After the studio picked the spot colours they liked I had time to test one of them on the risoprinter. Continue reading Impression Studio: Project 4, Riso Show Spot colour Riso test
Studio members have been given extra access to the univeristy Riso Printer in preperation for creating the summer show catalogue. Studio members were asked to create some test images for the riso printer to see what could work and to get a better idea of how the colours blend. Continue reading Impression Studio: Project 4, Riso Show first tests on Riso Printer
I took a moment to think about how the sign for the inventivity studio could be layed out I liked the idea of it being something that required some thought when assembling it like a simple puzzle.
After looking at inventivity studio I decided to use the shape of the studio as a way of manipulating type for their sign. I started out by making some rough sketches of how the shape could effect letters in different ways.
I also looked into the artist and typographer Gemma Obrien who makes alot of large scale typographic pieces with swirling patterns around and within the letter forms in a way that appears to form them.
Work by Gemma Obrien
I really like her work and wanted to try and create some pattern like hers but couldn’t really see how they could be used in my work.
At this point in the project each studio member was able to have an individual crit with our tutors who recommended looking at art from the psychedelic movement of the 60/70’s era. I looked into a few different artists including Rick Griffin, Victor Moscoso and Wes Wilson who’s work also ended up being very influential on my final design.
Work by Rick Griffin
Work by Victor Moscoso
Work by Wes Wilson
At this point of my research I started looking at makers of distorted typography I found the work in the zine Chicago by Sofia Clausse very interesting.
Work by Sofia Clausse
After looking at her work Sofia had come to give a hothouse talk at the university so I asked her about how she achieved this effect here and she told me it was by moving a page of text around as it was scanned by a photocopier so i decided I would give this a try.
Unfortunately my experiments with the photocopier were unsuccessful as you can see the effect I achieved in the copier was not much like Sofias and didn’t have as strong distortion so I decided to begin looking at other methods.
I looked abit into large scale typographic pieces and found 2 interesting images. The first is a large exhibition installation that I thought was a create example of how distorted type can be displayed in an interesting way and the second is of a poster I assume is A1 size that looked as if it was made with brush and ink.
After looking at these I made some sketches to see how my response could span over multiple pages with the idea is could be a very impressive exhibition piece but I decided against it due to the printed outcomes being required to come in editions of 5 I didn’t think something like that would be possible in the form of editions.
After screen printing made some rough drawings of how words could be overlapped in different colours but I decided to stay with the anaglyph idea as it would be much easier to print only 2 colours rather than multiple colours.
Before I thought about how I could print my edition I looked at possibly print onto blotting paper (usually used for LSD) and also perforated a sheet of paper in the same way as an acid sheet. I also had a look at possibly having a hidden phrase when paper is folded correctly but I decided this idea was to complex and may not be possible in the time frame.
After doing this however it seemed that the paper was quite fragile and the process of the perforation was quite inaccurate so it doesn’t seem like this would be a good idea.
After looking into Alan Fletcher for our thoughts of the week I decided i’d give his method of making miniature layouts a try to see if it could help me generate some interesting ideas for layouts. Continue reading CIP: Collection Project, Miniature Layouts