Visual Language – IKB

In order to clear up my work in progress with student projects and make space for the latest post-university projects (aka after assessment!) I am cleaning up the categories, but here are the CSM-specific categories just in case of need:
(and don’t forget to scroll down if you want to read through the development of a project from start to finish!)

Projects done around CSM

Year Two at Central Saint Martins (2012-2013):
Unit 5
Visual Language: International Klein Blue
Liberty’s Department Store into Flipbooks, a building translated into a book
Yves Klein by himself, a book translated into a building
Blast/Bless: Postcards from London, Luxembourg and Paris

Unit 6 – The Bigger Picture

Unit 7
Time is of the Essence: Student Organiser
What if Music Could Be Seen: Musical Perception
Pop Up Shop: &London Notebooks

Context / Dissertation
Unit 8-9

Year Three at Central Saint Martins (2013-2014):
Unit 10
Home Town: Luxembourg(ish)
The Value of an Image
A Do Something But Not Anything Manifesto
Public/Personal Space

TSI (Typography Special Interest Group)

Final Year Digital


Events & Exhibitions

Competitions & Collaborations & Live Briefs
Barnard & Westwood
Font Aid IV

An Illustration Workshop
An Internship at the Imprimerie du Marais
Art Auction 2013 Catalogue
D&AD British Council
D&AD Monotype



Yesterday and today afternoon in the letterpress resulted in a nearly finished version of the Emily Dickinson poem, after editing and changing the typos, I got two prints!

I also reprinted the posters and edited the other book versions, so the first brief is ready for assessment.


Busshelter Posters

This morning I took my huge posters from the first brief to a train ride to photograph them on campus, as my walls and rooms are too small to capture them in photographs at home. At first I was supposed to photograph them in situation, hung onto busshelters (as they are real-size busshelter ad posters I guess), but the weather conditions are not really ideal to go outside into the snow and to glue thin paper onto frozen busshelters. Which is why I chose to put them onto three different kinds of walls in the Kings Cross Building.

Here is a preview of how they look, I have to make a selection of my real photographs and edit them for the PDF first, so here are a few mobile phone photos (again, as always).

To remind you a bit, my subject was Blue.

Emily Dickinson

Emily Dickinson

Yves Klein

Yves Klein

Maurice Merleau-Ponty

Maurice Merleau-Ponty

and yes, they are 1200 x 1800 mm, 25 A3 pages cut out and scotched together times three, and they are taller than me!

posters in real size (first version)

posters in real size

Book Spreads

I also finished setting Emily Dickinson’s poem for the book version, I will have to only print the InDesign versions of the other two book versions as there is not enough time left and it took me longer than expected to set the poem. I should be able to make the testprints and final prints tomorrow afternoon.



I am currently setting the book pages in letterpress, so you will have to wait for them to be finished until you see the very finished versions. Sorry!

Here are the posters created for the Final Crit, which I assembled in same-scale, by (cutting out and scotching together 25 sheets) x3. They are going to be revised and reprinted again, but this time in a 2:1 scale.

busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions
busshelter ads, final crit versions

The third chosen text is a text from Yves Klein published in The Monochrome Adventure.

The paragraph, which is all about colour and how you experience is, is represented in black and white again.
The impact though is translated through the force of typography, in this case Univers ExtraBold, opposed to a Medium version of Univers.
I also decided to accentuate the fact how Yves Klein talks about what he has done, through isolating “I have”, “I do”, every time he describes his actions.

bushelter ad poster
bushelter ad poster

The book version is again very similar to the poster version, which makes it a bit more striking as it is not a setting usual in a book, but mostly used for posters.

book version
book version

The second text was out of Selected Poems from Emily Dickinson.

I started working it in concrete poetry style, the words playing around the meaning of the poem.
Focusing on the beginning of every paragraph, I played around the word Brain which is always opposed to something else, to the Sky, to the Sea, to God.
The type I chose should mirror the feeling of a poetry book, elegance, literature, as well as lightness and elegance, a font which everyone is familiar with, so I settled on Adobe Garamond Pro. I want the reader to focus on the text and the meaning and accentuating the meaning through spaced and arranged setting.
The only words accentuated are those that stand against each other, but over the whole text I used the same size of points.
Words are aligned vertically according to their importance, making a bond between each other but also creating a repetitive structure and a composition that is mainly kept on the left.

Even though my subject is the colour Blue, I decided not to use colour for this text, as I didn’t want it to become to litteral, and again trying to keep it as simple as possible.

The Poster Version for this text might seem as a page taken out of a poem book, as opposed to the normal posters. It gives an unusual view and different lecture experience, inviting the observer to stop and read the poem. It doesn’t opress the opinion onto the reader, but stands out through minimalism.

busshelter ad poster

In opposition to the poster, the book version is in some way a lot more conventional, as it is again set in a type that has often been used in books and allows an easy reading comfort. Yet it still plays around with vertical alignment, accentuating a few words out of the text to support the meaning. So even though it is set in a conventional type, the spaces and composition don’t allow the reader to flow straight through the text, but to keep the eyes dancing on the page.

book version
book version