the department of design research newsletter
Dave Binns reflects upon his recent workshop experiences at the International Ceramics Studio - Kecskemét, Hungary. Dave Binns
Exhibition opening Tuesday 28th Sept, with around 80 people attending the opening, including the Hungarian Cultural Minister.
I first worked at the Studio as an invited artist on an International Symposium in
October 2000, producing a body of work that was exhibited at the Studio Museum. At the beginning of this year I was invited to participate in the Meeting Masters’ program at the ICS. The idea of the Masters programme is that the invited artist is provided with a studio to work in for a month. The artist gives a series of lectures and demonstrations on their work and working processes to other artists working in the Studio and other visitors to the Studio.
“The programme is a fantastic opportunity to spend four weeks focussing entirely on developing new work, undisturbed from all normal day to day distractions. It has been often described as a ‘ceramic cloister’”.
Post Script Dave has just recently been invited to join the International Academy of Ceramics (IAC) and his work has been on show at an IAC members exhibition in Korea - the Icheon International Ceramics Centre. They have selected one piece of work for their permanent collection.
Working in the Studio is also very much about the sharing and disseminating of ideas, philosophies and working processes. This is particularly interesting bearing in mind the diversity of cultural backgrounds of the artists working in the Studio. During the 4 weeks I was working at the Studio, there were makers from the USA, Thailand, Latvia, Germany, Hungary, Japan and Australia. I went with a very open mind about what work I would be making, attempting to strike a balance between wishing to explore new ideas and processes, whilst also producing a significant body of finished work, within a four week period. The first 2 days I had the luxury of time to sketch new ideas and make maquettes. Once ideas started to emerge, then I started developing a body of new work. I wanted to move my work forward and develop existing ideas, but not allow the work to become too far removed from existing thinking. A week into the programme I was offered the opportunity of a solo exhibition in the Studio Museum / Gallery. Whilst this was a tremendous opportunity and honour, it put tremendous pressure on the programme. I had just over 2 weeks to get made, fired and finished a body of work, of a quality for exhibiting.
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ceramics innovation. Its remit was to create an environment for encouraging an exchange of ideas and practice with Eastern Block ceramic artists and established artists from Western & Asian countries. The Studio has grown into an international centre for ceramic research, with artists from many countries participating in Symposium and Master Classes.
3rd - 30th September, 2004.
International Ceramics Studio (ICS) was The originally established in 1976 as a centre for
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above: Strontium under the microscope - Page 6
issue two 1.11.04
“Apart from one afternoon off, when work was firing. I worked intensely every day, often until 2.00am in the morning. The pressure whilst intense, generated a huge amount of creative energy”.
In total Dave completed 6 large pieces of totally new work, plus a series of 4 experimental ceramic and glass hybrid pieces, alongside some collaborative development work with 2 Hungarian makers.
Below: Two images selected by The Association of Illustrators (AOI) to appear in their forthcoming Images Annual. 1. Created by ‘Harvey’ a current third year BA Hons Illustration Student studying under Steve Wilkin . 2. Image created by Jo Shuttleworth who graduated this summer.
Source book goes into print!
Book Launch The source book has finally reached production and is now officially in print. To mark the occasion the Department, in conjunction with Howard Smith Papers, (who kindly donated the paper stock), have organized a launch. To be held at The Circle Club - Manchester on Thursday 2nd of December. As well as a celebration, the evening is an opportunity for both staff and student to network with individuals from a variety of regional design related industries. The Circle Club provides a relaxed and informal setting with a complimentary bar 6.309pm. Tickets will be available from the department office. See you there? If you would like to send complimentary copies of the book to any contacts you may have, please give addresses to Andrea Birch and they will be added to the data base and dispatched directly.
Above: Ad hoc ephemera exhibition - No Content (spring 04) - featured the art of the carrier bag. Assembled and composed by students from the Graphic design course, the display took advantage of a gap in the PR1 gallery schedule. Dating from the early 70’s to the mid 80’s, the collection provides a timely insight into life before the barcode. The scope and variety of the collection has lead to interest from external sources and we are currently looking to take the exhibition further afield.
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Documented by Peter Thompson
3 Advertising Team Kelly Sutcliffe & Rebecca Thompson were short listed for the D&AD student awards in response to a copy based brief in support of The Guardian Guide.
Call to Action
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We are constantly seeking more input from all sources & courses. If you have any interesting research features, articles, student work or general design debates. Please feel free to contact - andy.bainbridge@thechase. co.uk. Room 19 - extension 3376.
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A satirical look at loss by George
Graphics duo Karen Hughs & Kerry Ostermeyer took their inspiration from childrens nursery rhymes for this years D&AD typography brief.
Graphics student Cheryl Geary created this structural packaging concept for Toni & Guy. It was in response to this years Corus Steel Packaging brief for D&AD.
They produced a set of three posters highlighting a range of global child abuse issues and received a commendation & £250 for their well crafted entry.
SHOCK & HORROR The nations of Norway and Wales have recently been united in existential anguish. The ʻScreamʼ by Edvard Munch, Norways greatest artist, was stolen from the National Gallery in Oslo earlier this year. The ʻScreamʼ or ʻCryʼ to give the work its proper title, was perhaps Munchs most familiar painting and is iconic in its anguished expression of isolation and fear.
Animation student Tom Giokabari has been short listed for his ‘Da Sneaky T Show’ animation - a BBC Three sponsored competion. The Synopsis: “A typical day in the life of Terrence Aloda AKA Sneaky T - cool cars, great women & massive disappointment”. Tom was inspired by his native Peckham for the animations backdrop and is currently working as an animator in London. He hopes to develop the concept further and feels it could become a cult classic.
Feelings which the people of Wales may well empathise with? As disturbingly Wales itself went missing when it failed to appear on a map of Europe recently. The front cover of the Eurostat Yearbook 2004, a statistical compendium, failed to recognise Wales existed. A spokesman from the Eurostat office was quoted as saying the blunder was “certainly not a deliberate one” and was most likely a “design fault”? However we are not as convinced and would like to appeal to you the readers for any ideas as to the possible whereabouts of either Edvard Munchs masterpiece or Wales? The least plausible answers will be published in our next issue. The most plausible leads will be passed on to Interpol.
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Welcome to the second installment of The Disciples of Design. There has been quit a break between issues and much has happened in the intervening period. This issue covers a varied array of projects ranging from Dave Bʼs recent Hungry trip to this years Big Draw. We would also like to take this opportunity to welcome all the new members of staff and look forward to any future contributions you may have.
This years Big Draw was h�
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OR
DESIGN ?
James Battersby & Caroline Murphy
Name: Orrery Garden Kind: jpeg Size:16.8 MB Created: 19.10.04
SCIENCE
Name: Polarising 11 Kind: jpeg Size:2.5 MB Created: 24.5.04
Using science as a design medium is a new research project currently being undertaken by James Battersby a senior lecturer in Antiques and Design Studies. Initially the research will explore how photographic images taken through the microscope can be used to inspire new design.
Shown below are some simple micro photographs of chemical compounds photographed under crossed Polaroid filters. These are actual photographs and have not been enhanced or altered. Name: Platino cyanide - ‘Arrow’ Kind: jpeg Size: 244kb Created19.10.04
James is currently working with Caroline Murphy (a UCLAN Graduate) on a proposal for an educational ‘Orrery Garden’ for Blackpool Borough Council. The Design is based on the relative positions of the planets in our solar system.
Name: Polarising ‘Gothic’ Kind: jpeg Size: 2.4 MB Created: 24.05.04
An exhibition of photo micrographs and related lectures on the microscope as a design medium are planned for the new year.
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Digital cameras have both revolutionised and simplified photography through the microscope, and used together with photo software such as Photoshop, a vast array of effects and repeat designs can be produced, each of which can potentially be adapted for 2 or 3 dimensional design work.
Name: Sulphur Kind: jpeg Size: 1.9 MB Created: 26.05.04
Name: Polarising ‘Cat’ Kind: jpeg Size: 2.4MB Created: 24.05.04
Name: Sulphal Kind: jpeg Size: 408224 Created:26.05.04
Novaris Visions of Science Photography Awards 2004 The intriguing electron microscope images above -‘visualising drug delivery’ by david McCarthy, is to form part of this years Novaris touring exhibition. Initial on show at the Science Museum - London, the images will be going to Oxford, Manchester, Bristol, Glasgow & Edinburgh.
The images are also available @ www.visions-of-science.co.uk
Name: Polar Kind: jpeg Size: 408kb Created: 16.05.04
The Welcome Trust Medical Photograhic Library is also currentley hosting an exhibition of award winning biomedical images.
http//medphoto.wellcome.ac.uk
VERSE ON THE VERGE
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The show runs until the 3rd of January. www.hayward.org.uk
1. Toilet door detail with seaside postcard comic overtones - Brucianni’s ice cream palour.
2. Typographic detail - Word as image.
Johnathan Harker recently took the second year Graphics students on a typographic field trip to Morecambe. They were recording & researching ‘the flock of words’ - a public arts instillation leading to the Middland Hotel and the sea front. The instillation was designed by ‘Why Not Associates’ and measures 300 meters in length. Using typefaces designed by Eric Gill, whos work once adorned the walls of the Midland Hotel. The pavement is inset with poems, verse and thoughts from artists as diverse as Spike Milligan, William Shakespear and Aristotle.
Left: Iconic Kitch item - the plastic molded pineapple ice bucket. Circa1965. Pat no.1342.
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Changing heads - from a series of changing heads. Copperplate engraving Italy, c.1700.
The current ‘Eyes Lies & Illusions’ exhibition @ The Hayward Gallery shows us how optical phenomena continue to fascinate. Billed as a visual extravaganza, the exhibition doesn’t disappoint, with a huge array of optical tricks and slights of eye. The bulk of the exhibits are from the personal collection of Werner Nekes, an experimental German film - maker, with a sprinkling of original artworks by more contemporary international artists. Although inherently fascinating the exhibition as a whole dis-orientates and tends to concentrate a little too much on the historical. Examples of more contemporary twists and visual tricks based on some of the age old examples on show would have been refreshing. Expect to spend a good couple of hours at the Hayward to really visually imbibe and at £9 a head (without concessions) it is just about value for money.
johnathan harker
Fore
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The role of the sketchbook is all to often overlooked. Often regarded as a place purely for the development of ideas it often holds some of the most visually creative work. The lack of pressure to produce will often lead to work without pretence. A collection can take on a new identity, work is altered, toyed with; there is a playfulness that often gets forgotten when finalising an idea. These are simply a series of spreads from sketchbooks. They are what they say they are.
ÅmèÄmèÅnçÅmä|kèÖwûätùÅb°Öb≤ùÄ°álóy]ö~bóz_ïw^†Ük¢àoìy`ãnXïwaò~iñzeìxaò~föÅfûÉiüÇkõ~cú~e°ÉkúÄjô|jîwbïv_ö}dïxbîw`óydõ}eô�fö~fïx`èq]ës_ îvaïygêubñycó{gïzeít`ñzdõ~jüÉpózfñxeö}i¶ät±óÅ™íyûÅj¨ëy¨èz•àpßåvñxcïxfïyeïxeñzdîyeòzg°ÉnßåsüÅk°ÉküÅjù~gú~j°Ék®ätÆí|≠í{µùÉ∂ûѶãvù�kû~k°Ço´ The Yellow Cafe éx∏üÖ∫ûÜ¿ßç≠ë{ƒ≠îÃ∑†≈™í‚—ΩÂʼ¡„“∫⁄∆¨Õ≤ïÿ≈®ʻ¡®√´êªûÜΩ¢á≤ñ~∆≠Üø§à¥òÅ≥ô~Õ∏ú«≥òØìy≠çq√¶áƒ™å¿®ç∞ïz÷¿©÷¡£‚∏Ë€«ÍflÀÊ◊¿‰ʼøËÿ¿Âÿ acted as a forum for poets, writers, performers, visual artists and DJ’s. It was co-founded in the mid ¿‚“º‹…≤∆Æî¿©í∫ûá«≥õ≈Øñ⁄»Øflœ∂‡—π›Õ∞Âÿ¡ÊŸ≈‚”ª‰÷ºÁ⁄ƒÁ‹«Â◊√‰ʼ¿‚ʻπ◊¬¶⁄∞⁄À¥≈∞òƒ´íÕ∫¢Øï�©åxΩ§ìê©≤üãîxhó|núÇr†Üuº®ì ª§€œª⁄À¥›ªæ§«≥ó 1990’s by myself and Edinburgh poet Rodney Relax. The idea was to make poetry and writing more acces—¬®∫§ã»∂†»∞ò“ø§ʻ¿®Œª¶”¿´ƒ¥£ÆòÖ†áx†áw≥üå¥ûç¨íÅø¨ó”√±÷Õºüá{än_§é�•é}±õá¶ëÇì{làlaânbâoaÖl]ò�pëznÇd[Öj_årdäqdëugúÅp±öâ¶ç~¢}ñ}pêugö�r sible; a dissemination of the spoken word. It was decided that all publicity should be sympathetic with the aims of the event, something tactile and ‘hands on’ where experienced and well known writers took on an open mike ö~o¥üåÀøØ¢å}üàx£ç�ñ}låqbÖi\àn`ànaàmaçsfäpdÑi_Ñi`Öi`áodâocÑj`Åf]Éi`áneàmfÖmdÜkbÑj`åtióÄtápgÅh_àqeÖnc�g\ìzmßìħç{©îŶê~üÖvüàvñ�sâpeÑ spot. The quality of the performers ranged from the sublime to the ridiculous but was never without surprises. k_êwjßç{»π•”∆µflʻ≈„Ÿ«‰⁄ÄŸ ‰Ÿ €À‰€À‚Ÿ ‡÷«‡Ÿ…ʻ»∏Øúè¢äzø∞¢Ω∞¶ùá|âpfãqgÖlcÉkcÉiaÄh_Äh_ÜlfÖleêynî|rãtlï�uï}rùá{Æõç≠ûïí|sçvmÖoeèwl äujåujéwmëylõÜ{èynÖmbãoiánfÇhbÜlcÇg_âqiÜmcámfÜmféulévlåunçwnârjärhàsiÅjbásnÇnf~g_Émj{b\|f]ÑmfÜsi|g_�h`Éncya[Äh`ë|qãtióÑwòÉxì�váqhÉlg| e[ÄibÖmfåunåvmî�zÜoiÇkcêzqåtk†éÇóÖ}áqgèxjúäzíÅzÑmdÇjbârfÜpc~g_x_X~e_�gaë�sÉnföá�ïÇ~ÉjeÑja∫´°æµ∞ätn~d`ÑpjàsoÅhbãtkÉof|e]Äh_�i`�h_|d Wê{lõäÄ£êÇïÑ|pZSÅjbÑpfÅlbåwléxoÄkfâslÑof}d]ÄgaÖnhäsjêzsèyrÉmeâsmÜmhÇlfåvmÇj]ÉkbàsiÜoeÑm`ãuhäuiêÇué~sÉk^Çkcäukê�së}r¨öëúàÅçxsïÄyî �x®ïç≤ûñ∑•ùΩ¨§∞úñº´°æ¨¶πßù∫©ûΩ´ü∫´°ïÅy®óà∞°êº≠ûø∞ü∏¨úùãz≥£êº≠ú»π® ª´∆∑£”»∫»∫™–¬µÀΩØ—∆∫øÆ•∑¢ñæ≠°∆∂™æ±™ª¨§»∫∞¿±ß´õê°åàçwqçtnãu mè{uãulÜoeãxnáphÉj`ÇkcàqjãtkàqgÜmgÉleàpkçuoñÇ{¢éÜí}véuoâqkàojãtkêyoçuoÖmfçxqÇjbí~rôà�é{rÑohÄh^}f`ÅkcØúé…æ≤êzsÄg`Äg`àniãtkÜle§éÖûâ Çáqfî�xñ~wòÅzï~wöÜ}¨ô鵕ûóÉxçwrÜniäsmêzvâtkëzpàpkÉnfóÅwõÜ~ï�vâskärmärkÅieÇhfêyuûäÑãtnó�zî~zâoiêwoêzpï�tóÇwßïáüãÉùá}®ñâõâ|£íÖ°êÑö Çv ¡≤°â�Æô埌¬¡≤´ò�sΩ´° º±≥¢õëxqàmfätlçuqévqì{tåumza^óÉ{ôÖ}ûâ|îÄuÜogåtläpièwoâpiÖjdÅg_âohåujèumçtnãqjòÅx´ìã¢áÇíztï�vçsmî~tòÇxî}vçvp£é Ü∂®ú≥•õùâ�ëzpëzrïÅvöÖz£ëáßóå®ìäõÖ{óÇwï|t•ìâüäÄçvpèwqévní{s¥§ùªØ•òÅyí~yãunâslí~wî~yîÄxåzpñÅyúàÄãtoäuoí}wØ°ó•ìàî~wúä�ïÄvëzuúÖ}ûä�õÑ} ñ~xûäÅ®îéº≠¢∑¶ú∑©ü∑•û≥°ó∫≠¢™õí≥•õ±£òúâÉ®ôí¶ñå¢ëâ¢ìâòÜ�Ékgáuoê�yïÖ|êÅyå}sìÇyå|sQNKSQJPQLQMJb[NqeKnbGobFsfLviNynO�xaûíz¢ïz°ñv¢ ós®òm≥†s∏®|Ω∞Ñ∂≠Ö®†}•ôwéÑjÉ|eÑ|cÜ~eàÅfàÄdãÄeàÅeàÄcàÄdçÜhïånîãmçáhíàjíãqóèr¶ù}Ø£~¿≥ä…ø씫ñfl–†ÌflßÁŸ¢Ê⁄§Î‹ßË⁄ßfl—°„“üÈ⁄§Ïfi•Ô‡¶Ë€ß È€®ÍŸ¶Á‹ßÎfi©·´Í‹ßÍÿ§‰ʻ£flʼ°Ëÿ•÷ ú«æìÕ¡î«Ωí…ªê«∫è…ºí∆ºì…ªê¿∏éø∏è≈ºë»øìΩ∏í∏¥ëß•ÑüùÅööÅèåvyznoorvxyyywuuvsuvuwxvwzsvwwwyqtusuusts wxysuwvvwqrtz{|{||vyx|ÅÇwz}|~ÅÅÑÜÄÑÑx{Å�ÇáÑáâÑáâÇáàáäçéîòìôüñû¢¢§£´™•µ≠•¬¥£∫°åßç|†ÖxúÖx†ã�¨îÖ±úç≥¢ë±§î≥¶ïΩÆõ∆¥ü µû»≤úæ®ñ∞úå¨ö 㡶껨ññöŒµ†Ã∏¢”À∂Ã…æƒ∆¡≥∏πò§´ãíúäçíâåêäâäâàáààÖàÜÉâÖÉíçÜñèáñëç†ùù†§°ù§¶îñüáÜÑèâ}ïêáçÉtÉwbçÅlñàvïâzôé�úïà¢ùí°ùñüùîߣôÆ∞µêâÅä� nâ}kçÇnéÇoèÇoëÑpëÑpêÑpíÜsúå{¢ôå£ë{ò|]¨ówßí{ês\ãmWët^íu^êqW©ì{©ì~ëqWèq[ï{cñycép\ër]ìs[ïvaïybìvaïw`ês\ãp\àkXàkYäo[ív`ñwañydñ|fó}fõ�h£áo¢á oûÉmò|hïxcú~iùÅjîwdôzfïwdïvbîubówbú}gúÄiïydèq]êt`èq_èsaìyfíwbìs`†ÜoÆô}¨í|ô|gïxcìvdîxgïydóziô�j†Öl¨çu¶âq¶Üm©äo®ân§Ñk¢Ék®àp•àp¢Él•Öm®àq¢ Çjù~h†Åm¢Çn°ÇküÄjßâqÆëz¨çvµïz¥ì{ªûÖ€ ∞⁄«™fiÕ¥ʻæü ±òΩ°Ç ≥ñΩ£á«Øî√©é¥õÑ®ãuØízÕ∑ú‚ʻªÕπ°À∂õ—ª£≥ïœπú”Ω°‹»Æ„”Ωœ∏üflÀµ‡œ∏‡Œ∑Êÿ¬ Âÿ¿„ʼΩ‚“ºÂʼæÂʼΩflÃ¥◊¬¶À≤òÆî~≤ñ{≠êxƒ´éʻ¡¶»¥ìŸ≈®Ê⁄¡È›»‚ʻΩ·“∑›Ã∞·”πÁ€∆Âÿ√·”º„◊¬„÷¬„ÿ¬·“¡—ª©Ÿ∆Ø”¿©…µ§®çy≠é~∑ûàùÇpíteó~oîzkõÇqò|h¿¨ 뉟∆‚◊√‡ʻ¡ʻ≈ßfi—ªʼ…≤÷…¥”«≤œ¡©ŸÃªœæ©ʼ«≥ʻ≈≤∫¢ê≠ìÑôÄräncïzlìwkòzl∏üä»≥† ∑û¿≠õñ}sñ}l£åxûÜpÆòɨòÜ¢ç|çshäocärcåsfãqdèujäofâncëxkó}sò{m «µßßèÄó|oãmcô~p•ãt∏£ï¶éz†ÜqêufâocÑj_êxnÜmbÇf[ànaÜl`àodäqfãqeÜkbÇiaÑkcáogâqh{b[{^Y}~c[�b[Çj^Åf^áldâodñ�rí|m¥¢è£èÄõÉr™öà®ñÖ¿≥°Æûë•î ÅñÅuâpfÜmcÖleàogò�r√∞¢›“ƒ·ÿ»‚ÿ»·Ÿ…‚ÿ»‚ÿ»„⁄À‚ŸÀ‚Ÿ…‡÷∆€œΩœƒ∂ì~oÑl`Ül`ápaë}qõázòÑzárgálcÖlcápgàqiàofêumõÉzãqjöÑ|ï{tíxoòÅwévkçvjãrhÖ kaüâ|èznèxkëyj™ñâ¢ëÖãvhî|q¢éÇí{qòÜzóÉ{åtkáohÑkdÅhaäqjâphätjápiÖmgáphéwlÄjb�ia}g^�ha~g`Éme�i_ÉmcÉmfÇleàvmÅkb}jbÅleÖmdÑnc®îé©óì∞ü îòÖ�ápgÖmgévnÉmfzc\y_[y`Xàqkàqk|e_Åi`î~uÅkdäujâriÖoeë~tásjõâ}ë�táseâthé|uãvoåvnÜogÑngÑmjätk§ëäÜliôÅz¥¶ûúâÅàoi�hayc\ÄgcÖrg}e^xb[}d^Ñn gÅl`|g^ÅjaäujÜsjç{pê}së|pñÇxçwnòÖ}ë{p•ìà•ìãôÜ{Åi`åtoÖmhw_X}d_x^Yy^Zya\{d^Çkf|f_{e]àrhÜqi|e^í}sçymyeXÉod{f^àsgïÇv®ñåòÉ{ÑpdÜogÑkbíynêx sårkûÜ�öÑ{¨ñåúÑ}ìzqì}söÉw¥£ñôÜzûâz≠ôå°è�°éÉûå|π™ó¿≤¢≤£ê≤¢ëª©õŒ√¥Œ¬¥–√µ»ª≠Œ¿∞÷ ªŸœ¡ʼÀΩ»∂¨“ƒ∏∆∏Ø≤ùìø¨£π´ú∫´†¿Ø§ƒ∂™™ôãöäw§ïáõ åÅçzmïÇuöä{óàyúä}ïÅtë}qôÑuñÅwóÑ{úâ�°åÜòÇ}í}túàÉóÉÄòÅ{ñ�yéwoçvpî~vì|uõàÄñÇ{èypèzsñÅyì~véyqóÇxîÄvêÄuì}v£ëâ∂•õÕ¿∂¥£õ†ãdžçäóÅ·ŸÕfiʼ »ÀΩ≤•êääqmÇg`|b]~c_Ékd|c_{c]í|pïÅtÖldâqjì}qõÜxíxoêvlãtlçvlëyoòÉzëysêvoíxqòÄvúÜ}ï|uçslêvpñ}wêxpí{rårjùÜ|ûÜ|õÇyì}n®ïâ°åÅöÖyõá|óÅxóÉy§ïáúâ�õ á}è|rïÅzúÜ~™îëüàÜôÉ�í|xó|z¬≥∞Æùóñ~vôÄ|ôÑ}í{uùàdžéÜóÇ}öá~õÜ}ñÅxòÉ{öá{ûãÉ•ìàùà}õá~¶ìäßïçúàÄôÖ�üãÇ´òê´òî≠úï≥¢ö∂§õ™òè§éà¨ñ襧ù£êâòÇ| úâÉïÄzßôíñÑ{†èÜûãÖôâÇöäÇåzsàuoãwqâxrÑrjäysëÄyìÉ|UQOTPOQQMRPLc\Mm`IrdHrgIpeHvkO~oS�uWäÉgòësûò}üñ{úïxôån¶ôr©üvا{£ôw†ñsòèoá� hÖÅfÜÄgá~hà�eåÉgäÉeà�cÜ~bá}`åÉhëàjèàlãÇfåÑhçâmíälûìq™ü{∫Æܬ∑ç∆∫ê÷»ô‚“†‹—ü€–°‹œü‹œù·“ú‰ʻûÈÿ•Ëÿ•·”°‚“ùÂʻ°Ë◊§Ú·©ÚÊ´Û˨Û™fl™Î ‹¶·ʻ£À¬ö√ªó√πê√∏é¬∏ç∆Ωí√∏è¬∂è¡∑ç¿∂å√∏è≈πè…æìΩπë∂±çÆ®ÜߧɢüÉüùÄôô~ÄÄtopqtuvvwxrvwvyzz|}~ÅÅ{|||}~xzzwxvwxyuwyx|}xy|z}}}�Ä}~Å {|}}�ÅÄÖÜÅÖá{}�z|~ÅÖáÄÉá}ÅÉy|Å|~Ñâãèâêïáéîóúù£§•ØرπµÆ√π®º™ó¢àvå{nïÉv∑ïÅ≈ßé¡≠ï∂™ôΩ∞ü…æ¨Õ√µ»æ∞ ¿Æœ¬∞Ω≤¢º∞ûœ∫°Ÿ√™€Õ∂ Œ«∑»ƒΩ¿¬¿∑πΩØ¥µ¢ß¨êî†âçïäçèâãçâãäâáààÜÉáÜÇàÑ�êäÉóèàòìêùööõ†¢ö°¶ëï¢ààâèá�ôíãçÑvÜzeëÖrîÜuîáuòãxòåzïâwíâyîä{ïä{ñêâéá|ä�mä�måÄnéÉqåÄ oêÉoëÜqóàu•ïÑØûçûíɆéyöz]Æïyô|dâlWåmXånXët]ërW¶çx®í}ìx^êu`åq[ês^ës`ånYês^ës_ñycïyfîxbò|cïybîv`ép\ët^õ~hö|hîwbít_ìu`îwbõ~gózdô|eó{fïxbës]ìvbí s_ës_ép^êu`êt`îzcò~húÅlêubózfùÉnìvbïwfêtaö~h£ÖoüÇl¢Ön™ãwüÇnú�gô}fò|fïxeíraïuaù~j°ÇküÇk£Üm¶áo•ám†Éi§Öm†Çjõ~fö}dòzeòzfù~i°ÉlüÇl†Çm¢Él£ During this time I was experimenting with letterpress typography and it Üpßâtßäq≠êx±ï}∑úÉπùÅœ∏ú⁄«¨fiœ∏‡Œ∏‡—ª◊√®·—ª‹Ã≥”ø§–∫†Õ∂û∏ùÉΩ°à seemed the perfect medium for producing the publicity;±óʼø©—º§∆¨íŸƒ™◊√©◊√©ʻæ°€…¨Â◊ø‡–∏‚—∏‚∂„ʻΩ„ʼπ‰ʼΩ·∫·πÁ⁄¬‚ʻº€ immediate and with a tactile quality. The reaction was immediate. Posters were removed almost À≥fl—∂„ʼΩ◊≈≠◊√©ÿ∆¨„÷¿‹Ã¥›Œ∏‰◊√Ê€«Âÿ¬‡–∫‡–∏‡–∑›Õ≤‚ʻº·ʻøÿ∆´fiŒ≤‹Ã؇“∏„÷¡‡”ªfiœ∂‹Œ≤‚◊¬∆µú¨ï~ßé{úÉp©ë�§å{•åy©ìÇõÄpΩî‹œø„◊≈‚◊ƒ›— as quickly as they were put up, people were intrigued by something different ªfiœ∫›Õµfi”¡¿Øñ√≠ñΩ¢ã∆±óæ©é¥ôÅ∂üɱúÖ†át†ävöÉpüár…π§÷…∑—¡≠æ´ïŸÕ∫›÷èóâëxj°áw∂üèÆôãûà{âncãpdéreçuhåpdãodãocåofãrdän`ßèzµüçó}nåoa¢ã and they became immediately collectable. As editions tended to be around x∑¢éº®î…º≠¨òÜùÑtöÑuètfùÖwùä�årjéukârfámbÖnbÅf[Ñi_ÖkaÜnb�d\}dY{b[}f\�e_Åh\Äi\Åi^Åi`�f\Çh`ángçwméuléykñÄsöÉy†ä|ôÉvètg¥üì≥üëæ≠ù°ã{ãp 150 this tended to prove problematic advertising an event. eëylï~räsiÅh^Ék_àqb´ïÇ“√∞‹“¡‚ÿ…·ÿ»‚Ÿ»‚Ÿ…„⁄ÄŸÀ‚ŸÀ‚Ÿ ‚ŸÃ–ƒπ°éÄéwjí{oì}rëzqâohâpeándâoeámcÜodÜmeÑmcÜnaärfáobõà~äthéuhÆúèûåÅê|sêxl¶í Copy for each poster came from a variety of sources. Sometimes a line from Ü∞üòèvjèzpùàz®íáúÖ{ê{péxmÖjbètkåvjÜmeäqeâpeáqfäsgézpÑleÉlbÖndäujåvmçukàqgÜslâujÜphÄie~id}f_ÉleÄie�gb}fa{d^x^Y|cZ}d^w_Zí~wê|o†å}úçÇ a poet performing at the event sometimes a literary reference. For me the most interesting copy came from the unexpected; something found, heard ÖmcåthØüï®öëÜsjâsjÉmdÑodärkÑnf�h_Äf`ãtmàpjì~uÜphè|uéztÉkdàqgÅicÉkeÇkcäum�h^{c\qZSôÖ{åyp}g^è{p≈º∞ßöíÅk_çwoåxpÑohÇneÑohãumßõñu\ or collected, but always immediate. ‘Somebody Else in the System’ was a VÇibÉlfÖnjx`]w]W|f`t\Vzb\çyozc^x`\�g`âsgÉmeçwo~g]äthê|vê|v�hcxa\xd\Åj`Üph~g`åxmze]~e_àrmÅicÇjfãunüåÇóÇyÇkcÅlcza[ánhêzoÑohâukçwoy`Z�g]ú sound bite from the Crimewatch program. ‘PBC 136 7’ the postage stamp à~ë~sûçÅôÖxúà|úà~ïÅwõÜ{ùà~Æõç∫´üµ£ò≤ûï´òç£ïâ¨òç¬≤®ø´¢Øö骮ú«πÆ∞ûê™ìÉ√∞†…ª´≈µ•Œ¿Ø◊ÀΩʻ…∫ÿ¨ʻ…∫÷Õ¡ŒøØ÷…ªÃ¬µ≈∏©∏ßõ¨ôâßëàüäÇ from a bill that dropped through the letter box that morning. ‘We Are Ecstasy’ was a response to council officialdom. Taking part in the Assembly Alive festiìÄvñÅyì}víztòÅ}ÇkdäsmâriârhéxmÜpgÖmfÅkaãuiê}rí}uÜrhÅmc�jaÖneàrhåvmåxnñÄyúäÑöáÄõâÇèysåsnüãÖë}wèxsåvrÖniì�yêynµ£îŸ“ÃüçÖûâ�£êÖúá} val in Edinburgh we were told in no uncertain terms that there were too many õá{üäÄ°éÖùã�üéÅ°éÖôÑy≠õé∑ßû¥•ü±†õßïé†åÖ†éãúâÜüèâúàÖ§ìéûéäâsrñÇ�ùãÖòÖ~í~uöá�ïÅyçxqãuoåunèypçxrärlêxrï�yî�wëztí}tñÉ|èxsñ~xïÇyïÇ{ê{uè references to drugs. zrãtnåspãrnâpiî}sàqiçvjçtháreïym—ƒπ¬∞§ºßñ◊œø¨úíì}oõÜ{äriîyqñ~wóÑyàqiÅgbÉhdÜmgÑjeÖicálgâoiäpkãsmârhàoiÖmeámeåtkñ~xêxnì{nãsjízqéwmõáy§èÇ This was not a criticism on the quality of literature on offer, where in fact they ™ñå¨úí≠ôè≠ôêüàÉôÇzßìç©ïè§èàôÑ{ôÇ{ãsnçtmúÑ�êxpízrñÅxí|tî~tûâÄùÜ~ì|tôÉzΩ≥®öÖ{úàÄõÜ�†çÑì}wë{rôÖ{õá~¢èáóÅ{óÉz¢åܧëåüéàúÜ}±üóª≠§òÑyñ may have had a point, but merely a knee jerk reaction to something which É{óÉzûåÑïÅyõÖ~ßëä†åÉ¢äÅ¢éÖ≤£ô≠ùê∏©°≥¶úùãŧîçòá�•ñè°íãíÄxùéàí}xåztõâÉîÇ~é{rätq~jdÇpjÇpjäzsê}xRRLVUSUQSSNMe^On`JnaHpdJsfIuhL}qYÉ made them uncomfortable. This was our response, one that they couldn’t
take down fast enough. x\â~\îäjûïu°ñyßû}°öwõípôëo°òt©û{ñèoóåmïårÜÅiáÄhâÇhçÖlçáiåÉjâÉfá~`Ü}aÜ~eäÉgçÖjêàjéÖiÜÄfâÇdëàgöës†òvÆ£~πØà…ºë÷ô◊ õ“∆õ“∆öflúÁÿ†Ïfl®Í›©Â÷¢„—ûÊʼ†·–ù ÂʻüÓ€£Û‚¶ˆÓÆÙÍ®ÙÁ®Ó‹§‚ÕôÕ¿í¡∑é»∫éÀæè æêÃΩíœøì√πë¬∂é«∫êøµè¡∂è¡∂ë»Ωë¡∏ê∑Ø穢Ũ§Ñ©•ÑùöÄòñ~ÑÜxvxxyzzy|}� Éy|�x{~{ÄÇy{Äxvz~ÅÉÑáâÑÜÜ}ÄÄ~ÄÅÖÜäÉÖá|}Äwy|…∑°≈∑ߪ±•ƒæ± »Ω¬¡∫ƒ¬ºÕ √…∆Ω∆ƒ∫»∆ªÕ¬»∆¡Ωøª≥∑∫™Ø≥ù§©ëñùôóõëëïâåèãåéââãáÜâÜÑÜÑÖÇÖÑÅàÑ~ åÜÄêçÜñìèóôôóõ†ñö°ëï†èìöññòóéÑá~nà|ièÉpíÖsñàtòãwòäyìÜuëÉsëÖríátîátêÑpà{iä~mâ}lã�nãÄoêÉsñäuëÖsõåw≤üáïãzùãwú�aïy^ìybãp[ånZèq\èt_åoW®åw©í|åoYèq]îu]ö{ dñwbépYépZët^íw_ìv]ñw]ñ{bñ|eô~iét^ân[çn_ån\ån\ér]ó{fñydïyeîydïxdóycìxcñwaïubïwcózeês^íwbës^ïzdüÑnö}gâkYûÄj´ó~êtbàiYçp]ìweóygêtbô�iûÉkô|f°ÉmûÇoïzfòyfõ�i üÅk•Üs¢Ço¢Ñl†Çk§Ñp¶áq°Éi§ám§án¢ÖmûÅlüÉkö}{h°Çk∑ûɺßå∞ñ}¢Ékjº£Ö∆±ì∫ü~Œπô€ ∞‹Ã∞⁄»´fiœ≥flœ∑flŒ∞fiœ¥”º†”√©Àµõʼ¿¶√®ë¥ñÅ≥îÅ““ª◊√´flŒ¥‹…∞fiÃ≤·— ∂Â÷æ·“ª›Œ∞Ÿ´”¡£Ã≤ìªú„ʻª⁄©„÷øÊÿ¬Â◊¡ÊÿƒÊ◊¬ÁŸ¬ÂŸƒ‚“ø›Õµ„ʼæ‰ÿ¬‡ʻΩ‰Ÿƒfl–ª‡–º‰Ÿ«·ʼ¿‚÷¡‰◊ƒ‚◊√π©íöÇo§ãv©ì�ô~kπ§åª•ëíuh£àwŸ∂‚÷√„÷≈‚÷√„ʻ¿„ÿƒ·ÿƒ÷ê“¡