Posters

Props

Logos

GraphicsFILM

BiNARY Director : Paula Romy-RiemannProduction Designer : Killian MenigotsArt Department Assistant : James ML Muller ‘Sexist Workplace’ Posters

�A BOSS

GETS WHATHE WANTSGOOD JOB

CLIMB THAT CAREER

POLEGOOD JOB

MANAGEYOUR

ASSETSGOOD JOB

Adobe Illustrator

BiNARY ID Badge Prop ‘Corporate Company’ Logos

RIEMANN WILSONPARTNER S

RIEMANN WILSONPARTNER S

Adobe Illustrator

An American Exorcism

Director : Edward BoaseProduction Designer : Charles De La MareArt Director : Killian MenigotsHead Graphics : James ML Muller

In-film ‘Transmission Title Card’

Adobe Illustrator

A1 Past ‘KBPS TV Special Show’ PostersAn American Exorcism Adobe Photoshop + Illustrator

An American Exorcism

Current ‘KBPS TV Shows’

Current ‘KBPS TV Shows’

Past ‘KBPS TV Special Shows’

A1 PostersAdobe Photoshop + Illustrator

An American ExorcismAn American Exorcism

Current ‘KBPS TV Shows’

Character Photo Prop + Whiskey BOttle Label PropAdobe Photoshop + Illustrator

End of Term In-film ‘Dario Argento 1970’s homage’ A1 Posters

Director : Mark MurphyProduction Designer : D. Dominic DevineArt Director : Charles De La MareArt Department Graphics : James ML Muller

Adobe Photoshop + Illustrator

End of Term Newspaper Clippings - Editing Character Face

Adobe Photoshop

Set DressingFILM

BiNARY Director : Paula Romy-RiemannProduction Designer : Killian MenigotsArt Department Assistant : James ML Muller ‘The Boss - Glen’s Office’

Jasper Director : Scarlett UrbanoProduction Designer : Evgenia KalyabinaArt Department/Props : James ML Muller

‘Jasper’s Room & Poster ‘Time Machine Schematic’

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'#$#()*

1. bank (n.) "financial institution," late 15c., from either Old Italian banca or Middle French banque (itself from the Italian word),

both meaning "table" (the notion is of the moneylender's exchange table), from a Germanic source (compare Old High German bank "bench").

+(,-.*.$,/2. crypt (n.) early 15c., "grotto, cavern," from Latin crypta "vault, cavern," from Greek krypte (short for krypte kamara "hidden vault"), fem. of kryptos

"hidden," verbal adjective from kryptein "to hide," from PIE *krau- "to conceal, hide" (cognates: Old Church Slavonic kryjo, kryti "to hide"). Meaning "underground burial vault or

chapel in a church" first attested 1789.

For a university architecture project, during the winter break we were asked to pursue a self-directed project in reaction to our site.

My site was Bank. Specifically the former headquarters of Natwest PLC which neighbours the Bank of England, the Royal Exchange, Mansion House and James Stirling's "The Wedge". Essentially, the former financial centre of London, originally coined the 'Heart of the Empire' after The Great Fire of London. The Bank of England was nicknamed the “Old Lady of Threadneedle Street”.

I chose to design a typeface that would respond to the more formal attributes of Central London; the imperial repetition of Classical Architecture of Roman & Greek canon, the rise and fall of Art Deco and the withdrawn façades of the surrounding financial buildings.

The font was firstly named Bank1 Sans, due to it’s hat-tipping to various

symbols of international currency and of course it’s place name. However, the title did not reciprocate my observations of how the architecture purposefully appeared imposing and amoebic-ally built-up, and yet it's invitational nature because of the temple-like edifices. The guarded demeanour only gives access to the few who are allowed within the walls of these fiscal follies, the gatekeepers of our future prosperity.A related synonym of ‘bank’ is “vault”. Harking back to the hermetic Neo-Classical Architecture, the term crypt seemed appropriate.

The ornamentation of Crypta2 Sans are expressions in hindsight to the global financial crash in 2008, the sentimentality of greed and corruption that like the architecture of empires been and gone, will repeat itself indefinitely.Classical Architecture is steeped in geometric proportions and founds its identity upon the ‘human scale’. I defined certain rules when creating the first letter ‘F’, which were then applied to each of the letters; this was using a grid pad defining the width of the letters as 25mm, and keeping to a º45 angle to add a fiercer look to the font.

CRYPTA SANS UPPERCASE

Details

Grid Dimensions: 1, 5 & 10mm Grid

Pad Size: A4 Cartridge

Grid Colour: Green

Manufacturer: Chartwell Designers Sectional Pad

circa 2009

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The humanist font Gill Sans has always been intriguing to me, as it’s used often as an alternative to stalwart typefaces such as Helvetica or !"#$%.Gill Sans can be used across a great number of mediums; from posters to business cards, advertisement billboards to television adverts. Even being used heavily by the BBC means its cultural identity is cemented in British culture.

Its most recent guise has been to re-inform the public to ‘Keep Calm and Carry On’. As an antithesis to this almost numbing humanisation, I wanted to experiment with its form as though it’s in a constant erratic change, as if struck by a bolt of lightning, hyperactive and charged.

The design of the Fume Box follows suit in its premise to Crypta Sans; an ornamental form that hides its linkage to the site of Bank, London.

My architectural project was to investigate the surrounding area of Bank, and its many functions aside from the financial anchorage. Due to its landlocked urbanism there were constant traffic jams, people smoking in front of their place of work and the nearby buildings spewing pollutants into the air. My premise was that all cities breathe. Cities inhale people and their multifarious functions by which cities exhale the waste of each person burning a small amount of energy that accumulates in to the grey, dense poisonous toxins that separate the city from the country.

Since every person must breathe to live, we all have different vices in order to pursue our ambitions. When I saw in people smoking outside their office, I wondered if they knew how much personal pollution they had inhaled and exhaled. The Fume Box, a type of storage device was created to emphasize the waste expelled by a person, and make them think deeper on whether they’re helping or harming themselves, almost as a means of intervention, this was done by using different glass & plastic lenses.. This further informed my inclination to display how much the nearby buildings did the same, and making the wider human-world think about their impact on the city, and themselves.!"#$%&'&()"%*%+',-./(0.'1

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1. fume (n.) late 14c., from Old French fum "smoke, steam, vapor, breath," from Latin fumus "smoke, steam, fume" (source of Italian fumo, Spanish humo), from PIE *dheu- (1) "dust, vapor,

smoke; to rise in a cloud, to fly about (like dust)" (cognates: Sanskrit dhumah, Old Church Slavonic dymu, Lithuanian dumai, Old Prussian dumis "smoke," Middle Irish dumacha "fog," Greek thymos "spirit, mind, soul").

Website Design - Links

www.globalbedo.org www.i-mars.eu

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Third IssueOctober EditionThe Independent Student Newspaper

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I N T E RA G U I D E T O

G O I N G O F F G R I D

INTERRA

A GAME FORGING MAZES TO ESCAPE THE INFERNAL METROPOLIS

THE RULE OF NO EXCEPTIONS

DISMANTLE YOUR CITY 12

BOOK DESIGN

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