Visual Thinking

1

V I S U A LTHINKING

T A M M Y J O H A L

2 3

CONTENTS

CCONTENTS

6 DISTINCTIVE CHARACTERS

10 TYPOGRAPHY POSTCARD

VERNACULAR LETTERFORMS

IMAGE MANIPULATION

BOOK BINDING PROCESS

CONTENTS

162026

FINAL BOOK

WORKSHOP - INTODUCTION TO LETTERPRESS

WORKSHOP - LETTERMPRESS

272830

WORKSHOP - JAPANESE BOOK BINDING


3426

LECTURE: DIGITAL PRACTISE AND THEORY

LECTURE: NOTIONS OF TASTE, AESTHETIC JUDGEMENT AND CONSUMER CULTURE

LECTURE: THE POWER OF PERSUASION: PROPAGANDA

363840

KEY TEXTS


4226

2 3

CONTENTS

CCONTENTS

6 DISTINCTIVE CHARACTERS

10 TYPOGRAPHY POSTCARD


IMAGE MANIPULATION


CONTENTS

162026

FINAL BOOK

WORKSHOP - INTODUCTION TO LETTERPRESS

WORKSHOP - LETTERMPRESS

272830

WORKSHOP - JAPANESE BOOK BINDING


3426

LECTURE: DIGITAL PRACTISE AND THEORY

LECTURE: NOTIONS OF TASTE, AESTHETIC JUDGEMENT AND CONSUMER CULTURE

LECTURE: THE POWER OF PERSUASION: PROPAGANDA

363840

KEY TEXTS


4226

4 5

V I S U A L . . . T H I N K I N G

This term I focused on extending my visual awareness, individual creative language and understanding of contemporary practice whilst examining the fertile and complex semiotic and aesthetic nature of wood, image and object. I examined the relationships while engaging with broad and experimental creative processes through a series of workshops, demonstrations, seminars and critiques across the courses in the School of Visual Arts, Fine Art, Graphic Design, Illustration and Visual Communication. This unit has given me the opportunity to test and expand my range of skills and to combine materials and processes in different ways.

“Typefaces are clothes for words and

suit, it’s the detail in their composition that adds interest”

............................................................................................

............................................................................................

5

4 5

V I S U A L . . . T H I N K I N G

This term I focused on extending my visual awareness, individual creative language and understanding of contemporary practice whilst examining the fertile and complex semiotic and aesthetic nature of wood, image and object. I examined the relationships while engaging with broad and experimental creative processes through a series of workshops, demonstrations, seminars and critiques across the courses in the School of Visual Arts, Fine Art, Graphic Design, Illustration and Visual Communication. This unit has given me the opportunity to test and expand my range of skills and to combine materials and processes in different ways.

“Typefaces are clothes for words and

suit, it’s the detail in their composition that adds interest”

............................................................................................

............................................................................................

5

6 7

DISTINCTIVE CHARACTERS BRIEF 1

Typography can be used as a powerful vehicle to transmit ideas and notions of culture, gender, history, materiality and value. The function of typography is to communicate a message so that is effectively conveys and reinforces meaning. Working in groups of two with Nadine Grant, I had chosen the letter ‘U’ and had to produce a three-dimensional initial character that communicates its meaning.

After receiving the letter U we brainstormed the differ-ent words beginning with U that we could visualise and interpret into a three-dimensional character. We then sifted through the numerous words we had come up with to a few, which are illustrated below.

We created several initial ideas that we found inter-esting to make and explore with. USA caught our eye and we explored the country’s flag and incorporated its stars and stripes in our designs. But after several tries, we could not get a strong enough design and chose the word universe to explore.

Above: USA initial idea illustrated by Nadine whereby we were trying to hang 50 stars to create a U shape. Below: Universe idea I illustrated.

USA

UPPERCASE

UNIQUE

UNDERWEARUNITY

ULTRAVIOLET UMBRELLA

UNEVEN

UNTIDY

UNDERGROUND

UNDE

RWAT

ERUGLY

7

6 7

DISTINCTIVE CHARACTERS BRIEF 1

Typography can be used as a powerful vehicle to transmit ideas and notions of culture, gender, history, materiality and value. The function of typography is to communicate a message so that is effectively conveys and reinforces meaning. Working in groups of two with Nadine Grant, I had chosen the letter ‘U’ and had to produce a three-dimensional initial character that communicates its meaning.

After receiving the letter U we brainstormed the differ-ent words beginning with U that we could visualise and interpret into a three-dimensional character. We then sifted through the numerous words we had come up with to a few, which are illustrated below.

We created several initial ideas that we found inter-esting to make and explore with. USA caught our eye and we explored the country’s flag and incorporated its stars and stripes in our designs. But after several tries, we could not get a strong enough design and chose the word universe to explore.

Above: USA initial idea illustrated by Nadine whereby we were trying to hang 50 stars to create a U shape. Below: Universe idea I illustrated.

USA

UPPERCASE

UNIQUE

UNDERWEARUNITY

ULTRAVIOLET UMBRELLA

UNEVEN

UNTIDY

UNDERGROUND

UNDE

RWAT

ERUGLY

7

8 9

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BRIEF 1

We came up with various other designs that we par-ticularly liked. Although the above picture does not resemble a U shape, we liked the 3D design and explored using stars to resemble USA.

We also explored the word Umbrella and used small umbrella cocktail sticks and pinned them into my hair to create a U shape. Another idea created was getting an umbrella and make a U formation, as the water would drip down either side of the umbrella.

OTHER IDEAS FINAL IDEA

After exploring and testing different ways to create a universe themed shape U we created 9 layers of wire and made the 9 planets: Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune and Pluto. Exper-imenting with oven hardening clay and paper Mache did not give us a smooth finish or perfectly round balls.

So we created the planets by us-ing polystyrene balls and painting them according to their colours and fed them through the wire to align into a U shape. We origi-nally used string but it would not hang correctly. We could not get a perfect U shape as it was difficult to bend the wire to a specific shape but we found the rough edges add-ed depth to the overall outcome.

8 9

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BRIEF 1

We came up with various other designs that we par-ticularly liked. Although the above picture does not resemble a U shape, we liked the 3D design and explored using stars to resemble USA.

We also explored the word Umbrella and used small umbrella cocktail sticks and pinned them into my hair to create a U shape. Another idea created was getting an umbrella and make a U formation, as the water would drip down either side of the umbrella.

OTHER IDEAS FINAL IDEA

After exploring and testing different ways to create a universe themed shape U we created 9 layers of wire and made the 9 planets: Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune and Pluto. Exper-imenting with oven hardening clay and paper Mache did not give us a smooth finish or perfectly round balls.

So we created the planets by us-ing polystyrene balls and painting them according to their colours and fed them through the wire to align into a U shape. We origi-nally used string but it would not hang correctly. We could not get a perfect U shape as it was difficult to bend the wire to a specific shape but we found the rough edges add-ed depth to the overall outcome.

10 11

POSTCARD BRIEF 2

Produce an A6 postcard with the image on one side a brief description of word on the other. Using the photographs that myself and Nadine took of our U we had to create a postcard with a quote that incorporates typography and our design. The dimensions of our postcard must be 148mm x 105 mm and had to produce the postcard on InDesign. Below is the template we used to create our postcard and we adjusted the margin space.

11

‘Quote Research’‘Design must seduce, shape, and perhaps more importantly, evoke an emotional response’.- April Greiman

‘Typography at its best is a visual form of language linking timelessness and time’- Robert Bringhurst

We had to chose a quote that links our design and typography together as in our brief it states that ‘typography as a semiotic resource in its own right is capable of transmitting a variety of meanings’.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - -

After we had researched various other quotes, I came across the Robert Brin-ghurst quote and we decided that it best suited our typography 3D letter-form design and chose that quote to incorporate on our post card.

10 11

POSTCARD BRIEF 2

Produce an A6 postcard with the image on one side a brief description of word on the other. Using the photographs that myself and Nadine took of our U we had to create a postcard with a quote that incorporates typography and our design. The dimensions of our postcard must be 148mm x 105 mm and had to produce the postcard on InDesign. Below is the template we used to create our postcard and we adjusted the margin space.

11

‘Quote Research’‘Design must seduce, shape, and perhaps more importantly, evoke an emotional response’.- April Greiman

‘Typography at its best is a visual form of language linking timelessness and time’- Robert Bringhurst

We had to chose a quote that links our design and typography together as in our brief it states that ‘typography as a semiotic resource in its own right is capable of transmitting a variety of meanings’.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - -

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - -

After we had researched various other quotes, I came across the Robert Brin-ghurst quote and we decided that it best suited our typography 3D letter-form design and chose that quote to incorporate on our post card.

12 13

‘Typography at its best is a visual form of language linking timelessness and time’ - Robert Bringhurst

‘Typography at its best is a visual form of language link-ing timelessness and time’

-Robert Bringhurst

‘Typography at its best is a visual form of language linking timelessness and time’

-Robert Bringhurst

POSTCARD DESIGNS BRIEF 2

I tried out several different compositions for the postcard and decided these three designs showcased and suited our letter the best. Myself and Nadine edited our images in Photoshop and created the postcard together taking into account each others opinions.

12 13

‘Typography at its best is a visual form of language linking timelessness and time’ - Robert Bringhurst

‘Typography at its best is a visual form of language link-ing timelessness and time’

-Robert Bringhurst

‘Typography at its best is a visual form of language linking timelessness and time’

-Robert Bringhurst

POSTCARD DESIGNS BRIEF 2

I tried out several different compositions for the postcard and decided these three designs showcased and suited our letter the best. Myself and Nadine edited our images in Photoshop and created the postcard together taking into account each others opinions.

14 15

FINAL POSTCARD BRIEF 2 ‘Typography at its best is a visual form of language

linking timelesness and time’

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14 15

FINAL POSTCARD BRIEF 2 ‘Typography at its best is a visual form of language

linking timelesness and time’

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16 17


The third brief ‘Vernacular Letterforms: Mapping the landscape - A Lexicon of urban typography’ began with us visiting Poole where we identified, collected and photographed examples of vernacu-lar letterforms in the seaside town. We worked in a group of four which consisted of myself, Nadine Grant, Anna Smith and Holly Hand.

16 17


The third brief ‘Vernacular Letterforms: Mapping the landscape - A Lexicon of urban typography’ began with us visiting Poole where we identified, collected and photographed examples of vernacu-lar letterforms in the seaside town. We worked in a group of four which consisted of myself, Nadine Grant, Anna Smith and Holly Hand.

18 19

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VERNACULAR LETTERFORMS BRIEF 3

We collected a variety of photo-graphs from different locations all over Poole, the nearby mu-seum, along the high street and areas along the sea front. The technical specifications for the book had to be the trimmed size of 300 x 300 mm and the final production of the book had to be constructed in InDesign.

As a group we had hundreds of photos that we had to sort through and so we narrowed the images down, discarding the ones that weren’t strong enough, and keeping the ones that we could edit on Photoshop. We split the workload between us and created sections of the book separately and then put the book together once we had all edited the images. I designed the letters M, N, O, P, Q, R, S, T and edited over a few others.

1 2

In i t ial Photography

Below is a selection of unedited photographs that I took around the Poole area. I photographed various sorts of letterforms, some more abstract than others, as I tried approach the brief in a more abstract way rather than be very literal.

3

18

18 19

........................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

VERNACULAR LETTERFORMS BRIEF 3

We collected a variety of photo-graphs from different locations all over Poole, the nearby mu-seum, along the high street and areas along the sea front. The technical specifications for the book had to be the trimmed size of 300 x 300 mm and the final production of the book had to be constructed in InDesign.

As a group we had hundreds of photos that we had to sort through and so we narrowed the images down, discarding the ones that weren’t strong enough, and keeping the ones that we could edit on Photoshop. We split the workload between us and created sections of the book separately and then put the book together once we had all edited the images. I designed the letters M, N, O, P, Q, R, S, T and edited over a few others.

1 2

In i t ial Photography

Below is a selection of unedited photographs that I took around the Poole area. I photographed various sorts of letterforms, some more abstract than others, as I tried approach the brief in a more abstract way rather than be very literal.

3

18

20 21

IMAGE MANIPULATION BRIEF 3

After we narrowed down the photographs that we wanted to use as a group, everyone started editing the assigned letters that they were given on Photoshop. Taking into consideration that the final images had to be 300mm x 300mm I edited my letters accordingly. The main images I edited are above and are displayed on the next couple of pages.

4

20 21


After we narrowed down the photographs that we wanted to use as a group, everyone started editing the assigned letters that they were given on Photoshop. Taking into consideration that the final images had to be 300mm x 300mm I edited my letters accordingly. The main images I edited are above and are displayed on the next couple of pages.

4

22 23


These edits that I produced turned out quite successful and the colours pop against one another, as they don’t drown each others colours out. My personal favourite is the Q as it was one of my abstract photographs.

5

22 23


These edits that I produced turned out quite successful and the colours pop against one another, as they don’t drown each others colours out. My personal favourite is the Q as it was one of my abstract photographs.

5

24 25


24 25


26 2727

BOOK BINDING PROCESS BRIEF 3

I had never folded a book before and so this whole pro-cess was new to me. We used the French folding technique to ensure we got a profession-al finish that looked neat and clean.

The images we produced and edited were printed on A3 paper, which we folded in half and used a boning tool to create a clean crease in the paper.

We then used the Lumbeck Press to gather the pages together and tighten it so we could PVA glue the pages on their spine accurately. We applied three equal layers of glue to the pages and let it dry overnight.

Finally, we cut out the exact measurements needed for our book out of coloured card. We chose mustard yellow as we felt it brought out the pages in the book. Once the entire book was finished we checked all the edges were perfect.

FINAL BOOK BRIEF 3

26 2727

BOOK BINDING PROCESS BRIEF 3

I had never folded a book before and so this whole pro-cess was new to me. We used the French folding technique to ensure we got a profession-al finish that looked neat and clean.

The images we produced and edited were printed on A3 paper, which we folded in half and used a boning tool to create a clean crease in the paper.

We then used the Lumbeck Press to gather the pages together and tighten it so we could PVA glue the pages on their spine accurately. We applied three equal layers of glue to the pages and let it dry overnight.

Finally, we cut out the exact measurements needed for our book out of coloured card. We chose mustard yellow as we felt it brought out the pages in the book. Once the entire book was finished we checked all the edges were perfect.

FINAL BOOK BRIEF 3

28 29

WORKSHOPS - Introduction to letterpress

10/Jan/2014 - I participated in the workshop ‘Introduction to letterpress’. I had never used the traditional letterpress technique before and found the process very interesting, although rather long and time consuming. It gave me an insight into the whole pro-cess as I enjoyed arranging the type, inking it and then producing the final prints and I found that my outcomes turned out more successful than I had anticipated.

28 29

WORKSHOPS - Introduction to letterpress

10/Jan/2014 - I participated in the workshop ‘Introduction to letterpress’. I had never used the traditional letterpress technique before and found the process very interesting, although rather long and time consuming. It gave me an insight into the whole pro-cess as I enjoyed arranging the type, inking it and then producing the final prints and I found that my outcomes turned out more successful than I had anticipated.

30 31

WORKSHOPS - LetterMpress

LetterMpress is a creative environment that lets you design beautiful compositions with vintage wood type and art cuts on a virtual hand-driven printing press. Because I previ-ously went to the traditional letterpress, I already knew the processes of letterpress and so this digital workshop deepened my understanding of letterpress altogether.

30 31

WORKSHOPS - LetterMpress

LetterMpress is a creative environment that lets you design beautiful compositions with vintage wood type and art cuts on a virtual hand-driven printing press. Because I previ-ously went to the traditional letterpress, I already knew the processes of letterpress and so this digital workshop deepened my understanding of letterpress altogether.

32 33

32 33

34 35

WORKSHOPS - Japanese Book Binding

14/Feb/2014 - We experimented with the Fukuro toji Japanese Stab Binding. It is con-sidered by many as the classic form of Japanese Bookbinding. The practical workshop allowed me to produce a classic book in six hours. After choosing the amount and quality of pages we wanted, we had to drill in 5 holes into all of them. We then chose a piece of coloured card that would eventually become the front of the book. Using string we thread through the holes in a certain order, we bound the book together and had a final outcome.

34

34 35

WORKSHOPS - Japanese Book Binding

14/Feb/2014 - We experimented with the Fukuro toji Japanese Stab Binding. It is con-sidered by many as the classic form of Japanese Bookbinding. The practical workshop allowed me to produce a classic book in six hours. After choosing the amount and quality of pages we wanted, we had to drill in 5 holes into all of them. We then chose a piece of coloured card that would eventually become the front of the book. Using string we thread through the holes in a certain order, we bound the book together and had a final outcome.

34

36 37

LECTURE: DIGITAL

PRACTISE AND

THEORY

13/01/14

In the lecture lead by Lee Mackinnon we explored the history, development and pervasiveness of digital culture today. The focus was on the materiality of the digital as we dispelled the myth

of virtuality and disembodiment. Key elements that we explored were: modes of production and obsolescence, gaming and play as forms of labour; the ethics of global digital interactivity; social

media; image as information; electronic civil disobedience; computational context.

Alexandra Galloway play interview - The internet as factory and play1990s - World Wide Web - .com revolution, Sir Tim Berners Lee Carsten Holler Test site 2006, fine artist - sculpture resembles play-ground, playful elementCory Arcangel exploits digital materiality - hacks into video games, cre-ated a super Mario pieceHistory of the internet - Jacquard Loom - early self automated weavingInternet emerged out of warfare, devised rang cooperation for sustaining communication, combat anxious society concerning nuclear attackHierarchies of power have been slightly demolished - we all participate in the internet, we all have powerStanna - artist dna sampled with musical samples life forms, 2003Computation origin 2400BC, Babylonian AbacusJulie Mehretu Stadia II, ink and acrylic on canvas, 2004Sol Lewitt wall drawing - algorithmic Stelarc Third Hand - ear artistIllusion of continuity is broken when ‘404’ error / computer crashes gets annoyedBlast Theory - bank robbery stimulationEssay: Electronic civic disobedience 1996Essay: Lazzarato ‘Immaterial Labour’ 40% of our technological waste is shipped to 3rd world countries

Notes

36

36 37

LECTURE: DIGITAL

PRACTISE AND

THEORY

13/01/14

In the lecture lead by Lee Mackinnon we explored the history, development and pervasiveness of digital culture today. The focus was on the materiality of the digital as we dispelled the myth

of virtuality and disembodiment. Key elements that we explored were: modes of production and obsolescence, gaming and play as forms of labour; the ethics of global digital interactivity; social

media; image as information; electronic civil disobedience; computational context.

Alexandra Galloway play interview - The internet as factory and play1990s - World Wide Web - .com revolution, Sir Tim Berners Lee Carsten Holler Test site 2006, fine artist - sculpture resembles play-ground, playful elementCory Arcangel exploits digital materiality - hacks into video games, cre-ated a super Mario pieceHistory of the internet - Jacquard Loom - early self automated weavingInternet emerged out of warfare, devised rang cooperation for sustaining communication, combat anxious society concerning nuclear attackHierarchies of power have been slightly demolished - we all participate in the internet, we all have powerStanna - artist dna sampled with musical samples life forms, 2003Computation origin 2400BC, Babylonian AbacusJulie Mehretu Stadia II, ink and acrylic on canvas, 2004Sol Lewitt wall drawing - algorithmic Stelarc Third Hand - ear artistIllusion of continuity is broken when ‘404’ error / computer crashes gets annoyedBlast Theory - bank robbery stimulationEssay: Electronic civic disobedience 1996Essay: Lazzarato ‘Immaterial Labour’ 40% of our technological waste is shipped to 3rd world countries

Notes

36

38 39

LECTURE: NOTIONS OF TASTE,

AESTHETIC JUDGEMENT & CONSUMER

CULTURE

21/01/14

In the lecture lead by Kirsten Hardie we explored our relationships with objects and how we respond to and give value to ‘things’ and how our aesthetic judgements and purchase deci-

sions relate to consumer culture. The session considered the phenomenon of consumption and notions of style, luxury, memory etc. in relation to bespoke and the mass-produced items. It

considered the thoughts of Baudrillard, Veblen, the Frankfurt School and Klein. In particular this session interrogates hierarchies of taste and popular culture and questions what factors determine what we consider to be good and bad taste and how the value of things can create

social and cultural identities.

Cool hunting - shows daily trends and ideas and products of art, design and culture and technology Constant pressure to buy ‘what’s cool’Generalisation of design - name shoes, personaliseSeduce & persuade is to buy - alluring advertisingNeomania - constantly need nowTaste is a metaphor for judgement Design VS FunctionInterior - identity of individuality - ikea, Laura Ashley Cultural preferences, different taste, different taste in different countriesAdidas - uniform for the riotsConsume, dispose, wasteConsumer culture - James TwitchellPrivilege wealth - Rolex - success and professionalism Notion of instant, convenient design (Swiss army knife) Form over functionModernists, less is more, simplistic, functionPower of capitalism - Marxism Kitsch - visual pleasure, novelty and humour

Notes

38

38 39

LECTURE: NOTIONS OF TASTE,

AESTHETIC JUDGEMENT & CONSUMER

CULTURE

21/01/14

In the lecture lead by Kirsten Hardie we explored our relationships with objects and how we respond to and give value to ‘things’ and how our aesthetic judgements and purchase deci-

sions relate to consumer culture. The session considered the phenomenon of consumption and notions of style, luxury, memory etc. in relation to bespoke and the mass-produced items. It

considered the thoughts of Baudrillard, Veblen, the Frankfurt School and Klein. In particular this session interrogates hierarchies of taste and popular culture and questions what factors determine what we consider to be good and bad taste and how the value of things can create

social and cultural identities.

Cool hunting - shows daily trends and ideas and products of art, design and culture and technology Constant pressure to buy ‘what’s cool’Generalisation of design - name shoes, personaliseSeduce & persuade is to buy - alluring advertisingNeomania - constantly need nowTaste is a metaphor for judgement Design VS FunctionInterior - identity of individuality - ikea, Laura Ashley Cultural preferences, different taste, different taste in different countriesAdidas - uniform for the riotsConsume, dispose, wasteConsumer culture - James TwitchellPrivilege wealth - Rolex - success and professionalism Notion of instant, convenient design (Swiss army knife) Form over functionModernists, less is more, simplistic, functionPower of capitalism - Marxism Kitsch - visual pleasure, novelty and humour

Notes

38

40 41

LECTURE: THE POWER OF PERSUASION:

PROGAGANDA

27/01/14

40

In the lecture lead by Kirsten Hardie we investigated propaganda - what it is, why it exists and how it operates - through consideration of historical and in particular contemporary exmples

froma across a range of dynamic, dramatic and diverse contexts and channels of communication. The session examined key issus of notions of mass manipulation; spin; persuasion and control - in relation to propaganda examples including visial, aural and ariel examples and digital and

guerrilla methods. In the session we questioned how we encounter propaganda today.

David welch - propagandaThe spreading of ideas, information, or rumour for the purpose of help-ing or injuring a institution, cause or personIdeas that are spread deliberatelyJohn Taylor - body horrorPETA organisationRespect for animalsGreen peace organisationPropagate means to spread informationThe three types of propaganda - Black (lies, source that cannot be iden-tified properly), White (reliable, trustworthy sources, normally used by politicians, makes them look like the ‘good guy’,) grey (in between)Ad busters magazine - American flag - influence opinionsWeapons of mass deception - Sheldon Rampion and john StuberFalse flag terrorism - horrific, scary images used to shock the public, eye witness accounts do not match up to official storyWar propagandaNoam Chomsky - propaganda and persuasion

Notes

40 41

LECTURE: THE POWER OF PERSUASION:

PROGAGANDA

27/01/14

40

In the lecture lead by Kirsten Hardie we investigated propaganda - what it is, why it exists and how it operates - through consideration of historical and in particular contemporary exmples

froma across a range of dynamic, dramatic and diverse contexts and channels of communication. The session examined key issus of notions of mass manipulation; spin; persuasion and control - in relation to propaganda examples including visial, aural and ariel examples and digital and

guerrilla methods. In the session we questioned how we encounter propaganda today.

David welch - propagandaThe spreading of ideas, information, or rumour for the purpose of help-ing or injuring a institution, cause or personIdeas that are spread deliberatelyJohn Taylor - body horrorPETA organisationRespect for animalsGreen peace organisationPropagate means to spread informationThe three types of propaganda - Black (lies, source that cannot be iden-tified properly), White (reliable, trustworthy sources, normally used by politicians, makes them look like the ‘good guy’,) grey (in between)Ad busters magazine - American flag - influence opinionsWeapons of mass deception - Sheldon Rampion and john StuberFalse flag terrorism - horrific, scary images used to shock the public, eye witness accounts do not match up to official storyWar propagandaNoam Chomsky - propaganda and persuasion

Notes

42 43

To the right are a variety of books I have engaged with throughout the unit ‘Visual Thinking’.

42 43

To the right are a variety of books I have engaged with throughout the unit ‘Visual Thinking’.

44 45

FOR THE LOVE OF GRAPHICS

The exhibition showcased our love for graphics, through artefacts, texts and collections. The exhibition was very successful and explored peoples different passions for graphic design.

44 45

FOR THE LOVE OF GRAPHICS

The exhibition showcased our love for graphics, through artefacts, texts and collections. The exhibition was very successful and explored peoples different passions for graphic design.

46 4747

I found the exhibition really interesting as I had come across items that I had never seen before. A group of us contributed by including a sample of scarves as we were inspired by the designer Simon Cook who created a series of handkerchiefs bearing kaleidoscopic designs comprised of textures, graphic shapes and ‘found’ photography digitally printed on them.

46 4747

I found the exhibition really interesting as I had come across items that I had never seen before. A group of us contributed by including a sample of scarves as we were inspired by the designer Simon Cook who created a series of handkerchiefs bearing kaleidoscopic designs comprised of textures, graphic shapes and ‘found’ photography digitally printed on them.

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T H EENDT A M M Y J O H A L

Documents

Visual Thinking