Production and Outcomes - 'Methodology and Interpretation'

My own working methodology and practice are often varied - I have a tendency to problem-solve when faced with a brief, which leads me to unusual outcomes which perhaps I would not come to if I had a fixed way of working.One such example is a typographic project which I embarked upon in my Foundation year, which was to create the front cover for "Baseline", which is an international typographics magazine.

So I started by researching generally into typography by watching the film 'Helvetica' by Gary Hustwit.
This kick-started my research into font variance - the design behind, and the terminology involved in, the creation of font-faces; contrast, weight, form and structure all taking crucial roles in explaining typographic emphasis, particularly when involved within illustrative or graphic work.From here I created typographic work in a range of media to further explore solutions for the front-cover design.


  I created plaster representations of lower-case Helvetica and utilised photographic studio equipment to enable me to consider its' presentation in a variety of ways. My work was also influenced by my trip to New York in the Christmas break that divided this project - I was able to gather first-hand examples of typography by Massimo Vignelli, in particular his Subway signage, which preceded a foray into 'wayfinding' - navigational graphic design. In addition to this, I was able to discover the works of Milton Glaser through research into the iconic 'I heart NY' branding which has made its' way around the world. This led me to work which I paid homage to in further assessment of the final outcome.



The final product itself was more defined by the amount of research into typography, and graphic design 'harmony' - through the utilisation of the Grid, and colour theory - than any particular element of my research itself. This resulted in the image below.

 

"Smugglers Landing in a Storm" (1791) - often used as a cover image, it hangs in a gallery in my home town of Bath.

 

This kind of development through time can be considered similar to the process of re-interpretation of older creative works; the concept of 'Zeitgeist' or 'Spirit of our time' defines the 'current' (at whatever point) societal stance towards music, art and other cultural ephemera - and when applied to modernised adaptations, such as those of older novels to film, can reveal more about our society through the associations and the changes in meaning which inevitably occur. One such example is the novel 'The Count of Monte Cristo' by Alexandre Dumas, which was completed in 1844. In this, Dumas criticises the state of affairs at that period in France's history; vehemently derogatory about Napoleon, he also criticises attempts to democratise France under the Second Republic, which is a direct precedent of the current (Fifth) Republic in modern France today. This forms a major part of the background to many of the characters, as there is a clear divide between Royalist and Bonapartist factions which is factored in as a major plot focal point, key to the main character, Edmond Dantès', imprisonment. This in itself directly contrasts the most recent film adaptation (2002) which completely alters the plot after the main plot points (imprisonment and revenge), interspersing many action scenes. Evidently telling of the priorities of film today, it manages to be an adaptation in name only - though it proves invaluable as a reference of what a modern audience expects, especially compared to the best-selling reception that the novel received over 160 years ago.