JONATHAN COX
EXTENDED MAJOR PROJECT VISUAL JOURNAL
www.monikabooks.com info@monikabooks.com JONATHAN COX
TABLE OF CONTENTS
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DEFINING THE DESIGN PROBLEM -INTENT -TARGET AUDIENCE
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THE DIVERGENT SEARCH -FUTURISM -DADAISM -AVANT-GARDE -EMIGRE -DECONSTRUCTION THEORY -STOUT/KRAMER -FRASER MUGGERIDGE
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REFLECTING UPON RESEARCH IDEA GENERATION, DEVELOPMENT & REALISATION -IDENTITY -LOGOS
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CRITICAL FEEDBACK 001
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CRITICAL FEEDBACK 002
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CRITICAL FEEDBACK 003
-LOGOS CONTINUED
-THE BOOK
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FINAL LAYOUTS -ROAR -KNICKERCHIEF -UNTITLED -ALONE ON THE MET
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WEBSITE PRINT FINAL OUTCOMES -ISSUE#001 JOURNEY -MONIKABOOKS.COM
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CONCLUSION BIBLIOGRAPHY
DEFINING THE DESIGN PROBLEM
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Perry, M, Sniffin’ Glue
Anarchy and punk movements were dominated by the ‘do-ityourself’ 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”. 1 The sway of this ethos filtered across the subculture’s approach to fashion, writing and graphic design. 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.
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“LEAVE OUR MUSIC TO US, IF ANYTHING NEEDS TO BE WRITTEN, US KIDS WILL DO IT.”
Mark Perry
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Morison, S, Ibid.21 Triggs, T, (2003) Ong, W, (1982) Forster, E.M (1947)
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.” 2 The primary aim of semantic typography is to "arrange the structure of the text visually and to bring forth meaning." 3 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." 4 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."5 In spite of this candid observation made by Forster, we find that both novels and short stories are being written in an everincreasing 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.
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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: • • • • • • • • •
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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
THE DIVERGENT SEARCH
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Triggs, T, (2003)
“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
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. -010-
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." 3
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Theorist GĂŠrard 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." 7 7
Mermoz, G, (1998)
DADAISM 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 rĂŠalisme, pop art, Fluxus and punk rock. -012-
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. -014-
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EMIGRE
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Triggs, T, (2003) Heller, S & Fili, L, (2006)
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." 8 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." 9
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Cover and spreads from Emigre (no. 1, 1984) designed by Rudy VanderLans and showing billingual poems by Marc Susan.
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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. 10
Derrida, J, (1966)
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
CURRENT USE Deconstruction and Graphic Design: History Meets Theory is a theoryheavy, 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-
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Lupton, E, (2009) Derrida, J, (1974)
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." 11 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." 12
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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.
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"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.
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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 .
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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.
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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 -043-
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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.
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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 -048-
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I experimented with letraset and layout to give the bumby feel of train travel for Ross' story -050-
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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.
Layout designs for another submitted story -053-
FINAL LAYOUTS ROAR LOUISA 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 -054-
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-
FINAL LAYOUTS KNICKERCHIEF BARTHOLOMEW BARTHOLOMEW
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
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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.
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FINAL LAYOUTS UNTITLED KITTY HUGHES
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 90째 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.
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FINAL LAYOUTS AN UNDERGROUND STORY: ALONE ON THE MET ROSS BENNETT
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.
www.monikabooks.com info@monikabooks.com -062-
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. -063-
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 OUTCOMES ISSUE#001 JOURNEY
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FINAL OUTCOMES MONIKABOOKS.COM
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www.monikabooks.com info@monikabooks.com Please view in Firefox or Safari Smartphone compatible
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www.monikabooks.com info@monikabooks.com
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www.monikabooks.com info@monikabooks.com
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CONCLUSION
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 -076-
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. -077-
BIBLIOGRAPHY
Arden, P, (2006), Whatever You Think Think The Opposite, Penguin, London. Derrida, J, (1966), "Structure, Sign, and Play in the Discourse of Human Sciences," lecture delivered at Johns Hopkins University, Baltimore. 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). Morison, S, Ibid.21. 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. Triggs, T, (2003), The Typographic Experiment, Thames and Hudson, London. Unknown, Sideburns magazine, (1976). Woodcock, G, (1962), Anarchism, Pelican Books, London.
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