Wednesday, 31 March 2010

James Victore

beautiful inky black illustrations, and lovely letterforms

centre poster

I have for some time been trying to work out what the centrefold poster will be. I'd been playing around with the idea of a dark on dark poster to emphasize the theme of the zine, after my recent typograhy experiments the font used here seems a bit rubbish but i think the idea is still sound; the "brand" + dark + slightly hallucinogenic/unsettling.

the other option for the poster is a simple, biiig, line drawing probably of the old woman from the animation I'm making for Lizzie's story. I think this will have to be drawn full scale without much planning, as to copy a really tight sketch that big will only ever be disappointing.

cover text

here's more or less the completed "generals" page, i was conerned the scanned in text would be a poor match but as it was scanned at 600 dpi i think it's ok.

and here's the probable cover text, joel suggested that i look at old commercial typography, as well as saul bass titles to get the right high impact tone for the title. This is a font called Motor from the 1930's. To me it seems to evoke an obsolete idea of speed and industry.


I've spent a while browsing old typeface encyclopedias and found some fantastic fonts However most aren't available online without spending $69.99 or similar. Instead I've scanned pages from the books, and cut and pasted type on photoshop, and actually i think the results have a lovely handmade feel. This one is Monotype Bodoni Ultra Bold.

Thursday, 25 March 2010


tried cutting and pasting type from the vorticist manifesto but it looks like a crap indie band's logo

more nice typography

here a nearly completed page in urgent need of better type. the layout's ok but the typeface itself is too friendly for the gothic tone of the zine.

vorticist manifesto

this aggressive and explosive manifesto written by the vorticists uses a bold and degraded typeface, and an anarchic, expressive layout to put a rant on to paper in a spectacular way. I'd like to use type like this throughout Oil Slick. However it's difficult get the analogue messyness right using digital design.

Wednesday, 24 March 2010

beautiful jagged silhouettes by Sall Bass. I'm looking at old titles and corporate logo/ industrial design to try and get the right feel for my cover text.

Friday, 19 March 2010


first attempt at mapping out how the projection for me and lizzie's collaboration will work, remembering how to use after effects etc.

Thursday, 11 March 2010

Oil Slick

I think I've arrived on OIL SLICK as a probable title for the zine. I decided on it at the same time as the (rough) image above, and i think/hope they work in tandem to create an eerie/macabre tone as well as referencing my inky black drawings. Names are hard and most people won't read the connotations I'm imposing on this one, but i like it...

Monday, 8 March 2010

vania zouravliov

Fever Ray album sleeve

Fever Ray has an incredibly strong visual identity utilizing folklore, fashion and all sorts. a really good example of something that references traditional imagery yet still seems fresh and contemporary.

dummess drawin



Friday, 5 March 2010


working a3 to get thinking about how the format will work

collaboration continued

two images informed by Lizzie's Mushroom story


Newpaper printing service

This service has opened up in the last couple of weeks, as I'm now thinking in terms of making a A3 format newspaper, this seems like pretty good timing!

Monday, 1 March 2010



not me and lizzie, yesterday.

had a meeting today with Lizzie Latham from fine art discussing a potential free range collaboration. it was great to talk to someone with similar interests in creating ambiguous or maybe non chronological narratives. She write stories and then will express them though arrangements of objects. I liked the way she uses the objects as the building blocks of her stories, they are broadly analogous a bit like Jungian archetypes, and mean that the stories can be interpreted in any number of ways. The use of these building blocks is something I recognize from my own work as well as an interest in creating circular narratives.

when i talked about big wall paintings, lizzie said she'd like to see a lens set back from the pice which could frame it and add additional information and explain relationships between images. I loved the idea of the contrast between the big ambiguous public piece and the intimate communication of the lens. The idea of a narrative being the selection and arrangement of elements from a wider messy reality is cool too.