Homely But Not At Home — Type Specimen

N O T A T H O M E -

T Y P o g raph i c s pec i f i cat i on

L Y B U T

PROJECT 2

078-090

M. WOODMAN

Contents

Strategy

02–03

Page Architecture Grid System Grid In Use Tip-in Format Tip-in Layout Chapter Pages

05–06 07–08 09–10 11–12 13

Type Hierarchy Type Rationale — Perpetua Type Rationale — Futura Typography Expressive Type

15–16 17–18 19–30 31–37

Typographic Detail Numbers Parentheses Small Caps Quotation Punctuation Emphasis

39 40

41

Colour and Image Treatment

42–45

Book Mechanics

46–47

Design Concepts

48–59

Typographic Errors and Citations

60–62

01 / 02

Strategy

‘Homely But Not At Home’ is a visual exploration of Stanley Kubrick’s 1980 cult horror masterpiece The Shining, analysed in the context of Sigmund Freud’s 1919 seminal paper ‘Das Unheimliche, or directly translated ‘The Uncanny’.

Freud’s extraordinary paper describes a complex human experience stemming from repressed infantile and animalistic beliefs. Differentiated from fear it is determined by a feeling of disquiet or unease when the familiar, taken out of context, suddenly becomes strange and deeply unsettling. Literally translating as ‘unhomely’, ‘Das Unheimliche’ reads in its native tongue as ‘homely but not at home’, a phrase of eerie and disquieting ambiguity.

Freud argues that this primitive fear is returned from the repression of primordial beliefs, once surmounted, which have once again risen to ‘test reality’ in the human conscious. The arousal of this innate fear is exhibited in numerous and varying circumstances, from; objects, persons and impressions to events and situations. Yet, there are specific triggers which may induce such a reflex anxiety, characterised as; supernatural occurrences, magical practice and subjective mental processes, omnipotence, doubling of the human form and objects modeled in the likeness of man, fear of castration, dismembered limbs, doubt as to the animation of inert objects, involuntary repetition and déjà vu.

Predominantly, however, Freud asserts that it is in man’s inability to grasp the concept of his own mortality that the sensation becomes most forceful, fueling a belief in mysticism and the paranormal, as a denial of death. It is for this reason that the sensation is experienced to the highest degree in relation to death, the dead, spirits and ghosts.

In preparation for the writing of his 1980 horror screenplay, The Shining, adapted from Stephen King’s original novel, Stanley Kubrick and novelist Diane Johnson read Freud’s ‘The Uncanny’, seeking to create a film in which the entire aesthetic and architectural construction was guided by Freud’s text.

The result is an artifact of cult horror cinema laced with hidden tropes, such as; numbers and repeating patterns, duality, symmetry, reflected narratives, intentional continuity errors, spacial impossibilities, foreshadowing, the supernatural, involuntary repetition and symbology. All of which serve to support the semantic sub-narrative of Kubrick’s work, providing an eerie and unsettling experience to the audience.

strategy

‘Homely But Not At Home’ pays homage to Kubrick’s genius and seeks to explore, interrogate and subtly visualise all of these themes in the context of Freud’s work. The publication has been bathed in an uncanny aesthetic, implementing; colour, composition, symmetry, foreshadowing, doubling and a strictly imposed numerical system, to construct a subliminal semantic language drenched in intense and unnerving collages of cinematography.

Every minute decision, from paper stocks to typographic detailing and the frequency of imagery, has been rationalised to a specific purpose resulting in a document which reflects the unnerving and inexplicably challenging nature of The Shining. Ultimately, whilst the publication may feel familiar in form and function it has been designed with the direct intention of inciting confusion, misdirection and the ‘uncanny’ sensation in the spectrum of the subconscious.

That which appears conventional and expected had been tailored to new and unfamiliar contexts to challenge and provoke irregularity.

Furthermore the publication serves to compound the ‘uncanny’ sensation by inviting the user to engage in a search for absolution. As the user begins to indulge in such an act a cyclical relationship is formed whereby the reader becomes the creator of their own doubt and uncertainty, pulling at inconsequential metaphorical threads in search of rationality, experiencing ‘uncanny’ relationships in the subjective and attempting to ascribe meaning.

‘Homely But Not At Home’ acts as an intermediary, visual guide and written account of Kubrick’s adapted screenplay, produced specifically for the film enthusiast and reader of visual culture, challenging the overt and celebrating the subconscious. Whilst the absolute meaning of The Shining has been subject to lively debate and even outlandish conspiracy theories since its release over 30 years ago, this publication aims to focus on more concrete evidence as to how Kubrick adapted Freud’s tropes of ‘The Uncanny’ to his unique masterpiece of modern cinematography. Coinciding with the, as of yet unconfirmed, future domestic re-release of The Shining’s original extended cut, by the British Film Institute, this publication aims to become part of the lively and topical debate surrounding the movie.

Whilst the theories presented in this book are based on sound and reasoned evidence, it is important to note that a definitive meaning has and most likely never will be ascribed to Kubrick’s film. This exploration reveals that the more questions we ask, the fewer answers we are able to produce. Highlighting that this is in our nature, and it is in this nature that the very real horror of The Shining can be found. In what it is to be human.

03 / 04

PAG E ARCHITECTURE

PAGE ARCHITECTURE

Publication dimensions W198mm Ă— H252mm 05 01 02

04

06

03

13

07

08

10

12 11

40% original scale

09

05 / 06

Grid System

All aspects of the document grid system have been tailored specifically to conform to the number sequence of Kubrick’s cryptic sub-narrative (12, 21, 24 and 42). These figures have been utilised to construct a grid system and measurements in order that the numerical sequence may repeat with an involuntary and uncanny frequency.

The overall dimensions of the publication were decided upon so that the document appears uncomfortable, forced and ungainly when held by a reader, whilst still retaining the qualities of a book and maintaining a strong typographic aesthetic.

The system is comprised of 6 columns, each at a width of 24mm, (6 being a common integer of 12, 24 and 42).the sum of these 6 columns is 144mm (the square of 12). Each gutter measures at a width of 4.2mm (or approximately 12pt) and the sum of these 5 gutters totals 21mm.

Conforming with good typographic practice the baseline grid is set at 17pt (or approximately 6mm), which is roughly 150% the scale of the 12pt body copy (note the consistency between body copy and gutter size, to a degree of one decimal place). This scale of baseline grid at the specific document dimensions allows for exactly 42 baseline rules per page.

Furthermore all margins of the page correspond to the number sequence, being either 12mm or 21mm (allowing space for the folios close to the spine). Ultimately this means that the document dimensions are divisible exactly by 12 and 24, for height (252mm), and 6, for width (198mm).

Measurements

01 Top Margin 12mm

08 Copy Bottom Rule

02 Single Column 24mm

09 Baseline Grid 6mm (≈17pt)

03 Gutter 4.2mm (≈12pt)

10 6 Columns 144mm (12×12)

04 Image Rule 24mm

11 Bottom Margin 12mm

05 Copy Top Rule 42mm

12 Outside Margin 12mm

06 Inside Margin 21mm

13 Top Margin – Rule 12mm

07 Page Guides 24mm

page architecture

Grid in Use

20% original scale

07 / 08

Publication Specification 6 column grid 6mm baseline Copy rule 42mm Image Rule 24mm

20% original scale

PAGE ARCHITECTURE

Tip-in dimensions W174mm Ă— H204mm 05 03 04

01

02

06 03

11

10

09 08

40% original scale

03

07

09 / 10

Tip-in Format

Similarly to the document grid system the tip-in dimensions have been tailored specifically to account for the numbers in Kubrick’s number sequence.

The tip-in format consists of 5 columns measuring 24mm each, together totalling 120mm. A copy margin of 16.2mm allows any text set on the tip-in pages to align perfectly to the document grid of the rest of the publication. Meanwhile an outside image margin of 12mm maintains a consistent white edge around all imagery, an aspect which is important to the aesthetic and semantics of these spreads. Furthermore this means that the inner, image outside, upper and lower margins of the page measure identically to the document grid system.

In addition to this, the bottom text margin of the tip-in page is situated exactly 42mm from the bottom of the publication, whilst the upper edge of the tip-in sits exactly 24mm from the top of the publication (in-line with the upper Image Rule).

An open tip-in spread, at the centre of the publication, will have an exact 24mm border around all edges, measured from the full width and height of the publication, and an inside margin (across the spine of the document) of 42mm, between images on separate pages.

Finally, as with the document dimensions, the tip-in dimensions are divisible precisely by 12 and 24, for height (204mm), and 6, for width (174mm).

Measurements

01 Single Column 24mm

07 Copy Bottom Rule 42mm

02 Gutter 4.2mm (≈12pt)

08 5 Columns 120mm (12×10)

03 Tip-in Frame 24mm

09 Bottom Margin 12mm

04 Top Margin 12mm

10 Copy Margin 16.2mm

05 Baseline Grid 6mm (≈17pt)

11 Image Margin 12mm

06 Inside Margin 21mm

page architecture

Tip-in Layout

20% original scale

11 / 12

Tip-in Specification 5 column grid 6mm baseline Tip-in frame 24mm

page architecture

Chapter Pages

All images in ‘Homely But Not At Home’ have been sourced digitally, via screen-capture, from the original motion picture. The low resolution quality, after conversion to 300dpi for print, resulted in the need to produce bitmap halftone images, which could then be enlarged to fill a full page of the book. This technique was limited only to be applied on the chapter title pages.

20% original scale

13 / 14

T YPE HIERARCHY

TYPE hierarchy

FA M I LY VA R I A N T S

URW Futura Regular and Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 URW Futura Bold and Bold Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

15 / 16

Type Rationale — Futura

Rigorous research was performed in order to ascertain which fonts would be most appropriate in the context of typesetting a publication about; The Shining, Stanley Kubrick, The Uncanny and Sigmund Freud. It was important to the presentation of the document that there be some rationale for such a decision.

According to speculation on the website Typographica it was reported that Stanley Kubrick’s favourite font was Futura, beyond speculation it was also reported that he was known to use the font for title sequences in some of his movies.

Designed by German-born Paul Renner, Futura perfectly represents the forward thinking modernist era that Sigmund Freud’s life spanned. Furthermore the font was adopted by the Nazi’s in the World War II, Freud’s escapes from whom are well documented. A final likeness could be drawn in this ilk from the notion that Freud was in fact fluent in speaking German.

Most prominently Futura was decided upon because it’s geometric letter-forms perfectly embody the uncanny themes of symmetry, duality and reflection.

Importantly a large majority of the uppercase letter-forms are perfectly symmetrical across a minimum of one line of symmetry, if not more, including; O, N, M, S, T, U, V, W, X, Y, Z, I, H, D, A and E. Further reading revealed that Adobe’s version of Futura had often been criticised for its letter-forms and so an alternative was sought. Futura URW was cited as being the most highly commended and most accurately digitised from Renner’s original sketches. This was, therefore, the variant chosen for typesetting ‘Homely But Not At Home’.

TYPE hierarchy

FA M I LY VA R I A N T S

Adobe Perpetua Std Regular and Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Adobe Perpetua Std Bold and Bold Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

17 / 18

Type Rationale — Perpetua

Deciding on a typeface best suited to setting body copy proved more difficult.

Commonly accepted ‘book-faces’ such as; Bembo, Caslon, Garamond, Baskerville and Hoefler Text felt too conventional and had little underlying connection to The Shining, Stanley Kubrick, Sigmund Freud or The Uncanny.

Perpetua, designed by Eric Gill and Stanley Morrison, and celebrated as a pinnacle of British type design, was first published in the seventh issue of The Fleuron, coincidentally in the year of Stanley Kubrick’s birth. Created specifically to ‘bestow beauty and distinction upon books’ the typeface has a lot less colour and legibility, due to a high contrast between x and cap height, when compared to modern book-faces. However, this limitation becomes less apparent because of the slightly larger scale at which body copy is set in ‘Homely But Not At Home’.

Perpetua’s legible, sharp and slightly aggressive letter-forms contrast perfectly with the geometry of Futura. Furthermore, Eric Gill’s well documented history of alleged paedophilic and beastialic tendencies seemed fitting to the anthropological and psychological themes of The Uncanny.

Despite being only limited to roman and bold character sets, with an italic to accompany each weight, Perpetua also features a vast array of extended Opentype features, including, but not limited to; ligatures, small caps, proportional oldstyle figures, tabular numerals, subscript, superscript and various accented glyphs. This provides more opportunity for typographic variation under the strict limitations of 4 different point sizes.

type hierarchy

Body Copy

For this reason most people experience ‘The Uncanny’ in the highest degree in relation to death, dead spirits, ghosts and reanimation

19 / 20

Typography

Body Copy

Body copy has been styled at a scale of 12pt for a number of individual reasons. Firstly due in part to the large and intentionally ungainly scale of the document it was necessary to typeset body copy a little larger than would normally be standard practice. This also allows for the application of good typographic conventions, for example: when text is set across four columns of the document grid, without hyphenation, the line length can be read as approximately 10–15 words per line, a width at which good legibility is achieved.

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures C0 / M0 / Y0 / K100

First Line Left Indent 24pt (8.467mm) 90% original scale

A BC DEFG H IJK LMN O PQR S TUVWXY Z a b cde f ghijkl m nop qrst uv wxy z a bcdefg hi j kl mnopqr st uvwx yz 123 4567890 1234567890

type hierarchy

Bullet Points

–– 00:42 Danny looks up at the door to Room 237 –– Room 237, 2×3×7 = 42 –– Wendy and Danny watch the film ‘Summer of 42’ –– 1:42 Wendy finds Jack’s deranged novel

21 / 22

Bullet Points

Large lists of observations from The Shining, related to Kubrick’s subliminal numerical subnarrative, needed to be styled in contrast to the standard body style of the publication whilst still maintaining a level of typographic consistency across the document.

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures C96 / M84 / Y0 / K0

– Wendy finds Jack’s novel, 24 seconds from when we first see ‘All work and no play makes Jack a dull boy’ to when she looks at the entire novel – 00:24 the first scene showing The Gold Room, lasting 1:24 minutes – Danny plays with his toy trucks outside Room 237 for 1:24 minutes

Bullet Futura URW Bold, En Dash, Left Indent: 3mm, First Line Left Indent: -2.5mm C12 / M96 / Y72 / K0

90% original scale

A BC DEFG H IJK LMN O PQR S TUVWXY Z a b cde f ghijkl m nop qrst uv wxy z a bcdefg hi j kl mnopqr st uvwx yz 123 4567890 1234567890

type hierarchy

Body Quote

The audience is deliberately made to not know where they’re going. People say The Shining doesn’t make sense. It’s a ghost movie.

It’s not supposed to.

23 / 24

Body Quote

Because the publication features large quoted extracts from Sigmund Freud’s seminal paper, ‘The Uncanny’, it felt necessary to give this text a different voice to that of the publication’s narrative. Large quotations featured in-line with body copy were therefore styled as follows;

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures C12 / M96 / Y72 / K0

Quote Originator Futura URW, Bold Italic, 12pt, Tracking: 42, Flush Left, Kerning: Metrics, Uppercase Capitalisation

Left Indent 24pt (8.467mm) First Line Left Indent 24pt (8.467mm)

C12 / M96 / Y72 / K0 75% original scale

A BC DEFG H IJK LMN O PQR S TUVWXY Z a b cde f ghijkl m nop qrst uv wxy z a bcdefg hi j kl mnopqr st uvwx yz 123 4567890 1234567890

type hierarchy

Heading and Subheading

Both the headings and subheadings adhere to the subliminal numerical sequence working across all typographic variables. Such restrictions made it difficult at times to have variety and contrast in the typographic styles. As a result, different font weights, capitalisation, tracking, colour and indentation were used to add texture to the contours of the page.

S U P E R N AT U R A L I M P O SSI B I L I T I E S Superstition / Supernatural 100% original scale

Bold, 12pt, Tracking: 120, Flush Left, No Significantly Kubrick Futura choseURW, to alter many of the more overtly Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, supernatural instancesNoinHyphenation, King’s novel replacing them with much more Uppercase Capitalisation subtle and ambiguous imagery. King’s original story is fraught with C0 / M0 / Y0 / K100 animated hedges moving in the form of beastly animals, living and moving furniture in The Overlook Hotel, specifically the elevators and a AB CD FGHIJKL N O P Q friend, RS TUVWXY Z as Danny’s fire hose, and E‘Tony’, Danny’sMimaginary is manifested future self, a spirit that guides him to safety from his father.

Futura URW, In Regular, 12pt, Tracking: contrast Kubrick24,has stripped these themesBut of the paranormal Homely Not At Home Flush Left, No Ligatures, Kerning: Metrics, making a larger metaphorical point; that the spectral images he shows us 12pt Optical Margin Alignment, No Hyphenation, Tabularthe Figures, throughout filmTitle areCase not supernatural or mysterious in origin.

Written in 1919 Sigmund Freud’s extraordina Capitalisation, Baseline Shift: -2pt directly translated from the German ‘Das Unh ‘unhomely’, attempts to ascribe meaning to a co C0 / M0 / Y0 / K100 100% original scale occurring from infantile repression and primi Underline Stroke Weight: 1.2pt, Offset: The German word ‘unheimlich’ is defined 4.2pt, C12 / M96 / Y72 / K0 Left Indent 24pt (8.467mm) to the word ‘heimlich’ (‘heimisch’), meaning ‘fa home’, but the term itself is strange, in its nativ A B C DEF GH IJ KL M N O PQ RST UV W XYZ a b c d ef ghi jk lmnopqrs tuv w xyz

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Folio and Chapter Page

Folios and text designating the chapter number have been positioned intentionally close to the spine of the publication in the most unconventional and irregular fashion possible. The rationale for this is explored later in the ‘Design Concepts’ section of this type specification.

Furthermore, all instances of this style iterated on all pages after the centre spread move in reverse sequential order starting from 42 back to 01. This in conjunction with vertical flip transformation serves split the publication into two symmetrical, or ‘mirrored’, halves. In this storeroom door 24 totimes case the ‘line of symmetry’ is the spine on the centre spread of the document.

atch of the m’ twice, combining a total of 24 lipstick strokes he kitchen tv describes a 24 year-old Aspen woman of glass in the window of Ullman’s office here Danny plays darts 2412pt, photographs displayed Futura URW,has Bold, Tracking: 420, Centre equal 24 bers in the date 04–07–1921 Aligned, No Ligatures, watch the ‘Summer of 42’ 24 minutes into its length Kerning: Metrics, Tabular Figures, for Uppercase s cut by 24 minutes international release Capitalisation 146 minutes long, 1×4×6 equals 24 ck falls down when Wendy strikes him has 24 steps C0 / M0 / Y0 / K100 ugh 24 pages of Jack’s deranged typing nn yells “Hello” Jack limps 24 steps

0 4 PA R T

19

3 3

T R AP

After Centre Spread

6 0

Transform Flip Vertical

Before Centre Spread

7 harne s s U N IfTluttered Y 2 1 and T H Ew i ld -

I Lnew N A L- cau g ht 100% original scale

ullen people s , dev i l AB CD EFG HIJKL MN O P Q RS T UVWXY Z 1234567890

type hierarchy

Page Header

Page headers are situated only on one page of each individual publication spread, this varies dependent on which half (before or after the centre spread) the iteration occurs. The rationale for this is explained fully in ‘Design Concepts’. The page header is always aligned towards the spine of the publication whether flipped horizontally or not, this means that it often aligns neatly with images which are constrained within the document margins.

Left Page (Before Centre Spread)

Right Page (After Centre Spread)

ygolobmyS ruoloC

Symmetry

100% original scale

Futura URW, Bold, 12pt, Tracking: 12, Alignment: Towards Spine, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, Title Case Capitalisation C0 / M0 / Y0 / K100

Transform Flip Horizontal

A B C D E FGHIJKL MN O P Q RS TUVWXY Z a b cd e fgh i j kl m n opqrs tu vw xyz

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Pull Quotes

Pull quotes varied in colour depending on the context in which they were set. On occasion red and blue swatch colours on the same page or spread denotes a conversation between two Das Unheimliche separate characters in the narrative. The flushed edge varies depending on which half of the publication the pull quote is situated in (see ‘Design Concepts’).

Before Centre Spread (Left Page)

After Centre Spread (Right Page)

s been well documented in biographies of his life and work that ubrick ressionwas of a famously meticulous and detail concerned artist, oing as far as to chose even the most incidental of stage props ly after making informed choices from extensive research. it is reasonable to assume that it would not be in his nature to harks back to an animistic conception of the objects in a haphazard or clumsy manner. was characterized by the idea that the world was volume of continuity errors present in The Shining are well e spirits of human beings, and by the narcissistic e level expected for any large-budget film, disregarding of subjective mental processes (such as the belief in own perfectionist faculties. Taking into account these attributes e of thoughts and the magical practices based upon o Kubrick’s work, it seems more than likely that the vast ell as by all those other figments of the imagination were in fact considered errors. , in the unrestricted narcissism of that stage of o means can it be asserted that Kubrick was incapable of 100% original scale rove to withstand the inexorable laws of reality. on, however it is within the realm of possibility that intentional Futura URW, Italic, 21pt, Futura URW, Italic, 21pt, ay have been composed in an attempt to subliminally Leading: 24pt, Flush Left, Leading: 24pt, Flush Right, d those ‘uncanny’ sensations experienced by the audience.

Tracking: -24 Ligatures, Tracking: -24, Ligatures, Kerning:spacial Metrics, 12pt hermore, regarding anomalies in The Overlook Hotel, the Kerning: Metrics, 12pt Optical Margin Alignment, Optical Margin Alignment, ueprints have been made available to the public, via the ‘Kubrick No Hyphenation, No Hyphenation, Tabularto Figures, Balance degree of certainty that these Tabular Figures, Balance nd it would appear an accurate Ragged Lines, Sentence Ragged Lines, Sentence tionally planned into the set design at Elstree Studios.

Capitalisation Capitalisation chapter is concerned less with an analysis of The Shining, via C0 ‘The / M0 Uncanny’, / Y0 / K100 and more with subtle physical C0 / M0 / Y0 / K100 visual themes of C12 / M96 / Y72 / K0 C12 / M96 / Y72 / K0 cal skills applied Kubrick C96by / M84 / Y0 / in K0order to intensify the ‘uncanny’ C96 / M84 / Y0 / K0 This will include; spacial orientation within The Overlook Hotel, errors, the subtle animation of inert objects and further clues

— Our unconscious has as little use — now as ever for the idea of its The Shining doesn’t make sense. It’s own mortality not supposed to.

type hierarchy

Image Captions

Image captions were used very infrequently to annotate further relevant information. Much like the pull quotes these captions are preceded by an em dash on the first line. The flushed edge varies depending on which half of the book the caption is situated in (see ‘Design Concepts’).

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Oldstyle Figures, Small Caps

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Right, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Oldstyle Figures, Small Caps

C12 / M96 / Y72 / K0

C12 / M96 / Y72 / K0

Unsurprisingly these are both key concepts that Kubrick ha use in his adaption of The Shining, the manifestation of the i Before Centre Spread After Centre Spread twin sisters is notably one of the scariest scenes through the the film and Danny’s atmospheric ‘shining’ visions are later — Dick Hallorann the head-chef towards the end of the film. grady girls — This sharing of knowledge, feelings and experiences via my A terrifying colour symbology serves to confound the self, the originator begins to identif manifestation of Reds and blues are common in the cast’s clothing substituting the extraneous self for the native and causing a ‘the double’ dividing and interchanging of identity.

100% original scale Adobe Perpetua Std, Italic, 12pt, Leading: 17pt, Tracking: 0, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures

Adobe Perpetua Std, Italic, 12pt, Leading: 17pt, Tracking: 0, Flush Right, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures

C0 / M0 / Y0 / K90

C0 / M0 / Y0 / K90

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Contents Page

The contents page has been designed making specific reference to the overlying numerical sequence governing much of the typographic system in this publication.

25% original scale

Adobe Perpetua Std, Regular, 12pt, Leading: 17pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Oldstyle Figures, Small Caps C0 / M0 / Y0 / K100 C12 / M96 / Y72 / K0 C96 / M84 / Y0 / K0

Futura URW, Bold, 24pt, Flush Left and Right, Kerning: Metrics, Tabular Figures C12 / M96 / Y72 / K0 C96 / M84 / Y0 / K0

type hierarchy

25% original scale

Expressive Type

Typographic expression is severely restricted by the implementation of a strict numerical system (by reference to Kubrick’s sub-narrative numerical sequence). As a result much of the more experimental typography utilises composition, rotation, transformation, tracking, colour and alignment.

Kerning Manual

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 420, All Justified, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C96 / M84 / Y0 / K0

Rotation -90°

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25% original scale Each of the ten individual chapter pages utilises simple typographic expression to abstractly interpret the forthcoming content of the publication. Because the typographic palette has been severely limited by the numerical code implemented across all point sizes and variables this was done primarily using composition, positioning and colour.

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 420, All Justified and Centre Aligned, No Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C0 / M0 / Y0 / K0

type hierarchy

20% original scale

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 24, Flush Left, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C96 / M84 / Y0 / K0

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 420, All Justified, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C12 / M96 / Y72 / K0

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 240, All Justified, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C12 / M96 / Y72 / K0

Full justification and varying levels of tracking were implemented here to find a pleasing alignment between letter-forms, give the text a disjointed feel and highlight key words in the poem.

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25% original scale

Transform Flip Vertical Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 24, Centre Aligned, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C0 / M0 / Y0 / K0

type hierarchy

25% original scale

Transform Flip Horizontal, Rotate -1.2째, Skew 12째 Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 24, Centre Aligned, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C0 / M0 / Y0 / K0

Futura URW, Bold, 42pt, Leading: 60pt, Tracking: 24, Full Justify, No Ligatures, Kerning: Metrics, No Optical Margin Alignment, No Hyphenation, Tabular Figures, Uppercase Capitalisation C12 / M96 / Y72 / K0

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25% original scale Futura URW, Italic, 12pt, Tracking: -24, Centre Aligned, No Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation C96 / M84 / Y0 / K0

Rotation -1.2°

Futura URW, Bold, 21pt, Tracking: 420, Centre Aligned, No Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Uppercase Capitalisation C96 / M84 / Y0 / K0

Futura URW, Bold, 12pt, Tracking: 120, Centre Aligned, No Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Uppercase Capitalisation C96 / M84 / Y0 / K0

type hierarchy

25% original scale

Foreshadowing

In the chapter titled ‘Foreshadowing’ body text was set with an larger leading value and offset from copy on the reverse side of each leaf. This was in order that copy might bleed through the 85gsm UltraWhite Splendorgel stock in reverse. Forewarning and suggesting that which is to come next in the publication.

Adobe Perpetua Std, Regular, 12pt, Leading: 24pt, Tracking: -12, Flush Left, Ligatures, Kerning: Metrics, 12pt Optical Margin Alignment, No Hyphenation, Tabular Figures C0 / M0 / Y0 / K100

First Line Left Indent 24pt (8.467mm)

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T YPOGRAPHIC D E TA I L

TYPOGRAPHIC DETAIL

– 00:12 Danny has his first ‘shining’ vision of the bloody elevato – Dick Hallorann lists a store inventory including “12 turkeys, 2 roasts, 30 12lb bags of sugar and 12 jugs of black molasses” Numbers Just when we,The theShining audience, that have grasped the stor – Jack throws his ball against the wall ofweThe Lounge 12 The meaning of many aspects of havethink been subject to Colorado lively its final solution we are thrown into doubt and further confound Dannyconspiracy and Wendy round since 12 corners as they debate and even outlandish theories its release overwalk through the the parting image of Jack Torrance trapped in photograph take ‘kdk12’ byawill radio communica – The Overlook is referredthis to as 30 years ago, intentionally avoidingHotel the subjective publication in 12 1921.

Overlook Hotelevidence – The names of existing places are named throughout the film instead focus on more concrete as to how Kubrick has adapted – The two numbered actmeans, titles 8am andcontext 4pm add Freud’s symbols of ‘The Uncanny’ to his own in the of to equal 12 (a indicate a day of the week or event) tropes in a work of visual fiction.

All numerals have been set as tabular lining unless referring For consistency in x-height an it isstated. worth its original release to a date, Finally or otherwise This noting was donethat to putsince particular exception had toin be1980 made inThe emphasis on numerals, specifically the numbers 12, 21, 24 the tabular lining numerals.

Shining has been cut and released on two subsequent occasions. The first and 42, mentioned on numerous occasions throughout the text. When in conjunction with justwere weeks the initial release, reviews, Kubrick Dates set asafter proportional oldstyle figures. subject to poor Small Caps numerals were cut 4 set as proportional oldstyle. minutes of footage, later cutting a further 23 minutes of footage from the h of the storeroom doorfor 24antimes feature length international release outside of the usa (a version All ofparticularly these factors serve to build a strong argum twice, combining total42 ofin24a publicly lipstick strokes All dates and those containing the number numbers 12, 21,Kubrick 24a and film already which stated thatfigures, he preferred).

1 had to be kerned manually.

For tabular lining numeralsnarrative into The S Kubrick weaved a subliminal kitchen describes a 24an year-old Aspen woman metry andtvmirrors creates uneasy tone and the kerning was as follows; for 12 (Kerning: -80) and for 21 Overlook represents a metaphor for the founding o glass in the window Ullman’s (Kerning: office -60). For ubtedly intended byofKubrick. proportional oldstyle figures, as depicted settlers, built upon the graves above; 921displayed (Kerning: -25) and KDK12 (Kerning: -100). of the natives, and e Danny playstodarts has meaning 24 photographs ve attempted ascribe to these rs inthough the dateit 04–07–1921 equal bers is highly possible that24perhaps are driven by fear, guilt and denial of their past g final shot of the film gives us some indication tha ch the of 42’superstitious 24 minutes into its length ud calls‘Summer “the childish mentality”, ut by 24 to minutes for international release meaning’ ‘The Uncanny’ in the hopes of hold some truth as we see Jack Torrance in a blac 6 equals of 24the film. dated 4th July, famously the date of the ‘Declaratio 46 long, 1the ×4× ingminutes and resolving mysteries marking the establishment of a new civilisation. falls analysis down when strikes him has 24 steps able and Wendy this compulsive obsession

h 24Resulting pages of conspiracy Jack’s deranged typing ult. theories emerging yells “Hello” Jack limps 24 steps ures range from dream sequences and To keep consistent with the mathematical The only instance of a full date (other than n to thereference Second(following Worldpage), War,The Holocaust and and because it that mentioned in reference to the numerical was decided that tabularamongst numerals looked code) in the publication is mentioned twice or the Apollo 11 mission, many others. ungainly alongside the multiplication glyph, pecific answer but that Kubrick has merely in the final chapter. Here the day is typeset it was decided that this equation be set in alongside ‘th’ in Superscript, kerning was d’s ‘uncanny’ to create presence doubt unnecessary in this instance. proportional oldstyleafigures with a of baseline of -2pt on the mathematical symbol. wer. As shift Freud stated, it is the “compulsion to d with an “inability to be rational and reject horrific. Not, in this case, Kubrick’s semiotic to symbolically reinforce Freud’s seminal paper.

balance between opposing forces or ideas.

Furthermore mirrors are often positioned to foreshadow coming 39 / 40 e latch of the events storeroom door 24 times in the later seconds of a scene. As Wendy opens the locked rum’ twice, combining a total lipstick strokes bedroom door to of let24 Jack through we see his reflection in a mirror n the kitchenbefore tv describes a 24 year-old Aspen woman he enters the room, equally when Wendy flees from Jack into the s of glass in the window ofsee Ullman’s office bathroom we the door, which Jack subsequently smashes through A singledisplayed instance of a numeric date was typeset to illustrate where Dannywith playshisdarts has 24 photographs axe, reflected in the perfectly positioned bathroom cabinet door. their importance to Kubrick’s numerical code. These elided mbers in the date 04–07–1921 equal 24 In addition to this thenumerals moment Wendybyspots werethat set separated an en‘Redrum’, dash withoutwritten spaces. watch the ‘Summer of 42’ 24 minutes into its length in lipstick on the bathroom door, Jack attempts to mirror the actions was cut by 24ofminutes international release Charlesfor Grady, the previous caretaker, by murdering his own family.

Parentheses is 146 minutes long, 1 4 6 equals 24 × × Many conspiracy theorists have attributed deeply veiled sub-plots and Jack falls down whennarratives Wendy strikes him has use 24 steps Freud,itS.is(1955 Uncanny’ – 1919. ) ‘Thepossible parallel to Kubrick’s of mirrors, certainly rough 24 pages of Jack’s deranged typing complete psychological works of si that there are many more hidden meanings associated with the mirrored rann yells “Hello” Jack limps 24 steps

by The Hogarth (1917–1919 ). Published numbers (12, 21toand 24, 42), these will be explored later in this book. he Shining have been subject lively

racy theories since its release over Kelley, M. (2004) ‘The Uncanny’. Publish g the subjective this publication will Standard lining parentheses on the baseline A baseline shift of -0.5pt was applied to idence as to how adapted grid Kubrick with tabularhas lining numerals. parentheses around proportional oldstyle been well documented in biographies of his life andfigures work thatfor dates) Room Directed by Rod (2012 ) dvd. (only237 and Small Caps. o his own means, in the context of brick was a famously meticulous and detail concerned artist, ing as far as to chose even the most incidental of stagejonnys53.blogspot.co.uk props (time codes a Small Caps in 1980 The Quotation t since its original release y after making informed choices from extensive research. n two subsequent occasions. The first t is reasonable to assume that it would not be in his nature to kubrickfilms.tripod.com/index.html (i subject to poor reviews, Kubrick cut 4 bjects in a haphazard or clumsy manner. further 23 minutes of footage from the well olume of continuity errors present in The Shining are collativelearning.com/index.html (ana release outside of the usa (a version level expected for any large-budget film, disregarding he preferred). own perfectionist faculties. Taking into account these attributes drummerman.net/shining/index.html o Kubrick’s work, it seems more than likely that the vast ere in fact considered errors. www.kipling.org.uk/poems_burden.htm o means can it be asserted that Kubrick was incapable of Small Caps have been The decision was made that it would be unnecessary to typeset on, however itapplied is within the realm of possibility that intentional visual-memory.co.uk of (exploration to all commonly pull quotes with quotation punctuation. All lines have been recognised abbreviations via InDesign’s ‘Balance Ragged Lines’ setting, to ay have been composed in an attempt tobalanced subliminally or those that have been add equality and minimise widows and orphans. An em dash those ‘uncanny’ sensations experienced by the audience. tailslate.net/overlooking-the-self (impe previously explicitly stated has been applied on the first line of every pull quote and ermore, regarding spacial anomalies in The Overlook Hotel, the within the text. sentence punctuation has only been applied when the quote is than via a single sentence. ueprints have been made available to thelonger public, the ‘Kubrick visual-memory.co.uk/amk/doc/0114.h d it would appear to an accurate degree of certainty that these ionally planned into the set design at Elstree Studios.

— The Shining doesn’t make sense. It’s not supposed to.

Scale also becomes incredibly important. The imposing size of the TYPOGRAPHIC DETAILcarpet patterns, the mountain ranges and especially hotel, its oversized

the huge Gold Room and Colorado Lounge, make the characters look small and defenceless, like helpless children.

Punctuation The solitude of the Torrance’s circumstances, trapped in an a snow– Thestorm, lights on the sno-cat driven byclearly Hallorann flash 12give times conversation withand Grady in thescale lavatory has alocation racial physical of their remote life to a potent strikes bathroom door with his ement–asJack Grady says,the “Your son isThe attempting to axe bring antimes outside psychological thriller. film manages to12attain a deeply unsettling 2:12 Wendy a vision of attempt a bloodied man saying “Great isn’tofit” o this –situation …

A has nigger”, in an to push his extreme and uneasy air, without the clichéd cobwebs and dark party shadows – Jack callsonto ‘Danny’ 12 times whilst chasing him through the maze al British values Jack. conventional horror fiction.

– The music played at endbecause of the movie ‘Midnight, The Stars and You’ lorann’s character is significant as theisonly character is also the only protagonist of a racial minority. His crossAll instances of ellipses have Correct accents and punctuation have been applied to foreign m with anatives demonstrated as Danny hears line: “How’d consistentispunctuation terminology (such as;the grave, acute and diaeresis). All short space flanking on either side. quotes, from both the film and other originators, featured ome ice cream Doc?”, in the storeroom. A tin of ‘Calumet’ in-line within copy use left and right double quotation marks. owder with the face of a Native American chief is placed behind use of the numbers 12, 21 n’s head and the camera zooms to fill the frame withThe theintentional two 12pt Optical Margin Alignment on all body with doubling, This intense human harks backfilled to a particular phasesymmetry in the and mirro th notably turned at the sameexperience angle. copy aligns punctuation (such as; single and ‘uncanny’ experience, undoubtedly intende evolution the self-regarding double quotationofmarks, em and en dashes feeling, a regression to a time when the Many individuals attempted to and parentheses) outside ofdifferentiated the flush edge from the external ego is not sharply world and fromhave other of set text. These overhanging glyphs help to patterns of repeatedexactly numbers though it is persons.

Though it becomes difficult to isolate and determine maintain typographic consistency in the shape of their paragraphs type. shareof in the formation of this feeling.they succumb to what Freud calls “the chi further meaning’ to ‘The The manifestation these repressed infantile complexes, revived e meaning of many aspects of TheofShining have beenascribing subject to lively‘mystical order or meaning and resolvin by some impression, or the theories primitivesince beliefreasserting surmounted bate andEmphasis even outlandish conspiracy itsseemingly release over Drawing a line butintentionally once more confirmed, intimately due in part tostable the analysis and years ago, avoiding theare subjective thisconnected, publication willbetween becomes primitive beliefs stemming thehow infantile complex. stead focus on that morethere concrete evidence as to Kubrick hasextremely adapted difficult. Resulting co ls have arisen may well befrom these patterns of figures range from ‘heimisch’, In ‘The this case, the are ‘heimlich’ what was once Uncanny’ to his infrom the context of homelike, eud’s symbolssymbology, of on of colour there a ownis means, repressed child molestation to the Second familiar, and the prefixthere ‘un’ becomes the token of repression. opes in aon work visual fiction. heories thisofsubject.

Whilst is a governmental for the Apollo 11 it is worth noting that since its original release in 1980 cover-ups The superstitious mentality’, reudFinally calls ‘childish Emphasis is placed on termsthere repeated Perhaps been and released occasions.

The first is no specific answer b gining and has order to cut these events, we on willtwo on subsequent throughout the publication, giving them an utilised the power ‘uncanny’ to st after the initial release, subject to poor reviews, Kubrick cut 4oftoFreud’s uncanny and involuntary familiarity the hisweeks reflection. viewer. As Freud st emphasise an involuntary repetition of the reader’s and mind.uncertainty These include; ‘The Shining’, inutes ofTofootage, later cutting a further 23 minutes of footage frominthethe phrase ‘The Uncanny’ it has been subliminally ‘uncanny’, ‘Overlook Hotel’, ‘Gold Room’, repress andversion repeat” coupled with an “inabi ature length for an international the usa (a highlighted throughout the text by release use of outside ‘Theof Colorado Lounge’, ‘Room 237’, ‘Tony’, superstitious” is horrific. Not, i italics and single publicly quotation marks.

The preferred). same ‘Redrum’,the ‘shining’ and all foreignwhich terms not hich Kubrick stated that he treatment has been applied to phrases and recognised in the British lexicon (specifically fabric, which instead aims to symbolically terms quoted from an individual.

German, spoken fluently by Sigmund Freud).

41 / 42

C O LO U R A N D I M AG E T R E AT M E N T

E

colour and image treatment

Colour and Image Treatment

Colour

Uncanny Red C12 / M96 / Y72 / K0

Uncanny Blue C96 / M84 / Y0 / K0

Uncanny Black C0 / M0 / Y0 / K100

Uncanny Grey C0 / M0 / Y0 / K90

Rule

U R

M S

Rule Stroke 4.2pt

43 / 44

Values

Colour values for both ‘Uncanny Red’ and ‘Uncanny Blue’ have been calculated from CMYK values that are divisible by the important figures 12 and 24, extracted from Kubrick’s numerical code. This ties the hues to the underlying semantic and symbolic rationale of the publication.

Furthermore the rule point stroke is based on equally important number 42.

Image Treatment

The quality and use of imagery in the publication is somewhat dictated by their origin. In this case all imagery was extracted from the feature length film via digital screen-shots at the largest screen resolution possible. The images were than converted from 72dpi to 300dpi. For this reason it became to difficult to implement imagery to any significant size, larger than a restricted dimension, without utilising bitmap and halftone effects. This was probably the largest restriction placed upon the design, preventing the application of full page or spread images.

Apart from the chapter titled ‘Colour Symbology’ all imagery throughout the publication is restricted to monotone, using ‘Uncanny Red’ and ‘Uncanny Blue’, or greyscale. This made the double overlay effect more consistent and added a more coherent design element to the book.

Colour is a very important visual trope throughout The Shining and so full colour images were implemented in the final chapter in order to best illustrate Kubrick’s colour architecture.

In order to ensure that the aesthetic styling and consistency of the publication was not compromised by the final chapter of full colour images some minor editing was required. Yellow tones were stripped back and blues and reds enhanced using Adobe Photoshop (as depicted on the following page), cooling the images slightly. The effect is subtle, placed within the publication as a body of images the changes are barely noticeable, it is only when shown with their original counterparts that the effects become glaringly obvious. The enhancement helps to maintain a colour consistency throughout the document.

All other imagery has been edited as little as possible in order to stay as true to Kubrick’s original work as possible. Despite this, small alterations were made to the black and white balance of greyscale and monotone imagery for the sake of clarity. In keeping with the consistency to the film’s original format: the majority of images have been kept at a landscape perspective and as close as possible to the 4:3 standard aspect ration of the movie, whilst maintaining a level of variation. Finally some red and blue tone images were overlay-ed together with a blend mode, where applicable, to represent the duality of characters and narrative tropes or offset to add an unsettling aesthetic quality.

colour and image treatment

01

02

03

04

05

01 Full Colour Enhanced red and blue hues 02 Red Monotone C12 / M96 / Y72 / K0 03 Greyscale C0 / M0 / Y0 / K100 04 Blue Monotone C96 / M84 / Y0 / K0

06 05 Double Overlay Red Monotone above Blue Monotone Blend Mode: Darken, Opacity: 60–100% (dependent on the contrast of the image) 06 Chapter Halftone Circular, 45°, Frequency 30

45 / 46

book mechan i c s

Book mechanics

Book Mechanics

Paper Stocks

Cover 350gsm Fedrigoni Premium Smooth, 252×400mm (4mm spine), Matte Laminate Text 85gsm Fedrigoni Ultra-White Splendorgel, 252×198mm, 60 pages Red Chapter 115gsm Fedrigoni Sirio Indigo Colour Lampone, 252×198mm, 24 pages (12 Leaves) Gloss 115gsm Fedrigoni Freelife Gloss, 252×198mm, 12 pages (6 Leaves) Tip-in 115gsm Fedrigoni Freelife Gloss, 204×174mm, 12 pages (6 Leaves)

Printing

Ripe Digital, Wiltshire HP Indigo 5500 Digital Press

Binding Perfect Bound

47 / 48

de s i g n concept s

design concepts

Design Concepts

Image and Copy Placement

The typesetting of body copy is set to be intentionally fractured and broken. These cascading unformed paragraphs create an interruption in the flow of content and a user’s reading of the publication. The same treatment has been applied to imagery which run into the spine of the printed document, and off the edges of the page, in a seemingly random and inexplicably uncomfortable manner. This serves to make the content feel irrational and irregular.

49 / 50

Folio and Page Header

Folios have been positioned close to the inside margin of the page so as to appear unconventional and irregular. This compounds the uncanny effect of the publication as the user has to make a conscious effort to search for that which would ordinarily be familiar and assumed. Page headers are set only on one side of a spread, the left (before the centre spread) and right (afterwards), so as to bleed through the 85gsm Ultra-White Splendorgel and appear faintly in reverse on the opposing side of the spread.

design concepts

Cover Design and Tip-in

The typesetting of the cover design has been fractured and set partially off the margins of the page in order to invoke an involuntary repetition of reading, moving from top to bottom and finally back to top again. Note also that the text has been set on the back cover so as to appear unexpected, familiar, yet unusual. Inside subliminal images have been carefully blended across The Overlook Hotel’s infamous carpet pattern. These images of Jack Torrance and Delbert Grady reflected across the publication’s spine represents the unity of the two characters.

The tip-in pages, situated at the very centre of the publication, at the document’s ‘line of symmetry’, have been designed to metaphorically represent the physicality of a mirror. Featured in the chapter titled ‘Mirrors and Reflections’ images have been carefully curated to depict either mirrored reflections of protagonists or the duality of Jack Torrance and his projections. These characters are ultimately one and the same reflected across the spine of the book. The glossy and reflective paper stock is framed by a thick and consistent border on all sides, much as one would describe a mirror to be.Note that all images are vertically aligned in this chapter.

51 / 52

Images in Chapters

The frequency of imagery in the majority of the publication’s chapters, with a couple of exceptions, has been carefully curated to adhere to Kubrick’s sub-narrative number sequence.

As detailed below this degree of care has been taken with gallery double page spreads which feature in instances of 12 and 24. Parts 3 and 7 can be added together to make a total of 12 images between the two chapters and are in the same respective position across the publication’s line of symmetry. Finally the total document, including end pages, totals 108 pages, a figure perfectly divisible by 12.

01 Das Unheimliche (12 images, 6 with doubled overlay) 02 Numbers and Pattern (42 images, including; a gallery page of 12 images and a gallery spread of 24) 03 Doubles and Duality (8 images) 04 Symmetry (24 images) 05 Mirrors and Reflections (12 images)

06 Continuity and the Subliminal (24 images, counting doubles but not repeats and gallery page as 1) 07 Supernatural and Paranormal (4 images) 08 Foreshadowing (12 images discounting doubles or repeated images) 09 Colour Symbology (21 images, including a gallery spread of 12 images).

design concepts

Before centre spread

53 / 54

Quotation and Caption Flow

Pull quotes and captions have been typeset specifically in order that the ragged edge always flows towards the centre of the publication. This has been implemented with the intention of drawing the user subliminally towards the centre of the document, towards the book’s veritable ‘line of symmetry’. Furthermore pull quotes have been positioned to intentionally clash with and break the flow of body copy making legibility fractured and uncomfortable.

After centre spread

design concepts

Weight of Spreads

Spreads have been designed with a loose rule imposing that the weight of large full page images or expressive typographic features should be on the right, up until the centre spread of the publication, and the left afterwards. This subliminally weights the document towards the centre and serves to further compound the uncanny notion of doubling and mirrored reflection produced throughout the publication.

Before centre spread

55 / 56

After centre spread

design concepts

Contents Concept

The contents page has been designed with referenced page numbers, indicating the first half of the book (up until the centre spread), printed clearly and explicitly. Page numbers corresponding to the second half of the publication, or ‘reflected half’, are printed on the following page so as to bleed through the 85gsm Ultra-White Splendorgel and show in reverse.

Note that all chapter page numbers listed correspond to Kubrick’s subliminal number code.

57 / 58

Foreshadowing Concept

Foreshadowing is utilised throughout the publication, much as it has been deployed in the screenplay, to indicate and predict future occurrences. Specifically in the chapter titled ‘Foreshadowing’ text has been given a wider leading and intentionally misaligned on pages designed for opposing faces of a single leaf. When held in the correct light text will bleed through the 85gsm Ultra-White Splendorgel to the opposing side. Similarly pull quotes have been intentionally positioned to flow from one spread and continue onto the next, or to designate the images that are to follow on the next sequential spread.

design concepts

Page Count

The number of 115gsm Fedrigoni Sirio Lampone paper leaves corresponds to the symbolic number code inter-weaved throughout The Shining’s sub-narrative. The publication features 12 leaves of red stock with 24 facing pages and 12 leaves of gloss stock, totaling 24 facing pages, separated into two groups of twelve. This hidden number code serves to support the semantic subliminal messages of ‘Homely But Not At Home’. Furthermore, as has been detailed in ‘Type Hierarchy’, all typographic points sizes directly relate to the number sequence.

59 / 60

T ypo g raph i c error s and c i tat i on s

Typographic errors and citations

Typographic Errors and Citations

Corrections

Page 07 Copy Reads: ‘death, dead, spirits, ghosts and reanimation’ Correction: ‘death, the dead, spirits, ghosts and reanimation’ Page 15 Subheading Reads: ‘The Number12’ Correction: ‘The Number 12’ Page 16 Two instances of the year 1921 should be in Proportional Oldstyle figures Page 19 Copy Reads: ‘00:24, the first scene showing The Gold Room, lasting 1:24 minutes’ Correction: ‘00:24 the first scene showing The Gold Room, lasting 1:24 minutes’ Page 20 One instance of the year 1942 should be in Proportional Oldstyle figures Tip-in ‘Disorientating Reflections’ Copy Reads: ‘the mirrored numbers (12,21 and 24, 42)’ Correction: ‘the mirrored numbers (12, 21 and 24, 42)’ Part 10 ‘Citations’ Copy Reads: ‘(1917 – 1919)’ Correction: ‘(1917–1919)’ Printing Error An error in the perfect binding of the publication cover resulted in the printer needing to trim the publication on all edges by 1mm in order to rebind. This has shifted the folios closer to the spine of the book than the design concept called for and affected the final dimensions of the book.

61 / 62

Citations

Freud, S. (1955) ‘The Uncanny’ – 1919. The Standard Edition of The Complete Psychological Works of Sigmund Freud Volume XVII (1917–1919). Published

by The Hogarth Press.

Kelley, M. (2004) ‘The Uncanny’. Published by Verlag der Buchhandlung.

Room 237 (2012) DVD. Directed by Rodney Ascher. USA, IFC Films. jonnys53.blogspot.co.uk (Time Codes and Number Patterns) kubrickfilms.tripod.com/index.html (Imperfect Symmetries) collativelearning.com/index.html (Analysis and Conspiracies) drummerman.net/shining/index.html (Hidden Meanings) www.kipling.org.uk/poems_burden.htm (White Man’s Burden) visual-memory.co.uk (Exploration of The Shining) tailslate.net/overlooking-the-self (Imperialism Conspiracy) visual-memory.co.uk/amk/doc/0114.html (Filming The Overlook) kdk12.tumblr.com (Stills of Screen Dissolves) The Shining (1980) DVD. Directed by S. Kubrick. USA, Warner Home Video.

All imagery.