A series of typographic experiments for my final BA degree project, exploring the concepts and techniques of deceptive and manipulative politics (otherwise known as ‘spin’).
This was also my main opportunity to apply theoretical concepts of meaning, communication, rhetoric to create finely detailed objects and forms.
The foundation of my work was formed from researching manifestos, speeches, interviews, journalistic analysis and public surveys. This uncovered the use of common techniques, such as ambiguity, cherry picking of facts, skirting issues and ‘non-denial denial’.
The strategy of my response was to juxtapose phrases and statements of superficiality with very tangible, physical and substantial manifestations.
The beginnings of an exploration based on modular geometry and maximising the overall ‘text-colour’/density of a font.
An appropriation of Jos De Mey impossible window illusion that appears in two opposing perspectives at once. This manifestation plays with the tension of referencing the silhouette of the Houses of Parliament while appearing like shattered glass.
An appropriation of M.C. Escher’s original impossible cube. The forced perspective appears both solid and ambiguous at once. This manifestation was originally created as a soft metal maquette but to highlight the intended juxtaposition of superficiality with the physical and tangible, the final version was fabricated and welded out of steel.
An appropriation of Bridget Riley’s Op art (optical art) and moire combined with an original modular typeface. Moire patterns are often an undesired artefact of images or digital graphics so I intentionally referenced this unpleasant aesthetic into the typeface. This typeface’s manifestation was created by securing graphics to translucent acrylic on alternate sides of their printed surfaces: shine a light directly at the subject and only one layer of information is visible; then shine a light from ‘behind the scenes’ and more information becomes apparent.
Designed to censor itself.
Support / Oppose
A sign that switches between the two statements, ‘support’ and ‘oppose’, with conceptual influence from the process of rapidly switching ideas and the visual qualities of lit vanity mirrors for being under the spot light. Made from 81 bulbs fixed in holes cut from an MDF board (197cm x 49cm), then lacquered with white paint.