Eric Parry Architects

Award winning architecture, design and planning practice responsible for cultural, historic and commercial projects such as the Holburne Museum of Art in Bath and St Martin-in-the-Fields Church in Trafalgar Square.

Project coordination and architectural graphic design for studio of over 80 staff; management of projects including design and production of large-scale typesetting for stone carving signage; and digital and print submissions for national and international competitions. Established central style guide with layout templates and typographic scale. Brochure and publication PR material.

St James's Square Typesetting for Stone Carving

Self-censorship

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.

Self-censorship

Designed to censor itself.

Typerware

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.

Typerware

The exploration based on modular geometry and maximising the overall density of information that can be fit in to a certain space.

Structural Ambiguity

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them and as physical and tangible manifestations.

Structural Ambiguity

An appropriation of M.C. Escher’s original impossible cube. The forced perspective is both structured and ambiguous at once. This manifestation was welded out of steel to highlight the contradiction of substance and superficiality.

Soft metal maquette

Impossible cube manipulated and welded steel

Shattered Perspectives

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.

Shattered Perspectives

An appropriation of Jos De Mey’s impossible window illusion that appears in two opposing perspectives at once. This typeface’s manifestation played referenced the silhouette of the Houses of Parliament while appearing like shattered glass.

Paralysis of Information

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.

Paralysis of Information

An appropriation of Bridget Riley’s Op art (optical art) and moiré. This combined with a bespoke modular typeface. Moire patterns are often an undesired artefact of recorded footage so this undesired aesthetic was intended to reference the recalling of politicians’ information for fact-checking. This typeface’s manifestation was created by securing graphics to translucent acrylic, and shining light directly at the subject, then shining a light from ‘behind the scenes’ in order to reveal more information.

Flickering Positions

A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.

Flickering Positions

A sign that switches between the two statements, ‘support’ and ‘oppose’, referring to the process of rapidly switching ideas and the visual qualities of spotlights and vanity mirrors. Made from 81 bulbs fixed in holes cut from two-meter MDF board, and then lacquered white.