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Home town

For this summer project I collected a large body of work that i believed reflected my towns character.

This included photographs and video that I eventually fused together in the form a flash animation .
Home town I then went about making sets and characters from the photos in photoshop that could be used to create

my animation. The animation was intended to bring to life parts of my home town that only I know about

and remember, parts that no one can else would appreciate. Parts that are special to me.
Home town
Photo Intro Here we were asked to produce 36 photos of one space, for which i chose my bed room.

We shot 6 to describe, 6 of foreground & background, 6 of lines, 6 with no view finder, 6

of one object and 6 of one spot. Here are my favorite shots from the collection.
Visual Thinking 2 Notatinal Drawing -This was part two of visual thinking where we visited the science museum

in central london. The images on the next few pages are a select few from the 100 or so in my

sketch book. For each drawing only 5 minutes was aloud.


Visual Thinking 2
Visual Thinking 2
Visual Thinking 2
Visual Thinking 2
Visual Thinking 3
Type 2D/3D - These are the worksheets and photographs inspired by

the form and shape of one lone letter M from a specific typeface.
Visual Thinking 3
Visual Thinking 3
Visual Thinking 4
Visual Thinking 4
Visual Thinking 5 Shoot London - These photographs were taken all in one designated street in Camden town.

I created this body of work entirely by ‘shooting from the hip’. So no view finder was used giving

the photos a low down often strange orientation.


Visual Thinking 5
Visual Thinking 5
Visual Thinking 5
Visual Thinking 6-7 Diagrams/ Drawing Machine - For the final part of visual thinking our group as

illustrated on these pages created this water powered painting machine. (Diagrams

and sketches all created by me)


Visual Thinking 6-7
Visual Thinking 6-7
Pocket Archive
For this project we were asked to create and develop an individual collection of work, based on any chosen theme, item or

object. I chose to make a collection of stains, stains that can be found everywhere and by everyone. I wanted to create a

body of work that celebrated their beauty in a way that would allow everyone to access and appreciate it. I decided to make

a set of brushes that can be used in many different ways, that allow the user to appreciate the forms, shapes and textures in

a brand new way. The picture above was created entirely from my brushes.
Pocket Archive
These were the very first photographs I took using my phone which provided this

grainy quality to them. This grainy quality actually made them much better brushes.
Pocket Archive
For this project we were asked to create and develop an individual collection of work, based on any chosen theme, item or object. I chose to

make a collection of stains, sta ins that can be found everywhere and by everyone. I wanted to create a body of work that celebrated their

beauty in a way that would allow everyone to access and appreciate it. I decided to make a set of brushes that can be used in many differ-

ent ways, that allow the user to appreciate the forms, shapes and textures in a brand new way.
Pocket Archive
So when do Whiter means
bad stains turn Cleaner
good?
Here are a few examples of how marks and So despite peoples willingness to have t
splatters have been incorporated into modern shirts with paint splatter effects, phones
designs. The T-shirt at the top contains a very with multi coloured crazy cases and website
trendy paint splatter effect that is used all to designs with dirty grunge fonts/ colours,
commonly nowadays, along with the nike the idea stuck in every ones mind is that
trainers below. The tea bag looking dress at white equals clean. I don’t mean clean in an
the bottom is very much at the opposite end aesthetical sense, I mean in a biologically
of the fashion spectrum, with a tea stained cleaner sense. When we look at a stained
baggy look, that certainly won’t be seen in the anything, we assume its dirty, when infact
nearest top shop any time soon. You have to it’s exactly the same but marked differently
wonder why this is though. A tea stain isn’t (unless you fall in poo or somthing),
any more radical that a paint splatter but its
not used in common design at all. The Daz adverts stuck in your head makes
you wants you to wage a war upon any slight
I’m not by any means even saying they blemish until it’s gone. So is it because we,
should be incorporating all manner of stains as analy retentive human beings, cant stand
into design, but when you sit down and think, the site of a random stain? Or is it because
its really quite strange how we perceive we’re scared of how other followers of the
designed marks and stains. Daz philosophy will look at us?

As you can tell, just from the dictionary


definition, stains are perceived to be negative, Despite the word ‘stain’ having a negative
annoying consequences of our every day life. definition, It’s still occasionally used in a
They have no particular form or shape and normal positive way. When it comes to picking
are entirely random. The random, unexpected out laminate flooring for example, stains are
creation of these marks is probably what used instead of renders or colour’s. So what
causes them to annoy us so much. is it that makes these stains more beautiful
than the ones on your coffee table, if anything
at all.
No one likes surprise’s.
Why is it that a clean white t-shirt isn’t Is it the uniformity?
viewed in the same way as a clean blank
canvas ?
Does a uniform stain fool the onlooker into
The marks that an artist may strive to achieve thinking everything has been done and
with his paintbrush are often created entirely created intentionally? So if i were to apply this
by accident in act of spilling or dropping logic, I could spill a drink repeatedly down my
food and drink on to any of our consumerist top and eventually it would become a ‘design’.
possessions. It doesn’t seem to work this way though.

So why can’t we look up onto a coffee Is it because It’s been


stained table and appreciate the symmetrical,
water marked ringlets where our mugs once bought?
stood and think wow. If people can appreciate
paintings that may contain nothing but one Is the stain on a bought product more
single block of colour then surely they can appealing because it simply must have been
appreciate the random yet beautiful simplicity
carefully designed for you to have parted
of a stain.
money? Maybe the modern mind just can’t
Any artist or designer at some point or commonly appreciate the unintentional any
another comes across the need to recreate more, a good example being ripped denim
something from nature or a random jeans. There’s no good reason not too buy
occurrence, such as a paint splatter or a a normal pair and customise them, but
cracked piece of glass. Yet these are also two nowadays that’s just not good enough. If you
examples of things that anger people. Most don’t have the branded ripped jeans then they
people would greet a paint splatter on their can’t be good quality or appealing in anyway.
brand new carpet with a tirade of abusive
thoughts and sounds. Then why is it that the
exact same splatter on paper can become
art and instantly appreciated?

Maybe some people just don’t like art and Maybe its because
would rather live in a clean white utopia where unintentional looking design
there is no colour or clutter, but most do not. has become so normal and
There’s few living rooms that don’t contain at standardized that we can
least one painting or drawing, that’s met with
a feeling of appreciation and wonder. So why
no longer appreciate true
can’t the entire surface of your living room be
unintentional marks in our
appreciated in the same way, and looked at every day lives.
with eyes wide open.

I think stains are beautiful.

Pocket Archive
Stains are
everywhere and
everything

As the dictionary says, a stain can discolour,


spot,tarnish and taint. So if we define clean as
being white or in its original state, then surly
A subway mirror.
everything is stained. A blank page, a clean, t shirt,
an empty sky or an empty space are all waiting
to be changed by a mark, an image or a person.
So stain really means change but we chose to
have a negative literary sibling called stain, which
implies a negative change.

I want to tear away the negative connotations


surrounding the word, and show its positive effects.

I could delve deeper into the my sociological and


philosophical perceptions regarding stains, but all
I’m really trying to say is that i think stains should
be celebrated.

Stains are everywhere and give every day objects


character and individuality. We find reasons to be
annoyed about something new every day, so about
we stop getting annoyed with stains and learn to
appreciate their simplistic elegance and beauty.

I want to document and share some of the


stains that I encounter in my every day life,
wether they result from my own actions, from
nature or other people.

Brush
Applications 1
Here are a few examples of how the brushes
can be used, obviously certain brushes will
be better for certain styles, but heres a broad
set of uses for my first one.

To create this effect, I’ve used the brushes pallet


setting to change the shape dynamics and colour
dynamics to quite a high degree, creating this
grainy rough surface texture.

Above I have
created a line of the
same, with colour
dynamics based on
a red swatch. To the
left I have simply

1
stamped the corner
of the page.

Pocket Archive
So What? Making The
Ok so I!ve collected a load of stains, so what? Brushes
Well I want every one to be able to share
To make the brushes from the photographs
my views and ideas, so I!m going to create a I first need to edit and highlight the aspects
photoshop brush set, containing aspects from I think will make good brushes. So all the
all of my work. things shown here will need to be changed
and fine tuned to create a black and white
highly contrasted template. The template
Ideally I!d like to make a website containing could then be inverted so you could make
all of this information and imagery aswell as two different styles of brush if you want.
the brush set download. I could also make a
free flyer with the brushes on disc, or even This is on of my first attempts :
get a collection of memory sticks containting
the brushes and a short text clip giving some
background information. I just like the idea of
being able to give away the work freely and
easily.

Having a set of photoshop brushes will


allow people to see the stains in a new light.
Before I took pictures they were just anoying
marks, but now I!ve captured them they
can be edited and procesed to be used and
apreciated in an artistic manner in brush
form.

Thus any one will be able


to see stains in the same
way that I do.

Pocket Archive
This is a colour version of the previous image, so
To create this effect, I!ve used the brushes pallet
again I!ve used shape dynamics, size dynamics
and extreme colour dynamics. I!ve also layered a setting to change the shape dynamics and colour
large white version of the stamp on top to contrast dynamics to quite a high degree, creating this
the crazy colours in the background. grainy rough surface texture.

1 1

To make this very textured look I!ve heavily


layered the brushes with red colour dynamics
underneath and white dynamics on top. The
water ringlet in the brush design, creates this
very uniform looking multi layered effect.

Pocket
1 Archive
Pocket Archive
This is another piece I created entirely from my brushes.
This brush would be more suitable for being
placed in and around the middle of designs, as it Believe it or not this is still the same brush but I!ve
used a technique in photoshop that allows you
doesn!t have clearly defined edges like the first
to have two brushes in one. So its got the outline
brush.
of the original brush 2 but the stain inside from
a different brush. This technique could be used
to combine any of the brushed to create 100!s of
possible combination.

2 2
To be honest I didn!t even realize how versatile the
brush options where in photoshop. The posabilities
for their applications are just endless! When I
started making the brushes I was concerned about
how well the brushes that had edges were going
to work apposed to the ones that where just say
black paint splats like brush 2. But now knowing
how well they work in conjunction with each other,
it just doesn!t matter. I think most of the test pieces
I!ve shown so far work well with their own right, as
proper pieces of art.

I!d like to think that I!ve created them in a way that


corresponds to how the original stains were maid;
with a bit of luck and random occurrence.

I shall continue to edit my photographs and see


what other crazy designs come along!

This is a combination of brush one and two


using the same technique. There are so many
possibilities even when using just two brushes
as you can change the size of either brush
despite the face their inside each other. You can
even make the brush have multiple layers of the
secondary brush ontop. The brush!s can be used
in many different versatile ways.

2
2
Pocket Archive
More!

This is a complete set of the edited


photographs, and therefore brushes.
Most of them look better on a much larger
scale, but its nice to just to see them all
together and see how they work as a set.
Part of me wants to edit them down to
make a better, neater, consistent looking
set. But they work so well in random
combinations that its almost a shame to
get rid of any.

Pocket Archive
Pocket Archive
Pocket Archive
Pocket Archive For the final realization of my idea, I created a web site containing all of my research and a few examples of possible brush

uses on the front page. Users can also download the brushes from my site and leave comments or post pictures of what

they’ve created. This truly shares my idea with the world in the most efficient and accessible manor.

Visit my site at www.jameshuse.wordpress.com.


Design Skills
Colour 1
In this group project we created a creature out of entirely found objects all of which had to

be orange. We each contributed to this creation after a quick scavinge hunt around uni.
Colour 1
Colour 1
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Final Piece Draft

Storyboarding
Final Piece

Storyboarding
Final Piece

Storyboarding
Bookbinding
Bookbinding
Ice Breaker For this group project we created a tetris inspired labeling system. The different coloured tetris stickers were intended to

label different kinds of places (indicated by the cards) allowing newbies to easily spot new interesting places aswell as

share their discoveries with other people. I personally created and edited the tetris cards on the computer aswell as make

the cardboard mock ups for unused ideas.


Ice Breaker
Ice Breaker
Concepts 1 Here are my initial 100 ideas for the re-use of a polystyrene cup. Although it was a group proj-

ect, the 3 of us more or less worked individually so I ended up creating cups with personalitys

and simple facial styles. The idea was to make the usually boring and uninteresing shape and

colour of the cups actually work with the drawing style, creating cute and collectable objects.
Concepts 1
Concepts 1
Concepts 1
Concepts 1
Concepts 1
Final Pieces
Concepts 2
Aids Day - For this project, after much deliberation we decided to go with the a charity theme based on ‘raising

awareness’ The was intended to be a pun on using balloons to both be sold to raise money and let of into the

sky with messages attached. The messages could be written by the public or just left as we printed them, with

our contact details and information on aids day, our cause and the Terence Higgins Trust info. We took a giant

helium canister and hundreds of balloons attached to a trolley around London and raised over a £200.
Concepts 2
Concepts 2
Concepts 3 Sports Day - Our group decided to take quite an untreditional approach to creating a sport. We decided

to imagine what it would be like if strictly come dancing was classed as a sport rather than just a competi-

tion. We then decided it would be hilarious if it was done by puppets and set in the 80’s. So we created a

short tv advert for ‘dancing on string’. (The green puppet was made by me and all video editing).
Concepts 2
Concepts 3
Working Title Ideas

Dont panic
A realists guide to sustainability

Don’t panic
A realists guide to sustainability

Don’t panic
A realists guide to sustainability

D o n ’ t pa n ic
A realists guide to sustainability

Don’t panic
A realists guide to sustainability
To me the content of this manifesto was more important than the format. I personally hate the usual preachy rubbish that’s

Manifesto
forced down our throat in every free leaflet we get through our letter box’s and that most people decided to recycle in their

manifestos. I also think most people don’t give a toss about what the government ‘thinks’ people should do so I created this

manifesto to be the polar opposite of the usual eco friendly guides. The people that disagree with me will read it and hopefully

be more inspired by my lack of concern. The people that truly don’t believe in global warming mite just be happy about being

spoken to like a person rather than some kind of gas gargling monster and consider the subtly hinted points in the manifesto.
Don’t panic
A realists guide to sustainability

Don’t panic
A realists guide to sustainability

Dont panic
A realists guide to sustainability

Don't panic
A realists guide to sustainability

DA roe a lni s t's tg u i dpa n i c


e to s u s ta i n a b i l i t y

Manifesto
Type developmeant.
Type Face Combination Ideas

Don’t Panic
The world is not about to blow up and despite what the alarmists around
Don’t Panic
you mite preach, you alone will never change the world. So thinking The world is not about to blow up and despite what the alarmists around
that your actually going to make a difference is your biggest down- you mite preach, you alone will never change the world. So thinking that
fall. Knowing that you tried is what’s important and anything that y o u r a c t u a l l y g o i n g t o m a k e a d i ff e r e n c e i s y o u r b i g g e s t d o w n f a l l . K n o w -
comes from it is a bonus so don’t be pushed around into doing anything ing that you tried is what’s important and anything that comes from it is
simply for the benefit of the earth, as you’ll probably lose interest a bonus so don’t be pushed around into doing anything simply for the
eventually. Find your own reasons for changing any aspect of your life b e n e f i t o f t h e e a r t h , a s y o u ’ l l p r o b a b l y l o s e i n t e r e s t e v e n t u a l l y. F i n d y o u r
and make it suite you. own reasons for changing any aspect of your life and make it suite you.

Don’t Panic
The world is not about to blow up and despite what the alarm-
Don’t Panic
ists around you mite preach, you alone will never change the
world. So thinking that your actually going to make a differ-
The world is not about to blow up and despite what the alarmists around
ence is your biggest downfall. Knowing that you tried is what’s
you mite preach, you alone will never change the world. So thinking
important and anything that comes from it is a bonus so don’t
that your actually going to make a difference is your biggest down-
be pushed around into doing anything simply for the benefit of
fall. Knowing that you tried is what’s iVmportant and anything that
t h e e a r t h , a s y o u ’ l l p r o b a b l y l o s e i n t e r e s t e v e n t u a l l y. F i n d y o u r
comes from it is a bonus so don’t be pushed around into doing anything
own reasons for changing any aspect of your life and make it
simply for the benefit of the earth, as you’ll probably lose interest
suite you.
eventually. Find your own reasons for changing any aspect of your life
and make it suite you.

Dont Panic Don’t Panic


The world is not about to blow up and despite what the alarmists around The world is not about to blow up and despite what the alarmists around you mite preach, you
you mite preach, you alone will never change the world. So thinking alone will never change the world. So thinking that your actually going to make a difference
that your actually going to make a difference is your biggest down- is your biggest downfall. Knowing that you tried is what’s important and anything that comes
fall. Knowing that you tried is what’s important and anything that from it is a bonus so don’t be pushed around into doing anything simply for the benefit of the
comes from it is a bonus so don’t be pushed around into doing anything earth, as you’ll probably lose interest eventually. Find your own reasons for changing any aspect
simply for the benefit of the earth, as you’ll probably lose interest of your life and make it suite you.
eventually. Find your own reasons for changing any aspect of your life
and make it suite you.

Manifesto
Manifesto
Manifesto
Manifesto
Photography 1
This project was intended to explore interface through the use of

colour. I decided to look at signs as they are the most clear and

abundant use of exactly that. We interface with the world and

streets through a set blueprint of rules inforced by the invisible

police in the form of signs.


Photography 1
Final Pieces

Photography 1
Photography 2
This project was an exploration of portraits in the form of facial

recognition. I wanted to look at how you remember people in your

head. The thinking behind this is just as important to me as the end

result. To further understand my work read my short essay in a few

pages time.
Photography 2
Photography 2
How do we define the faces of people we’ve known for years or
months, people who’s faces we have gazed upon countless times? Do
we define them by the features or by their nature?
We define an unknown person by their appearance but a familiar per-
son by our relationship with them, this is when the subtle haze begins
to fall upon those around us, which blurs features or extenuates them
in our minds. What we consciously once saw we now subconsciously
forget.
This probably happens in relationships most obviously, once a couple
has been together for a long period of time, there attraction becomes
absolute. The bed hair and lack of makeup that may have warn you
away on a first encounter is now normal and acceptable. Some would
say this is simply down to loving a person for who they are but others
argue that it’s more down to the way we process faces.
When you meet a stranger your brain goes in to overdrive, looking
for discernable features and aspects to help you remember and anal-
yse them. If we did this every single time we met a person, we would
never be able to recognise them, so we base new encounters on what
we have already seen. Like a portrait that is constantly being worked
on, we add to and change the image of some one in our minds until it
is complete. Upon completion the painting is shipped of to a gallery, as
is the face of a person to our long-term memory. So once the image
has left our short-term memory it is not normally edited again, simply
referred to subconsciously to recognise someone at first glance.
We never look at someone in the same way as we do upon our first
encounters ever again so we indulge upon our perceptions of some-
one to allow ourselves to move on from shallow thoughts and feelings.
My question is how do the faces in our heads get put together? We
tend to remember both an overall view of some one as well as tiny
little details that only after many encounters can you learn to appreci-
ate. It can’t simply be one face suspended in our memory, it must be
collective view of texture, colour, shape, shadow, touch and many
other facial aspects.
Through photographs I want to look at how I can represent the faces
from my mind on paper and incorporate aspects that are important to
me. I also want to show how you actually perceive the world around
you in relationship to faces. A photo could record the face of every-
one upon a street, but a person’s memory can store only fragmented
details.

Just trying to picture how someone looks in your mind is quite difficult.
Remembering certain times you have seen them is easy, like a dream
you can picture certain aspects, but it’s always hazy. I’m sure every-
one has had a dream where they know someone is there, but they
cant actually see their face clearly. This is again all down to memory’s
being built up over time to give you a very 4D look at something
or someone. You can remember how they feel, look, taste, sound
throughout the time you’ve known them. This is not the kind of thing
you can easily represent in a two-dimensional form, either in your
head or on paper. I however would at least like to give it a go.
How might the data be stored in our brains? Would it be in the form
of light-waves that we store and recreate in our minds to form an im-
age? Or in the form of code and binary, where we could have a sort of
organic pixel map of what we once saw?

Photography 2
Photography 2
Photography 2 Here are very small selection of the 1000 or so faces that I cut out from

my photos to be used in this project. All photos were organised into

chronological order to reflect the passing of time in my life and head.


These screenshots were taken from my movie of all the collected

faces. The frame rate is extremely fast giving you barely any time to

Photography 2
make out any discernible features. I went on to add filters and mu-

sic as you can see on the final movie on the next page. The filters

added to the effect and created a more hypnotic fast moving video

that blured the lines between seeing a face and recognising one.
Final Movie

Photography 2
Self Initiated Project
For this self directed project I used my photography 2 work as a starting point and

wanted to look at memory. I considered ways of using colour and photography to

demonstrate analogic visual representations of memory and how it changed depending

on age but ended up coming full circle and again used faces from my past photos to

create a film based installation piece.


Hello
Red

Hello
:)
Yellow

Hello anger
Blue

please go die

Self Initiated Project These were some early experiments using colour to alter the

meanings and feelings associated with language in relation

to how our brains process and understand information.


This is another example of how eas-
ily your brain can influence you view of
something. This here is less of an optical
illusion but more a hard wired sensory
response. Both of these images are
exactly the same except flipped in dif-
ferent orientations. The one at the top
looks more or less like a normal face,
yet when viewed the right way round
you can clearly see the eyes are upside
down.

These are just a few examples of colour word


association. The smiley face and soft yellow
render instantly make the word anger have less
power and meaning, the same goes for sentence
coloured in a positive looking shade of blue.

Because we identify certain colours with pre


conceived emotions and thoughts we instantly
create a context in which to read the body of
text. This yet again is all down to memory. Some
people will find certain colours more attractive
than others, they may be reminded of a certain
occasion where that colour meant somthing
but this can happen both subconsciously and
consciously. For example look at the words
below;

Blue

Yellow

Red

If you quickly scan down and try and say the


colour of the word as apposed to what the word
says then your mind has to fight the urge to read
the word. So you consciously read the word but
subconsciously look at the colour.

So colour and imagery can be very simply and


easily used to influence the context in which you
read or view or anything.

Self Initiated Project


Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
Self Initiated Project
This is the entire collection of faces that I cut out

from my photos, in total there are 4000.


Self Initiated Project
Self Initiated Project
These two movies were created from cut out eyes and cut out

noses, leaving two separate videos that I next merged together.


Self Initiated Project
Self Initiated Project
Final Movie
4000 Faces
How can you describe your memory of some one? Do you remember one static
image like a face on a id card or a vast collection of images and flash backs
spanning the entirety of your relationship? I believe it to be the latter and here is
my attempt at showing how one mite remember and recall faces from the past.

Self Initiated Project


In this forever-looping video, there are the faces of 4,000 people, cropped in
chronological order from my personnel photographs taken over the past few
years. Each face has been chopped into eyes, noses and mouths and then
rearranged through out the video so the whole face from one photo is never seen.
What’s left is this collection of 4,000 new faces, ready to be found by you. Pause
the video with the remote at any time you chose, as though it were your own mind
franticly attempting to remember the face of somebody you’ve bumped into.
Type Introduction
Type Introduction
The Anatomy Of Type

Ag R
Individual letters make words and words make up sentences (or lines)
and lines make up paragraphs. Paragraphs make up columns of text and
columns of text make up pages. When handling type we are dealing with
pre-designed forms. Only very few experienced typographers take the
time and considerable effort to design new typefaces. Over the years
many thousands of typefaces have been designed, so the choice is quite
enormous.

When we look at individual typefaces we can see that they each have their
own particular characteristics and ‘personality’. If we examine each of the
26 letters of the alphabet, we can see that the form and structure of that
letter has a special relationship with the background on which it sits. Not
only does the shape of the letter itself give it form, but the space around
it accents the individuality. When two or more letters are put together
they create words which are recognised as complete shapes, rather than
a collection of individually recognisable letters. Typeset words create for
us a visual presentation of our language and, as with inflection of speech,
we can modify greatly the meaning of each word or texts by our choice of
typeface.
Desender Line
X - Height line

Type can look bold, light, thin, fat, warm, cold, aggressive, passive, quiet,
lyrical, sad, happy and represent virtually all the human emotions. We
can call upon the qualities of a wide range of type styles to help us covey
information in the most effective or desirable way. Choice of different
typestyles enable us to change emphasis and can help to devise a
Bowl

Serif

structured hierarchy of information as well as being able to enhance the


Tail

emotive quality of the words or text.

Reading is a chore and it is the typographer’s art and skill that alleviates
that chore by creating effective typographic signposting systems to help
Capital Line

the reader. Since we accept that words were written to convey information
Base Line

then it is essential the all is done to maximise comprehension, this can be


achieved with liveliness, beauty and wit.

An understanding of letterforms and texts and their interaction with one


another is important to the typographer together with an understanding of
the basic design principle that underpin one’s decision making. However,
a designer is a planner and a manager and it is essential that he or she is
able to translate his or her ideas onto the printed page. This will involve
Loop

Link

Ear

the need to understand the technicalities of letter composition, type


specification, artwork and graphic reproduction.
James
Huse
Expressive Letterforms Here our group looked for letter forms in the act of cleaning

shoes. We created five videos and played them next to

each other on 5 laptops in front of the class. Each video

depicted a different letter to spell out the word ‘scuff’.


Expressive Letterforms
Expressive Letterforms
Final Movie

Expressive Letterforms
Wiz Type Here our group was asked to celebrate the

typeface ‘Syntax’. I was asked to just look at the

punctuation but to make the angled stroke endings

and freshness the focal point of the celebration.


Wiz Type
Wiz Type
Wiz Type
Wiz Type
Wiz Type
Wiz Type
Wiz Type
Wiz Type
,
@
Wiz Type
,
@*
Syntax !”#$%&()*’˝‘/:;?
[\]^`{}~¢¨‚“”¤¥§

Hans Eduard Meir was born in Horgen, Zurich in Switzerland


on the 30th of December 1922. After he completed an
apprenticeship as a typesetter he went to specialize in
typography and graphic design at a school in Zurich called
‘Kunstgewerbeschule’. He learned the art of calligraphy under
the guidance of his teachers Alfred Willimann and Rudolf
Käch, which helped later form the basis of many of his famous
type designs. After graduating he worked in Zurich and Paris
as a graphic designer as well as working for UNESCO.

From 1950 to 1986 he taught writing, typography and


constructive drawing at the School of Design in Zurich. In
addition, he had time for his own work for industry, publishers
In 1989, the original foundry
metal types were digitized by
Adobe, which also expanded
the family to include bold
and ultrabold weights,
resulting in a family of four
roman’s and one italic in
lightest weight fonts. Meier
described Syntax as being
a sans-serif face modeled
on the Renaissance serif
typeface, similar to Bembo.

and cultural events. He also published certain texts in The uppercase has a
educational journals and wrote the book ‘The Development wide proportion, and the
of Script and Type’ all of which have become very useful and terminals not being parallel
highly sought after learning materials worldwide. to the baseline provide a
sense of animation. The
Some of his most famous works were created while he lowercase a and g follow the
worked with Stempel in the late 1960s, creating that most old style model of having
humanist of sanserifs, Syntax, a type whose influence is clear two stories.
in Spiekermann’s Meta and its followers. Syntax is based
on both Renaissance minuscule writing and Roman lapidary The italics are a combination
capitals. The design is a blend of a monoline sans serif with a of humanist italic forms,
more lively humanistic roman, resulting in a highly legible sans seen in the lowercase italic q,
serif type with a wide range of uses, from captions and text to and realist obliques, seen in
packaging and signage. the lowercase italic a, which
retains two stories,
The original drawings were done in 1954; first by writing unlike in other humanist
the letters with a brush, then redrawing their essential linear sans-serif typefaces.
forms, and finally adding balanced amounts of weight to the
skeletons to produce optically monoline letterforms.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Wiz Type
This is the final packaging that the whole group

helped to develop which I designed and made.

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