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Graphic Design Selected Works January 2012

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The Auditor It is not that what is past casts its light on what is present, or what is present its light on what is past; rather, image is that wherein what has been comes together in a ash with the now to form a constellation. i

The Aviatrix

Constellation Piece

Boy I am not so sure anymore. Pitching body high, but voice higher, I have learnt how to forget. Those forgotten low tones, those that grounded me. I used to think they held me tight in their grasp. What power, the low low. Eventually, I could no longer hear myself, my voice disappearing in the deep chorus. Then one day I hit a high note and never came down. The stars look very different today.

Estella Born and raised to be a lady, by a wedding-white woman stuck at twenty to nine. Celestial bodies cannot be owned, and so I hit the heights and burned like the coldest fire. This is the heart breaking truth, and now I reflect on the gravity while I wait here, on some words spoken in defiance in a luminescent moment. Light breaking the fall. I must be taken as I have been made. The success is not mine, the failure is not mine, but the two together make me. ii I was named to belong in the sky, amongst the Goddesses and tin cans.

Dressing for flight. Sets me off in all directions that thought. Especially up. Dressing up. Forget flying goggles and skin-tight leather helmets, her costume was of a completely different sort. She was a completely different sort: the first female to take the air by taking to the air. Her carriage: a hot air balloon. Surely she was aware she was an oddity. Playing up, she took that ride dressed as a goddess, singing from a popular Opera of the time to those below, as she ascended the basket and sailed. Dressed up with nowhere to go, in a sense. To the air. What wonder her trailing Minerva robes must have made. She who sings. She who measures. Dressed up to fly up.

She was not alone in the air. While praised for fanning flames, her course was steered by anothers hands. Her claim to air was just the beginning, and I was one of the following firsts. First woman to, first female to, first

Lady, Gentleman, what is a claim to the air? My claim was always notional through naming, and yet, here I am.

Here we are. Hums riff from Space Oddity Here we were, and here they were.

Many moons ago.

Stops humming to speak Space junk. The Aviatrix addresses The Auditor What voices do you remember most?

Performance Notes.

And whose voices have lasted? Whose flights?

PAUSE

Constellation Piece was rst staged on 29 June 2011 in London,

Singers or Finer The highs and the lows does with Finn Andrews, EllaSpeakers? and Flora Pitrolo voicing the partspitch play its part in remembering? Boy addresses The Auditor Estella addresses The Auditor

PAUSE

On Pitch and Remembering

PAUSE

I remember the voice of a lone choir boy. I dont know who. In York Minster. Singing Once in Royal Davids City. Clear. Crystalline. Soaring into the nave of that huge Cathedral. And Alfred Deller. Countertenor. On the record player in the living room. Patricia Rosario in John Taverners Eternitys Sunrise. Her voice rising like the sun, into eternityetherial. Joan Sutherlands Lucia. Light, luminescent. So singers all. All singers. And now aged. Aged. A multitude of skylarks squalling in my head. All singing, ying. Flying off. Off. Claiming the air. Minerva had wings. And yes, it is the highs that are recalled and recycled, To access those highs through the feeling in the mouth. The lifting, raising, rising of the palate: arching, architecting, achieving lift off, escape, escapade. Wings. Sings three high notes. Per sona. Through Sound.

I remember the voices with which I navigated airspace in my flying laboratory. Except the last time. That time I do not remember, and I do not think I heard at all. Confused, and with so many wrecks along the way, I said I had one more flight in me. And after: no more stunts.

of Boy, Estella and The Aviatrix respectively.

Its a stunt to be high?

Maggie Pittard composed her own responses to the script in her invited role as The Auditor: the staged dedicated listener,
just stay still. responded to the voices, rst through reading the script A to A: to travel back to the same place again.You could You could take the clocks out of service at twenty to nine and stay still. It does take courage to travel the long way back to the beginning. A stunt, but still

Its a stunt to go far. The record breakers of the sky, mapping the limits of the land, made their names. Point A to point B: what courage, what daring! And then, how precise the achievement. Thinking of Minerva She who measures An attempt from A to A. I promised you the world. What a stunt.

who is simultaneously both character and respondent. Pittard in advance, and then through listening in the event of the performance time and space.
And it takes courage to dream the long way back.

The Auditors part, therefore, is authored by Maggie Pittard

Yes. Especially when one imagines the future points on the map, which might in the end remain unconnected.

in response and in dialoguenavigate our way back. Finers script. Inthe unfinished journey repeats them over and over. The future points to help us with Ella notoriety of this
Those map points elaborate into places and place-names and place-people, until the story of what could have been joins the dots on a different plane.

Through time though, points fuse their own contact, as the

publication, Pittards words have been transcribed from the

Marking the un-journeyed journey. A way of staying still, while time flies.

audio recording of the rst staging of Constellation Piece, from

listening back and scripting the part in the after-event. As a result,

Very low, monotone, as if channelling another voice Cloudy and Overcast.

Suspended between points, while the fiction is spun around the fact.

this play-script is both the score for future iterations and as if discovering something Very low, and the document of a performance past. This is an important note

Ah, the voices saved in writing. No fiction those.

But I dont know if I said such words. My script could be as much a fiction as yours.

to emphasise, as the charactersmoothed radio logs, the composition shifts The script is contained in the of the whole
re-typed drafts of initial transcriptions, as written in the moment of hearing your voice over three. one. zero. five. But there were at least three listening, and three logs, and what they heard was not the same, or registered at the same time.

in temporality, not just in its subject matter, but also in its form,
200 miles out I started whistling, or at least I said I did. We do not all hear the same way, but whistling is high. It acts like code.

its structure. While the script was written to be interpreted part has been transcribed from a record of
You said you were whistling, but you were making a different sound. In fact it was higher than a hum. A shrill note. It was said on the ground, afterwards, that you were trying to mimic the steady high pitched tone of the telegraph key being held down. iii

by live voices, a promise towards future playings, The Auditors live voice, interpreted in script.

Coding the body in high pitches: those sounds, which search for survival.

Making machinery in the mouth to code yourself.

PAUSE

The Aviatrix addresses The Auditor How would you make a voice fly high?

Boy addresses The Auditor How is the body perceived in pitch?

Estella addresses The Auditor Or the body coded by voice?

PAUSE

On Pitch and Body

PAUSE

Fraser Muggeridge Typography Summer School 2012

Ella Finers Constellation Piece Proposed typeset play score for Ella finers constellation piece. Both single and double sided versions were designed.

The voice ies high, dancing its kinesphere, suspended there. Supported by air, releasing air. Our own breath as air. Shifting things. The body perceived as free and ying, breathing out breezes. Soft. Strong. Carving currents, nudging, shifting, moving things, baring them away. Enjoying the currents. The currency of sound. And we pleasure in the enjoying of it. Stretch towards a cry, a song, a shriek, a shout, a thunderbolt. Minerva too. Powerful too. Growl. Grunt. GO. FOR. IT. Laughs. Per sona. Antony Hegarty. Ian Bostridge. Chris Martin. Tom Waits. Leonard Cohen. Rufus Wainwright. Martha Wainwright. Bette Midler. Amy Winehouse. Adele.

MInerva was born in armour ready for fight or flight. But what do costumes say about the profession after all? What about the woman, as good as widowed, in white?

You wore the clothes of a pilot.

Voices Maggie Pittard Flora Pitrolo

Shoes that last as long as bones.

The Auditor The Aviatrix Boy Estella

And the shoes. We could count time with the shoes. How many have been found?

Many, more than you could dream up.

Finn Andrews Ella Finer

And still are.

More fictions from fantastical post-scripts: making use of the facts to suspend disbelief.

It sounds trivial to say so near and yet so far. Maybe better to say I was out of time. We were all out of time.

I put trust in those grounded voices, those who could point to the land, while standing on it. I think of all the missed times we shared near the end, constantly out of time with each other and the world we were in. We measured time differently, out of sync, in shifting time zones. I flew through the night for the last time, my night and someone elses day. Those stars, the ancient compass points, shone hope, before I waited an age for the day to bring us down

Stage Directions:

I wonder how I have aged since we began speaking? How my voice has aged?

The Voices: The Aviatrix, Boy and Estella are positioned near the The Auditor is positioned stage left in a small bright spotlight

ceiling of the stage, against the backdrop of a twinkling night-sky.

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Kaleido/Scope - Kaleido/Skop - Kaleido/Scoop Contemporary Graphic Design Culture Design and promote a Graphic Design symposium on Contemporary Graphic Design, featuring conferences in three languages, across three European locations.

Event Programme A 144 page programme, to introduce the content for each of the conferences across the three given languages. And to provide background information on each of the companies involved.

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Kaleido/Scope - Kaleido/Skop - Kaleido/Scoop Contemporary Graphic Design Culture

Event Promotion Ten promotional poster design, in three languages, designed to work as a set and individually in their respective countries. Each poster design homages to contemporary European design culture, whilst not adhering to the design direction of any studio in particular.

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Istd 2012 - Project 01 Tales To Change The Word Take the text of The Waitress, a tale by Jack Zipes, to invest the book with the invention and experimentation of the magazine.

Concept & Strategy Proposed is a twelve page publication which challenges the requested notion of the experimental elements seen in magazines, by relating the uncertainty of the existence of the girl and the chair with the uncertain necessity of trends within contemporary editorial design. Instead investigating the importance and function of classically set typography, upon a platform of questionably unnecessary processes across both digital and analogue production.

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www.passio.com

Whether you are feeling down,

desire, sadness, disgust, anger, vigilance, ecstasy, adoration, terror, amazement, love, grief, loathing, rage.

oppose your current mood.

annoyance, anticipation, joy, trust, fear, surprise,

uninterested, unhappy or even

distraction, attraction, pensiveness, boredom,

you with any emotion you need to

unloved; then Passio can provide

EMOTIONS AVAILABLE:-

interest, serenity, acceptance, apprehension,

enfused with emotion to supply

Have you ever been in a situation where you wish for nothing

more but to change your current state of mind?

mind to suit your daily lifestyle.

you with the optimum state of

Take control of your emotions

one day at a time. Passio is

MANAGING YOUR EMOTIONS

Passio Consumable Emotions Brand, promote and package range of materials for a set of products offering consumable emotions.

Brand Identity & Promotion Bespoke typeface in lowercase, and two sizes for the logo and the the emotion. Both are foiled, with each emotion designated a colour, across three strenghts.

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Leeds College of Art Symposium Design a series of products for a collge symposium

Programme, Leaflet & Postcards A set of ephemera which comuincates the promotion and organisation of the symposium. The two elemnents of the same event are communicated by a reversal in reading, where each piece of print read from front to the middle, from each end.

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Musical Mathematics Design a range of items to promote Musical Mathematics, a Leeds based collective who review new and exciting alternative music. These include, stationary, monthly zines, t-shirts and compilations, as well as an online presence.

Monthly Zines Zines are produced on a monthly basis, each with given written and image content. The cover artwork and pullout poster, will be produced by professional freelance illustrators. The zines must be of low budget, printed entirely in one colour on white stock, with the cover being on coloured stock and the pullout poster being a two colour screen print.

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Jess Gough Heterotopia Brand and promote Heterotopia, an exhibtion of a photographers work,across both print and digital media.

Exhibition Catalogue & Promotional Posters Double sided posters which work individually and as set for increased impact. Exhibition catalogue features all images from the set and the image details. Catalogue cover is created by a double sided folded poster.

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Charles Dickens 200th Anniversary Design and promote a range of materials to celebrate the 200th Anniversary and the legacy of one of Britains greatest novelists - Charles Dickens.

Branding & Identity A bespoke san-serif typeface, heavily influenced by Caslon Egyptian, the first ever (what we now know as a) san-serif typeface to be cut, in 1812 - the year of Dickens birth. Further bespoke display versions were created to use for the main branding and text highlights throughout. These were based on three dimensional wood cut type of the time, with the diagonal partitions creating a modern spin, suggesting the development of the two hundred year legacy.

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Charles Dickens 200th Anniversary Design and promote a range of materials to celebrate the 200th Anniversary and the legacy of one of Britains greatest novelists - Charles Dickens.

Branding & Identity A bespoke san-serif typeface, heavily influenced by Caslon Egyptian, the first ever (what we now know as a) san-serif typeface to be cut, in 1812 - the year of Dickens birth. Further bespoke display versions were created to use for the main branding and text highlights throughout. These were based on three dimensional wood cut type of the time, with the diagonal partitions creating a modern spin, suggesting the development of the two hundred year legacy.

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Leeds College of Art Typogateaux 2011 Produce a sweet edible type driven dessert.

Type Setting A Vanilla Milk Jelly A winning entry, in collaboration with Arthur Carey.