Costa del Sol Chadwick level 6 graphic design

I attempted to illude to the draping of fabrics employed within Emanuele's practice when photographing my final outcomes. The interplay between the printed forms on both the drape and the interview book is particularly pleasing as the book is semi-transparent, allowing for subsequent pages to be seen through the fore ones. The way the heaver dwill cotton drapes is beautiful in a different way as it maintains more of its structure allowing for forms to collide on the surface of the item instead of through it. The biro drawn distortion of the pixelated letters collides with the precision of the vector type, creating new and abstract forms.   *retrospective add to #fashioning the industry*

Having completed the project there has to be a review of the ethics employed throughout. I contacted a few designers for involvement within the project and always employed full disclosure of the future applications of information gained from them and asked for consent before using any information or sources that did not belong to me. Lou Alsop was very happy to be involved in the project and fully understood that it was for a university dissertation and nothing more. My collaborator Emanuele, of course, gave consent both in person and over DM to be involved and volunteered photographs that he holds the rights to from his graduate collection photoshoot. Other than that, due to the nature of the project with all original custom typography, I cannot think of any potential ethical problems. I do not intend to reap commercial gain from any of my outcomes anyway so all copyright should be intact. 

Within the form section of my essay, I shall discuss deconstruction of typographic forms as a trend a movement. This area of exploration is particularly relevant to my essay because of how easy it is to draw parallels between the typography and fashion industries.   Throughout the late 1980s and early 1990s deconstruction began to pick up steam in response to its commercialization. Designers and corporations began to adopt what  Cranbrook  and other faculties were doing with Deconstruction. But these new methodologies being taken did not necessarily coincide with the theoretical approach that had been used the decade before. This transition did not come without growing pains, it forever changed how designers and the public alike viewed deconstruction. Chapter 2 will explore the typographic works of David Carson and Neville Brody in both corporate and creative fields ranging from magazines like  The Face  and  Ray Gun  to some of  Levis ...

Word count: 5,511 including headings and references - rounded down to 5,500 Included Images:  (Figure 1) Tri Le. (2019) Calligraphy Lessons: Blackletter (part 1), YouTube.com https://www.youtube.com/watch?v=UZzWvFes5yg (Figure 2) Plogged (2019) Trailblazers International logo, Dribble.com   https://dribbble.com/shots/5353364-Trailblazers-International-Identity-BTS (Figure 3) Uswitch (2017). New Nokia 3310 Vs old Nokia 3310: what's the difference?. Uswitch.com https://www.uswitch.com/mobiles/features/new-nokia-3310-vs-old-nokia-3310-whats-the-difference/ (Figure 4) Sub Rosa (2016). The 'Memoire' Typeface Changes Like a Memory as You Use It. wired.com - https://www.wired.com/2016/01/the-memoire-typeface-changes-like-a-memory-as-you-use-it/ (Figure 5) Lou Alsop (2019). Email Interview conducted by Sol Chadwick (Figure 6) Dieter Steffmann (2010) . whatfontis.com https://www.whatfontis.com/Old-London-Alternate.font (Figure 7) ...