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this book is the digital counterpart to a near identical hard copy.

published by Thomas j w Payne Š Thomas Payne 2010 printed Peckham: London

Preface This book acts as a form of documentation for the work from the first half of my final year on the BA graphic design course at camberwell college of art and design. It contains a relatively late blossoming of work that was largely informed by the development of my thesis which supposedly ran alongside the work contained within. The thesis was ultimately concerned with ideas relating to mediation. During the course of my writing it became apparent that in this era we increasingly find ourselves living our experiences through some form of mediation. what effect is this having? In an age were we end up talking to machines more than we do to other people, it turns out we are actually surprisingly isolated. The next pages set out to catalogue my initial visual investigation of this idea.

the following is an extract from my dissertation: “The photograph, for example, is still very clearly a photograph and not the direct experience that it tries, with great fortitude, to represent. It may try, through various methods, to establish a greater connection with its audience. One could argue that the printed version seems to hold certain advantages over the on screen digital version in the respect that it is more immediate to the senses as something tangible like the objects it represents. However, its tactile qualities (unless it’s a photograph of another photograph) are likely to be a long way from what the photograph is actually presenting.�

a picture... a picture... a picture... a picture.

Ceci est une photographe

i wanted to investigate how true the claim id made in my dissertation was. the goal was to make the experience of looking at a photograph more immediate by regressing back until i reached a photo of what could only be recognised as a picture of a photograph. unusually in photography, it means the viewer is actually experiencing first hand what they’re shown. however, this only applies to the hard copy versions which includes the original polaroid pictures. in many ways, by publishing a digital version the original effect has been lost although hopefully, despite its non tangible format, it still provides a rough idea of the sensation of the actual photograph.

my original interests for this body of work lay in exploring hallucinogenics and the psychedelic drug experience. my thesis allowed me to realise certain connections between the psychedelic experience and the mediated experience. i began to interpret the psychedelic experience as a form of mediation. while the psychedelic clearly produces something above and beyond what mediation is capable of, they both effectively provide distortions of reality.

this led me to explore the typographic medium in combination with the notion of a material reality. i became interested in language, not only spoken form but also text based and the idea of trying to mediate language as something material. i initially developed this idea through experimentation with various materials to construct 3 dimensional typographic sculptures.

however i returned to a printed format as a more malleable way of experimenting with type. in terms of mediation i found myself using not only the medium of type but where as with my screen prints i had been forced to initially begin with a computer generated image which later became print, using letterpress i was able to reverse the process by beginning with print and using the measurements i’d taken in the real world scenario later recreate it using a digital format. each version has a very distinct ‘feel’ to it brought about by content of the respective medium.

as we live an increasing amount of our everyday experiences through some medium or other our real life experiences diminish resulting in a series of very connected but ultimately very isolated individuals. the product is a selection of units connected through a technological realm but separated from the real world.

<typeface based around the idea of each glyph being its own individual unit.

>the next pages experiment with different typefaces using the same concept: trying to combine the idea of isolation with digital machinery.


Andale Mono

Myriad Pro

Lost in Translation i performed another experiment in remediation. it was an attempt to investigate the process of translation from one media to another. starting with a photograph i attempted to convert the information to a text based format. it was essentially a detailed description of the photograph, which i then gave to an illustrator for them to attempt to recreate a visual interpretation using only the text without any visual knowledge of what it originally looked like.


Width = 20 cm Height = 13.4 cm The photo is a view of a main road which runs diagonally across the picture from the bottom right corner to the middle of the left vertical axis. The background contains brightly coloured pink, purple and orange clouds. The white line of a bus lane runs diagonally from just to the left of the bottom right corner to approximately a third of the way up the opposite vertical side. The bus lane is to the left hand side of this with the pavement starting about a third of the way in from the left on the bottom horizontal axis. The edge of the pavement runs from about a quarter of the left hand vertical axis. This pavement is initially bricked but then moves into square paving slabs. Two red lines run up the inside of the bus lane and about half way through the bus lane the words â&#x20AC;&#x153;BUS LANEâ&#x20AC;? are written in capitals on the floor. To the right of the bus lane is another ordinary lane approximately the same size as the bus lane. To the right of this is an area marked with road markings to separate each half of the road. These road markings expand from right to left.

To the right of these road marking is the opposite side of the road. There is only one wide lane with a double decker bus pulling out at about a 10 degree angle driving towards the right hand side of the page. Coming up from behind the bus is a lamppost heading vertically up into the sky at about double the height of the bus. At the top a bar lets the light reach out about 2 meters back into the road. A slither of pavement runs along the opposite side of the road behind the bus. To the right of this and on the right hand side of the bus is a black wall with spikes running across the top. On the left hand side of the bus runs a varying skyline of buildings none of which exceed the height of the bus. Towards the left hand side of the picture these buildings are replaced with trees. Below these trees, on the same side of the road as the bus, is a Peugeot 206. It also has its lights on. The top left corner is consumed by the branches of a tree reaching about two fifths of the way across the top horizontal axis and just under half way down the left vertical axis. The background sky is generally purple with three main lines of orange breaking out towards the bottom, all of which run horizontally across the page.

illustration by anna gibson

iâ&#x20AC;&#x2122;m keen to find ways of isolating material objects and then presenting them back through a form of mediated experience. my intention was to enclose the object inside an opaque box with the only means of access being distorted through the medium.

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