A list of lies

We judge others by their appearance, whether we admit to it or not, it’s something we have all been guilty of. It’s an unconscious and therefore uncontrollable reaction. But how accurate are our judgements? We often make rash assessments based on physical appearance alone and get it oh so very wrong.

Attractiveness plays a major role in shaping positive emotion towards a person , although according to Andrews et al (2013 p.62) we genuinely believe this not to be the case. However, research demonstrates that not only do we favour physically attractive people; we also identify beauty with an intrinsic goodness, developing what is know as a ‘halo effect’. A form of cognitive bias, which attributes positive qualities created in one area to influence opinion in another area. Ergo, we see attractive people as being far more trustworthy than those who do not possess (Andrews et al, 2013, P.65) protypical features, facial symmetry and/or sexual dimorphism.

I wanted to explore this visually but rather than utilise a model displaying all the aforementioned attractiveness traits I wanted to do the opposite, by using an image of someone who society would not deem as physically attractive in the conventional sense at least. I searched online for images at :

https://morguefile.com/  A free photo archive “for creatives, by creatives.”

I use this website frequently, as it grants access to quality, free stock photography and has provided me with some excellent images in the past. Here, I searched for male portraits in the hope that I would find a suitable image and I was in no way disappointed.

I came across a series of images of homeless men which were of excellent quality, both aesthetically well composed and technically fantastic. The fact that the images portrayed homeless men added to the message I wanted to convey. How quickly would we judge these people? Would we trust them or would their outward appearance and circumstance taint our perception of their person? I would hazard a guess that the halo effect would work recto-verso in this instance and their outward appearance would ensure that they would be considered most untrustworthy indeed.

In my book of bullshit, at the beginning of the chapter on trust, I listed a collection of words which represented the positive feeling associated with trust. I wanted to do the opposite here, so I began to compile and alphabetise a list of words associated with lies and deceit. My idea was to create a contrasting spread with the image on one side and the judgemental words of the other, thus forcing into question our perceptions of truth and trust. Below are several of my attempts at layout and composition for this piece.

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Fig 1
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Fig 2
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Fig 3
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Fig 4

After careful consideration I decided that the image in Fig 1 would be the most suitable for this composition, however I also concluded that a black and white shot presented a more meaningful outcome and that the typography and layout wasn’t working how I wanted. The typography needed to balance more with the image and communicate a clearer message to the viewer. I therefore decided to add the word trust in to the composition to contradict with the list of deceitful words and the imagery presented, thus forcing a visual dialogue of questioning. I also rotated the image of the homeless man, offering the viewer a new perspective or not facing the issue head on, again presenting another level of ambiguity to the piece.

Lastly I dismantled the word trust. Has the trust been totally broken or Is there some trust held together? The type also could be read as R – U – ST. Posing the question Are you Street? Are you aware of what is going on in the street? Are you turing a blind eye to the homeless? There are many layers to this social problem and many layers to the personal feelings of trust which I hope I raised awareness of in the visual narrative to this piece.

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Fig 8

The final layout shown Above (fig 8) is one of my favourite pieces in terms of the balance of negative and positive space and use of colour. The striking red against the black and white is incredibly powerful. Ideally I would have liked to take my own photography but time and location were against me. Although there are many, many very poor people here in Kuwait I am unaware of any homeless people. Accessing these poor communities in 50 degree heat would have also been a very changeling and time consuming task; a whole project in itself. Maybe this is something for me to consider as a future project. But for now I am more than happy with this composition and believe it conveys an oxymoronic message which leads the viewer to question their own preconceived ideas on the notion of trust.


Andrews, M., Van Leeuwen, M. and Baaren, R. (2013). Hidden persuasion. Amsterdam: BIS Publishers.

Morguefile.com. (2016). Morguefile.com free stock photos. [online] Available at: https://morguefile.com/ [Accessed 8 Aug. 2016].


All layout designed by Lisa Winstanley 2016 Images used as follows:

Fig 1/5/7/8: Chilombiano, (2007). Smoking man. [image] Available at: https://morguefile.com/creative/3/chilombiano [Accessed 1 Aug. 2016].

Fig 2/6: BBoomerinDenial, (2012). Homeless man in hat. [image] Available at: https://morguefile.com/creative/BBoomerinDenial/2/all [Accessed 25 Jul. 2016].

Fig 3: BBoomerinDenial, (2014). Homeless man. [image] Available at: https://morguefile.com/creative/BBoomerinDenial/1/all [Accessed 25 Jul. 2016].

Fig 4: BBoomerinDenial, (2009). Homeless man profile mustache. [image] Available at: https://morguefile.com/creative/BBoomerinDenial/4/all [Accessed 25 Jul. 2016].

A list of lies

Eat your words

Earlier in this module I had the idea to create some edible typography in the blog post shown below.


My rationale behind this was two fold. Firstly I wanted to get my hands dirty! My role as a designer is often behind a computer screen these days and I wanted to return somewhat to design as craft. Secondly I wanted to explore 3 Dimensional typography. I had originally planned to create and  3D print using a rubber material but time seemed to creep up on me and this meant I just didn’t have the opportunity to experiment or retain the necessary training in CAD software to make this happen. (Although this is still on my list of things to do in the future!). Baking some type fulfilled both my objectives so was a suitable alternative experiment. It also meant that I could use the idiom ‘eat your words’ then literally do it!

I wanted to use this particular idiom as a representation of how we feel when someone is caught in a lie. They are forced to figuratively eat their deceitful words and repent in order to receive our forgiveness and in that moment all trust is lost. Certainly not a sugar coated experience.

Firstly I set about hand rendering the typography. I had to ensure that the text would be legible and easily constructed using cookie dough but also decorative enough to look crafted and authentic. I conducted quite a lot of research into food based typography and came up with the following examples as reference.

Creating my own typography by hand was really enjoyable and I’ve loved this part of the process. The next step was to create a makeshift lightbox at my dining table and trace the letterforms off onto a sheet of paper which could be cut out as a template for the cookies.

Once I was happy with the letterforms (it took a number of attempts!) I then set them aside and rolled my sleeves up for a little baking! I downloaded a cookie dough recipe and gathered my ingredients. I am not the best in the Kitchen so at this stage I didn’t know if this would be a total disaster or not, but at least I would have fun trying!

Once the letters were cut to shape they were ready to go in the oven

Again I had no idea if this was going to work but 10 minutes later I was pleasantly surprised! I set up a scene on my kitchen worktop with the baking ingredients and some added sugar, utilising the reference images above as a benchmark for quality.

I then took several shots and cropped and edited slightly in Adobe Photoshop to get the following results.

Although I think the images above are great, I had it in my mind that the cookies should be on a wooden surface. I initially approached a friend with a wooden dining table but discovered a large wooden tray in my home that I though would make a suitable surface. The following image is one of many that I took to get the right angle and lighting and I am more than happy with the results. This took a lot of planning, preparation and hard work but the end result has been almost certainly worth it!

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The last stage in the process was to eat the cookies! I enlisted the help of my husband who kindly once again served as my model (for the hefty price of stuffing his face with biscuits!) and I took some images of him eating his words. I wanted him to look uncomfortable, as I mentioned previously the reality of this would not be a sugar coated experience and I wanted this to be communicated, even if in a slightly satirical manner.

I experimented with the HDR filter in Photoshop and the resulting image is everything I hoped it would be, although my husband perhaps would not agree!

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All images original creations by Lisa Winstanley 2016 unless otherwise stated below:

Fig 1.1 Analog Folk, (2015). Dark Chocolate. [image] Available at: http://www.creativebloq.com/typography/tasty-type-food-101517292 [Accessed 6 Aug. 2016].

Fig 1.2 Clason, B. (n.d.). YAY [image] Available at: http://www.beccaclason.com/THE-SWEET-TOOTH-FAIRY [Accessed 31 Jul. 2016].

Fig 1.3 Clason, B. (n.d.). hold what matters. [image] Available at: http://www.beccaclason.com/CHATBOOKS [Accessed 31 Jul. 2016].

Fig 1.4 Six N. Five, Pini, E. and Reisinger, A. (2014). Toasted. [image] Available at: https://www.behance.net/gallery/18849929/Abelina [Accessed 31 Jul. 2016].

Fig 1.5 Unknown, (2013). Sweet Christmas. [image] Available at: https://storage.googleapis.com/imgfave/image_cache/1356542419410799.jpg [Accessed 31 Jul. 2016].

Fig 1.6 Walsh, N. (2014). Melt. [image] Available at: http://nickywalsh.eu/?gallery=words [Accessed 31 Jul. 2016].

Eat your words

What’s your perspective?

Civil rights in Kuwait leave a lot to be desired. I constantly hear horror stories of how domestic workers are mistreated; deprived of food and sleep, underpaid, if at all and I see how the elite of society sweep it under the carpet and continue to preach morality. The sheer hypocrisy of it all disgusts me.

Whilst I cannot possibly understand the issues that many workers face here on a daily basis. I can, however, attempt to raise awareness and help to rebuild some trust in humanity. There are good people out there, people who respect their staff and treat them with dignity and kindness.

Domestic workers flock to Kuwait, leaving their families behind. Arriving in a new country, often not speaking the language and are flung into total culture shock all the while trusting that the system will protect them. Sadly it often fails them and this is common knowledge here but it is simply ignored and the people charged with protecting the vulnerable don’t seem to comprehend their plight. This situation sits heavy on my heart as this is not my country I am powerless to do anything and I feel equally as saddened by my lack of ability to act.

I used these feelings of sadness when composing this piece. So it really does feel very personal. I asked my wonderful nanny, Laila, if she would pose for a portrait for me and she kindly agreed. Her face represents all the domestic workers who do not have a voice. I took several shots of her using my smart phone. (I think after experimenting a little with photography during this module I may well invest in a decent SLR camera, so I am able to explore my interest further). Nevertheless, I was able to take some relatively decent images which I then edited using Adobe Photoshop to increase the contrast and crop in order to focus on the eyes.


I split the the word ‘perspective’ over three lines over the image. The viewer is therefore required to adopt a different viewpoint in order to read the whole word. I purposefully allowed the piece to remain quite ambiguous encouraging the viewer to evaluate the meaning from their own perspective. Whilst this does not directly raise awareness of the plight of the domestic workers, it may serve to draw attention and glean empathy from someone in a position to make a difference to someone’s life.

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All images by Lisa Winstanley 2016

What’s your perspective?

I see right through you

Whilst contemplating the notion of trust I began to consider who or what we value as trustworthy and why they deserve our trust. I also considered who least deserved our trust and with the current political debate, politicians, immediately came to mind. The fallout from Brexit and the current US presidential race have filled the news with vicious bile and hatred, stirring up an undercurrent of prejudice all fuelled by the media. The smiling faces of the politicians seem to ignore this frenzy and continue pushing their own agendas regardless, in order to gain power.

I wanted to depict the current state of affairs but also recognise that this is not something new. We have been manipulated and deceived by politicians for generations; their deception is in pain sight but vigorously denied. People, however, seem to be waking up and realising how untrustworthy our so called leaders are and have been.

In light of this I created a number of pieces depicting politicians with the phrase, ‘I see right through you’. Intended to represent the realisation that people are able to see past their proposed policies for change and realise that for the most part they are only out for themselves. Quite a heavily charged political statement.

My initial idea was to use a series of images of US presidents and British Prime Ministers as a backdrop to the typography. I also attempted to single out two right wing politicians  (above) but I wasn’t convinced that these communicated the message seriously enough. The typography and tone were not solemn enough to communicate the message I wanted to send so I disregarded these options.


I then attempted a slightly different approach, whereby the faces of the politicians were still obscured by the typographic treatment but more of the background was retained. This solution however, still didn’t address the solemnity I wanted to communicate. So I again disregarded these options.

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Fig 1.1

I then came across the image above and decided this would be a great idea to try on an image of a politician. I chose to use Donald Trump as he is a well recognised and current political figure. The controversy that surrounds him made his image the perfect choice to communicate my message of mistrust.

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Fig 2.1.

I was pleased with the end result but in retrospect I wasn’t convinced that this was a suitable piece for the visual narrative of my book. As a piece in its own right I do believe it works well but in terms of continuity and retaining the design language of my book it was not a compatible solution. I therefore decided to leave this idea alone and move on as time is moving quickly on! That and I am convinced that having Donald Trump’s face in my book would be something I’d regret in the future!

All in all removing this piece is the right choice, regardless of its aesthetic success.



Fig 1.1: samstevensondesign.com, (n.d.). Noel Gallagher typography. [image] Available at: https://uk.pinterest.com/pin/514606694897404028/ [Accessed 25 Jul. 2016].

Fig 2.1: CNN, (2016). Donald Trump. [image] Available at: https://www.theodysseyonline.com/donald-trump-is-allowed-to-be-racist-because-america-still-is [Accessed 25 Jul. 2016].

I see right through you

A visit to the printers

I have not had a vast amount of experience in dealing with printers in Kuwait but I had heard of Al Khat’s reputation for quality so I approached them via their website for a quote. I was invited to their production site to view their facilities and to meet with Mr Ma’an Sulaiman regrading my project.

Once on site I was given a tour of the presses along with their finishing department and this gave me a great deal of confidence in their ability to deliver the kind of quality I was hoping for for my book. Mr Ma’an, is a Lebanese national, as is my husband, Bill, which was very useful as they were able to communicate in Arabic with Bill acting as my translator.

However it is rather concerning that had it not been for my husband’s communication skills I would have been at a disadvantage in explaining my requirements. Perhaps now is the time to take those Arabic classes I have been promising to do!

Images taken at Al Khat Print House in Kuwait

A visit to the printers

In the Dark

The pièce de résistance of my book design has always been to print the cover using a phosphorescent ink which glows in the dark but is invisible during daylight. Meaning that hidden design elements could be revealed in spectacular fashion. I believe this would be a great visual metaphor for lies, hidden from plain sight but once revealed all encompassing; basically being kept in the dark.

I was greatly inspired by the amazing business cards (shown below) created by the Australian designer Luke Lucas and was convinced that this technique was the perfect fit for my book cover, offering a unique solution to a complex design problem. I have, however, had to reconsider my plans.

Fig 1.


The printers I had originally planned to use in the UK more than doubled their price on sight of the artwork. Meaning that just 1 book would cost in excess of 2000 gbp to produce and ship to Kuwait. I did try and source alternative quotes but the technique is very specialised and as such it is accompanied by a premium price tag. I needed to come up with a plan B.

After considering my options I decided that the whole purpose of the technique was to reveal the lies hidden in plain sight and the metaphor here was in the reveal. I therefore came up with the idea of revealing the bullshit by housing the book inside a slip case. I would design the slip case to be very minimal; pure white with the word ‘truth’ debossed to both sides. The cover however, would then be printed using black and a neon, fluorescent ink so I would still get the reveal I was looking for and retain some degree of ‘wow’ factor. This would also mean that I could get the book printed in Kuwait, avoiding shipping costs (and worries at customs) and I could get 5 copies printed for the price I would have paid for just 1 using the glow in the dark ink. A win win situation.

Admittedly, I would still love to do a project using the phosphorescent technique but this seems like a viable alternative which is achievable in terms of both cost and production, without compromising too much on aesthetic. Decidedly, this project has tested me in ways I could not have imagined but in retrospect this has given me a change to come up with alternative solutions, utilising divergent strategies and make contacts with printers in Kuwait. So all in all I believe this is the best decision for this project to move forward and I am exited to  see the final result.

bullshit cover proof

Above: Winstanley. L (2016) Printers proof neon ink

Images: Fig 1: Lucas, L. (2012). Luke Lucas Business Cards. [image] Available at: http://www.lukelucas.com/Business-Cards-2012 [Accessed 6 May 2016].

In the Dark

Fly on the wall


One of the aspects of trust that I wanted to investigate was the distinct lack of it!

The idiom ‘To be a fly on the wall’ came to mind. How often have we wished to have hidden access to the secret lives of others! Are things really as they outwardly appear? How does apparently well behaved society really behave behind closed doors?

This train of thought led me to consider public scandals and the controversy that oft accompanies them. In a previous piece I had discovered the poem titled ‘Trust’ by the controversial poet and author DH Lawrence and this particular source led me to further research other controversial English poets. Lord Byron presented himself as the epitome of such! A brief look into his colourful personal life, relationships and subsequent scandals ensure that Lord Byron was most certainly a suitable candidate for someone who you would wish to spy upon!

I envisaged what it would be like to have that secret perspective into people’s private lives and it seemed an obvious choice given the context to set the scene in a Regency styled home. I sourced several decorative wallpaper images from Creative Commons sites but settled upon an incredibly opulent but worn wallpaper complete with a decorative gold frame. The decadence of the paper is reminiscent to the pattern work of Marian Bantjes and therefore I concluded that this would be in keeping with my current design language. Furthermore the worn nature of the paper offered a more sordid quality to the composition further enhancing the narrative I was aiming to communicate.

If I had more time I would have liked to have created my own wallpaper pattern but time did not permit such a luxury and given the circumstances a public domain image offered a viable alternative.

The mother of all wallpapers

Fig 1.

Once I’d settled upon the backdrop I sourced a further public domain image this time of Lord Byron. Coincidently, the colours in the portrait and the frame were incredibly similar enabling a relatively seamless blend between the two images using Adobe Photoshop.

Lord Byron

Fig 2.

The last aspect to complete the composition, was perhaps the most critical aspect for the piece to deliver its intended message; the addition of the fly. I again sourced the image from a public domain site and finally combined all three in Adobe Photoshop, suitably editing and muting the colours to blend the items as seamlessly as possible.


Fig 3.

The finished piece

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Winstanley. L (2016) A Fly on the wall M’Lord

Throughout this project I have endeavoured to create all my own imagery, be that illustrative or photographic. This is one of the few pieces where I conceded that existing imagery would be superior in communicating my message, more so than what I could produce in the given time frame.

As I have already stated, I would have liked to have attempted to create my own pattern design for the wallpaper. However, I do believe by utilising existing photography I have been able to retain a degree of authenticity which would have undoubtedly been lost should I have attempted to apply new imagery. Conclusively this decision was, in this instance, the correct one.

Overall I am pleased with this piece, although it significantly deviates from my usual working methods and is distinctly lacking in typography! This however, was a considered choice as I wished the viewer to draw their own conclusions behind the meaning. Even without direct reference to Lord Byron I believe the contentious nature of his adulterous liaisons is communicated via the seedy imagery and sets a sordid scene which one would love to secretly discover.



Fig 1: D’Anjou, B. (2011). The mother of all wallpapers. [image] Available at: https://www.flickr.com/photos/boscdanjou/7206460798/%5BAccessed 23 Jul. 2016].

Fig 2: Flickr, (2014). Lord Byron. [image] Available at: https://www.flickr.com/photos/edenpictures/ 20729032939 [Accessed 23 Jul. 2016].

Fig 3: Lamerie, (2007). Fly. [image] Available at: https://www.flickr.com/photos/lamerie/495179192 [Accessed 23 Jul. 2016].

Fly on the wall

No Way Out of The Mind

Working on the trust section for the Big Book of Bullshit I aimed to explore the many and varying aspects of trust. How do we trust or mistrust others. What brings about doubt, Is it a gut instinct, a particular occurrence or even perhaps a coincidence?

I wanted to focus on our internal struggles with trust. Overthinking, overanalysing, and doubting ourselves. Sometimes the smallest thing can keep me awake at night and I think we’ve all been there; it’s something everyone can relate to. That nagging feeling that something is not quite right and there is no escape from it.

This piece attempts to visually represent that feeling by engulfing the whole spread, blocking any exit, all encompassing and overpowering. Originally I had set the text simply in solid black but felt there was some depth lacking. After numerous attempts to find the right texture it occurred to me that the answer was more obvious than a subtle grain or grunge effect and a brick wall texture would literally serve to demonstrate there was no way out. An internal wall of doubt we close in on ourselves.

Sometimes you cannot escape your own thoughts.

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WInstanley. L (2016) No Way Out of The Mind

No Way Out of The Mind

Hell is empty and all the devils are here


I was searching for inspiration about the notion of trust; how we develop trust and how easily that trust can be broken.

I wanted to convey the emotions of being betrayed and the play, The Tempest, by William Shakespeare came to mind. The plot is centred around a protagonist, Prospero the former Duke of Milan, who was betrayed and usurped by his brother. Banished to an island with magic books, he created a violent storm which shipwrecked his brother and all on board to his island. A story of deceit and treachery.

One line stood out to me particular that I felt was a very apt, powerful description of being surrounded by lies and deceit.


This inspired me to research fragmented, broken text which fostered an interest in Dada influenced typography. I also wanted to contrast the ‘empty’ typography with a powerful image that could convey ‘the devils’. In this context I intend the devils to be lies and deceit.

I begun by sketching several options, including a depiction of an illustrated devil, but decided that a powerful facial portrait staring dead ahead would convey the message I wanted to communicate more appropriately and much more effectively than a literal interpretation.

I researched many intense portraits online and concluded that a black and white shot would be the best approach to contrast with the more minimal typography on the opposite page. The following pages demonstrate my research and development process before disclosing the final result.


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I conducted visual research into illustrations of devils. The examples above depict the kind of look and feel that I thought would be appropriate for this piece but having considered all the options I decided to pursue the second alternative of an intensely staring portrait, as this seemed to be more metaphoric and therefore convey a deeper message.

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I wanted an intense stare, one that would captivate the viewer. I also wanted a look that was neither angry nor happy; no obvious sign of emotion so the viewer would be left to consider their own perceptions.

I found a series of beautiful black & white portraits of models with freckles. I specifically chose these as reference as I hoped I would be using my husband’s image and he has these distinct facial features.

I do not consider myself to be a professional photographer, amateur at best, however I do think I have a good eye for composition and a very good working knowledge of Adobe Photoshop, therefore, for this project I decided to try to create the final image myself. I like to experiment and concluded that if my own shot did not work I could enlist the support of a professional photographer or attempt to source a copyright free image online.

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I enlisted the assistance of my husband as a model. The shots above were taken early morning, minutes after he just woke up, to catch the light. He was unkempt and unprepared but I think this adds to their charm!

Initially I wasn’t very happy with the results but decided to take the best shot into Photoshop and edit the image to see if I could improve upon it. This proved to be an excellent decision!

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I edited my favorite shot in Photoshop by cropping, converting the image to black and white and significantly increasing the contrast. Other than that very little editing took place but

I am so pleased with how this turned out! The editing made a huge difference to the outcome of this image and I think this is now perhaps comparable to the professional shots I took inspiration from!

I paid particular attention to the eyes, ensuring that they were the focal point of the image. The gaze is intense and he looks quite angry here although in the colour image this doesn’t seem to be the case! I think this will create real contrast against minimalist typography and really convey a strong message.

There are many devils in this image!

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I created this piece almost as a happy accident. I think sometimes the best work comes when you least expect it! It was also created as my way of attempting to deal with negative emotions from having to withdraw my kickstarter campaign. So upon reflection I can also see that it may have served as some form of art therapy and an attempt at uncensored self expression.

This creative process was quite quick and contrary to my usual working methodology, whereby I allow time for my ideas to develop and grow, here, I wanted to create something with immediacy almost as a form of comfort. Thus, this piece is quite a significant deviation from my preferred working methods. Referring to an article I had read in previous modules on ‘litteling it’, this artwork allowed me to feel a real sense of relief and I am so pleased with the outcome. It has far surpassed what I had hoped and I am very keen to include this as a spread in the ‘trust’ section of my book.


Fig 1.1 Pinterest, (2013). Faithmapping typographic poster. [image] Available at: https://uk.pinterest.com/pin/43065740159126607/ [Accessed 14 Jun. 2016].

Fig 1.2 Pinterest, (2016). On the way I wonder. [image] Available at: https:// uk.pinterest.com/pin/397442735845455965/ [Accessed 14 Jun. 2016].

Fig 1.3 Designer Daily, (n.d.). Dada typography. [image] Available at: https:// uk.pinterest.com/pin/63683782201560647/ [Accessed 14 Jun. 2016].

Fig 2.1 rrrick.tumblr.com, (n.d.). El Diablo. [image] Available at: https://uk.pinterest. com/pin/377809856210441834/ [Accessed 14 Jun. 2016].

Fig 2.2 Ghost4Hire, (2016). El Diablo. [image] Available at: http://ghost4hire. deviantart.com/art/El-Diablito-394875341 [Accessed 14 Jun. 2016].

Fig 2.3 Diversiones Impresas Iris, (2006). El Diablo. [image] Available at: http://loteria. elsewhere.org/iris/ [Accessed 14 Jun. 2016].

Fig 3.1 Pinterest, (2016). Girl with freckles. [image] Available at: https://uk.pinterest. com/pin/73183562668032524/ [Accessed 14 Jun. 2016].

Fig 3.2 PENN, I. (2014). Freckles. [image] Available at: http://www.photographydo. com/black-and-white-photography/famous-black-and-white-photographers [Accessed 14 Jun. 2016].

Fig 3.3 Demasi, A. (2010). Boy with freckles. [image] Available at: https://www.flickr. com/photos/82515021@N00/5027341760 [Accessed 14 Jun. 2016].

Fig 3.5 dalegrantphotography, (2013). Man with freckles. [image] Available at: http:// http://www.dalegrantphotography.com/ [Accessed 14 Jun. 2016].

Fig 3.6 eyegami, (2016). freckles. [image] Available at: http://eyegami.co/freckles/ [Accessed 14 Jun. 2016].

Fig 3.7 Vishwakarma, V. (2012). Best is yet to come… portrait of old man. [image] Available at: http://www.pixoto.com/images-photography/people/portraits-of-men/best-is-yet-to-come-90115002 [Accessed 14 Jun. 2016].

Fig 3.8 Pitak, D. (2012). woman with freckles. [image] Available at: http:// smashfreakz.com/2012/12/black-and-white-portrait-photography-by-daria-pitak/ [Accessed 14 Jun. 2016].

Hell is empty and all the devils are here

I’m not Joking

I’m not actually funny. I’m just mean and people think I’m Joking!

This was a confession on the www.iliekit.com site. How could this not be perfect for a clown?! I absolutely hate clowns! I find them disturbing and unnerving; the stuff of nightmares so research for this project was particularly challenging!

I wanted to move away from a typical circus clown with a huge red nose, massive shoes and a squirting flower! This needed to be something darker and more mysterious to fit in my misfit circus lineup!  So I began to research Harlequins and pierrot and I was not disappointed. I found abundant sources which would serve as inspiration for this piece.

Below is my moodboard created from the visual research I endured!

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The idea for this piece has been in my head for quite some time and I had a vision of what I wanted before I put pencil to paper. However, I felt it an important part of my design process to plan out and sculpt a good composition for the design and also to craft hand drawn typography which has become and integral aspect of my research.

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The next stage was to digitise the artwork and each detail of the type and the illustration itself was then vectorised using the pen tool in Adobe Illustrator

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The final piece took around 2o hours to complete digitally  but looking at it now with fresh eyes this is one of my favourite pieces so far and every hour was worthwhile. It is perhaps testament to my commitment and dedication to this project that I am still after almost 2 years working on this finding such joy in my work. It gives me a great sense of accomplishment and pride that I’m almost at the finishing line, yet somehow I don’t quite want it to end!

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Above: Winstanley, L (2016) People Think I’m Joking 


I’m not Joking