Lauren West Graphic Branding & Identity On approaching this year, I had visited the island Malta. During my time in there, I had planned to visit multiple prehistoric sites throughout the island, as well as sites located on the neighbouring island of Gozo. The temples located throughout both Mediterranean islands are “the earliest free-standing stone buildings in the world and are remarkable for their diversity of form and decoration. Each complex is a unique architectural masterpiece and a witness to an exceptional prehistoric culture renowned for its remarkable architectural, artistic and technological achievements.” (World Heritage Convention. 2015) One particular site was the Ġgantija Temples “consisting of two temples which date back to between 3600 and 3200 BC, preceding Stonehenge and the Egyptian pyramids” (Heritage Malta. 2019). When having visited the island of Gozo, my discovery of the Ġgantija Temples left me with a mass of un-answered questions regarding the religious significance and the goddess-like figurines that surrounded the very purpose of these temples. “According to local legends, the gigantic blocks of Ġgantija were carved in the south of Gozo by a female giant.” (Gray, M. 2020) This particular ‘female giant’ is known as the Fertility Goddess throughout Maltese legend. Her importance throughout Maltese culture is referred to as “eternal and universal” (Petroni, N. 2016). The symbolisation can be linked to both feminist activists in the present day, and folklore throughout ancient culture. From my findings during this particular trip and the research I have undertaken this year, I have planned to further develop with the research revolving these megalithic temples, and the Fertility Goddess they worshiped. Furthermore, from this research, I will curate my own typeface solely surrounding the significance of this female deity; using curvature forms and full-like shapes to represent the goddess and her impact during this period on the Neolithic people of Malta. This typeface will be used to symbolise the Neolithic body standards during this time in the Mediterranean, and feminism today. I will achieve this by honing in on the female qualities and similarities, evident between each Fertility Goddess figurine. These qualities are both representative of females today as well as in Neolithic times. “Who is this enigmatic spiritual figure, the prototype of Woman of the Mediterranean, who occupied such a revered and exalted position in our psyche throughout the ages?” (Bugeja, L. 2016) It is fair to state that the Fertility Goddess may have impacted the way women were, and are viewed within Mediterranean culture. However, the figurines are definitely no paragon of beauty by societies current body standards, but rather the standards of feminists. Applying this cross-over of culture and time period, will allow my typeface to possess pre-historical and modern-day elements whilst coherently displaying a clear feminist approach to type design. It was not only the figurines and statuettes that processed these maternal-like qualities, but the temples themselves. In particular the Ġgantija Temples, the chambers within these temples are of a semi-circular shape “such a design shows a striking resemblance to the silhouette of the Fat Lady; their goddess of fertility” (The Megalithic Temples in the Maltese Islands. 2020). The consistent use of circular, maternal shapes will continue to be a consistent throughout the making of my typeface as it was throughout their religion. However, I’m unclear on whether this will be solely decorative or for versatile use. Nonetheless, the same resemblance will be prevalent throughout. Once having reflected on my megalithic research, I discovered a typographer under the name of Ciarán Birch. His typographic work is remarkably similar to my vision of a megalithic inspired typeface. For Ciarán’s final year project at the University of Brighton, he created the typeface: Phenomeno. “I’m very interested in chalk drawings, rock formations and the history of how English people expressed themselves creatively through a landscape that will long outlive us all.” (Miller, K. 2019) This particular interest lies within the folklore surrounding the Oxfordshire country-side near to his home, stories of rock-throwing contests between giants and humans “I wanted to tap into this mysticism and create something that appears sculptural and intriguing” (Miller, K. 2019). Ciarán turned to the work of artists like Barbara Hepworth, Paul Nash and Graham Sutherland; all of whom relate to neo-romantic art. From this research and recording ancient sites throughout Oxfordshire, he created glyph-like characters to capture the spirit and mystery behind these remarkable pre-historic sites. Ciarán has inspired my overall approach to idea-generation and research. Particularly reading about his love for “how English people expressed themselves creatively through a landscape” (Pittaway, L. 2019). His mix of personal historical enjoyment throughout his design work is exactly what I aspire to achieve through the making of this typeface. Upon my arrival in Lincoln, I was vastly intrigued by the history of the city and in particular, the medieval roots surrounding the history. Earlier this academic year, I had delve into the pre-historic megalithic, Ġgantija Temples and discovered my strong interest towards the intersection between history and typography. This new found love for typography is in-favour to this intersection, however, I have always been intrigued by typographers and the ability to communicate not only through pure visuals, but through how the type is presented. Whether its designed for display purposes or for versatility. After having explored the historic sites of Lincoln, I began to notice more often, and found myself drawn to, medieval calligraphy. Especially when having visited Lincoln Cathedral, and Lincoln Castle. I started to collect a series of photographs documenting distinctive ligatures throughout the architecture in both buildings, containing characters that aren’t typically used today. Most documentation of typography throughout these times were either throughout books, manuscripts, or carved into stone. When researching further into traditional stonemasonry, I discovered courses for ‘Lettering in Stone’. In particular, courses in both London and Lincoln which specialise in a range of stonemasonry experiences, specifically intensive letter carving. I had considered applying to both, but due to the current pandemic, this was not a foreseeable option anymore. Nonetheless, there’s a high possibility that I’ll apply in the next coming years. As this opportunity was no longer attainable, this leads me onto my improved idea which involves creating a typeface heavily influenced by Lincoln’s medieval history. Jacob Wise, is a London-born graphic designer, whose work is predominantly inspired and driven by the middle ages. A particular typeface of his displays this fascination, Monarch. “I was going through a bit of an intense medieval phase during the time (I still am), which definitely shows in the particular characteristics of the font.” (Boddington, R. 2017) as said by Jacob for It’s Nice That. The article then goes on to say “Jacob believes that gaining an understanding of what has already been done helps give him a wider perspective. He therefore aims to discover the untapped potential in various areas of design that may have been forgotten about today.” (Boddington, R. 2017). This particular way of thinking is what I aim to achieve through the making of this project, to understand previous history and ways of designing throughout the ages. Taking elements of design from those times, that aren’t commonly used today, and modernising their ability to be of applicable use in the 20th century. From my research and understanding of Lincoln’s history, I have several avenues in which I can explore. I can take the possible route of directly referencing a typeface, as said by It’s Nice That, or provide my own, new interpretation from the calligraphy and general history I have gained from research. When having gathered information written about Lincoln Cathedral, I learnt that it was the tallest building worldwide for 238 years, from 1311 - 1548, throughout a significant period of the middle ages. During my research on Lincoln Castle, I discovered that one of the four remaining copies of the original Magna Carta is now securely displayed within the castle’s walls. Lincoln clearly represented a greater role in medieval history than I had previously realised. When having gained this knowledge, and more, from both the sites, I knew the history would carry well into the creation of a typeface. Either through creating elongated characters to represent the tallest building, or taking influence from the calligraphic characters in the Magna Carta. A traditional, historic influenced typeface with a modern twist on old gothic calligraphy “the meeting of the old and new” (Boddington, R. 2017). As I too, want to express cultural interest and historic events within my design, and especially through the use of typography. After having focussed on both the online courses in code and brand identity, I had a desire to be experimental throughout the next few projects I would take on this year. I planned to make the most of the time left and to use this creative freedom by delving further into my other personal interests. Combining my two passions of design and history, and based on my own trips and experiences with historic sites. As Jacob said to It’s Nice That last year: “I think it’s massively important to know and understand what has preceded within the context of design. That is how graphic design perpetuates, you can be inspired by particular visual styles from the past but you should obviously refrain from blatant regurgitation – homage rather than pillage.” (Boddington, R. 2019). I plan to take on this project during the summer months. Hopefully once society returns back to normal, I will be able to explore the grounds in more detail and visit the cathedrals library, allowing me to gather research from their medieval manuscripts and other material. As I haven’t been successful in gaining any internship opportunities this year, due to the pandemic, I have chosen to focus particularly on the research of both my megalithic and medieval typefaces this summer after hand-in. Devoting my time in isolation to learning and training myself within typeface programs, such as Glyphs, and developing on my typographic sketching. Bibliography
Altaber, L. (2018) Workshop de gravure lapidaire réalisé en novembre 2018 à Val-de-Reuil, pour la Factorie – Maison de poésie de Normandie. Paris: e162.eu. Available from https:// www.instagram.com/p/Brk9EiVhJ_z/ [Assessed: 01 March 2020]. Boddington, R. (2017) Jacob Wise’s visually led, historically inspired designs are “visual nonsense”. London: It’s Nice That. Available from https://www.itsnicethat.com/articles/jacob-wise-graphic-design-141217 [Accessed: 03 March 2020]. Boddington, R. (2019) Jacob Wise on legibility, expressive typography and referencing in graphic design. London: It’s Nice That. Available from https://www.itsnicethat.com/features/ones-to-watch-2019-jacob-wise-graphic-design-250219 [Accessed: 03 March 2020]. Bugeja, L. (2016) The Maltese Temple Period’s unique religious significance. Malta: Times of Malta. Available from https://timesofmalta.com/articles/view/The-Maltese-Temple-Period-s-unique-religious-significance.604050 [Accessed: 01 March 2020]. Devroye, L. (2017) Jacob J Wise Monarch 2017. Canada: Type Design Information Page. Available from http://luc.devroye.org/fonts-92590.html [Assessed: 03 March 2020]. Gray, M. (2020) Neolithic Temples of Malta. Arizona: World Pilgrimage Guide. Available from https://sacredsites.com/europe/malta/temples_malta.html [Assessed: 01 March 2020]. H. Dobrzynski, J. (2017) A Powerful Symbol of a Lost Civilization. New York City: The Wall Street Journal. Available from https://www.wsj.com/articles/a-powerful-symbol-of-a-lost-civilization-1505493783 [Accessed: 01 March 2020]. Heritage Malta. (2019) Ġgantija Temples. Malta: Heritage Malta. Available from https://heritagemalta.org/ggantija-temples/ [Accessed: 01 March 2020]. Miller, K. (2019) Graduate Show 2019: Ciaran Birch: Graphic Design. Brighton: EDU Blogs. Available from: https://blogs.brighton.ac.uk/aadm/2019/05/31/graduate-show-2019-ciaran-birch-graphic-design/ [Accessed: 03 March 2020]. Petroni, N. (2016) The Goddess of Fertility. London: The Independent. Available from https://www.independent.com.mt/articles/2016-09-26/newspaper-lifestyleculture/The-Goddess-of-Fertility-6736164268 [Accessed: 01 March 2020]. Pittaway, L. (2019) Ciarán Birch’s latest typeface is inspired by the mysticism of neolithic monuments. London: It’s Nice That. Available from https://www.itsnicethat.com/articles/ciaran-birch-graphic-design-210819 [Accessed: 03 March 2020]. The Megalithic Temples in the Maltese Islands. (2020) The Shape of the Temples. Malta: The Megalithic Temples in the Maltese Islands. Available at http://www.sanandrea.edu.mt/CyberFair/temples/ShapeoftheTemples.html [Assessed: 01 March 2020]. World Heritage Convention. (2015) Megalithic Temples of Malta. Paris: United Nations Educational, Scientific and Cultural Organization. Available from https://whc.unesco.org/en/list/132/ [Accessed: 01 March 2020]. Zammit, Sir T. (2007) The Neolithic Temples of Hal-Tarxien Malta. Malta: The Modern Antiquarian. Available from https://www.themodernantiquarian.com/site.php/10597/tarxien.html [Accessed: 01 March 2020].
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