Type Specimen _ Turn it off and on again by Joe Kozak

STRATEGY AND SPECIFICATION

CONTENTS Strategy Specification Book Grid Body Copy Headers and Numbering Introductory Page Information Page Contents Book Cover Reference Page Image Referencing Pull Quotes Strokes Display Type Hashtag Text Overlays Text Overlays Getting Lost Illustrative type Poster Text Drop Caps Text Frame Breaking the Grid Typefaces Colour

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18 19 20 21 23 25 27 28 29 32

STRATEGY AND SPECIFICATION

STRATEGY

This project as part of my BA (hons) Graphic Design course aimed to investigate the way that technology which is accessible to most has either a positive or a negative impact on our lives. By looking into a range of technologies which includes satellite navigation, gaming, the internet and medical technologies I had hoped to cover a vast area of knowledge to include in this book/annual. I aimed to design my publication in the form of a more expensive magazine or special addition annual. By desiging in this style I will be able to explore the use of typography in a more experimental style without having to stick tightly to a set of guidelines throughout a whole book. Although this type of publication does give me more freedom I still have the difficulty of retaining a recognisable style throughout the entire publication but by making it clear when the reader has come across a new section break. For each section, I have included both the good and bad sides of each to give a well rounded informed opinion of the subject but which offers the reader the ability to form their own opinion on it through the research that I have gathered. There has been a strong focus on image gathering and editing to help keep the publication vibrant and interesting throughout. With a subject like technology, it is important that the style of the book represents this. I have used the internet as a fantastic resource for relevant imagery and to source typefaces which which add a unique style to the publication. With the book being about technology, I have utlised technology well in order to produce something with the subbject in mind. The typefaces I have used work well together to give a strong sense of hierachy throughout. Shonar Bangala has been used as the body text throughout as I feel it was a suitable choice as it allows it to be read more easily. With the strong contrast between the serif typeface and the larger, bolder sans serif typeface Steelfish, it gives the reader an easier way to follow the text around the page and get all the relevant information to the reader in an accessible form. One of the main focuses of this publication was to gather and find a way of displaying a large amount of content in a way that readers would actually want to take the time to read. Through strong imagery, interesting uses of typography and

STRATEGY AND SPECIFICATION

little bites of information throughout I feel I have accomplished this successfully. The content I have gathered and predominantly written myself is a skill which I feel I have been able to push further during this project and managing this has been something which I have taken as a challenge but feel I have been able to cope with it well. I have not only used type and imagery alongside eachother to retain a more ‘magazine style’ in this publication but have also included some infographics to help get across information that may be less easily accessible. This is something which I have learnt in a previous module and I felt it would be suitable to include this new technique into this project. Even though the imagery used in this project is strong and effective, I feel as though the use of typography is what really adds a more dynamic factor to it which separates it from other publications that may include similar content. The use of typography as an illustrative tool is visible in the gaming section where I have captured the style of the game through only using the one typeface. For example on the page that talks about Portal 2, I have presented the type in a way that makes it appear as though it is travelling through a portal. For the books cover there is a strong focus on the typography used, in this instance, I have used ocr A extended, a coding font. This typeface was used to represent technology and as well as the type being used in an illustrative use, it also contained important information. Although I had a separate contents page, the information on the book cover is a more in depth contents page, covering each individual section in the publication. The layout of the publication is fairly heavy which relates to the way that we are constantly bombarded with technology. With large drop caps throughout I have captured the way that technology has a strong hold on our lives and in what we do. In the same way that the drop caps control what we look at and in the way that we follow the text. I have been more sensitive with type in some sections, for example, the section in which we talk about the medical dependence within technology has been treated more gently. I have used overlays of type over the imagery rather than completely breaking up the type like I had done in previous pages such as the ‘dangerous dependence’ section. Hopefully after reading this book the reader will be interested in finding out more about where the information came from. Which is why I have included a full reference of all the images used and on the odd occasion where I have included an article which is not written by myself. The layout of the reference page and the beginning information page has been designed in a different style to the main content of the book in order to make it clear what is secondary information and what is the main content that should be read. This book provides it’s readers with an insight into the way technology has affected our lives, where our dependence comes from and whether it is going to be too dangerous to us. Technology will always be in our lives and it will continue to develop at an extraordinary speed and there is nothing that can stop that. So I hope that this book gives it’s readers the ability to make their own informed opinion on it. The approach to typography in a technologically controlled manner is something which I hope will come across clearly throughout.

STRATEGY AND SPECIFICATION

SPECIFICATION BOOK GRID

1. 2. 3. 4. 5. 6.

PAGE SIZE - 200mm x 270mm VERTICAL GUTTER - 5mm COLUMN - 25mm SIDE MARGIN - 12mm UPPER/LOWER MARGIN - 12mm HORIZONTAL GUTTER - 5mm ROWS - 45mm

STRATEGY AND SPECIFICATION

SPECIFICATION

BODY COPY

1. 2. 3. 4. 5. 6.

DROP CAP - Steelfish, bold, 400pt, aligned centred, rich black BASELINE - 12pt INTRODUCTORY TYPE - century gothic, bold, small caps, aligned left, 7pt/12pt C:15,M:100,Y:100,K:60 BODY COPY - shonar bangala, regular, 10pt/12pt, aligned left, 100% black CONTINUATION DEVICE - 2.5mm x 2mm, C:15,M:100,Y:100,K:60 UNDERLINE - 55mm x 2.5 mm, rich black

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6 Burnout Paradise is the seventh game in the

Burnout Series, created by Criterion Games and published by Electronic Arts. Burnout Paradise is set in a sand box style map which allows for the player to drive where ever they please. The game changed it’s format quite drastically from the last instalment where the races were chosen from a menu within the game. To begin with, I initially hated the new format as I preferred to just choose the races rather than have to find the races within the game. Another huge difference we saw within the game was the removal of multiplayer which meant that we could not play with a friend on the same console. The only way to play with someone else was to do it online.

This new way of multiplayer is something as a gamer we have to accept. With more and more people being able to get high speed internet connection, online gaming becomes inevitable. Personally, I preferred to be able to play alongside someone rather than play to a

voiceless and faceless competitor. The main downfall that this game did have is lack of story line, which there was none of. However, in a way I feel this may have slightly favoured it because it meant that you could put the game down and pick it up whenever you pleased without having to worry about whether you forgot what was happening the last time you played. The game was visually very impressive, with a shiny gloss added to near enough every aspect possible. There really was a huge jump in the way the game looked from the last instalment which made it much more playable and made you want to explore the entire map. This game had me engaged for over 50 hours, even though it was very repetitive in the nature of it, I think it was the will to succeed and achieve every trophy possible that kept me coming back for more. I was never content with coming second, so I played it again and again just to receive that first place award.

With a range of difference race and game styles within the a game there was always something that kept me engaged. The main types were; ‘stunt run’, ‘race’ ,’speed trial’ and ‘crash’. The crashes were what really set this racing series from the others on the market as they were unbelievably realistic and in some cases, exaggerated. Burnout Paradise was a revolutionary racing game that set the standard for the format of racing games in the future. Gone is the restrictive nature of the order in which you can play the game and now we are in a time in gaming where the user decides the flow of the game throughout.

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STRATEGY AND SPECIFICATION

SPECIFICATION

HEADERS AND NUMBERING 1. 2.

HEADER - century gothic, regular , 7.5pt, 50% black PAGE NUMBER - ocr A Extended, regular, 10pt, 100% black

TURN IT OFF AND ON AGAIN | GAMING

STRATEGY AND SPECIFICATION

SPECIFICATION

INTRODUCTORY PAGE 1. 2. 3. 4.

HEADER - steelfish, bold, 72pt, aligned centre, rich black BODY COPY - shonar bangala, 10pt/12pt, aligned left, 100% black COLUMN WIDTH - 857mm BREAK - 12pt

Technology is a huge, unavoidable part of our lives, it is almost impossible to avoid as we interact with it in some way every day. This book is designed to discuss and showcase how reliant we have become on technology as a whole. I certainly have always had a passion with discovering new, innovative technology but have never really taken the time to consider why this is and why in general we are obsessed with finding new ways of either distracting ourselves or attempting to find an easier solution to a problem that doesn’t necessarily need to be solved.

From Satellite Navigation Systems to 3D televisions and electric can openers to touch screen portable games consoles. There seems to be no end to the vast amount of technology that is available to us and personally, I feel I have fallen into this trap. The trap of wanting something new, something to make my life that little bit easier. But has it really been that much help or is the enticement of bright screens, online usability and the ever increasing capabilities shadowing the fact that as human beings we are obsessed with making our lives that little bit easier. In this book I want to look at whether all of this really helps. Through case studies on myself and my use of technology I will hopefully come to a more conclusive answer to whether my life is improved significantly by the technology that I use. The types of things that I use are a Tomtom Satellite Navigation System, a Sony Playstation 3, a HP MediaSmart Laptop, a Samsung Tocco Lite

mobile phone, a Samsung wifi 5.0 mp3 player, a Bush 26” inch TV, a 40” Sony TV and a Canon DSLR camera. To name a few. When you take the time to consider what you use you begin to realise just how dominant technology is in your life and these are just the physical things that you use. It is the way these are used that really allows you to see how often technology has an impact on your day to day activities.

Social networking is used through nearly all of the things that I use with such websites as Facebook, Twitter and Tumblr to name a few being used every single day. The work I produce as part of my practice is entirely reliant on my laptop and the enjoyment I get from my free time is spent using my television or playing on the Playstation3. It makes me wonder how we ever coped without all of these ‘useful’ gadgets and how I would feel if they were all taken away from me in an instant. How would I produce work, what could I accomplish and would I spend my day more effectively? Throughout the course of this book I want to find out just how much we use technology and how we would cope without it. I want to see how some groups of people live without any of the things that I use on a daily basis and consider whether we could live without it. Other things that will be discussed will be how technology has been predicted in the film industry and where technology is going now and in what ways it can be used in our favour to considerably help our lives.

STRATEGY AND SPECIFICATION

DESIGNED AND WRITTEN BY Joseph Kozak CONTACT hello@joe-kozak.com

TYPEFACES SteelfiSh,designed by Typodermic Fonts Century GothiC, designed by Monotype Imaging Shonar BanGala, designed by Monotype Corporation OCR A extended. American Type Founders PHOTOGRAPHY Canon d6000 slr

Copyright ÂŠ 2012 Joseph kozak No part of this issue may be used or reproduced in any manner without written consent from the designer. Every attempt has been made to identify the owners of copyright of imagery and text used. Turn It Off and On Again: An exploration in technology

IMAGES USED All images not produced myself have been referenced throughout and additionally at the end of the publication with full website listings TEXT All text has been written by myself except for instances that have been made clear throughout. The following pieces of text from other writers are as follows;

pg.5 Finding your way; wikipedia pg.72-74 Exactly what role did social media play in the egyptian revolution?; by Simon Mainwaring pg.82 Identity on the internet; Alex Masters-the independent pg.87-88 What is anonymous? ; Matthew J Schwartz-informationweek pg.95-100 London riots: How blackberry messenger played a key role; Josh Halliday pg.144 Eye Spy; Darren Quick-gizmag EDITING All image editing has bene produced using adobe cs5.5 software

WWW.JOE-KOzAK.COM

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STRATEGY AND SPECIFICATION

SPECIFICATION

INFORMATION PAGE 1. 2. 3. 4. 4. 5. 6. 7.

RIGHT COLUMN - 35mm LEFT COLUMN - 66mm BODY COPY - shonar bangala, 8pt/9.6pt. Left Column - aligned right. Right Column - aligned left. 100% black ROW LENGTH - 120mm WEBSITE LINK - shonar bangala, 8pt/9.6pt, aligned centred, 100% black HEADER/FOOTER BARS - 176mm x 12mm, rich black BOOK TITLE - steelfish, bold, 72pt/74pt, aligned left, rich black

STRATEGY AND SPECIFICATION

SPECIFICATION CONTENTS 1. 2 3. 4. 5. 6. 7. 8. 9.

125 - steelfish, bold, 190pt, aligned centred, paper. 139 - steelfish, bold, 145pt, aligned centred, paper. TITLE - century gothic, bold, 20pt, aligned left, rich black. CONTENTS - century gothic, bold, 9pt, aligned left, rich black. TITLE 2 - century gothic, bold, 28th, aligned left, paper. BAR - 14mm x 245mm, rich black. 101 - steelfish, bold, 182pt, aligned centred, paper. 83 - steelfish, bold, 125pt, aligned centred, paper. 41 - steelfish, bold, 150pt, aligned centred, paper.

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3: SATELLITE NAVIGATION

75: ONLINE ANONYMITY

125: LIVING WITHOUT TECHNOLOGY

13: GAMING

83: ANONYMOUS

133: TECHNOLOGY IN FILM

41: AVATARS

91: INSTANT MESSAGING

139: TECHNOLOGY: THE FUTURE

51: THE INTERNET

101: DANGEROUS DEPENDENCE

65: SOCIAL MEDIA

111: MEDICAL DEPENDENCE

STRATEGY AND SPECIFICATION

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STRATEGY AND SPECIFICATION

> > > > > > >

83 anonymous and hacking ERROR 404___REBOOT_C:DRIVE CORRUPT scanning for errors Booting up_restart activated

87 what is anonymous? 89 your privacy in their hands >alt: anonymous ><section_break> 91 MOBILE COMMUNICATION > 93 technical breakdown_instant messaging and itâ&#x20AC;&#x2122;s role in the London riots ><section_break> 101 A DANGEROUS DEPENDENCE_will it be our downfall? > 103 financial dependence > 107 can we cope? > 109 stuxnet > ><section_break> 111 MEDICAL DEPENDENCE > 113 technology as a bodily extension > 115 tempt one > 119 prosthetic > 123 x ray technology > ><section_break> 125 LIVING WITHOUT TECHNOLOGY >127 technology and the elderly; in the third world, in an amish paradise > ><section_break> 133 TECHNOLOGY IN FILM > 135 film tech_avatar,iRobot;wargames > 137 what did they get right? > 138 the ten greatest technology moments in film ><section_break> 139 TECHNOLOGY: THE FUTURE > 141 power hungry > 143 eye spy > 145 we can rebuild him > ERROR 404___REBOOT_C:DRIVE CORRUPT > scanning for errors > Booting up_restart activated > > >SECURITY BREACH >RUNNING FILE CHECK C:DISK >FULL CHECK REQUIRED> >30% >45% >78% >99% >99% >99% >ERROR_CORRUPT_DISK >REBOOT > >13091JD_NDKSL_ERROR CODE: 00000811830192 >_BOOTING UP FAILED > >SHUTTING DOWN </body>

><DOCTYPE 83 anonymous and hacking html PUBLIC -=//wc3/TNP/EN:BOOKPROj> ><TITLE>TURN ERROR 404___REBOOT_C:DRIVE CORRUPT IT OFF AND ON AGAIN</TITLE> STRATEGY AND SPECIFICATION >> scanning for errors >> Booting up_restart activated >> ><body> 87 what anonymous? Whyisisn’t it working? BOOK COVER >>A89question your privacy their handsday, asked in every single >>alt: when anonymous something doesn’t work it isn’t our first intention to try and fix ><section_break> > the solution but it is to blame it. We have become so reliant on our tech1. 91 COLUMN HEIGHT - 254mm.doesn’t work we don’t really know how to operate. MOBILE COMMUNICATION > nology that when something 2 >> 93 SUBHEADING - steelfish, bold, 30pt, aligned left,it’s rich black. technical breakdown_instant messaging and role in thephones Londonorriots Imagine a life without the internet, a world with no mobile com3. ><section_break> COPY ocr A extended, regular, 10pt/12pt, paper. > puterBODY games and -without an entire library at ouraligned finger left, tips. When did this 101 A DANGEROUS be why our has downfall? > dependance on DEPENDENCE_will technology startitand it grown to take over our lives? >><br/> 103 financial dependence >>This 107 can we opens cope? up on our world surrounded by computers and screens and issue >>looks 109 stuxnet into the way it has helped the world but also created some irreversible >>problems. Our dependence can be a dangerous thing but is it all bad? With ><section_break> >huge medical advancements in recent years, how can we say that technology is 111 MEDICAL >a bad thingDEPENDENCE when it does so much good. It is an on going debate but this issue >>brings 113 technology as ainbodily extension it together a serious but sometimes light hearted, manageable >>manner 115 tempt thatone will hopefully allow you to come to a decision on where you stand >>on 119the prosthetic technology debate. >> 123 x ray technology >> ><section_break> 1 POWERING UP 125 WITHOUT TECHNOLOGY > anLIVING introduction >127 technology and the elderly; in the third world, in an amish paradise > >> ><section_break> 3 SATELLITE NAVIGATION 133 FILM > 5 TECHNOLOGY finding youINway >> 135 film tech_avatar,iRobot;wargames 7 getting lost? >> 137 what did right? uses 9 history andthey it’sget original >> 138 the tenwith greatest technology moments in film 11 issues satellite navigation systems ><section_break> > 139 TECHNOLOGY: THE FUTURE <section_break> >13141 power hungry GAMING >> 143 eye spy 17 super eight; burnout, call of duty, driver, grand theft auto, LA Noire, Por>tal2, 145 we rebuild him Redcan Dead Redemption, Skyrim >> ERROR 404___REBOOT_C:DRIVE CORRUPT 35 a case study >> scanning forand errors 41 avatars hyper reality >> Booting up_restart activated ><section_break> >45 MMORPG_massive multiplayer online role playing games >SECURITY BREACH > 47 minecraft >RUNNING FILE C:DISK > 49 world of CHECK warcraft >FULL CHECK REQUIRED> <section_break> >30% 51 THE INTERNET_wasted time? >45% > 53 the internet helps - business >78% > 55 getting to know each other_social networking >99% > 57 making money in the big leagues >99% > 59 young money_internet breeds business >99% > 61 diy internet_user generated content >ERROR_CORRUPT_DISK > 63 - News in a digital age >REBOOT ><section_break> >65 SOCIAL MEDIA_how the most used tool on the internet helped shape a nation >13091JD_NDKSL_ERROR CODE: 00000811830192 > 67 online revolution >_BOOTING UP FAILED ><section_break> >75 ANONYMITY_dangers of the internet >SHUTTING DOWN > 77 you wouldn’t steal a car ></body> 79 cyber trolls_an offensive online army fuelled by anonymity and hate

SPECIFICATION

STRATEGY AND SPECIFICATION

SPECIFICATION REFERENCE PAGE 1. 2 3. 4. 5.

TITLE - shonar bangala, all caps, 10pt, aligned centre, 100% black. COLUMN HEIGHT - 250mm. RIGHT COLUMN - shonar bangala, 8pt/9.6pt, aligned left, 100% black. GUTTER - 3.3mm. LEFT COLUMN - shonar bangala, 8pt/9.6pt, aligned right, 100% black.

IMAGE REFERENCES SATELLITE NAVIGATION pg.3 motorway pg.5 steering wheel pg.8 no entry pg.9 satellite in space pg.11 car accidents GAMING pg.13 game controller pg.19 burnout pg. 21 call of duty pg.23 driver san Francisco pg.25 grand theft auto pg.27 l.a noire pg.29 portal 2 pg.31 red dead redemption pg.33 skyrim pg. 41 avatar pg. 43 avatars pg.45 mmorpg pg.47 minecraft pg.49 world of warcraft SOCIAL MEDIA pg.65 egyptian crowd pg.67 rioter pg.69 rioter shouting pg.70 bloody hand pg.71 egypt facebook pg.73 protester pg.74 egypt facebook ANONYMITY pg.77 man in headphones pg.79 laptop pg.83 anonymous mask pg.85 anonymous mask pg.88 anonymous masks pg.89 v for vendetta INSTANT MESSAGING pg.96 rioter pg.98 burning bus A DANGEROUS DEPENDENCE pg.101 - 104 stock market pg.105 control room pg.110 power plant

MEDICAL DEPENDENCE pg.111 old hospital pg.113 stephen hawking pg.114 pacemaker pg.115 -117 tempt one & glasses pg.119 prosthetic pg.121 soldier prosthetic leg pg.122 prosthetic running leg pg.123 skull xray

transportcafe.com thefamilycar.com launcestondailyphoto.blogspot.com airforcemagazine.com panoramio.com & wikkiwiral.com ign.com online-computer-games.com fronttowardsgamer.com hdwallpapers.com gta4.net 2bitgamers.com thinkwithportals.com redeadwikia.com et6.net gamerant.com thenytimes.com bit-tech.net mastermarth.net wowscreenshot.com theatlantic.com theatlantic.com ongo.com voices.washingtonpost.com theatlantic.com theatlantic.com theatlantic.com dead-stock-deviantart.com freeimageslive.com digitaltrends.com myconfinedspace.com reuniting.europe.blogactiv.eu freethoughtmanifesto.blogspot.com guardian.co.uk guardian.co.uk stockpk.com & masslive.com as-found.net utilities-me.com some14me.blogpost.com dailycaller.com upmc.com friendswelove.com bop,npaa.org bouhammer.com runninckrun.org radiologyteacher.com

STRATEGY AND SPECIFICATION

SPECIFICATION

IMAGE REFERENCES 1.

REFERENCE - century gothic, all caps, 8pt, paper/100% black.

IMAGE SOURCE: IGN.COM

STRATEGY AND SPECIFICATION

SPECIFICATION PULL QUOTES 1. 2 3. 4. 5. 6. 7.

STARTING QUOTE/COLUMN - 166mm AUTHOR - steelfish, bold italic, 24pt, aligned left, rich black STARTING QUOTE - steelfish, extrabold, 72pt/84pt, aligned left, rich black PULL QUOTE 1/COLUMN - 132mm PULL QUOTE 1 - steelfish, extrabold, 43pt/50pt, aligned left, 100% yellow PULL QUOTE 2/COLUMN - 80mm PULL QUOTE - steelfish, bold, 40pt/48pt, aligned left, paper

STRATEGY AND SPECIFICATION

SPECIFICATION STROKES 1. 2 3. 4.

STROKE 1 - 68mm, 1.5 stroke, ball tip, paper. INTRO TYPE - century gothic, 12pt/14.4pt, aligned left, rich black. FACTS - steelfish, bold, 100pt, paper. STROKE 2 - 70mm, 1.5 stroke, ball tip, paper.

THE INTERNET IS THE MOST USED PIECE OF TECHNOLOGY IN THE WORLD. WE LOOK AT HOW OUR LIVES HAVE CHANGED BECAUSE OF IT. WHETHER THAT BE GOOD OR BAD

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - HASHTAG TEXT OVERLAYS 1. 2 3.

#EGYPT- ocr a std, 110pt, paper. SUB TITLE - ocr a extended, 24pt, paper. #JAN25 - ocr a std, 154pt, paper.

#EGYPT 1

THE NUMBER ONE HASHTAG OF 2011 2

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - TEXT OVERLAYS 1. 2

PROSTHETIC - steelfish, bold italic, 304pt, C:15,M:100, Y:100, K:60, multiply. TEMPT ONE - steelfish, bold italic, 332pt, C:15,M:100, Y:100, K:60, multiply.

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY 1. 2 3. 4. 5.

GETTING - steelfish bold, 215pt, rich black. LOST - steelfish bold, 215pt, C:15, M:100, Y:100, K:60. INSTRUCTIONS - steelfish bold, 16pt, rich black. RESULT - steelfish bold, 13pt, C:0, M:100, Y:100, K:0. BODY COPY - shonar bangala, regular, 10pt/12pt, left justified. Text box size - 85.5mm x 85.5mm

TURN IT OFF AND ON AGAIN | SATELLITE NAVIGATION

in this case study I decided to go on a short journey which I have done countless times. The first step of this experiment was to find the petrol station using the Satnav. After immediately turning on the Satnav I was able to go into the â&#x20AC;&#x2DC;Points of interestâ&#x20AC;&#x2122; section of the menu and find the nearest petrol station to my destination. It then found the Morrisons petrol station which is the one I usually attend and went on to plan the quickest route.

For the First step

The first stage of the journey was correct, turn right out of my road, follow ridgeway road until the junction. At the junction follow it straight onto and then turn left at the end of the road. So far ,so good. Turn right at the roundabout, by turning right into the roundabout would have put me into a no through road. The next direction which was given was to turn left.

The main issue with turning left into this road would have been the resulting factor of driving down a public footpath. Clearly there are some issues with the Satnav system to get such a simple journey so wrong. I continued with my journey into the petrol station but was bombarded with the constant sound of the Satnav telling me to turn around wherever possible even as I sat in my car with the petrol station surrounding me.

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STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - ILLUSTRATIVE TYPE 1. 2 3.

TEXT FRAME - 114mm x 166mm. PORTAL 2 - steelfish bold, 130pt, width extended, rich black. BARS - 55mm x 3.5mm, ORANGE - C:0, M:64, Y:100, K:0. BLUE - C:100, M:0, Y:0, K:0.

TURN IT OFF AND ON AGAIN | GAMING

usual online addition in which you competed against other people. The detail that went into the working of the portals was astonishing in the sense that it completely engaged you within it as you began to, as the game says, ‘think with portals’. It made me think more about a game than I ever have which is something which I feel a good game should do. It should make the gamer feel involved in every aspect of it, whether that be the story line, the graphics or it’s format.

Portal 2 met every requirement that a game needed and by the time spent playing the game it is clear to see that the developers did a brilliant job. The problems were challenging but the will to solve every single one without having to use tutorials is something that makes this game a complete success Portal 2 is an award winning, revolutionary game that again didn’t focus on big action sequence. Portal 2 focused purely on the problem solving aspect of the game which followed it throughout. With an extremely intelligent story line and physics engine, Portal did exactly what it said on the tin. You used portals to solve problems and transport yourself and other objects across a complex map. The game had no online features but did have another complex multiplayer game which allowed for you to play with a friend.

In a way, the multiplayer part of the game is what made it such a brilliant game. Being able to play alongside a friend and solve problems together was a refreshing change against the

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - ILLUSTRATIVE TYPE 1. 2 3. 4.

CIRCLES - 160mm x 160mm, 3pt stroke, 100% yellow. STUXNET - steelfish, extra bold, 188pt, centre aligned, 100% yellow. INFO TEXT - ocr a extended, 17pt/20pt, aligned left, 100% yellow. STROKE - 98mm, 1.5pt, 100%, yellow.

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - POSTER TEXT 1. 2 3.

TEXT FRAME - 80mm x 175mm SPACING - 12.7mm TYPE - steelfish bold, 88pt/108pt, centre aligned, paper.

IMAGE SOURCE: DEAD-STOCK-DEVIANTART.COM

STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - POSTER TEXT 1. 2 3.

COLUMN HEIGHT - 139mm. GAP - 9.4mm. TYPE- steelfish, bold, 70pt/84pt, aligned centred, rich black.

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STRATEGY AND SPECIFICATION

SPECIFICATION

DISPLAY TYPOGRAPHY - DROP CAPS 1. 2 3. 4.

STROKE - 130mm, 1.5pt, C:0, M:100, Y:100, K:0. DROP CAP - steelfish extra bold, 300pt, rich black, C:0, M:100, Y:100, K:0. PARAGRAPH START - 60mm x 40mm, C:0, M:100, Y:100, K:0. SUBHEADING - century gothic bold, 10pt, 100% black.

1 TURN IT OFF AND ON AGAIN | ONLINE ANONYMITY

dictatorship.) By early 2008, Anonymous-which reportedly grew out of the anarchic 4chan imageboard website--was already pursuing online attacks as a form of nonviolent protest. By 2010, it was launching regular DDoS attacks against pro-copyright websites. But the group really came to public prominence during its defense of WikiLeaks and its charismatic--if reportedly mercurial--leader, Julian Assange. WikiLeaks, of course, came under fire from the U.S. government after the site obtained video footage from a U.S. helicopter strike in Iraq that killed two Reuters employees, as well as two children. Next, Assange began to coordinate--together with major newspapers in multiple countries--the release of hundreds of thousands of secret U.S. government cables beginning in December 2010.

IN THE BEGINNING The Anonymous “hacktivist” collective, known as much for its self-branding as its anythinggoes, anti-authoritarian sense of online comeuppance, first came to public attention in January 2008. The occasion was an internal Scientology video starring Tom Cruise, which had been leaked to YouTube. The church, saying that the video was copyrighted, requested that YouTube remove it. Members of Anonymous, however, took issue with that request, and as part of what it dubbed “Project Chanology,” reportedly began launching distributed denialof-service (DDoS) attacks against Scientology websites, blanketing church centers with prank phone calls and faxes, and “doxing” the church by releasing its sensitive documents into the public domain, for example via peer-to-peer networks. On January 21, 2008, a YouTube post set the template for future Anonymous proclamations. The video, in this case criticizing the Church of Scientology, includes the now-common Anonymous sign-off: “Knowledge is free. We are Anonymous. We are Legion. We do not forgive. We do not forget. Expect us.” By the next month, Anonymous claimed that 7,000 people had staged protested outside of Scientology centers around the world, many of them sporting the now-famous, black-and-white Guy Fawkes mask, as worn by the protagonist

The government-orchestrated reaction was swift. PayPal and credit-card processors MasterCard and Visa blocked payments to WikiLeaks, which relied on donations to lease server space and pay staff. There’s a short lifespan for a whistle-blowing website that can’t remain online. In response, Anonymous mobilized, unleashing its so-called Low Orbit Ion Cannon (LOIC) tool, with which anyone could participate in Anonymous DDoS attacks by lobbing packets at designated website. From there, meanwhile, Anonymous expanded its focus, and backed by what appear to be numerous international chapters, has tackled everything from cartels in Mexico and child pornography file-sharing sites, to takedowns of Israeli government servers and U.S. law enforcement agencies. OPERATION PAYBACK Operation Payback was an effort to back WikiLeaks. But was it effective? Anonymous isn’t dedicated to knocking power grids offline, or crippling hardened military communications networks. Rather, it’s online activism in the form of a PR campaign. Notably, the group launched DDoS attacks against the websites of MasterCard and Visa, highlighting their refusal to accept donations bound for WikiLeaks. But rather than disrupting those companies’ payment networks, which would have hit their bottom lines, WikiLeaks’ supporters merely

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DISPLAY TYPOGRAPHY - DROP CAPS 1. 2 3. 4.

AUTHOR NAME - steelfish bolditalic, 9pt, C:15, M:100, Y:100, K:60. BODY TEXT - shonar bangala, regular, 10pt/12pt, justified, 100% black. CUT IN BODY TEXT GUTTER - 11.6mm NUMBERING - steelfish extrabold, 415pt, ‘jump object’, rich black. TURN IT OFF AND ON AGAIN | MOBILE COMMUNICATION that those “inciting violence” on the 140-character social network would not go unpunished. Deputy assistant commissioner Stephen Kavanagh confirmed that officers were looking at the website as part of investigations into widespread looting and rioting.

However, the most powerful and up-to-theminute rallying appears to have taken place on a more covert social network: BlackBerry Messenger (BBM). Using BlackBerry handsets – the smartphone of choice for the majority (37%) of British teens, according to last week’s Ofcom study – BBM allows users to send oneto-many messages to their network of contacts, who are connected by “BBM PINs”. For many teens armed with a BlackBerry, BBM has replaced text messaging because it is free, instant and more part of a much larger community than regular SMS.

might be surprised to read about “Twitterorganised chaos”. Why BlackBerry Messenger Was rioters’

The free, secure BBM service was an easy way to share information on where riots were and what police were doing.

coMMunication Method of choice.

hours after the riots in Tottenham on Saturday 6 August had finally abated and London’s streets had returned to relative calm, a message pinged out, first on to a few phones, then dozens, then hundreds if not thousands across north London. “Everyone in edmonton enfield wood green

And unlike Twitter or Facebook, many BBM messages are untraceable by the authorities (which is why, in large part, BBM is so favoured by Emirati teens to spread illicit gossip about officialdom). One BBM broadcast sent on Sunday, which has been shown to the Guardian by multiple sources, calls on “everyone from all sides of London” to vandalise shops on Oxford street. It said: “Everyone from all sides of London meet up at the heart of London (central) oxford circus!!, Bare shops are gonna get smashed up so come get some (free stuff!!!) fuck the feds we will send them back with our riot! >:O Dead the ends and colour war for now so if you see a brother... salut! if you see a fed... shoot!” Another sent shortly before the outbreak of violence in Enfield on Sunday afternoon reads: “Everyone in edmonton enfield wood green everywhere in north link up at enfield town station at 4 o clock sharp!”. Jenny Jones, the former deputy mayor of London, blamed an under-resourced force for missing the tweets and the status updates. “It’s quite possible if they had more resources they

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In western socIety we take the internet for granted every day, never questioning or complaining until something goes wrong. If the internet is slower than usual we are quick to be annoyed however in Africa only 4 out of 100 people actually use the internet at all, with only 1% the country receiving broadband. In Africa the amount of technology is extremely limited compared to what the majority of the rest of the world receives. Before we are quick to complain to our internet providers that at certain times of the day the internet is running slower, we should take into consideration the fact that some people are not even connected.

I can barely imagine a world without the internet, but for some people it is simply the norm. People coped without the internet before, is it still possible to manage without it? There are known tribes who live without technology and have not taken on board the way which the majority of the rest of the world lives. Whether they live a more pleasurable life is not known but the fact that these tribes are still around today goes to show how technology does not shape the way the entire world lives.

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BOLD ITALIC A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklnopqrstuvwxyz

EXTRA BOLD A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklnopqrstuvwxyz

EXTRA BOLD ITALIC A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklnopqrstuvwxyz

NUMERALS 1 2 3 4 5 6 7 8 9 0 SYMBOLS ! ” £ $ % ^ & * ( @ # ; : ’ , . ? / { [ 29

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Century Gothic REGULAR ABCDEFGHIJKLNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ITALIC ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklnopqrstuvwxyz BOLD ITALIC ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklnopqrstuvwxyz NUMERALS 1234567890 SYMBOLS !”£$%^&*(@#;:’,.?/{[

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Shonar Bangala REGULAR ABCDEFGHIJKLNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

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C:100, M:25, Y:0, K:0

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C:15, M:100, Y:100, K:60

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C:100, M:100, Y:100, K:100

C:75, M:5, Y:100, K:0

C:0, M:0, Y:0, K:100

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