2013.1
istdstudent assessment projects International Society of Typographic Designers
IN PARTNERSHIP WITH
SOUND BITES British Library Sounds presents over 50,000 recordings that cover a vast range of themes – from music, drama and literature, to oral history, wildlife and environmental sounds. Categories in the collection include: Accents and Dialects; Arts, Literature and Performance; Classical Music; Environment and Nature; Jazz and Popular Music; Oral History; Sound Recording History; World and Traditional Music; Sound Maps. We want you to focus on the Accents and Dialects category of the collection by going to the following link: http://sounds.bl.uk/information/public-collections Ensure that you select only the following categories under ‘Public Collections’ – • Number 4 BBC Voices and/or • Number 40 Survey of English Dialects As in countries around the world, the United Kingdom is made up of a rich tapestry of accents and dialects, from Buchan Doric to the Scouse of ‘The Boys from The Blackstuff’ (‘gie’s a job’) … from ‘Rab C Nesbitt’ to ‘Gavin and Stacey’ … from ‘Eastenders’ to ‘Emmerdale’. Accents are important – they characterise us as individuals and communities, reflect our urban and rural identities and, undoubtedly, act as a mark of social status – think of the Received Pronunciation that still defines Radio 4. An accent can be a transient thing, depending on where we move to and how our lives change. The Brief You are required to design a submission that investigates sound recordings selected from the British Library Sounds digital collections. This brief presents you with the opportunity to express the essence and spirit of your chosen sound recordings. You may wish to edit and select appropriate ‘sound
bites’ from these audio clips or use transcripts for your text matter. Consider the juxtaposition of your chosen recordings – do they have anything in common? Do they address similar issues/themes? Are they opposites? Or simply celebrate the emotions that are aroused by your chosen words. Consider the way that different accents may suggest particular fonts – some bolder, some softer, sharp, distressed, condensed, thin, fat, serif/sans serif etc. You decide – the possibilities are endless. Use whatever methods and media you consider appropriate to convey your solution effectively – as long as you express a solid idea, inform us and show us your typographic skills. Make sure that you incorporate typographically detailed text matter that expresses an information hierarchy. Remember that words and language are our collateral and that your submission should be essentially typographic. Target Market Educationalists, social historians, design professionals and a discerning public Submission Guidance/Requirements Your project submission should include sufficient appropriate material to show that you have addressed the brief comprehensively and clearly expressed your design and typographic skills. It must include: • • • • •
Strategy Research and design development Specifications/Grid(s) Final outcomes Disc showing development and presentation images of your project
Cross-reference this project brief with the Assessment Criteria guidance notes.
2013.2
istdstudent assessment projects International Society of Typographic Designers
CIRCUS P. T. Barnum. Billy Smart’s. Chipperfield’s. Cirque du Soleil. The Moscow State Circus. The Jim Rose Circus Sideshow. The Circus of Dr. Lao. Freaks. Archaos. Carnivale… . Whether it’s the childhood delights of the circus coming to town, the sideshows and freakshows, the performing animals, the trapeze artists, the (terrifying) clowns, the lion tamer, the ringmasters, the midway, the big top itself, or the darker side of Geek Love... the Circus provokes a wealth of delights for all ages and temperaments. Brief Now, the Museum of the Circus is coming and you are asked to provide the branding and publicity for the building or a moving image piece which will be used as a ‘filler’ between films in the auditorium or projected to entertain queues waiting for events to begin. Branding You must create the name, logo and applied identity for the Museum of the Circus. Consider its displays, activities, programme of events and so on. Is museum even the right word to describe it? Should it capture the very essence of the history and range of Circus life? Will it have a theme such as Buffalo Bill’s Wild West, or the heyday of performing animals? When you enter the museum, will you be a Rube, or will you be cast as a Carnie? Whatever approach you adopt, ensure you use it as a vehicle to express your typographic skills. Films The films should be no longer than three minutes and should begin and end with a clear identity for
the museum. They can explore a specific circus, or focus on a particular aspect of the circus itself or take a wider view of circus life. Use whatever methods and media you consider appropriate to convey your solution effectively – as long as you express a solid idea, inform us and show us your typographic skills. Make sure that you incorporate typographically detailed text matter that expresses an information hierarchy. Remember that words and language are our collateral and that your submission should be essentially typographic. Target Market Identify your market, and how you will target it, in your Strategy. It may well be a family orientated affair, or perhaps if you focus on the darker aspects of the Circus in popular culture, it might be a very exclusive audience indeed. Then again the direction you take the project in might be specifically aimed at film buffs or for retired clowns… Submission Guidance/Requirements Your project submission should include sufficient appropriate material to show that you have addressed the brief comprehensively and clearly expressed your design and typographic skills. It must include: • • • • •
Strategy Research and design development Specifications/Grid(s) Final outcomes Disc showing development and presentation images of your project
Cross-reference this project brief with the Assessment Criteria guidance notes.
2013.3
istdstudent assessment projects International Society of Typographic Designers
BOOKS STILL? ‘In the age of electronic transmission of text and images to screens? There is no need here to rehearse arguments for the virtues of printed information and the codex form. Prophets of the death of the book are now scarce and they are more cautious in their arguments than they were in the early years of the electronic revolution. As evidence of the durability of the book as a form, we need only to think of the inexorable increase in the number of titles published each year, of the battalions of printed directories and magazines that accompany and explain this electronic revolution.’ Robin Kinross 2003 ‘As designers arrange texts in space and time, they use the forms, structures, and signals of typography to guide readers through streams of content. “Text” has a specific meaning within design. It is also a concept embedded in theories of writing and communication, connecting graphic design to broader cultural discussions. Technology has influenced the design of typographic space, from the concrete physicality of metal type to the endless flexibility (and peculiar restrictions) imposed by digital media. The typographic text has evolved from a body that is solid, stable, and closed to one that is open, malleable, and unfixed.’ Ellen Lupton 2010 Background As the starting point for this project you are asked to explore traditional and contemporary book and publication design in terms of typography, image, navigation, hierarchy, formats, and binding. As part of your research you should consider how design has been used to express structure and narrative. You should also explore the creative possibilities offered by production processes and materials, finishing and binding. Brief Working with content that you have selected you are asked to develop an editorial design project that considers how we read in the 21st century. Choose a format that is appropriate for your subject
matter and your target market. It could be a high quality printed publication, a screen-based interpretation or a combination of these. Current developments in publishing should be considered such as printed books, apps, ‘Print on Demand’ (PoD) hypertext links in digital formats … . Content Possible content could include genre publishing such as crime, literary fiction, Illustrated books, thriller, science fiction, film, history, classic novels, short stories, or your project could move beyond book design into the broader arena of editorial design to include journals, newsletters, newspaper supplements … . Use whatever methods and media you consider appropriate to convey your solution effectively – as long as you express a solid idea, inform us and show us your typographic skills. Make sure that you incorporate typographically detailed text matter that expresses an information hierarchy. Remember that words and language are our collateral and that your submission should be essentially typographic. Target Market Identify your market, and how you will target it, in your Strategy. Submission Guidance/Requirements Your project submission should include sufficient appropriate material to show that you have addressed the brief comprehensively and clearly expressed your design and typographic skills. It must include: • • • • •
Strategy Research and design development Specifications/Grid(s) Final outcomes Disc showing development and presentation images of your project
Cross-reference this project brief with the Assessment Criteria guidance notes.
2013.4
istdstudent assessment projects International Society of Typographic Designers
FOOD FOR THOUGHT? Food is an emotive subject. Maybe a burger funks your bunk or pasta paddles your canoe. Epicures, foodies, slow foodies, fruitarians, gastronomes, gluttons, gourmands, gourmets, gorbs, vegans, vegetarians, pescetarians, pollotarians, kangatarians – all have attitudes to food and eating that often conflict, but food is more fundamental for millions whose primary focus is finding enough to survive. We have arguably a greater than ever proportion of broadcast time and print media devoted to food. Certainly the ration of televison programmes is very generous – to the point of repletion. Echoed by the range and volume of foods now available to those of us in the First World, we define aspects of culture and societal perception by our relationships with and attitudes to food. Brief Investigate food. We want you to take a new view rather than, say, an exploration of the mass of terms associated with food. Could the chemistry of food, the olfactory and somatic associations with food or dietary choice offer sources for informing and educating? Or should we consider the plight of those who don’t have the choice of what to eat? Anything goes, but express a viewpoint – inform us. Use whatever methods and media you consider
appropriate to convey your solution effectively – as long as you express a solid idea, inform us and show us your typographic skills. Make sure that you incorporate typographically detailed text matter that expresses an information hierarchy. Remember that words and language are our collateral and that your submission should be essentially typographic. Target Market Identify your market, and how you will target it, in your Strategy. Submission Guidance/Requirements Your project submission should include sufficient appropriate material to show that you have addressed the brief comprehensively and clearly expressed your design and typographic skills. It must include: • • • • •
Strategy Research and design development Specifications/Grid(s) Final outcomes Disc showing development and presentation images of your project
Cross-reference this project brief with the Assessment Criteria guidance notes.
2013.5
istdstudent assessment projects International Society of Typographic Designers
UNSUNG HEROES AND HEROINES ‘The legacy of heroes is the memory of a great name and the inheritance of a great example.’ Benjamin Disraeli on heroes and heroism
‘There are two kinds of heroes. Heroes who shine in the face of great adversity, who perform an amazing feat in a difficult situation. And heroes who live among us, who do their work unceremoniously, unnoticed by many of us, but who make a difference in the lives of others.’ Susilo Bambang Yudhoyono President of Indonesia
‘I am of certain convinced that the greatest heroes are those who do their duty in the daily grind of domestic affairs.’
The Brief Create an informative typographic experience that brings your chosen ‘Unsung Heroes and Heroines’ to life in a submission supported by high quality research and intellectual rigour. Use whatever methods and media you consider appropriate to convey your solution effectively – as long as you express a solid idea, inform us and show us your typographic skills. Make sure that you incorporate typographically detailed text matter that expresses an information hierarchy. Remember that words and language are our collateral and that your submission should be essentially typographic.
Florence Nightingale
Target Market Define your market, and how you will target it, in your Strategy.
Introduction Media produce constant articles and programmes on the rich and famous – tracing their life stories and celebrating their achievements. But what about ordinary people whose lives go unwritten – your gran’ or grandfather who lived through a war … the old immigrant gentleman who came as a young man to be a doctor … the group of friends who have travelled abroad to build homes for the poor … the charity workers who save lives in disaster zones … or perhaps the woman who beat breast cancer despite the odds… . People such as these continue to achieve great success with little or no recognition.
Submission Guidance/Requirements Your project submission should include sufficient appropriate material to show that you have addressed the brief comprehensively and clearly expressed your design and typographic skills. It must include:
Let’s look for fresh and effective ways to celebrate these often un-recognised heroes and heroines.
Cross-reference this project brief with the Assessment Criteria guidance notes.
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Strategy Research and design development Specifications/Grid(s) Final outcomes Disc showing development and presentation images of your project