UNIT

TWO
PROCESS BOOK
DULANT PANG
 T
CONTENTS
Project Three - RESEARCH WEEK Page Fifty-Seven - Fifty-Eight: Pre-Finished Font

Page One: Brief Page Fifty-Nine - Sixty-One: Developing The Final Font

Page Two - Four: Tomoko Miho Page Sixty-Two - Sixty-Three: Finished Font

Page Five - Seven: April Geriman Page Sixty-Four - Sixty-Five: T-Shirt Workshop

H
Page Eight - Ten: Benedetta Crippa Page Sixty-Six - Sixty-Seven: GIF Workshop

Page Eleven - Thirteen: Peter Bil’ak Page Sixty-Eight - Sixty-Nine: Design Ideas For Specimens

Page Fourteen - Sixteen: William Scott Page Seventy: Making Of Printed Specimen

Page Seventeen - Nineteen: Herve Telemaque Page Seventy-One: Printed Specimen

Page Seventy-Two: Making Of Animated Specimen

Project Four - TYPE DESIGN Page Seventy-Three: Animated Specimen

Page Twenty: Brief Page Seventy-Four: How I Made: Printed & Animated Specimen

R
Page Twenty-One - Twenty-Three: Workshop One Page Seventy-Five: Reflective Statement

Page Twenty-Four: Skeleton Workshop & Drafts

Page Twenty-Five: Skeleton Homework Project Five - GRAPHIC DESIGN IS...

Page Twenty-Six: Calligraphy Workshop & Drafts
Page Seventy-Six: Brief
Page Twenty-Seven: Calligraphy Homework
Page Seventy-Seven: ‘Graphic Design Is History’ Lecture Notes
Page Twenty-Eight: Modular Workshop
Page Seventy-Eight: ‘Graphic Design Is History’ Lecture Notes
Page Twenty-Nine: Modular Homework
Page Seventy-Nine: ‘Graphic Design Is Sustainablity’ Lecture

E
Page Thirty: Matrix Workshop Notes

Page Thirty-One - Thirty-Two: Matrix Homework Page Eighty: ‘Graphic Design Is Sustainablity’ Lecture Notes

Page Thirty-Three - Thirty-Four: Letterpress Workshop Page Eighty-One: ‘Graphic Design Is For Who’ Lecture Notes

Page Thirty-Five - Thirty-Nine: FontForge Workshop Page Eight-Two: ‘Graphic Design Is For Who’ Lecture Notes

Page Forty: Type Building Research Plan Page Eighty-Three: ‘Graphic Design Is History’ Homework

Page Forty-One: Research Photos Page Eighty-Four: ‘Graphic Design Is Sustainablity’ Homework

Page Forty-Two: Research Outcomes Page Eight-Five: Reflective Writing MindMap

E
Page Forty-Three: Wider Research Page Eighty-Six: Chosen Poster

Page Forty-Four: Thematic Map Page Eighty-Seven: Comparison Poster

Page Forty-Five: Rough Sketch of Intial Ideas Page Eighty-Eight: Part One - Reflective Writing

Page Forty-Six: Design One Page Eighty-Nine: Part Two - Analysis

Page Forty-Seven: Design Two Page Ninety: Bibliography

Page Forty-Eight: Design Three

Page Forty-Nine: Type Design Peer Review

Page Fifty - Fifty-Six: Developing & Process

 TOMOKO MIHO
We are about to begin a new unit that will ask you Books and articles
to build upon your subject knowledge and
analyse aspects of graphic design in context. This project An Essay on Typography, Eric Gill
will prepare you to do this by asking you to conduct inde-
pendent primary and secondary research. The Crystal Goblet , Beatrice Warde

Look into all of the suggested designers, books, The Master’s Tools will never dismantle Context
and exhibitions on this sheet. From these, choose
at least two items from each list to thoroughly the Master’s House, Audre Lorde
research/read/visit. - Japanese-American Designer
Notes on ‘Camp’, Susan Sontag - Quiet & Understated Persona Relates to Her Design Style of a Minimalist
You are then required to prepare a PDF or
Powerpoint presentation about what you have In Praise of Shadows, Junichiro Tanizaki - Recognised for her understanding of the relationship between Space &
discovered. This should devote at least two slides Object
to each item, you can include images if relevant. White, Kenya Hara
- Obsessed with Details & Accuracy
Don’t just tell us the facts – instead, question A for Anything, Benedetta Crippa - Influenced by the Swiss International Typographic Style
what you are looking at – if it is a designer, ask
both what their ideology/motivation/intentions Crystal Clear, Loraine Furter -Modernist Movement
were, as well as why they felt that way about -Emphasis of Cleanness & Readability & Objectivity
design. Think of this task as an analysis and Experimental Typography (whatever that means)
not a report. Peter Bil’ak
Her Work
You will upload your finished presentation The Making of Typographic Man, Ellen Lupton
to Moodle using this link by 10:00am on
Monday 1st November. Exhibitions With Tomoko Miho Work, you can see that her style is very minimalist which
Designers can reflect her quiet & understated persona. From her work below, you get
Pierre Bernard/Grapus Hervé Télémaque, Serpentine South Gallery
Tomoko Miho Free the sense that she only likes to incorporate text if needed or if it adds to the
Bahia Shehab meaning of her work like with Photo Three & Four. With the work below you
Muriel Cooper Alvaro Barrington: Spider The Pig, Pig The Spider
Karel Martens South London Gallery, Free can tell her work is based on her influences of Cleanness in Photo One to the
Irma Boom Objectivity in Photo Three & Four and Lastly the Readability of Photo Five in
April Greiman Helen Cammock: Concrete Feathers and
Sister Corita Kent Porcelain Tacks, Photographers Gallery, the symbol of message she is portraying.
Jerome Harris £2.50 concessions
Wolfgang Weingart
Emory Douglas Nine Nights: Channel B, ICA London, £5
Metahaven
Experimental Jetset William Scott, Studio Voltaire, Free
Forest Young
Golnar Kat Rahmani Waste Age: What can design do? Design Museum,
Tanaka Ikko Approx. £10.00
Graphic Thought Facility
M/M Paris Hawala, Curated by Shezad Dawood, Paradise Row,
Na Kim Free
Deborah Sussman

Charlie Abbott, Alex Hough, Margherita Huntley, Emily Wood

Page One: Brief Page Two: Tomoko Miho
 Further Research
The motivation behind this piece of work was that it was designed for the Na-
tional Air & Space Museum, Smithsonian Institution. The name of this piece
of work: Friend? Or Foe? The meaning behind this name is that during World
War 2 civilian and military spotters had to learn to tell the difference between
an enemy aircraft and a allied aircraft. The top of the poster has the shapes
of all the different types of aircraft these spotters saw. The main emblem
below represents US Army Force during WW2 with the metallic screen print
behind it which represents the colour of the aircraft. The reason for the size
of this emblem is to show the dominance the US Army had in the war. At the
bottom of the poster there are the names of the aircraft that these spotters
spotted and from which country they were from. The intentions behind this
poster was to remember the types of aircraft that spotters have spotted dur-
ing the war and for it represent the small details that mattered in being able
to spot aircrafts. The emblem in the centre really catches the viewer attention
and pulls them in to look at the poster because of the colours used and the
red dot symbolising a target. Overall I really like this poster as I feel like Miho
really took inspiration from the war and into what the surroundings was like
during that time like with the colour of the background and the colour she
chose to illustrate the aircraft in. But also you can see that she incorporates
her own style of minimalism into it by spacing out everything but also mak-
ing the text at the bottom really small so that it doesn’t intrude the poster in
a way. However the problem I have is that its hard to read when it that small
and especially as the background is a metallic silver. I really like Miho style,
from what I have research on her I think I want to experiment more with spac-
ing & sizing as I feel like they are important in design and its something I feel
I need to improve on.

Page Three: Tomoko Miho Page Four: Tomoko Miho

 APRIL GERIMAN
Context

- American Designer
- Recognised for Embracing Computers as a Design Tool
- Developed an interest in the International Style om which she introduce
into her own work
- Used Pixilation & Digitization errors as parts of her Digital Art
- She has a Style of
- Layering of Type
- Exaggerated Spacing
- Random Collages
- Geometric Shapes
- Hybrid Style and Technology fused into one Aesthetic

Her Work

With April Geriman Work, you can see that her style is expressed in many
ways, whether its be posters or in photography. I think the one thing that
strikes me most about her style is the bold and vibrant colours she uses
against a black background. The use of her exaggerated spacing and layering
styles give her work a lot of depth especially in Photo Three & Four. Which in
Photo Four its makes your eyes wonder and make it seem like your floating
around in space and all these things are around you.

Page Five: April Geriman Page Six: April Geriman

Further Research
BENEDETTA CRIPPA
The motivation behind this piece of work was that It was designed for a sci-
ence exhibition where there was going to be talk by people on certain dates
Context
hence in the top right there are dates. I feel like with this poster its more de-
signed to catch people attention more than being informative. Geriman did
- Graphic & Communication Advisor
this by using bright and faded bold colours but also by making it in a way that
- Practice is focussed on How Graphic Design can expand beyond current
its represent the event which is a about Changing Concepts of Space in Ar-
boundaries of Methodology & Aesthetics
chitecture & Art. Usually people relate space with it being really dark however
- Interest in sustainability through form and the way design can challenge
with this poster it represented in a way that its bright and full of life and that
structures of power
suits the theme of the title of this poster of changing concepts of space. With
- Experiences in Nepal & Asia has influenced her Visual Language where she
the way the poster is design you can see her style show through the pixilation
uses ornamentation & Experimental Investigations to revisit around Beauty,
in the main text, the layering and composition of everything being spaced
Form & Power
out. I feel like Geriman did this to make the viewer eyes wonder around it and
wanted to create a immersive experience when looking at it. I suppose in all
Her Work
of Geriman work she like to make the viewers eyes wonder and I feel like she
done this to almost represent what computer manipulation can do and how
With Benedetta Crippa Work, you can see that she like to explore all sorts
can it create these types of effect in which is sometimes not achievable in
of styles and techniques in graphic design. With some of her work being ab-
an analogue way. It almost seems like she feel she has to do this to prove a
stract and that she leaves it to the viewer to think about what it can represent
point to those that doubted being able to design on a computer. Overall I like
like with Photo Two & Four. The ornament she made in Photo Five in which is
her style of work with how she space out everything. I think the one things I
in shape of a mouth to create an opening but purposeful entry into the mar-
like the most is the way she uses colours and also her layering techniques to
ket. With her work you can tell she see no limit and in a way she quite free
create depth. These are the things I can see influencing my practice. However
and unique with style.
the things I don’t like about her style of work is that sometimes it can be very
abstract and it can make It difficult to find the meaning in her work.

Page Seven: April Geriman Page Eight: Benedetta Crippa

 Further Research
When reading this article, Crippa dived into how simplifying logos can cause
it to almost lose its meaning as its been designed in such a way where it can
mean anything and it loses it identity. Furthermore she goes to compare the
new and old logo of Kvinna Till Kvinna and how the new logo Letter A repre-
sented a Military like emblem which implies a completely different meaning
to the original in which featured four hands gathered together. With this ar-
ticle I agree with what Crippa is saying because with design right now when-
ever there is a redesign of a logo its simplified and that sometimes the new
logo is almost unrecognisable to it original and shares no similarities to it
predecessor. An example of this is the Instagram logo and how it original logo
was a camera which was so detailed whereas the new one has a completely
different colour scheme and its camera design is just an outline of a camera
in white. I think the Title of the Article is very fitting to the text in a way how
design nowadays are very abstract and can mean anything to anyone where
as previous the meaning was clear and direct.

Page Nine: Benedetta Crippa Page Ten: Benedetta Crippa

 PETER BIL’AK
Context

- Graphic & Typeface Designer

- Work is influenced by Deep Engagement with Content & Audience
- Example of this would be his Design Work for the Dutch Royal Mail where he
was inspired by the Dutch Landscape
- He has Collaborated with a Dancer known as Lukas Timulak

His Work

With Peter Bil’ak Work, like with Crippa he likes to explore a variety of styles
and techniques. When looking at his work I’d say his modern dance and sce-
nography really stood out to me. I think it’s the way he incorporates sculpture
and light in these performances which really compliments the people danc-
ing. You can tell within this type of work he really focus on the engagement
that the audience can have and to make them feel fully immersed into his
work. Furthermore with his style in posters (shown in Photo Three) he is like
Miho with how minimalist his work is but is also like Geriman with the use of
exaggerated spacing.

Page Eleven: Peter Bil’ak Page Twelve: Peter Bil’ak

Further Research
WILLIAM SCOTT
When reading this article I felt like Bil’ak was attacking those in the industry
who say they experiment in there work as he describes the word as ‘Care-
Context
lessly Used’ and how when student experiments they say it cause they don’t
have a better response. However I believe that this is untrue in some aspects
- Self-Taught Artist
because us student are exploring what we can do in typography and so we
- He has a condition of Schizophrenic & Autism and a way for him to
experiment with what works and as he explain later on in the text that its only
communicate is by painting
when the final model is made is when its isn’t an experiment no more but
- Practice is Freewheeling & Imaginative
those experiment is what led to that final models. I feel like this article ques-
- Most of his work he like to reimagine life but also like to rebuild it
tions if people are actually experimenting and whether they are really just
- He like to address wider questions in his work like Community, Citizenship &
achieving an ‘preformulated result’. Overall I feel like Bil’ak is suggesting that
Cultural Memory
there is a lack of originality in the typography space and how when people say
they are experiment it’s a disguise in them mixing other people styles togeth-
His Work
er to form their own.
With William Scott Work, you can see how he how he likes to address commu-
nity & cultural memory in Photo Four with text surrounding the figures within
like a door shape, to make it feel more welcoming. With Photo Two he has
his own take in drawing the Martin Luther King Towers. The reason why Wil-
liam Scott like to refer to himself as a Architect is because he like rebuilding
everything like he like to reimagine his life or create new life for other people
like with Photo Two where he reincarnates Prince.

Page Thirteen: Peter Bil’ak Page Fourteen: William Scott

 Further Research
When I visited the exhibition in Studio Voltaire of William Scott it felt like I
was incepting his mind. The reason why I felt this is because he has reima-
gined his life or other life through his paintings like in this painting he reima-
gined being a Lakers Basketball player with writing ‘Another Life’. His ideas
are based on having new lives and a way his represents this thought is by
involving region/beliefs in his work like this painting too where he referenc-
es the Lord of Jesus Christ. I think the reason why he like to reimagine life
is because he has an condition of Schizophrenia which is where they may
see things that are not real. I think he uses painting as a way to express his
thoughts. Overall I found his style of work very interesting but I feel like it can
be a bit repetitive as his work shares similar meanings to one other. However
I do the like how he has laid out his work, making it seem like a storyline in
which is something I would like to take in my practice when doing exhibitions.

Page Fifthteen: William Scott Page Sixteen: William Scott

 HERVE TELEMAQUE
Context

- French Painter of Haitian Origins

- Likes to include a combination of Historical & Literary References
- Likes to experiment with materials like Salvaged Woods, Coffee Grounds and
etc..
- Like to experiment with technology to like with an opaque projector.
- Very Influenced by what happening around him with things like wars,
Protests and etc..

His Work

With Herve Telemaque Work, You can see how abstract his work is and how
he experiments with uses of actual objects like in Photo One where he uses
a ladder that comes out of the wall. He like to paint characters in a way that
when you look at it you know whether if it is good or evil like in Photo Two how
he paints the green character in an ugly way to symbolise that it is bad and
with it surrounding being destroyed which shows that a war is going on. With
his work you really have to find these details to understand the meaning of his
work.

Page Seventeen: Herve Telemaque Page Eighteen: Herve Telemaque

Further Research
When I visited the exhibition in Serpentine South Gallery of Herve Telemaque

F
it felt like I was going through a timeline of his life. I felt this because when
I enter the space I was greeted by a work of some stairs and wall of illustra-
tion in which was about the start of his teenage years where he suffered a
permanent injury that stop his career in high jumping. The nails and hammer
represented are a symbol of trauma. This trauma features in other part of this
exhibition to. I think the way he starts of the exhibition with a simplistic piece
of work that describes his teenage years to his abstract work you can see how
in a way that trauma is translated in his style with it being sharp and destruc-

O
tive. Overall I found his style of work very abstract and this is something I like
looking into as it gives the viewer the power to give it their own meaning or to
make them think about it and it almost like trying to figure out a puzzle. How-
ever if I was to incorporate this in to my practice I wouldn’t go to the extreme
of this abstractness.

U
R
Page Nineteen: Herve Telemaque
Overview Project Dates
Through five workshops – skeleton, calligraphy,
matrix, modular and interpretation – we will look 01 & 02 November 2021
at key approaches to the design of letter forms, Introduction to type workshops (onsite)
much of which is associated with technological
changes that occurred at certain points in 04 November 2021
history. Skeleton type workshop (online)

In parallel to these workshops you will choose 05 November 2021

a building from the list and carry out extensive Glyphs workshop 01 (online)
research into it. Using the knowledge aquired in
the workshops and your research you will design 08 & 09 November 2021
a typeface for or in response to your building. Studio workshops and tutorials (onsite)

Regardless of how you initially sketch your 11 November 2021

typeface you will then need to bring it into
Glyphs and generate it as a usable font.
Once your font is complete you will design a
printed AND an animated type specimen to show
off your typeface. We will talk more about these
later in the project.
Calligraphy workshop (online)
12 November 2021
Glyphs workshop 02 (online)
15 & 16 November 2021
Studio workshops and tutorials (onsite)

Project Outcomes 18 November 2021

1 Work from the five workshops Modular workshop (online)
2 Body of research and development work
3 Digital font 19 November 2021
4 Printed type specimen Glyphs workshop 03 (online)
5 Animated type specimen
22 & 23 November 2021
Complete the following characters: Studio workshops and tutorials (onsite)
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 25 November 2021
1234567890 Matrix workshop (online)
&@/.,:;!?“”’‘()
26 November 2021
*Please refer to your year group timetables Glyphs workshop 04 (online)
& Moodle for tutorial schedules.
17 & 18 December 2020
** The schedule for the second half of the Project tutorials (online)
project will be made available before we return
to college after the Winter Break. 29 & 30 November 2021
Studio workshops and tutorials (onsite)

02 December 2021
Interpretation workshop (online)

03 December 2021
Glyphs workshop 05 (online)

06–09 December 2021

One-to-one tutorials

Charlie Abbott, Margherita Huntley, Alex Hough, Elena Papassissa, Robert Sollis, Emily Wood
Page Twenty: Brief Page Twenty-One: Workshop One
Page Twenty-Two: Workshop One Page Twenty-Three: Workshop One
Page Twenty-Four: Skeleton Workshop & Drafts Page Twenty-Five: Skeleton Homework
Page Twenty-Six: Calligraphy Workshop & Drafts Page Twenty-Seven: Calligraphy Homework
Page Twenty-Eight: Modular Workshop Page Twenty-Nine: Modular Homework
Page Thirty: Matrix Workshop Page Thirty-One: Matrix Homework
Page Thirty-Two: Matrix Homework Page Thirty-Three: Letterpress Workshop
Page Thirty-Four: Letterpress Workshop Page Thirty-Five: FontForge Workshop
Page Thirty-Six: FontForge Workshop Page Thirty-Seven: FontForge Workshop
Page Thirty-Eight: FontForge Workshop Page Thirty-Nine: FontForge Workshop
 FARADAY MEMORIAL
The Faraday Memorial was designed by
Rodney Gordan in 1959 and was built in 1961 on
the centre of the Elephant and Castle
Roundabout. It to celebrate Michael Faraday im-
portance as a scientist. He discovered the prin-
ciples of underlying electromagnetic induction,
diamagnetism and electrolysis. The building itself
sort of resembles a huge
magnetic and Id say it resembles what Faraday
has accomplished.

This is the area I am going to cover when going

to do my primary research around the faraday
memorial. I am going to explore the transport
systems and also visit the Parks like the Elephant
springs in which where I think many locals will
be so that I can ask them questions about the
memorial. I’m also going to be taking photos of
things that relate to type and the type expressed
in the area. I am also going to exploring the archi-
tecture in the surrounding environments to see if
they link or have influence to each other.

Research Plan

1) Elephant & Castle Tube Station, LCC, Elephant Springs

2) Phone to take photos and to take notes on my findings
3) https://www.theguardian.com/artanddesign/2008/sep/10/architecture This article is by Cathe-
rine Croft in which is about the architect of Faraday Memorial and I can gain knowledge of what he his
thought process could of be in the building and what he was inspired by.
4) I think I would like to find out more of a resident and visitor perspective of the memorial to see what
their view of it and to see what they like and dislike and to see if they know why it there and how they
feel about it.

Books & Articles

- John Tyndall, (1868) Faraday as a Discoverer

- Ching, Francis D.K, (2010) Architecture: Form, Space & Order

-Bruce Willen, and Nolen Strals (2009) Lettering and Type : Creating Letters and Designing Typefaces

Page Forty: Type Building Research Plan Page Forty-One: Research Photos
The Michael Faraday Memorial was designed by Rodney Gordan in 1959 and it was built & opened
in 1961. It is placed on the centre of a roundabout outside Elephant & Castle Underground station in
which where the Memorial inside contains the Underground Electrical Substation which relates to the
scientist as he studied about electricity and made discoveries in electromagnetic induction, Diamag-
netism and so on (This is also engraved into the floor at the memorial).
When visiting the Faraday Memorial on Saturday Midday, it was filled with people rushing around it as
they went about their days. It gave me the sense that the Memorial was very understated and people
just saw it as a reflective square box. There was only one instance when I was there when a elderly
woman took a photo of it and appreciated the architecture of it. The memorial on one corner has stick-
ers and posters stuck to it which is completely irrelevant to the what it stands for.
When exploring the area highlighted in my plan I felt like all the buildings shared similar design ques
as everything was so squared off or rectangular. I feel like this made the memorial blend in to it en-
vironment and people see it as an eye saw and as one of the people I asked described it as ‘Nothing
more than a Silver Box’. However when researching about the design of the memorial it was original-
ly planned to be a glass pyramid and within it including Glowing Mercury Vapour Rectifiers. This was
scrapped because it would be a safety hazard for the people driving pass it as it is based on a rounda-
bout. Which is why its look so understated as just a Stainless Steel Box and sort of blends into it envi-
ronment. However in a way it can be interpreted as one big magnet.
Once I was done exploring the surrounding the area of the Memorial, I started to approach people
within the area to see what they knew about it and also what they thought about it. The majority of the
people I asked were around the age of 18-25 and one woman was in her 50’s. About 3 of the 8 people I
asked said they knew what the memorial was. When asked about they thought about it, they all shared
the same view that it was a plain and not interesting to look at. Some of them even questioned why they
would put it on roundabout and complained that it was an obstruction. Overall I gathered that not many
people know what the Faraday Memorial is and when they see it they just think to themselves on why
its just a silver box in the middle of a roundabout.
John Tyndall, (1868) Faraday as a Discoverer
In this book about Michael Faraday the first chapter tell us about how Faraday life started and how he
started off as a apprentice in a bookbinder/bookseller. It was during this time of when he developed an
interest in science and electricity. It goes on to talk about how he became an Assistant at a science lab
in which is where he made his discoveries. This book helped me get an insight to where Faraday inter-
est in science came about and the start of his discoveries. In which relates to the Memorial of Faraday
in Elephant & Castle in which is close to where he was born.
Ching, Francis D.K, (2010) Architecture: Form, Space & Order
In this book about architecture I looked at the chapter about primary elements. In this chapter they
explore dimensional lines, they talk about the position of space in lines, planes and volume and etc.
With this chapter it has helped me form an idea in what type of typeface I could design and it has also
inspired me to include elements of architecture into it in which relates to the Faraday Memorial
Bruce Willen, and Nolen Strals (2009) Lettering and Type : Creating Letters and Designing
Typefaces
In this book about creating letters and designing typefaces, I learnt about the processes that designers
goes through when designing fonts, whether it be handwriting to modular typefaces. With this book it
has helped me developed skills in which I can put into practice for this project.
Page Forty-Two: Research Outcomes
19th Century Typography
- Lord Stanhope had just invented the first printing press made of Cast-Iron Parts
- First ever Sans Serif Font created. Known as Caslon named after the designer
- R. Besley & Co. Founders created a Clarendon which was used heavily in advertising at the time.
- Industrialization meant that machines like the Monotype Machine were made so that printing
typefaces were quicker.
20th Century Typography
- The International Typographic Style also known as the Swiss Style was released which were designed
according to the Visual Principles of Order, Function and Clarity. It was also designed with the thought
of geometry, proportional systems, Compositions and etc, in mind.
- The Internet was Invented
- Matthew Carter & Mike Parker Released Bitstream so that they could design and market type in digital
form
- The Modernism Movement meant that there was more experimentation happening as break classical
stylings.
19th Century Architecture
- Invention of Electricity
- Eiffel Tower was Finished which was constructed of Puddle Iron
- Cast Iron was used structurally in large buildings
- The Houses of Parliament was built which was designed in the Gothic Revival Style
- This century was a merge between its modern and its past of the Greek & Gothic times hence the
Revival Style Name.
20th Century Architecture
- Dessau Bauhaus had a Major Influence in development of Graphic Design & Architecture
- 1930’s Architecture is based on Functionalism; Form Follows Function
- 1940’s Architecture is based on Minimalism; Simplicity and Abstraction
- 1950’s Architecture is based on International; Follows the International Styles
- 1960’s Architecture is based on Structuralism/ Metabolism; All things built from a system of signs
which are made up of opposites/ Organic Architecture which they are made by recycling and
prefabrication.
- 1970’s Architecture is based on Brutalism; Unfinished/ Raw Looks
Michael Faraday Discoveries
- Showed that a magnet can produce electricity
- He creates Dynamo which is a generator that delivered power for industry
- Invents the Electrical Motor
- Creates the Faraday Cage where its enclosure blocks electromagnetic fields (Used in Microwaves so
that radiation doesn’t escape when in use)
I decided to do wider research into each of these topics as I wanted to explore what was around when
the Faraday Memorial was built and what could have inspired the design of the Memorial. With the
Typographic Research this will help me shape my initial designs. With the Architecture Research it was
about understanding what shaped past and modern buildings and the evolution of it. It has made for
some interesting findings as during the 60’s it was best known for Structuralism/ Metabolism both of
which style don’t feature on the Faraday Memorial. However its that of the Brutalist Style that features.
The Architect Rodney Gordan is described as Brutalist Designer. Researching into Michael Faraday gave
me reasons why Rodney Gordan Designed the Memorial he did as in a way it represents the Faraday
Cage in which is a box that blocks electromagnetic fields. The Faraday Memorial houses the Elephant
& Castle Substation within it. Almost like its designed to block out electromagnetic fields but instead to
cover up the substation.
Page Forty-Three: Wider Research
Page Forty-Four: Thematic Map Page Forty-Five: Rough Sketch of Intial Ideas
Design One is inspired by the Black Bars which are apart of
the memorial. The bar is incorporated into this design through
heavy contrast with sharp thin lines in which give a perception
of depth in which is also what the memorial gives you when
looking at it in certain angles.
Page Forty-Six: Design One
Design Two is inspired by this picture in which i took of it.
This image is like the definition of two point perspective. The
original idea was to draw each letter in two point perspective
form. However with them designs they did not flow as well. So
i decided to be inspired the squares of the Memorial and also
the perspective of this photo and that when I designed my
matrix grid to form this typeface.
Page Forty-Seven: Design Two
Design Three is more inspired by the original plans for the memorial like mention in my research. It was
originally meant to be in Pyramid in which encased a Glowing Mercury Vapour Rectifiers. This idea was
scarped as it was deemed to distracting for the drivers on the road. This triangular design is inspired by
that and I thought to modular parts as it can give off this sharpish look on all of the forms.

Page Forty-Eight: Design Three Page Forty-Nine: Type Design Peer Review
Page Fifty: Developing & Process Page Fifty-One: Developing & Process
Page Fifty-Two: Developing & Process Page Fifty-Three: Developing & Process
Page Fifty-Four: Developing & Process Page Fifty-Five: Developing & Process
The grid was inspired by the corner perspective of the Faraday Memorial in which has formed each
letter.

Once I designed my Letter & Number forms on my Matrix Grid I then gathered each one and spread
it on a page made sure each letter was the correct size in terms of cap height, baselines, ascenders,
descenders. I did this because it meant that I could draw out my characters in Font forge knowing they
were all the right size and scale. Which is important as I didn’t want one letter being bigger than the
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
other.

After designing each form on illustrator i then imported it in to Font forge where I begun by setting
out my ascender & descender and then I used the pen tool to trace out each form. Once they were
sketched I then proceeding to focus on the kerning. Once I was happy, I exported it.

While drawing up my forms on Font forge i realised that with some letters they had large spacing which
made it look very spaced out when next to certain letter. This made me redevelop some of these letters
shown above.

abcdefghijklm
nopqrstuvwxyz

1234567890
& @ /. , : ; ! ? " = ' + ()
Page Fifty-Six: Developing & Process Page Fifty-Seven: Pre-Finished Font
 FARADAY
MEMORIAL
1961
Faraday
Memorial
1961
Page Fifty-Eight: Pre-Finished Font Page Fifty Nine: Developing The Final Font
 After receiving feedback from my first draft, I decided that I needed to modify the whole matrix grid. The
things i changed about it was the width of each square in which it has become narrower as the draft
was to bold. Furthermore I added more lanes so that it gave me the flexibility of redesigning some of the
letter as they were unclear and not as easy to read as the other letters. Some of these letters included
the ‘e’, ‘s’,’z’.

Once I made all of these changes I went on to draw them up on illustrator and lined them up using the
guides I made and made sure that all of them were the right height. Once I did this I then set out my
page on Font forge and then started to draw them out like I did with the first draft. After they were all
drew out I then sorted out the kerning and made them more spaced them last time as they were to
close together which made it unclear to read.
Page Sixty: Developing The Final Font Page Sixty-One: Developing The Final Font
ABCDEFGHIJKLM FARADAY
NOPQRSTUVWXYZ
MEMORIAL
abcdefghijklm
nopqrstuvwxyz
1961
Faraday
1234567890
& @ / . , : ; ! ? "$ '% ()
Memorial
Page Sixty-Two: Finished Font
1961
Page Sixty-Three: Finished Font
Page Sixty-Four: T-Shirt Workshop Page Sixty-Five: T-Shirt Workshop
 Click To Watch

Task One Task Two

Task Three

Page Sixty-Six: GIF Workshop Page Sixty-Seven: GIF Workshop

 Printed Specimen Design One
With this Design I wanted to include one of Faraday Discoveries to show off my typeface as i thought it
would be very fitting and carry alot of meaning to it. The fade would be used to show energy being trans-
fered to the letters through the very first generators he made.

Printed Specimen Design Two

With this Design I want it to Plasma Cutted on to a sheet of Stainless Steel as it directly links back to
the Memorial it self and I feel like with the letters being big its Showcases the design of my Typeface
very well.

Animated Specimen Design One

With this Animation I envision the Faraday Memorial spinning aorund in a mircowave where it slowly
begins to melt into my typeface and the door would open and the typeface would just be sat on the dish
with an Metal Finish. This links back to the Faraday Box and how mircowaves utillises his discovery.

Animated Specimen Design Two

With this Animation I envision the bike wheel turning and creating energy and as it spinning it starts to
light up the light bulb in which the typeface around it is illuminated.

Animated Specimen Design Three

With this Animation I envision the Faraday Disk turning and creating energy and as it spinning it starts
to light up the light bulb in which the typeface in the background is illuminated in the shadows.

Printed Specimen Design One Printed Specimen Design Two

Animated Specimen Design One Animated Specimen Design Two & Three

Page Sixty-Eight: Design Ideas For Specimens Page Sixty-Nine: Design Ideas For Specimens
Page Seventy: Making Of Printed Specimen Page Seventy-One: Printed Specimen
 Click To Watch

FIRST HO
E

TH

MO
ADAY DISK
AR

POLAR
DISK F

FARADAY
AY
DI
SK FARAD

GE
NERATOR

Page Seventy-Two: Making Of Animated Specimen Page Seventy-Three: Animated Specimen

s
With the Printed Specimen I wanted to directly link back my typeface to the building its based on.
Stainless Steel is what is used on the actual Faraday Memorial. Which is why I chose to use a Sheet of
Stainless Steel to base my Printed Specimen on. The reason why I chose the word ‘POWER’ is because
it relates to Michael Faraday discovery in generating energy. To begin with I designed and laid out where
I wanted my letters to be on illustrator in which I turned into a DXF file so that it was able to be loaded
on to the CAD Software where it would plasma cut my letters forms on the sheet of stainless steel. The
reason why I wanted lines on my sheet of metal is because it a design characteristic of the Faraday
Memorial that I wanted to incorporate into this printed specimen. I originally wanted to etch the lines
onto the metal itself however at the time of making this wasn’t possible so I decided on using vinyl and
layering it on top of the sheet once my letters were cut out. This process involves cutting out 2 mm lines
and then layering clear masking tape over it so that I could transfer it onto to sheet of metal in the most
accurate way possible.
With the Animated Specimen I wanted it to link back to one of Faraday Discoveries / Inventions in which
is where I found out he made the First Homopolar Generator. I based my illustrated version off the orig-
inal drawing of the generator and used illustrator to design it. Once I had designed this part of it, I then
went on to experiment with how wanted my typeface to be shown. After experimenting with some other
technique I settled on this gradient fade. The reason for the choice of the colour yellow is because I felt
like it was a colour that represented energy with light bulbs having hints of yellow when lit to fire and the
colour of there flames. The reason for the background being purple is because when we have lightning
strikes our skies often glow a dark purple so I thought this would be a fitting contrast colour for my ani-
mation. Once I had designed each component on illustrator. I then opened up my files onto After Effects
where I begun by making the disk and handle spin in which I adjusted the anchor points on each so it
would be spin correctly and then I set a slider control for both so that they would gradually start going
on there own. I set the handle to spin first and then the disk as this would be how the generator would
work. Once I got that working smoothly, I moved onto the animating the gradient in which would fade
upwards gradually till it reached the top where my Typeface would fade in as the disk were spinning.
Page Seventy-Four: How I Made: Printed & Animated Specimen
This Project was about Type Design, where we choose a building and we would design a typeface in
response to our building we chose. I decided to choose the Faraday Memorial as my building as when I
first looked at it, it was very abstract and since I didn’t know anything about it, it gave me that challenge
to understand what it was there for and why its looks the way it does. I feel like outcome of my work
reflects the brief really well, as I carried out extensive research into my building in which led to me find-
ing out the deeper meaning behind the memorial to using that research alongside the skills workshops
that we had. This is where I blended the two as I used skills I learned in the matrix workshop to create
my own matrix grid that was inspired by the design of my building in which led to my Faraday Typeface. I
feel like my final outcome were very successful as it both my specimen were influenced by the research
I did on the building and I feel like these specimens represent this. I think with my typeface overall there
are little things I would want to change as with some letters they were a bit extended at the descender
and so there was a lack of consistency within the typeface.
I started my research with locating the building on google maps and also the key dates in which it was
built. Once I had established these things I went to see my building in person and also walked around
the area to ask people what they thought of the building and if they knew what it stood for. Furthermore
I read books on Faraday himself but also on the topic of Architecture and Typography. I then went on to
research Type and Architecture during the time Faraday was alive to when the Faraday Memorial was
built and also what Faradays Key Discoveries were. I feel like I was quite complete with my research for
this project however I think next time I would like to do more research on the person who designed the
building as this may have opened me up to more design ideas in for typeface.
When Initially drawing out my ideas of what could be typeface I think I was very keen on my typeface
being modular and very minimalist however as I went back on my research and photographs I took of
the building my ideas changed and I wanted to base my typeface on key characteristics of the architec-
ture it self. Once I chose the initial idea that I like, I then begun to draw out my letter forms, when I got
my first set done I got feedback on it and changed the some elements in which could improve it while
maintaining the base idea in which has led to my Final Typeface. I feel like I could have experimented
more with my Type Specimens especially with my animation as I had other ideas. However I would have
liked to experimented with more materials like acrylic or even sculpturing a 3D Model.
Over the course of this project I had feedback on my Initial Typeface in which is where my letters were
too close together and it was too difficult to read and also slightly too bold and so I adjusted my matrix
gird to fix these issues. Furthermore I seek feedback for my Animated Type Specimen where there was
text on the bottom and it was too small and so I removed it and placed it on the spinning disk where I
was able to enlarge it and make it more visible and clearer to read.
Page Seventy-Five: Reflective Statement
 Introduction
Graphic design can be a confusing term: it’s a process(ie
‘designing’), but also a product (‘a piece of graphic de-
sign’). It’s sometimes called ‘information design’,‘visual
communication’, ‘art direction’, or even ‘form-giving’... but
F
what do all these things mean?
As a graphic designer, the types of thing you
do might be very specific, or very varied. You might spe-
cialise in one type of design, work with other specialists,
or make a lot of different things. For example, graphic
designers design typefaces, books, posters, signs, exhibi-
tions, maps, interfaces, spaces, infographics, newspapers,
stickers, stamps, diagrams, pencils, programmes (events),
programs (computer applications), texts, ideas, logos,
teaching tools, projects, institutions, systems… and so on.
I
You can see how difficult it is to package graphic design
neatly into one definition that spans all these things!
Over the next five weeks, you will be introduced
to foundational ideas, debates and practices that
represent a wide range of different approaches
to the discipline known as graphic design. A series of talks
and seminars will ask you to begin to consider your own
emerging design practice in context, and help you to devel-
op your own reflective and critical‘voice’ in relation to the
areas of graphic design that you are interested in.
V
We want you to think of each topic you are introduced to
as a possible critical ‘lens’ through which you might be
able to analyse, critique and evaluate the subject of graph-
ic design, in all its possible forms.
Brief
Choose an example of graphic design that you feel is rele-
vant to your interests. This could be a typeface,a poster, a
book, a film, packaging, website or even an idea. Using the
knowledge and references that youhave been introduced
to during Graphic Design is... we would like you to produce
E
a piece of writing in response to this example, in two parts:
Part One Reflective Writing (250–500 words)
Reflect upon what the example of graphic design
you have chosen means for you and your progress
as a learner. Reflective writing is more personal
than other kinds of academic writing. We all think
reflectively in everyday life, but not to the same
depth as is expected in writing at university level.
Make sure you address the following questions:
• What have you chosen? Why did you choose it?
What is particularly interesting about it?
• Is there something you like or dislike about it
and why? How did you discover it?
• What have you learned from this object or the
approach used to make it. and and how do you
intend to use this in your future work?
Part Two Analysis (1000 words)
Analysis is a form of ‘critical writing’, intended to be
more objective and research-based than reflective.
A good analysis demonstrates that you understand
the material you have chosen, and different ways
it could be (or has been) interpreted, and that you
can evaluate the design in a wider context, applying
external references and readings. We have split this
into two distinct sections with these starter ques-
tions:
a) Visual Analysis (~500 words)
• Why does it look the way it does?
• What do you think it has been influenced by?
• What materials or processes does it use?
b) Theoretical & Contextual Analysis (~500 words):
• Who made this? When, why and how?
• Does this work belong to a particular art style or
sociopolitical movement?
• Is it similar to other things or is it unique?
• What do other designers or thinkers make of it?
• Can you see its influence, explicitly or implicitly, in
other design work?
In this longer section, you are expected to connect
ideas from things seen and read, and your own
observations, to build a persuasive ‘reading’ of
the design example that you have chosen to write
about. You MUST undertake independent research
for this project.
Page Seventy-Six: Brief
Page Seventy-Seven: ‘Graphic Design Is History’ Lecture Notes Page Seventy-Eight: ‘Graphic Design Is History’ Lecture Notes
Page Seventy-Nine: ‘Graphic Design Is Sustainablity’ Lecture Notes Page Eighty: ‘Graphic Design Is Sustainablity’ Lecture Notes
Page Eighty-One: ‘Graphic Design Is For Who’ Lecture Notes Page Eight-Two: ‘Graphic Design Is For Who’ Lecture Notes
Task: Come to the session with two examples of design work. One that you think might have to fit within Task: Map one tool, material, process you use in your practice all the way back to it source and think
the first part of todays talk, and one that might fit within the second part of the talk what you might be able to change in your practice to make it more sustainable

Laptop
- Starts as a Printed Circuit Board (Copper)
- Gets Inspected by a machine to see if the solder paste is correct
- Then the Paste is melted to connect the component to the board
- Gets Inspected again
- Technicians begins to assemble the screen
- Tested by powering it in
- Attaches all connectors
- Starts to assemble the bottom half
- Motherboard is then connect to the bottom half
- Starts to install other modular units such as storage, memory and etc
- Laptop is then quality checked

I think to make my practice more sustainable, I should keep files sizes to a minimal and also when I’m
upgrading my laptop I should resell or take it apart and sell it as spares or hand it in to be recycled so it
can be used else where.

Page Eighty-Three: ‘Graphic Design Is History’ Homework Page Eighty-Four: ‘Graphic Design Is Sustainablity’ Homework
 Figure 1. McLaren Papaya – Bruce McLaren Special – Spa-Francorchamps Circult-1968 |
Limited Edition (Automobilist, N.D)

Page Eight-Five: Reflective Writing MindMap Page Eighty-Six: Chosen Poster

 Reflective
This a poster of the 1968 Bruce McLaren Formula One Car (Figure 1). It was made by the company of Automobilist and
one of it designer is Jan Rambousek in which made this poster. It was made in December 2020. I have chosen this piece
of work because one of my other passions is Motor Racing and I’d like to mix the two of my passions together of Motor
Racing and Graphic Design. I find the use of capitalising of space is really interesting and also how the text is positioned.

The poster was made a Limited Edition of 1000 as tribute poster of 50 Years that has passed since Bruce McLaren died.
It was made using CGI & 3D software and many photos of the car itself. The most interesting thing about this piece is the
use of the vibrant orange which features on the car. This colour was used on the car as Bruce McLaren saw how Ameri-
cans would attract attention to their motor racing with bright colored cars and so this led him to use this vibrant orange.
I like how the designer has maximized the space and how he has placed the lettering in which fulfil the paper with only 5
letters. Furthermore the way the U has been stretched out to look like car is driving on the letter. However I dislike where
the black text is on the poster as I feel like it disrupts the poster and looks out of place and I feel like it could have been
incorporated better. Furthermore I feel like the perception the poster is giving off is that the car is more a toy than an ac-
tually machine that used to go racing. This is because the poster has depth in it and how its looks like the car is on stairs
and the use of shadowing adds to that effect. The poster is printed on high quality offset print on 175g/m2 paper, it was
designed using a computer. Its purpose is to be used a decoration and in a way memorabilia. This information is relevant
because it’s the modern way of design and how an 1968 F1 Car has been recreated using a software and the way to
manipulate shadows into it to. Something in which back in 1968 wasn’t possible to do.

This poster is relevant to my learning and practice right now as I am currently exploring type but also it challenges me to
find new ways that I can design and this adds to my skillset in which I can use in future projects. This poster has shown
me one way type can be manipulated and also how I can explore the use of space and maximizing that in my own design
work. Furthermore its makes me want to experiment with 3D perspectives in my work and how they can also contribute
to the placement of text, images and so on.

Figure 2. British Grand Prix 1969 Silverstone Poster (Historic Car Art, N.D)

Page Eighty-Seven: Comparison Poster Page Eighty-Eight: Part One - Reflective Writing
 Analysis
The subject is the 1968 McLaren Formula One Car (Figure 1), it’s the car that Bruce McLaren used to win the Belgium
Grand Prix with. The piece is design by Jan Rambousek arranged in a way where the car looks like a toy on some bright
orange stairs with the text of BRUCE painted over them. The techniques its uses to create this poster is a combination of
‘Photographs from of the actual car and then also the use of CGI & 3D Software’(Porsche Motorsport, 2020). In this
particular poster its they create depth by using shadows in which emphasizes the 3D perspective of the poster, especial-
ly with the text as it has a slight colour difference with step. There are many scales to this poster as the stairs/steps may
seem at normal scales however when you add the car to it, it makes the stairs and the text seem huge and the car small
and toy like. The style of this poster conforms to the modern era of design with its Minimalist and Simplistic look. In a
way this poster brings the 1960’s to the modern day.
Bibliography
• Automobilist. (N.D) Mclaren Papaya – Bruce McLaren Speical – Spa-Francorchamps Circuit – 1968 | Limited Edi-
tion. [Online] Available from https://automobilist.com/mclaren-papaya-bruce-mclaren-special-spa-francorchamps-cir-
cuit-1968-limited-edition/ [Accessed 7/12/2021]
• Bil’ak, P. (2005) Experimental typography. Whatever that means. [Online] Available from https://www.typotheque.com/
articles/experimental_typography_whatever_that_means [Accessed 03/01/2022]
• Hello Creative Agency. (N.D) Design though the Decades | The 1960’s [Online] Available from https://www.hellocrea-
tiveagency.com/blog/design-through-the-decades-the-1960s [Accessed 03/01/2022]

It was made to honour and celebrate the life of Bruce McLaren, in which he designed his own cars to go racing. This
poster was made 50th years on from when he died of an testing incident. This is poster in a way is important as it shines
light on the roots of McLaren and its history. Its an interesting piece of work as the designer doesn’t use methods of
making back in the 60’s to create this poster but instead uses software and hardware to recreate it in which in a way is
provocative as its loses that connection between that era of motorsport and the process of graphic design.
• Historic Car Art. (N.D) British Grand Prix 1969 Silverstone Poster [Online] Available from https://www.historiccarart.
net/original-vintage-posters/unknown-british-grand-prix-1969-silverstone-poster/ [Accessed 03/01/2022]
• Pixel Perfect Studios. (2020) History of 3D Rendering [Online] Available from https://pixelperfect-studios.com/histo-
ry-of-3d-rendering/ [Accessed 03/01/2022]

When I saw this poster, my first impressions was about minimalist it was and how dominant the orange is. The mood it
gave of was that its lively and full of energy and so it gave me the emotion of excitement in which almost give that experi-
ence of Bruce Winning his first race at Spa in which is where the car is from in which forms the historical side of it.
This piece is relevant to the history of Graphic Design as it in the phase of the current design world where we don’t like
disruption and where images or illustrations are used more than text to simplify messages that we are trying to convey
across. However in a way you can see hints of Bauhaus’s Design Influence in this piece of work, with the use of geomet-
ric shapes with the stairs to its simple colour scheme of Orange and White with an hint of Black. The influences of Bau-
haus doesn’t stop there with the use of Scandinavian Minimalism in which is about simplicity and clean lines and bright
spaces.
• Porsche Motorsport. (2020) Motorsport of the future: How the science fiction posters were made. [Online] Available
from https://motorsports.porsche.com/usa/en/article/2020/08/14/automobilist-making-of [Accessed 7/12/2021]
• Silka, P. (2016) 1960s Art and the Age of Pop [Online] Available from https://www.widewalls.ch/maga-
zine/1960s-art+&cd=4&hl=en&ct=clnk&gl=uk [Accessed 03/01/2022]
• Speedflag. (N.D) Mclaren Papaya – Bruce McLaren Speical – Spa-Francorchamps Circuit – 1968 | Limited Edition.
[Online] Available from https://www.speedflag.store/product/mclaren-papaya-bruce-mclaren-special-spa-francor-
champs-circuit-1968-limited-edition/ [Accessed 7/12/2021]

This work belongs to a contemporary art style as it uses modern technology like 3D rendering software to make it but it
also brings modern simplicity with sharp and smooth even lines across the poster as well as a dominating colour. When
comparing this poster to the 1969 Silverstone Grand Prix Poster (Figure 2), its shows how much has changed in mo-
tor-racing graphic design as they were designing to promote hence all the writing on the poster which surrounds a 1969
Lotus Formula One car in which is dominating the page and this doesn’t make it look like a little toy car like its does in
the modern poster.

The design period of the 1960’s was influenced by the ‘Psychedelic Movement’(Hello Creative Agency, N.D) which
experiments with mind altering drugs in which caused ‘distorted sensations’ (Hello Creative Agency, N.D) It was
the influences of these that gave us the use of vibrant colours to asymmetrical experimental styles. One designer that
stands out to me in this era is Andy Warhol who worked in the genre of pop art. This particular design of his I feel influ-
ences the design of Lotus Formula One poster, with the use of colours to how the car is illustrated, its like a reflection of
the ‘leading movement of Pop Art’ (Silka, P, 2016) in that decade but also commercially as this poster is trying to
sell tickets where as with the modern poster it follows that theme of minimalism which our current design world lives in.
This poster wasn’t designed to sell tickets but to remember the 1968 McLaren in the modern age.

The technology that we have now in our Morden has allowed the designer to recreate a car without the real thing but by
getting ‘all the data from the manufacturer’(Porsche Motorsport, 2020) which includes old sketches of the car to
final drawing and design where as this wouldn’t of been possible when the Lotus Formula One poster was around as they
wasn’t advanced enough to produce digital models in which bring back to life the car and all its fine details like in the
Morden poster. Instead they would have needed to wait till the late 70’s to be able to ‘render complex shapes in 3D’.
(Pixel Perfect Studios, 2020) it was from that point that 3D rendering kept on improving till this day now where de-
signers are able to recreate the ‘unique moments from motorsport history to life’ (Porsche Motorsport, 2020).
Furthermore its enables designers to render the future of motorsport and what they can look like and this all wasn’t
possible back in the 60’s.

When exploring the typography used in this poster, its seems as though the designer didn’t think about the typeface
used when experimenting with it depth and can be seen in a way of ‘historical ignorance’(Bil’ak, P, 2005) and in a
way doesn’t fully celebrate the history of the subject of this poster.

Page Eighty-Nine: Part Two - Analysis Page Ninety: Bibliography