Digital Letterpress - Digital Development
Poster's & Letterpress blocks
Taking forward key aspects from visual developments and COP quote links to begin creating digital developments of the scamps.
The starting point of the poster series references the introduction too mass communication with a religious reference supporting the idea that the bible was the first mass distributed publication the use of a single left aligned column references the layout possibilities while the deconstructed headers and supporting type all work within the limitations of letterpress layout in terms of there all positioned in fixed modular structures with the negative space further creating structure and balance. A nice contrast of detail and impact supported by the large point size dates that outline the start of this visual timeline.
The use of ABC connotes basic alphabet as a referenced too the organisation of letterforms while particular focus is made on the emulation of how serifs have changed through the transition of production process. Sharp angular serifs to reference physical carving to more soft and friendly but less sharp serif fonts that are digitally designed.
Working on imagery that connotes traditional serif process's using a roman pillar while the de-construction of the letterform talks about contrasting weight of strokes, line and how the eye moves from serif point to serif point to aid legiblity of individual glyphs. The use of a modern soft serif yet angular edged digital serif font merges the old and the new while the large surface area's will carry letterpress printing well.
As a form of referencing the influence on the internet and easy access to global news as a transition point from hand rendered Chinese script newspapers some screenshots where grabbed to digitally repurpose this idea.
Using simple shapes from a frame that references letterpress furniture, contrasting weight and color to support the idea of progression and change and the use of repeated circles to reference the introduction of the keyboard for setting lines of type as an advancment of individual hand setting letterpress. The shapes have a very tactile feel that supports this hands on process.
The development to the right denotes the idea much simpler though, using A to reference the start of the alphabet within a single square that shows individual letter typesetting, too QWERT set in a rectangle that shows the progression of individual letters to line setting.
A further enhancement on these technologies using a serif font to digitaly repurpose the whole physical process and journey while the simple manipulation of the type connotes the following;
Drop shadow to add a tactile feel to reference the hands on process of setting lines of type as an advancement from individual letterpress and the physical contact of a printing plate too the paper.
Dots to show the individual application of inkjet, a reference to dpi.
A series of lines that shows electronic paths and magnetism to show the idea of laser printing.
A journey from live music too streamed music that as mentioned will show how the distribution of type runs parallel too this, using something very iconic and recognizable as spotify to create a clear connection.
The use of type on a path supported by a circle icon connotes the physicality of records and the aura of Live music while the decreasing size of music notes shows the dilution too the appreciation of music distribution and physical ownership. Strengthened in impact by the large amount of colour using the negative space as the visual design and the color to carry impact.
The use of simple shape and single glyphs shows the instant visual connections between well communicated logotypes, using contrasting tone as a transition point of these visual cues. The adition of the modular grid that made up the layout also references type trays while the varied type manipulation using tracking, type on paths, outlines, conveys ideas that type can carry emotion, tone and add feeling too a concept.
The use of Brand Guidelines shows the abstract application of type within branding, its not just a matter of adding type for one purpose, type can carry the whole brand or it can identify individual touch points within it.
The idea of physical to digital messaging has been visualised here, from hand wrote letters too typed out emails, referenced through a postage stamp and digital iconography of email, the deconstructed alignment too a structured N I S E shows how email has added further organizations too typographic distribution, all emails in one place rather than a mass off old letters.
A simple visual representation of pixels and physicality, shown in there opposite dialogues to show the merging between print and pixel fonts, a focus of monotypes faces. The circle represents the physical accuracy and detail of print while the square represents pixel's, screen collaboration marks and print marks further tie these discipines together offset in there layout to show the overlaying of 2 print process's.
Further showing the transition from the origins of newspapers too the digital distribution of news across multiple cultures while the black squares shows internet censorship within china. The origins of newspaper distribution.
Emojis are a digital repurposed hieroglyphic as my COP findings evidence, they started there form through the use of type, creating imagery with glyphs as these emojis developed through texting so did the dilution of dialogue introducing abbreviations and short hand conversations, tying whole sentences into 4 letters.
The type adds context and meaning too the images while the date of the origins of texting repurposed in a Gutenberg black letter shows the origins of mass distributed communication and the whole design shows how its come along as a whole with the square formats referencing pixelation of old phone screens.
Playing around with colour for the digital repurposing of these posters, aiming at achieving a contemporary aesthetic to compliment the transition between traditional print (letterpress) too digital, thinking about certain limitations within letterpress like accurate gradients and the consistency of matching colour tones with ease as its difficult to mix letterpress ink so accurately and constantly.
Pastel tones allow a sense of accuracy too be applied to show the potential of digital technologies, the orange and green work very well with the green having quite an organic feel to reference the physical elements in the design.
To support the use of the digitally printed grain layer gradients have been added to support the idea of technological developments and further the tactile feel of 3D. While the pink and green tone have a very organic feel that contrast perfect with the digital vibrance of yellow and red.
Playing around with strong colour backgrounds and different colour layers as this can be done in one print, this accuracy of layering would be very difficult in letterpress to register each layer up. This idea of registration is further supported with the use of the registration icons.
The desaturated darkish tone of pink & yellow has a certain 80s asthetic too it, a key reference too the transition points from 1889 that introduced line setting too the 80s that introduced keyboards and computers as accessible devices.
Taking forward key aspects from visual developments and COP quote links to begin creating digital developments of the scamps.
The starting point of the poster series references the introduction too mass communication with a religious reference supporting the idea that the bible was the first mass distributed publication the use of a single left aligned column references the layout possibilities while the deconstructed headers and supporting type all work within the limitations of letterpress layout in terms of there all positioned in fixed modular structures with the negative space further creating structure and balance. A nice contrast of detail and impact supported by the large point size dates that outline the start of this visual timeline.
The use of ABC connotes basic alphabet as a referenced too the organisation of letterforms while particular focus is made on the emulation of how serifs have changed through the transition of production process. Sharp angular serifs to reference physical carving to more soft and friendly but less sharp serif fonts that are digitally designed.
Working on imagery that connotes traditional serif process's using a roman pillar while the de-construction of the letterform talks about contrasting weight of strokes, line and how the eye moves from serif point to serif point to aid legiblity of individual glyphs. The use of a modern soft serif yet angular edged digital serif font merges the old and the new while the large surface area's will carry letterpress printing well.
As a form of referencing the influence on the internet and easy access to global news as a transition point from hand rendered Chinese script newspapers some screenshots where grabbed to digitally repurpose this idea.
Using simple shapes from a frame that references letterpress furniture, contrasting weight and color to support the idea of progression and change and the use of repeated circles to reference the introduction of the keyboard for setting lines of type as an advancment of individual hand setting letterpress. The shapes have a very tactile feel that supports this hands on process.
The development to the right denotes the idea much simpler though, using A to reference the start of the alphabet within a single square that shows individual letter typesetting, too QWERT set in a rectangle that shows the progression of individual letters to line setting.
The arrow further supporting an idea of a journey and transition and adding a further physical feel.
A further enhancement on these technologies using a serif font to digitaly repurpose the whole physical process and journey while the simple manipulation of the type connotes the following;
Drop shadow to add a tactile feel to reference the hands on process of setting lines of type as an advancement from individual letterpress and the physical contact of a printing plate too the paper.
Dots to show the individual application of inkjet, a reference to dpi.
A series of lines that shows electronic paths and magnetism to show the idea of laser printing.
A journey from live music too streamed music that as mentioned will show how the distribution of type runs parallel too this, using something very iconic and recognizable as spotify to create a clear connection.
The use of type on a path supported by a circle icon connotes the physicality of records and the aura of Live music while the decreasing size of music notes shows the dilution too the appreciation of music distribution and physical ownership. Strengthened in impact by the large amount of colour using the negative space as the visual design and the color to carry impact.
The continued use of contrasting tone references an A - B journey that supports ideas like this that show the limitations and progressions of process. The ABC basic deconstruction and the speech marks reference the progression of the spoken word to an organized system of letterforms while the angled allignment shows the progression of type layout technology while working on the idea that letters are sights for sound, this layout has a certain motion and tone too it that reflects this.
The use of simple shape and single glyphs shows the instant visual connections between well communicated logotypes, using contrasting tone as a transition point of these visual cues. The adition of the modular grid that made up the layout also references type trays while the varied type manipulation using tracking, type on paths, outlines, conveys ideas that type can carry emotion, tone and add feeling too a concept.
The use of Brand Guidelines shows the abstract application of type within branding, its not just a matter of adding type for one purpose, type can carry the whole brand or it can identify individual touch points within it.
Expanding on the use of basic shapes to show the dilution of communication and physical engagment, how interactions are decreasing through elements of technology using Futura as a direct reference to Facebook and its causes of these disconnections. This idea of how interactions used to be physical in terms of dialogue and activities and are now detached and digital supports the whole transition point investigated throughout my EP and COP.
The use of a triangle supports the idea of dilution while the square has a very physical feel and impact.
The idea of physical to digital messaging has been visualised here, from hand wrote letters too typed out emails, referenced through a postage stamp and digital iconography of email, the deconstructed alignment too a structured N I S E shows how email has added further organizations too typographic distribution, all emails in one place rather than a mass off old letters.
Using line, tone, perspective and shape to show 3D aesthetics, the grain aesthetic will be digitally printed while the block design will be letter pressed to further create a repurposed aesthetic. The use of line references digital accuracy while the simple vector shapes will carry the idea of letterpress beautifully. The 3 main elements sit edge too edge to add structure and balance within the page, using negative space to keep things locked in. A common trait of letterpress layout.
A simple visual representation of pixels and physicality, shown in there opposite dialogues to show the merging between print and pixel fonts, a focus of monotypes faces. The circle represents the physical accuracy and detail of print while the square represents pixel's, screen collaboration marks and print marks further tie these discipines together offset in there layout to show the overlaying of 2 print process's.
Using idea of sights for sound, representation of hieroglyphics and symbolisation through the high impact representation if iconography, glyphs and deconstructed layouts. The abstract shape and layout supports the feeling of cryptograms, a form of decoding language in this sense decoding glyphs that represent sound ie ! and adding a feeling of decryption through a question mark
Further showing the transition from the origins of newspapers too the digital distribution of news across multiple cultures while the black squares shows internet censorship within china. The origins of newspaper distribution.
Emojis are a digital repurposed hieroglyphic as my COP findings evidence, they started there form through the use of type, creating imagery with glyphs as these emojis developed through texting so did the dilution of dialogue introducing abbreviations and short hand conversations, tying whole sentences into 4 letters.
The type adds context and meaning too the images while the date of the origins of texting repurposed in a Gutenberg black letter shows the origins of mass distributed communication and the whole design shows how its come along as a whole with the square formats referencing pixelation of old phone screens.
As a method of visualising dialogue and visual's through a simple connotation the film script of a film was placed behind a VHS tape to create this link between dialogue and planning too the delivery. The idea that something so complex can be communicated to the end user requiring them to have very little engagement to digest the information, an expansion of hot & cold media research by McLuhan.
The script will be digital printed to support the digital while the VHS tape will carry its physicality through the letterpress process well.
Playing around with colour for the digital repurposing of these posters, aiming at achieving a contemporary aesthetic to compliment the transition between traditional print (letterpress) too digital, thinking about certain limitations within letterpress like accurate gradients and the consistency of matching colour tones with ease as its difficult to mix letterpress ink so accurately and constantly.
Visual research has influenced me to use blue and red as it has a very digital aesthetic and the clashing colours juxtapose the idea of legibility.
Pastel tones allow a sense of accuracy too be applied to show the potential of digital technologies, the orange and green work very well with the green having quite an organic feel to reference the physical elements in the design.
To support the use of the digitally printed grain layer gradients have been added to support the idea of technological developments and further the tactile feel of 3D. While the pink and green tone have a very organic feel that contrast perfect with the digital vibrance of yellow and red.
Playing around with strong colour backgrounds and different colour layers as this can be done in one print, this accuracy of layering would be very difficult in letterpress to register each layer up. This idea of registration is further supported with the use of the registration icons.
The desaturated darkish tone of pink & yellow has a certain 80s asthetic too it, a key reference too the transition points from 1889 that introduced line setting too the 80s that introduced keyboards and computers as accessible devices.
COP Book
The book containing my essay needed too be simple and work as a series of 3 different documents, using A5, B5 and A5 documents to reference common printing limitations at home. Figuring out how all the documents work together when bound is important, Keeping everything central would allow elements of each document to be visible so theres a clear guide between each ones content.
Using the dates at all 4 corners will allow a link between all the documents outlining the dates they are spanning within the investigation, outlining them adds a digital repurposing too a blackletter synonyms with letterpress while not drawing attention away from the title for balanced hierarchy of information.
The individual lines and words break up a number of important factors investigated within the document, ideas of influence, technology and print been the focus.
So splitting the influence line and the technology on print line allowed the 2 key investigation points to be outlines, this also had more balance within the layout and kept things simple and linked to more traditional publishing.
The angled version was a test to see how it acted as a linking point from corner to corner of the dates but it just didnt feel right.
Using a modular grid will allow me to create very accurate layouts when it comes to positioning subcopy, page numbers, headers etc while also referencing my digital to print methodolgy, using the modular grid as a reference to pixelation through most of my briefs.
The use of single columns draws in focus too the paragraph content as individual entities with the use of numbering systems and keywords swatched from the quotes on the footer too work as an idea of a guide between visual responses and the content.
Playing with the idea mentioned of creating a border to digital reference a scanned in offset page and act as a page marker for new chapters using pastel yet desaturated tones to add an organic yet digital feel. The yellow worked quite well but something felt off balance with the stark clarity of the solid black sans serif quire sans.
Trying out multiple columns to reference Gutenberg Bible, centre justified to reference Anthony Buril style layouts, the headers and key words felt out of place now though, losing structure of the page.
Going back too a clean blank page to start off again using single columns but bringing the key words in another column to add a link between content and these keywords, again due to the shorter words finishing short there jagged edges of the key words didn't lock in with the straight edge of the paragraph.
Indenting paragraphs started to introduce simple desktop publishing but overall the pages still had a balance between traditional and modern layout principles. Indenting allowed a little space between the numbering of the paragraphs, oddly the negative space made these feel more part of the paragraphs rather than detaching them.
Adding the scanned in idea but using black as a more visual representation, works much better and works with the clarity of the type, too add to this clarity and accuracy I justified the type to square everything off, a few rivers appeared so to show further desktop advancements a few edits within tracking and finer tuning within justification edits were made.
Superscripting the keywords off the baseline and x-height drew attention to the keywords.
Everything felt locked in together now to add the folio pages numbers.
A digital repurposing of physical highlighting, a key process of outlining key pieces of information. A method of linking key words within my visual reactions. To work with this idea of everything been a guide the page numbers where a heavy weight quire sans to draw attention when using the contents system.
Centre justifying the header created a nice balance within the negative space and indenting, rather than it all feeling locked to once side it made use of the space a little better.
Figuring out the contents system, I wanted everything big as there wasn't many chapters and I didn't want the small amounts of chapters to feel lost within all that blank space so figuring out the best use of space was important.
All the content on one page didn't work, too much information made digestion of information difficult.
The frame allowed balance to be achieved when positioning further down the page, but the right hand spread still suffered from maintaining balance and feeling part of the previous page's layout. The outline type helped maintain some kind of balancer but it still didn't work.
Eventually worked it out, lining everything up from the X height so they felt structured across the pages and added positive tracking to make even better use of the pages. I stripped the titles back to basic words to create an even more ergonomic interaction of the document, working on the ideas of keywords linking with visuals.
The book containing my essay needed too be simple and work as a series of 3 different documents, using A5, B5 and A5 documents to reference common printing limitations at home. Figuring out how all the documents work together when bound is important, Keeping everything central would allow elements of each document to be visible so theres a clear guide between each ones content.
Using the dates at all 4 corners will allow a link between all the documents outlining the dates they are spanning within the investigation, outlining them adds a digital repurposing too a blackletter synonyms with letterpress while not drawing attention away from the title for balanced hierarchy of information.
The individual lines and words break up a number of important factors investigated within the document, ideas of influence, technology and print been the focus.
So splitting the influence line and the technology on print line allowed the 2 key investigation points to be outlines, this also had more balance within the layout and kept things simple and linked to more traditional publishing.
The angled version was a test to see how it acted as a linking point from corner to corner of the dates but it just didnt feel right.
Using a modular grid will allow me to create very accurate layouts when it comes to positioning subcopy, page numbers, headers etc while also referencing my digital to print methodolgy, using the modular grid as a reference to pixelation through most of my briefs.
The use of single columns draws in focus too the paragraph content as individual entities with the use of numbering systems and keywords swatched from the quotes on the footer too work as an idea of a guide between visual responses and the content.
Playing with the idea mentioned of creating a border to digital reference a scanned in offset page and act as a page marker for new chapters using pastel yet desaturated tones to add an organic yet digital feel. The yellow worked quite well but something felt off balance with the stark clarity of the solid black sans serif quire sans.
Trying out multiple columns to reference Gutenberg Bible, centre justified to reference Anthony Buril style layouts, the headers and key words felt out of place now though, losing structure of the page.
Going back too a clean blank page to start off again using single columns but bringing the key words in another column to add a link between content and these keywords, again due to the shorter words finishing short there jagged edges of the key words didn't lock in with the straight edge of the paragraph.
Indenting paragraphs started to introduce simple desktop publishing but overall the pages still had a balance between traditional and modern layout principles. Indenting allowed a little space between the numbering of the paragraphs, oddly the negative space made these feel more part of the paragraphs rather than detaching them.
Adding the scanned in idea but using black as a more visual representation, works much better and works with the clarity of the type, too add to this clarity and accuracy I justified the type to square everything off, a few rivers appeared so to show further desktop advancements a few edits within tracking and finer tuning within justification edits were made.
Superscripting the keywords off the baseline and x-height drew attention to the keywords.
Everything felt locked in together now to add the folio pages numbers.
A digital repurposing of physical highlighting, a key process of outlining key pieces of information. A method of linking key words within my visual reactions. To work with this idea of everything been a guide the page numbers where a heavy weight quire sans to draw attention when using the contents system.
Centre justifying the header created a nice balance within the negative space and indenting, rather than it all feeling locked to once side it made use of the space a little better.
Figuring out the contents system, I wanted everything big as there wasn't many chapters and I didn't want the small amounts of chapters to feel lost within all that blank space so figuring out the best use of space was important.
All the content on one page didn't work, too much information made digestion of information difficult.
The frame allowed balance to be achieved when positioning further down the page, but the right hand spread still suffered from maintaining balance and feeling part of the previous page's layout. The outline type helped maintain some kind of balancer but it still didn't work.
Eventually worked it out, lining everything up from the X height so they felt structured across the pages and added positive tracking to make even better use of the pages. I stripped the titles back to basic words to create an even more ergonomic interaction of the document, working on the ideas of keywords linking with visuals.
Making the use of a blank page on the introduction, lucky for the introduction I could add visual context to the descriptions of researching a transition between physical and digital through the use of screen marks and physical print marls.
It was distracting having the icons on the left page it felt better just on one page creating a better link between text and visual content rather than it feel as one outcome.
Technology Limitations Zine
As a means of showing the influences, limitations and problems of technology an entirely digital content zine will be made with an aesthetic that clearly references technology.
All concept deliveries have been outlined in the scamping process, identifying the importance of hands on design process's before considering a digital output.
Working on the idea of distortion the scanner was used as a digital capture tool to physically represent this, playing around with layering, folding and screwing up a printed Fraktur typeface to reference Gutenberg physicality.
Folding and layering added a feeling of physicality while the outline contrasting with the black worked on the idea of transitioning of process.
Screwing paper up further added to the context of time and progression while adding a tactile feel.
As a means of showing the influences, limitations and problems of technology an entirely digital content zine will be made with an aesthetic that clearly references technology.
All concept deliveries have been outlined in the scamping process, identifying the importance of hands on design process's before considering a digital output.
Working on the idea of distortion the scanner was used as a digital capture tool to physically represent this, playing around with layering, folding and screwing up a printed Fraktur typeface to reference Gutenberg physicality.
Folding and layering added a feeling of physicality while the outline contrasting with the black worked on the idea of transitioning of process.
Screwing paper up further added to the context of time and progression while adding a tactile feel.
Starting to incorporate photoshop effects and layering too add that element of digital invasion and a feeling of unpredictability evident within these process's.
Using the text edit function allowed me to invade the asthetic using typography, a key focus investigated and expanded from monotype, showing how type doesn't just communicate it now does literally produce visual outcomes through coding. Further photoshop effects like grain and desaturation added a tactile feel and weathered feel too the clean cut digital aesthetic.
Each page will have a typographic dialogue connection and work to support an overall context through the layout and manipulation of the type, each type family will contrast between blackletter and sans serif to show the transition of typography styles within technology.
Breaking up the type allowed the feeling of distortion to be visualised.
Further enhancing the look and feel through scanning.
Bringing the digital capturing of the physical back into the digital by vectorising the best outcome too add overall clarity too this contrasting element that will work alongside the image to add context.
Adding a black frame to reference the letterpress frames and a digital screen frame.
Using the copyright symbol as a key visual cue for piracy, with the blackletter type working perfect in terms of referencing pirate bay, the key distribution of pirated material showing how the distribution of information has turned to something quite sinister this sinister aesthetic needs too be emulated through the aggressive and bold aesthetic.
The boldness of the copyright symbol allows it to carry the main visual focus.
While the idea of copying is represented through the typographic element of the zine, working on ideas of repetition and dilution through sizing alteration. The use of an outline shows the original then been re-distributed and copied.
A perfect way of showing the transition of blackletter to digital is repurposing a fraktur typeface to give a digital output. Made up of multiple squares to give a pixelated aesthetic.
Further context added in terms of a screen representation through ideas of perspective.
Playing around with block shapes to show the tactility and robust repurposing of pixelation in a physical outcome.
Trying out type layouts, breaking up the layout to further enhance the feeling of fragmentation while adding halftone gradients too support the idea of pixelation.
Using the liquify tool too juxtapose the idea of legibility, a sans serif is to me the optimum of readability so to contrast it in such a abstract and ilegible way rejects this idea through digital edits and manipulations of an abstract pattern. The idea of using a blackletter to add context to the idea of readability creates a direct link too the origins of type distribution and the basis for the development of well communicated type design, the underlining adds a certain digital addition too it.
Playing around with layering the legibility quote too create a physical feel relevant too the contrasting blackletter on the opposite page.
The idea of screen to print is referenced through lines and dots within square layouts to reference print and screen, distorted using ideas of perspective and elements layered to emulate on screen program windows and toolbars.
Trying out an alternative layout, contrasting the 2 key visuals in a 50-50 split to create seperate contexts rather than one whole context. This doesn't work and would be consistent with the other designs though a more structured outcome works better with the hyphen working as a connotation for progress from A - B while the outline shows digital and screen accuracy and solid print word has more physicality.
The idea of a glitch is the invasion and the unpredictability of a technological innovation, this was the key focus when making a base design to work off before text editing would add further feelings of invasion and create unpredictable outcomes.
Waving the abstract layout worked with ideas of repetition of certain elements of the file while distorting some and leaving some original.
Distorting and blacking elements out shows lost data while separating elements shows the attack off information in quite a physical and sinister aesthetic.
Playing with text edit to create unpredictable outcomes.
Began to layer certain elements together, this further shows multiple file invasion suggesting it just doesn't invade one file also began to warp and repeated elements to further add an abstract and invasive feel.
Playing around with fragmented layouts to support the motion within the glitch, the glitch image is quite fluid so I wanted to contrast this with a structured layout using the outlines as a means of balancing the tone within the whole design out as having everything block black was too heavy.
The visual representation of privacy invasion comes from the visualisation of binary code, this is the conversion of the word privacy in binary. The main algorithm involved in securing files, the idea of invasion comes from the harshness of the liquify tool attacking the code.
To further create a feeling of physicality and attack layering of squares was created using drop shadows as a reference to digital software.
Everything was a little clean so dulled everything down with grain and texture additions to also bring in the feeling of physicality a little more.
Repeating the idea of using ABC as a reference to letterpress further supported by the use of a blackletter font in this case monotype Agincourt.
Presented in a deconstructed way but following a set baseline grid and left and right justification a limitation of letterpress.
The use of a hyphen between letter and press shows a transition but also the use of words here is effective in terms of showing the focus on the context (letter) and the process (press) with limitations highlighted with a digital outline.
When it came to the Qwerty transition the idea was to bi-pass the word limitations so within typographic disciplines there was no real restrictions so complete freedom within the aesthetics was applied.
The first stage was to show the potential of digital technology, warping the glyphs working on ideas of perspective and stretching that as an overall layout allows the glyphs to feel fixed within the space. not through positioning but through scaling and warping.
To add context a quote that reflects the letterpress limitations page was added showing the potentials of digital limitations. Using type on a path that further supports this. Bringing in ideas of 3D to show the influence of tehcnology and 3D but also referencing the block feel of woodblock type. The heavy use of shape and detailed wire frame lines contrasts between ideas of physicality and digital within these 3D shapes.
Addition of a 50-50 contrast of tone further working on an idea of transition and a journey. Adding a halftone effect adds a very screen based feel but also references old photocopiers and faxs', iconic communication and distribution methods within offices.
The idea of printing the internet is presented through printing the code behind google, the pinnacle of commercial internet usage for the searching of information. My COP investigations spoke about type and technology distributing information, this is the pinnacle of cyberspace distributions when it comes to distributing information. Repurposing it in a print outcome creates a physical transition back too the origins of distributing information.
Playing around with layout figuring out if I should show letterpress limitations or the standard process's if im contrasting technology with tradition its probably best to go with the latter. Outlining Internet to create a link between the imagery and textual content.
The end result takes a snapshot of the code from a screen shot and the copy and pasted code outlining words within the code that reference physical functions.
Front Cover
The front cover works on the idea of encompassing a process, encompassing all the publications within a case that has a very contemporary feel to show the end result of this transition of technologies. With the inside contents of the book been all the investigations that led to this.
Taking the consistent modular grid for the layout allowed horizontal and vertical type application within a large amount of white space and allowed large, medium and small point sized application of quire sans.
Type manipulations where applied too the word Process to give it more of a physical presence, creating cut offs to give it a more robust feel reflecting the robustness of letterpress while the digital letterpress sub header was presented in a detailed and accurate outcome, working off indents and hyphenation to show an element of movement and progression.
Overall though the focus was to create a contemporary outcome that had a modular feel without the need for image and shape to support this feeling of structure just a simple frame to keep everything locked in to reference the screen through the overall landscape format.
The front cover works on the idea of encompassing a process, encompassing all the publications within a case that has a very contemporary feel to show the end result of this transition of technologies. With the inside contents of the book been all the investigations that led to this.
Taking the consistent modular grid for the layout allowed horizontal and vertical type application within a large amount of white space and allowed large, medium and small point sized application of quire sans.
Type manipulations where applied too the word Process to give it more of a physical presence, creating cut offs to give it a more robust feel reflecting the robustness of letterpress while the digital letterpress sub header was presented in a detailed and accurate outcome, working off indents and hyphenation to show an element of movement and progression.
Overall though the focus was to create a contemporary outcome that had a modular feel without the need for image and shape to support this feeling of structure just a simple frame to keep everything locked in to reference the screen through the overall landscape format.
1 Poster
A digital repurposing of the first mass distributed newspaper the La Gazette, using typical header formats from a newspaper with the addition of web browser that uses a traditional 2 collumn grid from the original La Gazette while the print marks added too the overall design repurpose it back into a print format.
The use of stepped type show a journey between dates, while the additions of arrows further support this journey.
A digital repurposing of the first mass distributed newspaper the La Gazette, using typical header formats from a newspaper with the addition of web browser that uses a traditional 2 collumn grid from the original La Gazette while the print marks added too the overall design repurpose it back into a print format.
The use of stepped type show a journey between dates, while the additions of arrows further support this journey.
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