vcm410

6

Letterpress: Sorting it Out

The session that I was booked in for would be my last chance to use Letterpress for this project, so I had to seriously plan for the printing that I wanted to do beforehand. I had three main ideas in mind with the concept of time as my springboard; I was attempting to give Letterpress some form of modern identity, showing how it is better than a lot of simpler, digital methods that we take for granted today; these ideas involved ‘Letterpress Est. 1440’ (playing on the modern identities like Abercrombie & Fitch), 'Press VS Digital’ (an idea that I previously experimented with), '571 Years and Still as Bold’ (showing how Letterpress is very much alive today, boldness in nature, and playing with the typographical idea of type boldness), and finally, 'Perfect Type’ (this does not have an obvious meaning when said, but this idea relates to how digital media is in fact superior in some ways, as Letterpress can never be perfect – contrasting the other ideas of mine).

I had learned from my previous session in the Printing Room, that the Roller Press achieved a better quality, more consistent print – whilst the Pressure Press may be superior for producing more stylistic work. Although other people I believe were more experimental with colours, paper and masking – I feel that for my brief and set of ideas I had to produce sets of black-on-white prints, considering how I was looking into the age, quality, and bespoke nature of Letterpress – and black-on-white was, in my opinion, the best method in which to show this.

I felt that my time management of the session was effective as I had enough time to spare, managing to produce three sets of work, set up my printing stations, and clean up within the time given. Letterpress is always an exciting method of producing artwork, and as I have said on my previous Letterpress post, I look forward to using this aged technique in the future.

V&A Map - personal development
I’ve decided to bring my map to the next stage from just an illustrative piece. I’ve moved onto to tracing within Illustrator to turn it in a digital file. I hope to use a laser printer and get it carved into wood. The illustrations above the circles will be raised, keeping the original colour of the wood, whereas the circles beneath will be of a lighter shade due to the printer cutting deeper. Giving an archaeological artefact feel and weight to the final design.

V&A Map
My interactive V&A map design in its near-to-completion. All it needs now is to be detailed and cut out. A puzzle involving a variety of circles in which the audience have to ‘unlock’ the conceptual image. During my visit at the V&A, I became fascinated by the Greek Sculpture, bodies and mythology carved into marble / stone. I decided to keep these memories and obsession and incorporate them into the map. I also became lost several times, involving confusion and bewilderment thus the puzzle to engage the audience with my experience.

Watch on davidtjpowell.tumblr.com

Killing Us Softly (2010)
A documentary speaking about the facts of advertising and the effect it has on the general public. Not forgetting the objectification of women and an opinion of the comparison between that of men. Ideal female beauty, striving to achieve a certain look and unrealistic standards. It talks of 4 or 5 women used to create one perfect woman whereby photoshop is the key to banish life’s insecurities. With such pervasion, how surgical (invasive and non-invasive) procedures on women rose 457% from 1997 to 2007. The manipulation of women’s bodies abstracted into art in a way that shows a constructed reality intertwined with the misconception of perfection.
The video allows some agreement from myself, but also (and more importantly) critique, from other research and opinion.

“Only 8% of an Ad’s message is received by the conscious mind, the rest is worked and reworked deep within the recesses of the brain” Rance Crain, Former Senior Editor, Advertising Age

10

Project Five: Editorial Design

Memories from childhood, learning experiences, imagination; these things make up who we are. There is no way for you to relive my experiences, as they are special only to myself - in the same way that no one else can relive yours.

It is not stages of memory that make us who we are, but years of blurred, overlapping experiences that create some kind of merged representation of ourselves that is visible only in the present.

Blending these ideas and making them into something new, this was my inspiration. Six books that have been most important to me throughout my life, merged and overlapped, combined and remade in chronological order; from these ideas this book of books was created. There is no way for you to relive my experiences, as they are special only to myself - in the same way that no one else can relive yours; you can only attempt to understand.