Browsing by Author "Blaak, Rachel"

Now showing 1 - 8 of 8
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    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
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    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
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    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
  • Thumbnail Image
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    A typographic interpretation of “The Pedestrian” by Ray Bradbury
    (2022) Blaak, Rachel; Pacher, Constanza
    “The Pedestrian” is the short story by Ray Bradbury about a night in the life of Leonard Mead. Set in a dystopian 2053, Mead is walking alone through his neighbourhood when he is confronted by a police car. After struggling to understand his reasoning behind going for a walk, the police car arrests Mead, explaining that he is being sent to a psychiatric facility. This final design is playing off of the intrusive nature of the car’s speech. It is very aggressive in its tone as compared to Mead’s soft descriptive nature. When approaching this project, it was apparent that the car’s dialogue must be all-caps and sans-serif. On the other hand, Mead is a writer by profession, being very descriptive and poetic in his narration, calling for a soft serif with plenty of rags, creating fluid shapes. The two types of dialogue are very different to represent the difference between human nature and that of a robotic car. The car is not engaged in the conversation, shown by being right-aligned, as if they were two separate monologues. The small caps within the body text represent the cold nature of the scene the reader is placed in. The Background imagery is an abstract rendering of headlights to show that car’s presence. The car’s speech changes in value depending on its volume, getting dark the softer its tone is.
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    Rationale for postcard series based on How to Pronounce Knife by Souvankham Thammavongsa
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.
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    Visual commentary on unseen characters in response to How to Pronounce Knife
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.
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    Visual commentary on unseen characters in response to How to Pronounce Knife
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.
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    Visual commentary on unseen characters in response to How to Pronounce Knife
    (2022) Blaak, Rachel; Pacher, Constanza
    “Mary believed there were two kinds of people in the world. There were those that were seen and those who were not. Mary considered herself one of the latter.” Many characters in How to Pronounce Knife, by Souvankham Thammavongsa, can be considered ‘unseen.’ Despite their invisibility, each short story gives its characters the chance to be seen by the reader and have their voice heard. It is essential to recognize the importance of their final thoughts and actions in their stories because their impact is more substantial than anything their loud counterparts have done or said. This postcard series highlights the importance of what the ‘unseen’ characters are thinking, shown through found poetry. The imagery being used is highlighting specific moments in each story. These characters from Slingshot, The School Bus Driver and The Gas Station are shown through the use of black and white. They are more withdrawn characters but still interesting, so the postcards rely more heavily on texture and details to depict their situation. By using found poetry, the viewer can better understand the progression and development of each character. It highlights ‘unseen’ characters, blocking the louder characters the same way they are depicted in their stories.