local history and ignore the rich traditions of vernacular heritage. Alternatively, you could choose to record a slightly more challenging abstract collection of â&#x20AC;&#x2DC;hidden signsâ&#x20AC;&#x2122; drawn from architectural forms, found objects, and unintentional typographic structures. My Partners for this Project were Nadine Grant, Tammy Johal and Holly Hand


The aim of this project was to find as many different examples of typography in the landscape around Poole as we could. This could be photos of letters in signs, or we could take a more abstract view and see what objects made up certain letters. After taking many photographs we had the task of choosing the best to put into the book. I made sure to add 10mm to the inside of the photos over 2 pages to make sure that none of the image was mcut out due to binding the book. The binding of the book is the most difficult of all as we had to be sure that we folded each page perfectly and that when we glued the paged together they were all even and straight. Here are some Photos of the final outcome of the book....


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Letterpress

Here is one of the outcomes of the letterpress workshop. During this workshop we had the opertunity to try out different methods of using a letterpress machine

For example how to make letters more or less embossed. I really enjoyed the more hand on approach, however I think it was too time consuming to do very often


Letter M Press This workshop was one of the most useful of all workshops as this program â&#x20AC;&#x2DC;LetterMPressâ&#x20AC;&#x2122; is a great way of getting the effects of a Letterpress machine without all the setting up, cleaning etc. which is all very time

consuming. It is also great for being able to save certain letter arangements for later. The program is also set up just like a letterpress machine. so gives you a great idea of how a actual letterpress machine works.


John Lennon


The japanese book binding actually turned out to be a lot simpler than I thought it would be. It is a great way to put pages together, as it does not take too long, looks good, and you can manipulate the origional design to create more creative designs to make it look a little more interesting. These pictures are the outcome of the book I put together during the workshop.

Chromaphilia The Love of Colour


Japanese Book Binding Binding by Stitching

During this workshop we all had different tasks to experiment with colour My task was to create as big a pallet as possible by only using 5 different ‘earth’ colours This workshop was all about learing about colour and what colours go together and why. We were taught all the different key terms for using colour and how different forms of using colour came about over the years. Chromatic - colours Value - refers to the light or dark of a colour e.g when a black and white images is taken and on it one colour will be a lighter black and another will be a darker black Each colour has a range of values so you can have a blue and a red that have the value and so in a black and white images they would be the same shade

Saturation - refers to a colours brightness or intensity High saturation -bright Low saturation - dark Tint - is any colour mixed with white White doesn’t just make a colour lighter, it changes it’s whole status Shade - is any colour mixed with black Hue - refers to a family of colours e.g the hue of green - the family of green But also means - derived from artificial

means rather than natural sources Less fugitive - less prone to fading Linseed oil - oils used in oil paints Refined linseed oil will not go a brown colour over time Extended pallets - many colours, high in saturation Limited pallet - earth colours, few in number, low in saturation Analogous - group of similar colours.


Work Inspired by Workshops


Lectures


Digital Materiality Lecture Notes Labour is play and play is labour Cory Arcangel - artist - Mario cartoon - he critiques the digital media as well as enjoying it History of the internet • • • • •

It emerged out of warfare technologies To find a way of sustaining communication in all eventualities To devise a system of communication so that information was everywhere A system was devised that could be broken down (coded) and assembled in another location 1980s protocols developed for cheap connectivity

Algorithms • Galloway -”is a machine for moving parts” • Lucan suggests that language and behaviour are algorithmic as they are predetermined and automatic Stelarc - artist that had a 3rd hand inserted into his wrist but had to be removed -stanza.co.uk

Stanza used his DNA to generate creative images


Taste Lecture Notes

Relationship with objects How our aesthetic judgment and purchase decision relate to consumer culture www.coolhunting.com - daily update on 'cool' objects, art etc. • • •

We are constantly told what is fashionable and what to buy Advertising uses many tricks to convince consumers to buy their products Alluring advertising to seduce and persuade

Taste • •

Metaphor for judgment Different cultures have different taste, cultural preferences

Interiors - identity of an individual London riots - changed adidas's image overnight as their clothing became associated with people of that character. Essential item designs have stayed the same over many years • Tooth brush • Safety pin - 1849 by Walter Hunt • Post it note - 1968 by spencer silver/art fry Mass production • Proliferation of standardised goods • 1920s consumer engineering - beauty = new business tool • 1920s - rise of consumerism Planned obsolescence • Designed to only last a certain amount of time • Encouraging you to spend money • Increasing waste • We invest profane things with sacred meaning Hunter rainboots - designed in 1856 by Henry lee Norris - now has become a fashion item Trainers were shoes worn by the poorer people of society but now have become a fashion accessory and so have substantially increase in value People have now started to by items to show their wealth - conspicuous consumption

How do we judge design. • Subjectively • Objectively • Experience of objects • Influence - media We should judge design by • Use • Ergonomics • Size, handling, storage • Recycling • Shape • Colour • Style (last) • Materials • Production process • Manufacture • Costs • Target audience • Competitors • Marketing Lord did more - mies van der rohe Less is not more less is a bore - Robert Venturi Classic • • • • •

What make something a classic Anglepoise chair by George carwardine Polyprop light The wassily chair 1926 - marcel Breuer Red telephone box - Sir Giles Gilbert Scott 1920

Lots of stuff design nowadays is just a copy of something already out there, the truly new objects are generally do to with technology. Corporate identity and branding • Brands influence what we buy • Culture jamming - subversion of the message e.g. Dike (Nike) Kitsch • Cheap • Mass produced • Poor quality


Propaganda Definition Organised promotion of information to assist or damage the cause of a government or movement •The spreading of ideas, information, or rumour for the purpose of helping or injuring an institution, a cause or a person •Ideas, facts, or allegations spread deliberately to further ones cause or to damage an opposing cause, also a public action having such an affect

Using selective stories that come over as wide - covering and objective Reinforcing reasons and motivations to act due to threats on the security of the individual Repeated Affirmation e.g Saddam Hussein orchestrated 9/11 Weapons of mass deception - by Sheldon rampion & john stuber

Resources • • • • • • •

Centre for the study of propaganda and war, university of kent Index on censorship Imperial war museum nationalalarchives.gov.uk Colours of Beneton John Taylor body horror Professor jerry kroth - you tube

Organisations • Respect for animals • Green peace • Liberty • PETA • Amnesty international • Act Up Propagate •To spread information 3 types of propaganda Black - That which comes from a sources that cannot be identified - usually lies White - Come from a reliable sources Grey - The in between There are 4 basic varieties of propaganda 1. Big lie - the state controlled Egyptian press has been spreading a big lie, saying the world trade centre was attacked by Israel to embarrass Arabs 2. 'It doesn't have to be the truth, so long as it's plausible' 3. Tell the truth but withhold the other sides point of view 4. Most productive - tell the truth the good, the bad, the losses and the gains There are a variety of propaganda techniques to influence options and to avoid the truth. Often these techniques rely on some element of censorship, or manipulation, with omitting significant information or distorting it. Use of national icons - exaggerate patriotism

“See in my line of work you got to keep repeating things over and over again for the truth to sink in “ - US president Reframing - newspeak Delusions - false idea , alternative views not aired / broadcast False flag “False flag terrorism” • Occurs when elements within a government stage a secret operation, whereby government forces pretend to be a target enemy while attacking their own forces or people • The attack is then false blamed on the enemy in order to justify going to war against that enemy Signs of false flag • Horrific images to shock the public • Eyewitness accounts that do not match the official story • Conflicting evidence is not repeated by the media • Used as an excuse to curtail rights or start war Vicarious/imitative learning • Copy other behaviour • Copycatting • Humans programmed to copy others • Reinforcing behaviours Negative imitative learning • Grand theft auto • Hip hop imitative learning • lil Wayne - influencing - drugs, gambling, promiscuity • Hip hop - “hate speech with a beat” - Oprah Winfrey • Language reinforcing stereotypes Persuasion technology Persuasive presentation and persistent marketing Social media channels influencing • Use of peers to communicate messages


Visual Thinking  
Visual Thinking  

Anna Smith BA (Hons) Graphic Design Arts University Bournemouth

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