Category Archives: Coursework

Brief: In this exercise you can use any image created elsewhere in the course, to print onto the paper samples you collected earlier. Active Experimentation – You are encouraged to be experimental in these exercises; it doesn’t matter if you make a mess or get things wrong in the images you make. It is importantContinue reading “Exercise 4: Printing”

Begin by reflecting upon the sorts of projects, exercises and assignments you have enjoyed most: Do you enjoy creative freedom of working with your own text and images from scratch, or do you prefer working with text and images that are provided to you? Do you prefer working in a hands-on way, physically manipulating paperContinue reading “Exercise 5: Reflective Practice”

Adrian Pipes’ On Press chapter, from his 2009 production for Graphic Designers manual, provides a thorough overview of the print process, both historically and practically. Exploring paper, the raw materials that make it, recycled, handmade and manufactured paper, and other stocks; various qualities of inks; various printing processes, including emerging technologies; print finishing and binding;Continue reading “Exercise 3: On Press”

Brief: However you plan to work in the production of your book, spend some time now planning your workflow, using the notes above as a guide. Think about how much flexibility you can allow yourself – don’t put yourself under too much pressure. At the same time, be aware of time constraints that may beContinue reading “Exercise 2: Planning Your Work Flow”

Brief: Working with the outlined publishing models, identify the various roles you (and potentially others) will be undertaking for assignment five. For example, you’re likely to be writing your own content, designing your book, editing and reviewing it. You may also be involved in the production, printing and distribution process. Consider each aspect of theContinue reading “Exercise 1: What is your role?”

Reflect, evaluate and rework Having printed tour images from the previous exercise, take the opportunity to view all of the pages, reflect on them and evaluate before moving on to the next step of collating and binding the pages together. Which pages are successful? Which pages have not turned out as well as you hadContinue reading “Exercise 4: Collating and Binding”

Brief: In this exercise you’re going to create images which you’ll then print onto the papers you collected in the first exercise. You have been working with the poem Tango With Cows in the exercise ‘Concrete Poetry’, to create an experimental text. Using your interpretation of the poem as a starting point, develop a setContinue reading “Exercise 3: Sequencing Images”

Brief: Concrete poetry, sometimes referred to as visual poetry is a form of experimental typography where the use of letter and word arrangements enhance the meaning of a poem. The typographic treatment of words within concrete poetry starts to add additional resonances through their scale, placement, overlay and styling, suggesting new ways to see andContinue reading “Exercise 2: Concrete Poetry”

To begin: Collect a wide variety of paper samples and other paper ephemera across a range of weights, textures and surface finishes. This builds on your previous paper sample exercise from Part two. Aim to collect a wide range of unprinted papers, such as blotting paper, tracing paper, lined paper, graph paper, rice paper andContinue reading “Exercise 1: Paper/Ephemera”

Below is an extract from Jules Verne’s 20,000 Leagues Under the Sea. Using a single typeface of your choice, lay out the test in as inventive a way as possible. Experiment with the letters and words, using typographic principles you researched in earlier exercises to significantly alter the arrangement of the text, its rhythm andContinue reading “Exercise 3: Experimental Typography”