Everything About One Thing TYPE STRATEGY/ SPECIMEN
GRIDS
TYPE
COLOUR
IMAGE
GRIDS
GRIDS The grids I used within each section of Everything About The Llandoger Trow were a reflection of the physical frontage of the building. I used a photo and traced over the beams, doorways and window bars to create a grid that fitted historically and naturally with the pub.
GRIDS
The architecture and grid system of the building’s frontage worked perfectly as a solution to the grid for my publication as there are many beams, iron supports and window separations.
TYPE For the main body of type I used size 13 Georgia, Regular. This choice came after research into older, more traditional fonts used around Bristol in the time that the Llandoger Trow was transformed into a public house. At that time it was only possible to reproduce fonts on a printing press, so the majority of printers only had a few fonts, including Centaur, Times and Trajan, however these didn’t fit the character of the book, so Georgia took its place as something with an old style feel but a modern twist on it.
For quotes and phrases that I wanted to draw attention to and raise in the information heirarchy I used the Fibonacci sequence to work out varying sizes of type. However I only used certain values in order to not over crowd and compliacate the page.
Sizes 13, 21, 34, 89 and 144.
TYPE
Black colour: C=0 M=0 Y=0 K=100 Grey colour: C=0 M=0 Y=0 K=25
ghost of the boy that is T heheard on the stairs is
believed to be that of
Pierre,
Pierre
a young boy who lived and died at the pub. Disembodied footsteps, a torch with a mind of its own, and physical contact from beyond. These are just a few of the things that have been caught on camera at the Llandoger Trow.
http://youtu.be/jRR1tvbtuZ0
TYPE
Bristol’s strong links with the ocean and it’s key role in trading tobacco and slavery, inevitably lead to the city’s involvement in piracy. At the time piracy was illegal, however ‘privateering’ was not.
T
he geography of Bristol and the huge tidal range of the Avon had always caused problems for ships docking in Bristol. As the water in the river ebbed back towards the sea the ships anchored in the harbour would rest on the river bed and be subject to immense pressure from the weight onboard, often causing considerable damage to the timbers. As a result Bristol-built ships were constructed using the finest materials and the most skilled techniques, and quickly became famous for their sturdy craftsmanship. Sailors visiting the port would comment on this, coining the famous saying:
‘ Ship shape and Bristol fashion. ’
TYPE
Is there any sort of
There is
formula to how you go about it
?
a building
A place within
that you always start,
like
in the front doorway?
no
formula,
as each location is
totally different.
For the publication with Sarah Sprules’ interview about ghost hunting I chose to use 2 fonts: Georgia (carries through from the main publication, and Century Gothic, to fit with the ghostly content of the interview. I used Century Gothic for her words and Georgia for mine, to create an easier to follow contrast.
However for this publication, as it was a separate excercise I used a different grid system: 5 columns and 6 sections to make rows, the first five equal and the bottom one slightly smaller to make room for web references and page furniture.
COLOUR
For the colour palette of the type I chose to keep it simple, as there was so much varying content, so stuck to a very basic black and grey.
IMAGE For the images shown in the book I chose to use a variation of pictures taken by myself in and around the pub, alongside images from the internet illustrating only the things I could not get access to but was necessary to show.
The frontage of each house has been slightly altered over the years; No. 4 had a shop front and so the ground floor windows are not uniform. Some of the casements were also remodelled in the eighteenth century with inset sashes but the whole impression of this range of houses is of a seventeenth century half-timbered facade.
http://www.francisfrith.com/bristol/ photos/ye-llandoger-trow-c1950_b212275/
Early 1950’s 2014
IMAGE The images in Ghosts at the Llandoger Trow and Pirates & Privateers are in black and white, because of the negative historic association with these two subjects.
In the Georgian bar there is a cartoon which lists some of the inn’s activities as a smugglers’ haunt with secret passages and Press Gangs thrown in.
IMAGE However, the images in Naming the Llandoger Trow, Architecture of the Llandoger Trow and Chosing the location of the Llandoger Trow are all in colour because they are more factual subjects.
During a refurbishment in 1962 7 original fireplaces were uncovered, including the one in the main bar area of the far left hand side gabel.
The designer, Alex Waugh, before making any aesthetic changes to the inn had to give it a complete interior framework of steel and sink piles into the ground to a depth of 43 feet. He was quoted to have said: ‘If we hadn’t, in effect, taken it apart and shored it up at the seams, it would have disappeared from sheer neglect before long.’
‘It’s a miracle the floors didn’t cave in years ago.’
THANK YOU
With special thanks to The Llandoger Trow and the Bristol City archives for all their help in my research.
Siena Clarke