OUGD601 Secondary Planning practical Context of Practice 03

This book will contain the majority of development work done for the brief, each page will be dated to correspond to the critical journal that I have and will be writing detailing my emotional and social proximity to the designs created during the design process.

Re-Choosing Quotes: Since it was mentioned in the crit that the overly wordy victorian quotes could alienate the audience because of their complexity. So I went back through each chapter and made a selection of options for each.

Then I put a start next to my favourites. These were sleceted as my favourites because the represented the ideas of the chapter and of each type of proximity most succinctly and effectively.

The length also contributed to this because it occurs to me that they cannot be too long because this can put people off from reading them and effect the size of the text which in turn effects the distance at which the boards can be read.

This is one of the most basic, simple quotes. Its simplicity makes it open and all enbraing. This fits exactly with what I want to evoke for the emotional proximity board.

My shortest quote is the one shown above for temporal proximity. I ended up choosing the last one on the page, 'craft is trustworthy, microchips are not' (Christopher Frayling 2011) I particularly like this quote and feel that it is rght for the temporal proximity board because its abruptness and cut and dry tone makes you stop and question it, think about whether you agree wih it. This engagement is exactly what I want to achieve because it represents the conversation on just these issues that is mt temporal prximity chapter. 

Lettering and embellishment thoughts and ideas:

I chose the quote above for physical roximity because of the way it not only pin points the role of the hand of the maker but also is specific to chalkboarding as a craft. The main concept of my first chapter is the hand of the maker and the syntax of this quote, how it finishes with the focus on 'the hand', fits perfectly with this and creates a starting point for communicating just that. This can be continued through the imagery that I used on the rest f the design. I used these pages to generate ideas about the lettering styles and imagery and how they can help communicate the ideas established by the quote. as you can see from the ntes on the page, I want both the imagery and the lettering to communicate the hand of the maker, or the very hand that the quote is talkng about. I will do this by using florid hand writing styles and keeping the consruction lines from the creation of the board, illuding t its hand made ceation, and create dust clouds to frame the lettering, showing the mess and marks of physical interaction that result from the process of creating a chalkboard.

For the scial board I chose a William Morris Quote, but a carefully simple one that didn't have too much florid victorian language. Once again the main focus of this quote is the end 'fraternity'. So, what I want to communicate in the lettering and imgery isconnectedness. To do this I want calligraphic connected forms with studied ligatures. I also want the type to relate to the historical context so will ocnduct some research into the Kelmscot press and the traditions f teh arts and crafts aesthetic. For the imagery and ornamentation I want to stick with the calligraphic forms and florishes which also extend into botanical forms which reac and connect with one another, again cmmunicating connectedness.

To represent emotional proximity I chose the quote above, because of its concise and simple communication. The idea of hope is the central concept taken from this quote because it is the happiness and emotinal connectedness that can be found in making that is central to my emotional proximity chapter. I want to communicate this idea of hope through making by using the visual hook of a light source to represent the hope. This will then be reflecting off the type which will be gem like and facetted in many colours. the reflectivness of the letters will increase as you progress through the quote so the word 'hope' is the centre of attention.

As previously mentioned I chose this quote because of its ability to make people question it. This is because of the exreme cntrast of the two parts that make up the quote. I will be exaggerating this with the design descisions. To do this I want to visualy create a typographical contrast between the two halves. The first half which needs to connote craft could be an irregular copperplate itialic, expressive of personality in its imperfectionss and irregularities. The second part, or the microchip, will be modern high contrast stroke weight type that is sharp and regular compared to the copperplate. The imagery will be in pattern or decoration form but eaither end could be patterns that are informed by the two forms outlined in the quote, one using arts and crafts patterns, simplified and characatured. then I am thinking about creating a modern pattern equivilent that connotes technology at its hight. To do this I want to look at motherboards and microchips and create patterns which clash with the one coming down the board from the top.

The next step will be to start to sketch the lettering styles and  scale layouts. This will all be detailed both on my log and in my critical journal that will be posted on my blog at the completion of the project and in the Appendecies of my essay.