COLOURED LINES SAMPLE BOOK by Naomi Farrar

A tall letter, representing the mountain Snowdon. The pointed peak showing the summit the article speaks of, and the slab serifs representing the firm and flat ground on which the mountain stands. Steep angular sides represent the height of the mountain. Varied

angles in the crossbar show Snowdon as the tallest within a range, whilst dually representing the track which the 4x4 was driven up. The letter is constructed through four clearly defined parts- the two sides, the crossbar and the serifs, which represent the 4x4 vehicle itself.

The holiday theme of this article lent itself to the rounded and relaxed design of the character. The global subject was a prompt for the letter to be a rounded, smoothly curved shape, as well as the large counters. The proportioning of the

character is representative of the percentage figures stated in the article, and the larger lower counter shows the increase in these figures referred to in the article.

The circular shape the character is designed around shows the jovial comedy subject of the text. The use of curved serifs show the aptitude of the actors for their profession, while the

contrast in shape highlights the forced vibe of Brannaghâ&#x20AC;&#x2122;s performance. The uneven spacing and balance of the serifs portrays the difference in the skill of the two actors in their roles.

Heavy weight lines and wide shape of the letter are representative of the references in the article to obesity and health. Serifs mark the formality of the topic, it being an official government tax. The large counter can also be

interpreted as the way the life expectancy of the Danes is expected to increase. Rounded and wide, the character is a portrayal of the state of the health of may of the Danish population, according to the article.

Comprising of three different styles, the letter shows a mix of different messages, illustrative of Easyjetâ&#x20AC;&#x2122;s stance in the public eye of late. Many different weights of line all vie for superiority, a depiction of the competitive business. Serifs

provide formality and a businesslike vibe, however when together are all varied. The increase in line weight moving up the letter indicates the profits of Easyjet, and their significant increase of late.

Combining traditional Gothic typographic styles with modern shapes and lines, the final letterform is one representative of Calais today. Elements of the old remain, yet the modern

are also present. The broken up, separated elements of the letter present themselves as the state in which the city finds itselfâ&#x20AC;&#x201C; one of change and unfinished improvement.

Of balanced weight and well rounded terminations, the character illustrates the peaceful and level headed stance of people opposing the law reform. The curved but not entirely rounded shape shows the argument in question to be encompassing a lot of different viewpoints but still no straightforward

resolution. No serifs are used, but the neat and well proportioned design makes for a professional appearance. The equally balanced and horizontal crossbar depicts the two main sides to the argument, while the angular stem of the letter is a portrayal of the NUSâ&#x20AC;&#x2122; direct and clear stance on the topic.

The many percentages listed in the article are represented initially by the letter being split into serif and sans serif, and then also into different weights. Further representative of this is the variety of serifs applied to only half of the letter.

Four different serif styles are used to illustrate the proportions used in the article. The weight difference in the line is also indicative of the way a number of women were confident with making breast checks, while others were not.

A modern and futuristic shape combining a curved edge with straight lines and angular corners, the letter is representative of the futuristic setting that Terra Nova holds. The article elaborates on the futuristic and the historical themes in the show, and these are represented in the character by the contrasting

styles. Reference to the portal within the show is shown through the multiple strokes within the letter, giving the shape more of a threedimensional feel, while the same point of origin for the lines marks the space and time aspect of the portal reference.

The northern vibe and origins associated with Joy Division are portrayed by the simple and inelaborate letter shape. Functional and hardy, the high impact shape of the character is expanding on the reputation and pride of Manchester as being their city. Musical references can be seen in the horizontal lines within the shapeâ&#x20AC;&#x201C; representative of the visual style of sheet music, and picking up on the

musical theme within the article. The small serif is indicative of the photography element in the article, reiterating the point of it being not about the photograph, but the subject matter within.

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Covering the trade of gold mining, the character illustrates a rich and precious subject matter. The decorative serifs in the tail of the letter tie in with this. Expanding on the ratio percentages referred to in the article, the tail indicates the posibility of a 2:1 increase in funds available, proportioning the tail of the letter accordingly. The variable line weight of the letter indicates

t h e fragile state of the G r e e k economy while indicating the chances for debt reduction and profit.

Presenting the subject of schools as a business, the use of an expanding weight of line are indicative of making increasing profits through the schools. The balance of the upper and lower portions of the letter are set equally, so as to display the two options presented in conclusion

of the articleâ&#x20AC;&#x201C;raising fees, or cutting costs. Rounded serifs are used to mark the theme of education as a subject which should be a wellrounded experience, as well as accessible to all children universally.

Combining the artchitectural background with the new vogue career path of Tom Ford, the subject of the article, this letter represents his two distinctive interests. Starting with slab serifs, a stable and structured half of the letter

indicates Fordâ&#x20AC;&#x2122;s architectural background. The character then makes the transition to the more feminine and decorative side, expanding on the new make-up and womens cosmetic ranges created by the designer.

Two contrasting personas are presented through this character. The gentleman who is a member of the England rugby team, and on the other side his primative and ungainly behaviour. Presenting an instinctive, fast and unconsidered state of mind on one half of

the letter, and contracting this with the way the article suggests these players should represent themselves. The two halves of the letter show a clear distinction between clean, clear, considered presentation and a rough, disorderly disposition.

Using inflated and unnatural serifs within the design of the letter, the theme of botox is clear. Based upon a simple and well proportioned character and using slab serifs to highlight the change from the original form, two of the serifs

are enlarged and misshapen to represent the articles stance on botox. The resulting letter is unbalanced and not representative of itâ&#x20AC;&#x2122;s former state, disguised as a more deceptively decorative letter than it once was.