Visual Journal #001

VISUAL JOURNAL

JONATHAN COX

EXTENDED MAJOR PROJECT

JONATHAN COX

www.monikabooks.com

[email protected]

TABLE OF CONTENTS

-004- DEFINING THE DESIGN PROBLEM

-INTENT-TARGET AUDIENCE

THE DIVERGENT SEARCH-010--FUTURISM-DADAISM

-AVANT-GARDE-EMIGRE

-DECONSTRUCTION THEORY

-STOUT/KRAMER-FRASER MUGGERIDGE

REFLECTING UPON RESEARCH

-032-

IDEA GENERATION, DEVELOPMENT & REALISATION

-034-

-IDENTITY-LOGOS

CRITICAL FEEDBACK001

-040-

-LOGOS CONTINUEDCRITICAL FEEDBACK

002-046-

-THE BOOKCRITICAL FEEDBACK

003-053-

FINAL LAYOUTS-054--ROAR

-KNICKERCHIEF-UNTITLED

-ALONE ON THE METWEBSITE-062-

-064- PRINT-066- FINAL OUTCOMES

-ISSUE#001 JOURNEY-MONIKABOOKS.COM

CONCLUSION-076-BIBLIOGRAPHY-078-

DEFINING THE DESIGN PROBLEM

Punk music had huge amounts of energy and excitement. The

songs were short, fast, direct and simple. The lyrics were often

shouted or spat out in energetic bursts and the melodies were

basic. In an issue of British Punk fanzine Sideburns (December

1976), a sketchy diagram of a guitar fretboard was captioned,

‘This is a chord. This is another. This is a third. Now form a band’.

This demonstrates that a large part of the appeal of punk the

element of accessibility, the feeling that anyone could have a go.

The sound was rough and raucous, not perfectly polished like the

rock bands that dominated the music scene at the time. It reflected

the attitudes and lives of its audience; the important thing was to

make an impression and deliver the message.

Anarchy and punk movements were dominated by the ‘do-it-

yourself’ rally cry during the late 1970s and early 80s. This led

Mark Perry, editor of Sniffin' Glue, to tell his readership,

“Leave our music to us, if anything needs to be written, us kids will do it”.

The sway of this ethos filtered across the subculture’s approach to

fashion, writing and graphic design.

1 Perry, M,

Sniffin’ Glue

1

-004-

“LEAVE OUR MUSIC TO US, IF ANYTHING NEEDS TO BE WRITTEN, US KIDS WILL

DO IT.”

Mark Perry

Stanley Morison, the typographer and designer of Times New Roman, defined typography in 1928 as having a

“specific purpose; of so arranging letters, distributing the space and controlling

the type as to aid to the maximum the readers’ comprehension of the text.”

Morison was also an advocate of typographic experimentation,

writing in Ibid.21 that,

“It is alwaysa desirable that experiments be made, and it is a pity that such

‘laboratory’ pieces are so limited in number and in courage.”

The primary aim of semantic typography is to

"arrange the structure of the text visually and to bring forth meaning."

As put by Walter Ong, an American Jesuit priest, professor

of English literature, cultural and religious historian and

philosopher,

"Writing moves words from the sound world to a world of visual space, but

print locks words into position in this space. Control of position is everything

in print."

On writing short stories E.M Forster explains that,

"I think one of the reasons why I stopped writing novels is that the social

aspect of the world changed so much. I had been accustomed to write about

the old-fashioned world with its honor and its family life and its comparative

peace. All that went, and though I can think about the new world I cannot put

it into fiction."

In spite of this candid observation made by Forster, we find

that both novels and short stories are being written in an ever-

increasing great number.

The chief reason for the tremendous popularity of the short story

is its brevity, since it is ‘a single-sitting read’, and the readers have

enough time to read it.

The chief reason for the tremendous popularity of the short story

is its brevity, since it is ‘a single-sitting read’, and the readers have

enough time to read it.

2 Morison, S,

Ibid.21

3 Triggs, T, (2003)

4 Ong, W, (1982)

5 Forster, E.M (1947)

2

3

4

5

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INTENT

For this project I intend to create a new discourse for the

publishing of short stories. This discourse will take elements from

punk and anarchaic movements, in that the content will be user

generated, echoing the 'do-it-yourself' and 'anyone can try' ethos.

It will also take elements from semantic typography, in that the

pages of the submitted texts will be laid out in such a way that the

possible interpretations of each story are amplified.

To keep the project commercially viable I will also

design and build a functioning website, where a digital copy of

the book will be viewable. There will also be information about

the project, photographs of the book and information on how to

submit a text for the next issue.

TARGET AUDIENCE

The nature of the project means that absolutely anyone can submit

a story, and likewise, anyone can read it - although due to the

user generated content this also means that not all stories may

be suitable for everyone or to everyone's taste, but this is true

of any story. I will mainly aim the project towards people who

already have an interest in writing, whether this be short stories,

journalism etc..

The book would not only give due praise to less known writers

who are currently beyond the reach of mainstream literature, but

hopefully attract a new and varied range of artistry into the field.

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Authors might submit in order to:

• have their work read

• test their writing in a public forum

• have their writing showcased in a desirable format

• align with likeminded authors or publications

• submit work in a non-judgmental and open-minded

community

• use as a testing ground for more ‘experimental

literature’

• get their work showcased for free in a non-lose

situation

• gain a sense of achievement

• gain personal progress and satisfaction

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THE DIVERGENT SEARCH

“Much contemporary typographic exploration owes its development to the

historical ‘isms’ of the twentieth century: Futurism, Constructivism, Dadaism

and Modernism. These movements acknowledged and age of significant

scientific and technological discovery, where modern industry and commerce

were radically transformed. New attitudes to social, cultural and political life

emerged and typography became their ‘visible artefact’.”

6 Triggs, T, (2003)

FUTURISM

Futurism was an artistic and social movement that originated

in Italy in the early 20th Century. A writer, Filippo Tommaso

Marinetti, launched the movement in his Futurist Manifesto which

was first published in La gazzetta dell’Emilia in February 1909.

The Futurism movement violently rejected traditional forms so as

to celebrate and incorporate into art the energy and dynamism of

modern technology.

6

-010-

3

Work of the Italian commercial

artist and Futurist, Fortunato

Depero, who was

"interested in developing new

approaches to structuring language

and images that were radical

rejections of classical text traditions"

and whose ideal it was, along with

Giacomo Balla, to

"find abstract equivalents for every

form and element in the universe."

-011-

Theorist Gérard Mermoz described the typographies of the

Futurists as

"not formal experiments, but radical (and utopian) interventions on the

structure of language and the conventions of discourse."

DADAISM

7 Mermoz, G,

(1998)

7

Dadaism is a cultural movement that began in Zurich,

Switzerland, and peaked from 1916 to 1922. The movement

concentrated anti-war politics through a rejection of the prevailing

standards in art through anti-art cultural works.

The purpose of Dadaism was to ridicule, what was considered

by its participants to be, the meaningless of the modern world.

As well as being anti-war, Dadaism was also anti-bourgeois and

anarchist in nature.

Dada activities included public gatherings, demonstrations, and

publication of art/literary journals; passionate coverage of art,

politics, and culture were topics often discussed in a variety of

media.

The movement influenced later styles like the avant-garde and

downtown music movements, and groups including surrealism,

Nouveau réalisme, pop art, Fluxus and punk rock.

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This 1923 Dada poster uses a

variety of typefaces as well as

advertising 'cuts' (stock illustrations

available in the printer's shop).

The layout is innovative and

dynamic, fighting against the grid of

letterpress.

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AVANT-GARDE

Avant-Garde is a term used to refer to people or works that are

experimental or innovative, particularly with respect to art,

culture and politics.

Avant-garde represents a pushing of the boundaries of what is

accepted as the norm or the status quo, primarily in the cultural

realm. Many artists have aligned themselves with the avant-garde

movement and still continue to do so, tracing a history from Dada

through the Situationists to postmodern artists.

A booklet made to introduce the

work and artistic approach of the

russian avant-garde designer, El

Lissitzky.

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EMIGRE

Emigre was founded in 1984 as an independent foundry,

developing typefaces without an association with a typesetting

equipment manufacturer. Since Emigre took advantage of the

Macintosh computer to design digital typefaces, they did not

require the manufacturing infrastructure of a traditional type

foundry.

Zuzana Licko, co-founder along with Rudy VanderLans, began

designing fonts that, rather than trying to imitate letterpress

technology, tried to take advantage of the idiosyncrasies of bitmap

design and dot matrix printing, and later, vector-based design.

"The first few issues of the magazine relied on existing materials: Susan's

typewritten poems wewre enlarged from the originals and juxtaposed with

imagery that he provided. The layouts were 'forcedly expressive' and the

production process was inexpensive, immediate and accessible to a growing

community of like-minded artists, designers and typographers."

Emigre magazine was published between 1984 and 2005. A total

of 69 issues were produced, sometimes on a quarterly basis, but

more often irregularly.

Through a good part of the late 1980s and most of the 1990s,

some of the most cutting-edge typefaces were developed or

released by Emigre. Its magazine, in the meantime, provided an

outlet showcasing the potential of its typeface designs, and was

well known for its graphical experimentation.

"What Emigre initiated was co-opted by the new mainstream -- from fashion

magazines to MTV. Stylistically Emigre was not just the standard bearer, it

was the bearer of standards for experimental digital typography."

8

8 Triggs, T, (2003)

9 Heller, S & Fili, L,

(2006)

9

-016-

Cover and spreads from Emigre

(no. 1, 1984) designed by Rudy

VanderLans and showing billingual

poems by Marc Susan.

-017-

DECONSTRUCTION THEORY

Deconstruction is a philosophical theory of textual criticism

developed by Jaques Derrida, whose work has been labeled as

post-structuralism and associated with post-modern philosophy.

In "Structure, Sign, and Play in the Discourse of the Human

Sciences," a pathbreaking lecture delivered at Johns Hopkins

University in 1966, Derrida explains that

"The entire history of the concept of structure,"

"...must be thought of as a series of substitutions of center for center, as a

linked chain of determinations of the center."

Derrida then continues to explain that

"the centre, which is by definition unique, constituted that very thing within a

structure which while governing the structure, escapes structurality"10

10 Derrida, J, (1966)

CURRENT USE

Deconstruction and Graphic Design: History Meets Theory is a theory-

heavy, mid-1990s look at the concept of Deconstruction, looking

at its origins in French post-structuralist discourse and then

current use in the design world. Authored by Ellen Lupton; a

graphic designer, writer, curator, and educator. When explaining

the place of graphics within the theory of deconstruction Lupton

writes,

"We argue that deconstruction is not a style or ‘attitude’ but rather a mode

of questioning through and about the technologies, formal devices, social

institutions, and founding metaphors of representation. Deconstruction belongs

to both history and theory. It is embedded in recent visual and academic

culture, but it describes a strateg y of critical form-making which is performed

across a range of artifacts and practices, both historical and contemporary."

-018-

In Derrida’s theory, deconstruction asks how representation

inhabits reality. How does the external image of things get inside

their internal essence? How does the surface get under the skin?

In the essay Lupton explains,

" Western culture since Plato, Derrida argues, has been governed by such

oppositions as reality/representation, inside/outside, original/copy, and mind/

body. The intellectual achievements of the West – its science, art, philosophy,

literature – have valued one side of these pairs over the other, allying one side

with truth and the other with falsehood. For example, the Judeo-Christian

tradition has conceived the body as an external shell for the inner soul,

elevating the mind as the sacred source of thought and spirit, while denigrating

the body as mere mechanics. In the realm of aesthetics, the original work of art

traditionally has carried an aura of authenticity that its copy lacks, and the

telling of a story or the taking of a photograph is viewed as a passive record of

events.

‘Deconstruction’ takes apart such oppositions by showing how the devalued,

empty concept lives inside the valued, positive one. The outside inhabits the

inside. Consider, for example, the opposition between nature and culture.

The idea of ‘nature’ depends on the idea of ‘culture’, and yet culture is part

of nature. It’s a fantasy to conceive of the non-human environment as a

pristine, innocent setting fenced off and protected from the products of human

endeavor—cities, roads, farms, landfills. The fact that we have produced a

concept of ‘nature’ in opposition to ‘culture’ is a symptom of our alienation

from the ecological systems that civilization depletes and transforms."

"A crucial opposition for deconstruction is speech/writing. The Western

philosophical tradition has denigrated writing as an inferior copy of the

spoken word. Speech draws on interior consciousness, but writing is dead and

abstract. The written word loses its connection to the inner self. Language is

set adrift, untethered from the speaking subject. In the process of embodying

language, writing steals its soul. Deconstruction views writing as an active

-019-

rather than passive form of representation. Writing is not merely a bad copy, a

faulty transcription, of the spoken word; writing, in fact, invades thought and

speech, transforming the sacred realms of memory, knowledge, and spirit. Any

memory system, in fact, is a form of writing, since it records thought for the

purpose of future transmissions."

The speech/writing opposition can be mapped onto a series of

ideologically loaded pairs that are constitutive of modern Western

culture:

Speech/Writing

Natural/artificial

Spontaneous/constructed

Original/copy

interior to the mind/exterior to the mind

requires no equipment/requires equipment

intuitive/learned

present subject/absent subject

In Of Grammatolog y Derrida explains that the episteme built on the

opposition between reality and representation has depended on

representations to construct itself:

" External/internal, image/reality, representation/presence, such is the old

grid to which is given the task of outlining the domain of a science. And of

what science? Of a science that can no longer answer to the classical concept

of the episteme because the originality of its field (an originality that it

inaugurates is that the opening of the ‘image’ within it appears as the condition

of ‘reality,’ a relationship that can no longer be thought within the simple

difference and the uncompromising exteriority of ‘image’ and ‘reality,’ of

‘outside’ and ‘inside,’ of ‘appearance’ and ‘essence’. The fact that our culture

developed a phonetic writing systemone which represents the material signifier

in isolation from the sacred signified) is indicative of our primary alienation

from the spoken language. Phonetic writing, because it makes use of the

gap between signifier and signified, is not simply a secondary reflection of

language, but is a symptom of language’s lack of presence, its lack of interior

self-completeness."

1111 Lupton, E, (2009)

12 Derrida, J, (1974)

12

-020-

STOUT/KRAMER

Stout/Kramer?

Marco Stout, Evelyne Kramer and Rinus Van Dam.

What does Stout/Kramer do? Are you graphic designers?

We are trained as graphic designers.

The profession is constantly changing and as we see it, can no longer be defined.

Our way of working distinguishes itself by being conscious of the position the

designer can take in the process.

We don’t want to set ourselves up as merely designers of a message.

We see ourselves as editors and directors of communication.

As editor the designer interprets the content and context of a message.

As director the designer is responsible for the appropriate means of

communication.

Does your work have a recognizable style?

Yes, definitely.

The final solutions are the result of an analytical and rational way of thinking

and working.

The design is simple, clear, without fuss. Dutch.

Which influences do you recognise?

At the moment we are doing a lot of research into ‘communication within

organisations’.

This research significantly influences our thinking about the designer’s position.

In addition, we recognise design influences such as Modernism/Swiss style, the

‘80’s and contemporary art, architecture and fashion. And of course music.

-022-

Besides your projects you work on commercial projects and

projects for the Dutch government.

How do you go about this?

The freedom that we know from cultural projects and projects for the Dutch

government.

Likewise we try to reintroduce the strategic aspect into the cultural projects.

Do you work collaborate with other people?

We regularly work with people from various disciplines such as photographers,

interior designers, fashion designers, art historians and experts in

organisations.

What are your ambitions?

Many. Good projects and study (again). Projects which need a structural

solution.

This could be a purely design related commission like a book, or a

communication query, e.g. a visual identity or a long-term organisation

communication project.

What is your favourite place?

New York! New York! Copenhagen!

What are you working on at the moment?

We are working on a campaign for PAR+RS in Scotland, a new essay

for Fonds BKVB, a project for Kesselskramer and more books.

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STOUT/KRAMER

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FRASER MUGGERIDGE

Fraser Muggeridge studio (Fraser Muggeridge, Sarah Newitt

& Stephen Barrett) is a graphic design company based in

Clerkenwell, London.

Throughout a wide range of formats, from artists’ books and

exhibition catalogues to posters, maps and postcard invites, the

studio prioritises artists’ and writers’ content over the imposition

of a signature style. By allowing images and texts to sustain

their own intent and impact, each project is approached with an

elegantly pared-down aesthetic, with colour, typography, paper

stock and format playing a key role in arriving at a sympathetic yet

subtly alluring object.

Fraser Muggeridge founded and is a tutor at Typography Summer

School, a week-long programme of typographic study in London

for recent graduates and professionals.

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FRASER MUGGERIDGE

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FRASER MUGGERIDGE

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REFLECTING UPON RESEARCH

Through my extensive research I have concluded that my

outcome(s) will follow deconstruction theory through dissolving

the episteme built on the opposition of the speech/writing

ideological pair.

I will do this through the democratisaton of the publication of

short stories, following the discourse of the punk 'do-it-yourself'

and 'anyone can have a go' ethos.

From my research I have also concluded that my outcome(s) will

draw from ideas based around typographic exploration, in order to

blur the divide between written and spoken word, and to enhance

the readers' comprehension of each text.

I will also need to draw inspiration from contemporary

typography, as elements of this will run throughout the

outcome(s) to ensure coherency.

All while retaining an aspect of commercial viability.

-032-

"WE NEED TO RECOGNISE THE MERIT OF EXPERIMENTATION AS A TOOL OF CONSEQUENCE; IT IS NOT 'JUST AN EXPERIMENT' BUT AN

ACTIVE INVESTMENT RATHER THAN A SITUATIONAL ACTIVITY."

IDEA GENERATION, DEVELOPMENT& REALISATION

IDENTITY

I began the design process by

brainstorming possible names for

the outcome(s), with the idea that it

would take the shape of a publishing

house based a round a new

publishing discourse of user-generated

content.

-034-

After generating name ideas I

decided that Rhoka Press was a

favourite, partly because of the throw

away nature it had due to lack of

meaning - which I thought relevant to

my project .

-035-

LOGOS

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LOGOS

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CRITICAL FEEDBACK 001

After taking my final logo proposal to critique I was given the

following feedback from a mix of my peers and tutors:

• Rhoka shouldn't be used as the name - there is no

meaning behind it and would be hard to explain the

reasoning for it in a professional context.

• It is unclear what the pictogram logo is supposed to

be - although the majority saw that it was an open

book/pencil to represent the user generated content

and the typographically explorative nature

of the content.

Although these views weren't shared by everyone, there was

enough negative feedback about my visuals in context with my

project to cause me to rethink my approach. I decided that I

should explore the punk ethos in order to try and determine the

correct aesthetic for my project.

-040-

LOGOS CONTINUED

I decided that I would adopt the

DIY ethos of punk and create

my own typeface to help me try to

establish an aesthetic

-042-

A typewriter would be an

appropriate image for my project,

and captures the alternative nature

of punk

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While thinking about the alternative

nature of punk, and the typewriter

I thought of Dvorak, which is an

alternative keyboard layout to the

common QWERTY setup

-045-

CRITICAL FEEDBACK 002

I presented the new Dvorak identity and it was well recieved as it

fitted far better with the context of the project.

It was suggested that if I thought more deeply about my project I

might consider moving away from the idea of 'flash visuals' and

stop trying to align with existing publishing houses and create

something new.

A new publishing paradigm. The core values of the project already

existed to make this possible, but I now needed to apply them to

my design process.

I decided to stop focusing on an identity and to begin designing

the outcomes with the belief that if a name was needed, it would

come to me in time.

-046-

THE BOOK

I had decided that one of my outcomes would be the first in a

series of short story books, to which anyone can submit a text

under a theme. The theme for this issue was to be Journey.

I just had to wait to recieve stories.

A twitter page was my main tool for finding people who might

have been interested in submitting. I recieved my first story

An Underground Story: Alone on the MET

by Ross Bennett

I also mocked up a little booklet of

two existing short stories to apply

my typographic exploration

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I experimented with letraset and

layout to give the bumby feel of train

travel for Ross' story

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Layout designs for another submitted

story

CRITICAL FEEDBACK 003

When I presented my layouts it was decided that they needed

further development and that I should spend more time thinking

about the semiotics of every single element of each story.

-053-

FINAL LAYOUTS

ROARLOUISA SIMMONS

Roar by Louisa Simmons is a

story about a little girl being

terrified of her first day at

school, and her Mother being

frightend of handing over

responsibility of her daughter.

The first story page has a

very classic layout, as this

is narration. The following,

striking layouts represent the

assertiveness of the school

teacher who takes the child

and eases her with a story of a

little girl in the same situation,

but in a different context.

The jarring areas of type

represent the shuddering roar

and speech of a monster, who

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himself represents the fear of

the unkown within the story.

The text is designed to

introduce you to the situation,

then assure you of the teacher's

ability. The Monster's type

almost hurts to look at, as it is

ugly and imposing.

-055-

KNICKERCHIEFBARTHOLOMEW BARTHOLOMEW

FINAL LAYOUTS

Knickerchief by Bartholomew

Bartholomew is a morning

after the night before account

of an interesting turn in events.

The layout represents the

disjointed evening, and having

to piece together the fragments

of memory, with help from

witnesses. The overlapping text

represents parts of the account

that are particularly hazy - and

-056-

are therefore more difficult and

annoying to read.

On the 3rd page the black

background is representative

of a text message, so the extra

layer of visual information

represents staring into a

phone, and dialog in another

dimension.

-057-

UNTITLEDKITTY HUGHES

FINAL LAYOUTS

Untitled by Kitty Hughes is a

story about a small boy who

has run away to join the circus,

'the greatest show on earth.'

and focuses his observations.

The layout is rotated 90° to

represent how nothing is as

it seem at the circus. All the

pages are styled the same way,

this is to exagerrate the idea

of expecting the unexpected.

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Each passage in the layout

is reflected into an identical,

but illegible passage placed

next to the original. This is to

represent how the circus can

be visually demanding, with

bright colours and distractions.

It also exagerates the feeling

at a circus of distinguishing

between reality and illusion.

-059-

AN UNDERGROUND STORY:ALONE ON THE METROSS BENNETT

FINAL LAYOUTS

Alone on the MET by Ross

Bennett is a story about about

a boy who embarks on a

journey on the MET line on

the London Underground, and

as anyone who has had to take

the MET anywhere, it's never

an easy ride.

The Title is set in Johnston

Underground, the typeface

used across all London

Underground signage. The

whole story is set out so that

the reader feels that they are

in the tube carriage with the

boy, living his experience as he

does. When the ride is bumpy,

the reader finds they're eyes

-060-

darting around the page. The

lines represent the tube lines in

a literal sense, but the stations

they converge at create borders

around negative descriptive

words that can be associated

with travelling on the tube.

-061-

WEBSITE

For my project to retain commercial viability, and as a hub for the

issues, I decided to design a simple website. I took the same ethos

from the book and applied the design elements to the website. You

can view pictures of the latest issue, browse digital versions of the

whole book, or skip to individual stories. There's also information

about the project and details of how to submit for future issues.

There is also a Twitter page to go hand in hand with the site.

-062-

www.monikabooks.com

[email protected]

I decided on the name Monika

for the project. It is a play on

the word moniker which is the

name for a name. Each and

every issue of the publication

has a different theme, a

different name, so I needed a

phrase that could capture this.

On the site the changing

nature of the project, and

the deconstruction of the

speech/writing opposition

is represented by the Monika

header changing at random

with every click. This is also

representative of anarchy

These are a few samples.

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PRINT

Booklet - 44pp (22 x 2)

Cylus 115gsm

1-colour (blue)

20 copies

Cover - Cylus 150gsm

2-colour (blue & red)

20 copies

Saddle stitched

The risograph is an environmentally friendly and cost effective

printer which uses soy based inks to produce unique quality

outcomes. Each screen is made from banana paper and unlike

litho printing only takes a single print for the screen to be fully

inked and ready for printing.

Traditionally, Risographs have been used for high volume

photocopying in schools, churches and small political parties.

The process has been customised for the production of artist

publications, invites, flyers, posters, illustration prints and zines.

The Risograph is not perfect like a inkjet or laser printer.

The prints will probably look different from what you see on your

computer screen.

There will be print marks, especially when printing more than

one layer or double sided. But these can easily be rubbed off with

a rubber.

Registration will not be perfect when printing more than one

layer, that is because the Risograph prints only one layer at a time.

Cyclus is a recycled off white stock that is great for books, fold out

posters, cards and flyers.

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Hato Press is a print and publishing house which runs a Risograph

RP 3700 stencil duplicator. The risograph covers a gap in the

market that has been held by digital and lithograph printing.

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FINAL OUTCOMESISSUE#001JOURNEY

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FINAL OUTCOMESMONIKABOOKS.COM

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Please view in Firefox or Safari

Smartphone compatible

www.monikabooks.com

[email protected]

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www.monikabooks.com

[email protected]

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www.monikabooks.com

[email protected]

CONCLUSION

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During my extended major project I have demonstrated the ability

to rigourously apply specialist knowledge, understanding and

creativity in the production of my outcomes.

-This is shown in my research into deconstruction

theory, the ethos of which resonates through my final

outcomes. It is also apparent in my research

into Futurism, Dadaism and Avant-Garde, which is

shown through the individual type treatment of each

text. My logo proposals for Rhoka and Dvorak,

although not used, also display these abilities.

I have clearly demonstrated the ability to manage the complexity

of practice demanded by the extended major project by managing

my time and work efficiently.

This shown in the seeking and recording of critique

from both my peers and tutors. It is then shown

through a post critique analysis of what I am doing and

where my focuses are. These can be seen in

the sections 'Critical Feedback 001,002 and 003'.

These abilities are also shown through my time

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management. I have created a good body of work that

shows considerable research, analysis, ideation,

synthesis and realisation throughout. This has resulted

in two strong, well considered and coherent final

outcomes.

My extended major project shows considerable ability in the

coherent use of various representation techniques, documentation

and presentations to specialist and non-specialist audiences.

This can be seen throughout my final outcomes.

Theories that have been heavily researched and are

apparent in the outcomes are deconstruction theory,

futurism, punk and anarchaic movements and

semantic typography. With these elements apparent,

the outcomes are still appealing, visually and

contextually, to a non-specialist audience. The book is

easy to navigate through due to the coherence supplied

by elements such as the contents page and page

numbers. The website is easy to navigate around and

find stories to read and information on how to submit.

The book can be viewed in its entirety online, on any

computer or smartphone, or single stories can be

skipped to, for quick and easy navigation.

I have shown an adept awareness of the ethical, social and cultural

issues appropriate to the concept of a responsible professional

practitioner, whether working independantly or as part of a team.

I sourced a specialist printer and negotiated the job

with them. Environmentally friendly soy inks and

post-consumer-waste paper was used in an

environmentally friendly, cost effective and fast

process. The project successfully shifts the paradigm

of short story publication, using the ideals and ethics

of numerous socially and culturally conscious

movements.

My extended major project has successfully created a new

discourse for the publication of short stories while maximising the

readers' comprehension of the text and maintaning commercial

viability.

BIBLIOGRAPHY

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Derrida, J, (1966), "Structure, Sign, and Play in the Discourse of Human Sciences," lecture delivered at Johns

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Derrida, J, (1974), Of Grammatolog y, John Hopkins University Press, Baltimore.

Heller, S & Fili, L, (2006), Stylepedia: A Guide to Graphic Design Mannerisms, Quirks, and Conceits,

Chronicle Books, San Francisco

Hochuli, J & Kinross, R, (1996), Designing Books: Practice and Theory, Hyphen Press, London

King, S, (2001), Magazine Design That Works, Rockport, Gloucester

Lupton, E, (2009), Deconstruction and Graphic Design: History Meets Theory,

http://typotheque.com/articles accessed 15/03/11.

Mermoz, G, (1998), Deconstruction and the Typography of Books, Baseline (Issue 25).

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Noble, I & Bestley, R, (2001), Experimental Layout, Rotovision, Hove.

Noble, I & Bestley, R, (2005), Visual Research, AVA, Switzerland.

Norris, C, (1982), Deconstruction: Theory and Practice, Routledge, London.

Perry, M, Sniffin' Glue.

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Unknown, Sideburns magazine, (1976).

Woodcock, G, (1962), Anarchism, Pelican Books, London.