COP3 Dissertation Research, Quotes & Case Study

From my COP3 proposal feedback, it was suggested to look into specific sources of possible research. I started to link together that which I already know of the uncanny in order to see what I needed to expand on further. As shown below, I have a relatively good understanding of the uncanny and linking themes, theories and areas.

Through this initial research I was also able to find more specific examples of the uncanny within advertising and graphic design. These can then act as the basis of my dissertation, showing that the uncanny can be applied to these areas.
 From this, I will research further into and analyse these examples in more detail to be able to apply them to my dissertation.

Previous Research (2014/2015)

As to ensure I have recapped on everything that I learnt last year, I referred back to my uncanny research from 2014/2015. The link is provided: 

2014/2015 Uncanny Research Blog

2014/2015 Uncanny Research Blog 2

This research includes:

- How can type become uncanny or disturbing?

- How you can pick a certain typeface that, no matter where you place it, will always be eerie?
- Experiment/think about type being used in the wrong context
- To what extent can type choice influence meaning
- Handwritten type and it's repetition (which appears robotic)
- Glyphs from various times (Egypt etc...)
- How/what it is written in. EG, blood- and the connotations
- Ransom notes- using different words and letter etc from different media's
- Illustration Typography (lettering using the human body: Roman Cieślewicz, alphabet for Guide de la France mystérieuse, 1964) http://designobserver.com/feature/a-dictionary-of-surrealism-and-the-graphic-image/37685/
- Surealism: Religion (-"Doubles are uncanny. Coincidence and repetition are uncanny. The “evil EYE” is uncanny. The doll, an inanimate object that nevertheless suggests the presence of life, is uncanny").
- Cognitive Dissonance theory
- Consistency theory

- Love letter exhibition and handwritten letters (analysis of emotion)

- Further surrealism imagery

- Animation and editing

- Distortion

- Skeuomorphism and much more...

What Is The Uncanny?

E. Jentsch first identified ‘The Uncanny’ in his 1906 essay, ‘On the Psychology of the Uncanny’, where he defines it to be the result of 'intellectual uncertainty'.

In 1919, Sigmund Freud published his essay, ‘Das Unheimliche’, translated as ’The Uncanny’, where it is stated that when something is 'outside ones familiar knowledge and/or perceptions, it is a mixture of the familiar and unfamiliar that is experienced as being ‘peculiar'

What is Surrealism?

 Surrealism was once a radical art movement, whilst today it has transformed into a common visual style. Surrealists, starting in the early 1920’s, attempted to aesthetically produce and fabricate objects such as visual artworks and writings, which evoke uncertainty and thus, incite an uncanny effect. Illustrators and artists tormented and distorted reality using anthropomorphism and dreamscapes well before 20th-century, such as surrealists like Dalí and Ernst. This cultural movement was influenced by Freud’s aesthetical research and examination on the psychological phenomenon of the uncanny.

Oppenheim. M. 1936. ‘Object, lit’. [Online image] Available at: https://en.wikipedia.org/wiki/M%C3%A9ret_Oppenheim  (Accessed: 10th November 2015)

Salvador. D. 1936. ‘Lobster Telephone’. [Online image] Available at: http://www.tate.org.uk/art/artworks/dali-lobster-telephone-t03257 (Accessed: 10th November 2015)

The first Manifesto of Surrealism, 924 by the poet André Breton.

Surrealism works to ‘resolve the previously contradictory conditions of dream and reality’

Chilvers. I. 2009. The Oxford Dictionary Of Art And Artists. Oxford: Oxford University Press.

Poynor. R. 2010. 'Surrealismus a graficky design/ Uncanny: Surrealism and Graphic Design’. [Online image] Available at: http://www.sagmeisterwalsh.com/news/story/uncanny-surrealism-and-graphic-design/  (Accessed: 10th November 2015)

In 2010 Rick Poynor devised and curated an exhibition named 'Surrealismus A Graficky Design/ Uncanny: Surrealism and Graphic Design’ for the Moravian Gallery in Brno. It was the first major exhibition to influence the exploration of surrealism and the uncanny on image-making within and including graphic design. It investigates the intellectual impact of Surrealist ideology and imagery on visual communication from the 1930’s to the present examining a fragment of the surrealist landscape, from its avant-garde descent to its imminent utilisation as modern graphic design. Poynor’s exhibition delves into a breadth of vintage and contemporary work. The collection is a rainbow of book cover designs by artist-designers such as Teige and Styrsky expanding to more contemporary work by graphic novelist Klimowski. He continues to look at announcements by E. Fella, and posters by the French studio M/M (Paris) and Stefan Sagmeister. There is also an affluence of surrealist typographic alphabets which have been illustrated and collaged together.

Poynor's typographical cover work for the exhibition book (FIG8), is influenced by surrealist typography in combination with the inspiration of the illuminated manuscripts from his collection. The cover explores the technique of irrationally juxtaposing imagery with type, creating unheimlich design which can be visualised in an obvious, aesthetical way. The juxtaposition presented on the cover visually represents how the unconscious mind can drift and merge ideas in the most unnatural and 'peculiar' way

Online Research

NY Times (Case Study Report)

"Font size has no effect on memory… But font style does"

"People retain significantly more material… when they study it in a font that is not only unfamiliar but also hard to read"

"Mistakes in judging what we know — in metacognition, as it’s known — are partly rooted in simple biases."

In one experiment, researchers found that participants studying a difficult chapter on the industrial uses of microbes remembered more when they were given a poor outline — which they had to rework to match the material — than a more accurate one.

One reason for this has to do with a cognitive quality known as fluency, a measure of how easy a piece of information is to process. The brain automatically associates perceptual fluency, or ease of storage, with retrieval fluency, ease of recall. This is a good rule of thumb for lots of new facts: some people are especially good at remembering directions, others are better with names, still others with recipe ingredients, sports statistics, jokes. But it’s not as good a guide when studying difficult concepts that don’t fall easily into a person’s areas of expertise or interest.

“For example, we know that if you study something twice, in spaced sessions, it’s harder to process the material the second time, and people think it’s counterproductive,” said Nate Kornell, a psychologist at Williams College. “But the opposite is true: You learn more, even though it feels harder. Fluency is playing a trick on judgment.”

A study to be published this year in the journal Psychological Science, led by Dr. Kornell, shows how strong this effect can be. Participants studied a list of words printed in fonts of varying sizes and judged how likely they would be to remember them on a later test. Sure enough, they were most confident that they’d remember the words in large print, rating font size (ease of processing) as more likely to sustain memory even than repeated practice.

They got it exactly backward. On real tests, font size made no difference and practice paid off, the study found.

And so it goes, researchers say, with most study sessions: difficulty builds mental muscle, while ease often builds only confidence. At least one group has demonstrated this principle in dramatic fashion, also using fonts.

In a recent study published in the journal Cognition, psychologists at Princeton and Indiana University had 28 men and women read about three species of aliens, each of which had seven characteristics, like “has blue eyes,” and “eats flower petals and pollen.” Half the participants studied the text in 16-point Arial font, and the other half in 12-point Comic Sans MS or 12-point Bodoni MT, both of which are relatively unfamiliar and harder for the brain to process.

After a short break, the participants took an exam, and those who had studied in the harder-to-read fonts outperformed the others on the test, 85.5 percent to 72.8 percent, on average.

To test the approach in the classroom, the researchers conducted a large experiment involving 222 students at a public school in Chesterland, Ohio. One group had all its supplementary study materials, in English, history and science courses, reset in an unusual font, like Monotype Corsiva. The others studied as before. After the lessons were completed, the researchers evaluated the classes’ relevant tests and found that those students who’d been squinting at the stranger typefaces did significantly better than the others in all the classes — particularly in physics.

“The reason that the unusual fonts are effective is that it causes us to think more deeply about the material,” a co-author of the study, Daniel M. Oppenheimer, a psychologist at Princeton, wrote in an e-mail. “But we are capable of thinking deeply without being subjected to unusual fonts. Think of it this way, you can’t skim material in a hard to read font, so putting text in a hard-to-read font will force you to read more carefully.”

Then again, so will raw effort, he and other researchers said. Concentrating harder. Making outlines from scratch. Working through problem sets without glancing at the answers. And studying with classmates who test one another.

The payoff may go beyond a higher grade.

“Students these days are on a treadmill, there’s so much going on in their lives,” Dr. Bjork said. “But monitoring learning is not simply a matter of a higher G.P.A., it’s more efficient — potentially a great savings in time.”

Carey. B. 2011. Font Size May Not Aid Learning, But Its Style Can, Researchers Find. Available at: http://www.nytimes.com/2011/04/19/health/19mind.html (Accessed: 10th November 2015)

Case Study to Re-Prove above Study of Font Style Aiding Memory

I decided to re-test this stud myself in order to ensure that I understood more in addition to having my own results which would support what I would be writing about within my dissertation.

Conditions
28 test subjects (14 Males, 14 Females (Peers))
14 people (mixed gender) will study in 16-point Arial font
14 people (mixed gender) will study in 12-point Comic Sans MS or 12-point Bodoni MT

Text
Three species of aliens, each of which had seven characteristics

Alien 1
1. Has blue eyes
2. Eats flower petals and pollen
3. Has 9 toes on each foot
4. Has 2 noses
5. Can smell through it's mouth
6. Is yellow
7. Lives in groups of 10

Alien 2
1. Had orange eyes
2. Eats algae and seaweed
3. Has eyes also on the back of it's head
4. Has no nose
5. Has 3 arms
6. Is red
7. Lives in groups of 5

Alien 3
1. Has one large red eye
2. Eats other aliens
3. Has tentacles to move/walk
4. Has 1 nose
5. Has wings
6. Is white and translucent
7. Lives alone

From this I gave each person 30 minutes to read and remember each characteristic for each alien.

Tests

(Example of test)

After marking, these were the results;

16pt Arial: 72% on average

12pt Comic Sans MS / 12pt Bodoni MT: 88% on average

This is a similar result to that found in the original study of 85.5% and 72.8%.

(NOTE: My case study tests were not found as they had been moved from the classroom. As a result, I could not submit them in my folder)

The Creative Project

http://thecreatorsproject.vice.com/blog/the-psychology-of-what-makes-an-image-horror?utm_source=vicefbuk

“We desire scary images,” he says. “Films, Halloween and spooky stories.”

Plenty of psychologists, from Freud’s Uncanny to Aristotle’s Catharsis, agree. Anouchka Grose, a psychoanalyst and writer, tells The Creators Project, “Horror cinema can be a really positive way to reflect what’s happening, exploring people’s fears and their discomforts in a really safe environment.”

“Horror films keep these surges in check,” says Grose. “It’s a way of seeing them, immersing ourselves in them and then leaving them aside in cinema.”

According to the BBFC’s Guidelines, films that may “desensitise the effects of violence, degrade a sense of empathy or reinforce an unhealthy fantasy” may need to be altered before being considered eligible for screening.

 The characters themselves range from digital glyphs which appear more robotic, to those that look more handwritten and human. To juxtapose this is unsettling as we can spot the imposters right away, almost as though the digital type is striving to mimmic the more human elements. This loosely relates back to Mori's Uncanny Valley theory, as the type appears to be a combination of "barely human" and a "fully human" entity".

Looking at the theory of The Uncanny within Design

David Lynch

https://www.youtube.com/watch?v=caWXt9lCVrc
https://www.youtube.com/watch?v=1p5qEt766ZQ

“It is because the uncanny - in all its non-specificity – lies at the very core of Lynch’s work” that I have taken the opportunity with this dissertation to explore the uncanny rooted by an investigation into the background of the film-maker. Both Sigmund Freud and Antony Vidler have written about the uncanny, the former in relation to literature

Games and animation

"Advances in technology have enabled animators and video game designers to design increasingly realistic, human-like characters in animation and games. Although it was intended that this increased realism would allow viewers to appreciate the emotional state of characters, research has shown that audiences often have a negative reaction as the human likeness of a character increases. This phenomenon, known as the Uncanny Valley, has become a benchmark for measuring if a character is believably realistic and authentically human like. This book is an essential guide on how to overcome the Uncanny Valley phenomenon when designing human-like characters in digital applications.

In this book, the author provides a synopsis of literature about the Uncanny Valley phenomenon and explains how it was introduced into contemporary thought. She then presents her theories on its possible psychological causes based on a series of empirical studies. The book focuses on how aspects of facial expression and speech can be manipulated to overcome the Uncanny Valley in character design.

The Uncanny Valley in Games and Animation presents a novel theory that goes beyond previous research in that the cause of the Uncanny Valley is based on a perceived lack of empathy in a character. This book makes an original, scholarly contribution to our current understanding of the Uncanny Valley phenomenon and fills a gap in the literature by assessing the biological and social roots of the Uncanny Valley and its implications for computer-graphics animation."

https://www.crcpress.com/The-Uncanny-Valley-in-Games-and-Animation/Tinwell/9781466586949

TV, Video & Print Advertisements

Playstation 1999
(Chris Cunnigham)
The distortion of the girls face also delves into the uncanny valley as well as just simply the uncanny. Her face is not only edited and distorted but her eyes and brows are perfectly reflected. This symmetry is not seen within humans and so relates more to a 'robot'/something which is not human.
 Alongside this, the use of a plain background/room does not give us any context or idea as to where she may be being filmed which means that we have nothing else to identify as to where, who or what she is/where she may be.

Playstation 2006

The uncanny valley comes into play here as the doll is supposed to be animate and not alive and yet it seems to move one it's own as though it does hold some life of it's own. This links well with the quote

‘Doubt as to whether an apparently animate object really is alive and, conversely, whether a lifeless object might not perhaps be animate’ (The Life and Work of S. Freud)

Freeview 2014

The purpose of this ad was to attract home owners to sign up with Freeview over other competitors. The ad features a realistic looking cat and budgie, as friends, singing to each other through the use of animation. The cats animated mouth and facial features are identified as human-like traits which delves into the realm of the ‘Uncanny Valley’. It combines the real with animate, yet also humanises an animal through facial expression.

 The music in this particular ad is used as the conversational piece, which is consciously remembered.

WaterAid

Manipulating the audience through appealing to their human emotions, both positive and negative, through design and advertising is not a new technique. Many charities, such as WaterAid, have employed this influential method since their founding, using imagery of poverty and illness for potential donators to empathise with.

 The WaterAid advertisement represents that negative imagery is not limited to something which can be found physically disturbing, but something that can be emotionally disturbing too. 

Game Graphics

The detail and reality of the characters, in this case- in the still image, looks human and yet the movements, speech and expression revealed once the video starts to play is perceived as non-human. This is also well linked to the uncanny and valley.

Layout : Comics

 

Comic Imagery Layout

The landscape imagery when using portraiture for the character feels slightly odd. In addition, the detailed close ups make us feel uneasy. They are invading our personal space by being so close to use and yet no matter how far back we position ourselves, they will always appear to be so very close.

 The sans serif type used is seen to be uncanny as although originally type developed from handwriting, it is now more mechanical and more inhuman. This has caused confusion since sans serif forms are so far removed from human handwriting and in fact seem to hold no elements of humanity to it.

Publication & Type

- "Johns Apples" By Roy Behrens

Interestingly Roy Behrens, an art professor at University of Northern Iowa, has recently posted a well-written piece titled, The Gift of Gabberjabbs, Walter Hamady and The Perishable Press Limited. Behrens actually wrote and published the article in the January-February 1997 issue of Print magazine. The image above is of the title page spread from “John’s Apples,” Perishable Press Book No. 125 (1995). © The Perishable Press Limited. Used with permission.


In the article, Roy writes: “John Wilde and [Walter] Hamady collaborated again in 1995, in a book for both adults and children (‘especially those of well-to-do-graphic designers’) titled John’s Apples, which centered on twelve poems about apples by Reeve Lindbergh).

This type appears uncanny because of it's inconsistency. The use of various shapes, letters and glyphs is hard to understand and read. Through Graphology, it can also be argued that writing reflects the personality of the writer themselves. In this case, they would be unstable, inconsistent and unpredictable with emotion. Not someone whom you would want to be around.

Google Dream

Google dream morphs a selected image with other designs on lower layers. It distorts the faces of the people in this photo to create something which makes us feel uneasy. This facial distortion leads into the theory of the uncanny as we see that this image s familiar and yet their appearance through distortion and editing is not and therefore perceived as unfamiliar.

 "it is a mixture of the familiar and unfamiliar that is experienced as being ‘peculiar'"

Packaging

- Design and Concept by: Zach Kolodziejski
Print / Production: Graphic Discharge

"The goods inside are vegan, but the container is made entirely out of animal parts. Screen printed pigs blood on goat skin, finished with gelatin adhesive"

Blood and Champagne

'Skin' packaging

This us of contrasting materials (above two images) with the innocent content is another thing to think about, within my practical too. along with shape;

- Kenya Hara

- Acres Vodka by Arnell

  

- Betty Zhang

Hara and Zhang's designs represent how one thing can appear to be something else through material, colour and image. This too can be perceived as uncanny.

Tutor Feedback

- Find relevant quotes and books that you can use

- Explain how Freud's 'The Uncanny', which relates to people, needs to be adjusted in order to be transferred and be applied to Graphic Design.

Response, Research and Solutions

- Freud's 'The Uncanny', relates to people as it works to play on emotion, the audiences emotion that is. It also has a relation through the extension of this theory, the uncanny valley is which is simply a measurement of just how uncanny something is/can be. The uncanny needs to be adjusted in order to be transferred and be applied to Graphic Design so that it can be applied to image, type etc among other design methods, theories and tools.

Books & Quotes Using the Uncanny

Freud and False Memory Syndrome

Mollon. P. 2000. Freud And False Memory Syndrome. Duxford, Cambridge: Icon Books.

PG.3

'In Early 1990’s people who had undergone psychotherapy or counselling came to ‘remember’ childhood abuse that had never actually happened'

PG. 13

'the strange state of mind where one knows and does not know a thing at the same time'

PG. 50

'Dreams draw upon memory'

The Uncanny

Freud. S., McLintock. D., Haughton. H. 2003. The Uncanny. New York: Penguin Books

Introduction vii and PG. 123
‘only rarely does the psychoanalyst feel impelled to engage in aesthetic investigations, even when aesthetics is not restricted to the theory of beauty, but described as relating to the qualities of our feeling’. 


Introduction viii
Dreams and childhood and fiction

The Life and Work of Sigmund Freud

Freud, S. (1957) The Life and Work of Sigmund Freud. II: Years of Maturity, 1901-1919. Books Abroad, 31 (1)

Introduction xi
'dreams are works of art, born of a compromise between the conscious and unconscious'

PG. 5
'Certain impressions would be selected as worth remembering - namely, those which produced a powerful affective impact or were soon seen to be significant by virtue of their consequences fear, pain, illness, death'

PG. 6
When he was a child, his grandmother died (parents said it affected him greatly but he cannot remember) all he remembers is there being a ‘bowl of ice’ in the centre of the table
'the memory holds onto what is most important… curious selection… it surpasses what is significant, but retains what is of no consequence' 

'Dreams are riddles that can be interpreted'

PG. 7
'If a certain childhood experience asserts itself in the memory, this is not because it is golden, but because it has lain beside gold' 

PG. 124
E. Jentsch stresses, as one of the difficulties attendant upon the study of the uncanny, the fact that 'people differ greatly in their sensitivity to this kind of feeling…. Yet such difficulties play an important part in other areas of aesthetics too.'
Semantic content: heimlich an dun heimlich
Conclusion “…that the uncanny and frightening - will emerge in what follows.

PG. 135
‘Doubt as to whether an apparently animate object really is alive and, conversely, whether a lifeless object might not perhaps be animate’
E.T.A Hoffmann (‘The Sandman’)

Freud Beyond the Pleasure Principle (The Life and Work of Sigmund Freud)

PG. 159

'We so readily imagine the ego as being powerless against the id, but whenever it wants to resist a drive process within the id it need only give out a signal of unpleasure in order to achieve its ends'

PG. 160

'in repression, fear is not produced anew, but is reproduced as a state of effect on the basis of a pre-existing memory-image'

'as the residue of primal traumatic experiences, and in analogous circumstances they are reawakened as memory-symbols'

Dylan Trigg The Memory of Place

Trigg, D. (2013) The Memory of Place: A Phenomenology of the Uncanny, Athens, Ohio: Ohio University Press.

PG. 22
“Things are immanent; that is, the world of appearances is always “below” pre-given experience.”

PG. 25
'The place of things in the world is not fixed, and when experience is interrupted, then we become aware on their nothingness as a presence.' A point Sartre and Heidegger labor repeatedly said.
'the entrenched familiarity threatens to overthrow our expectations of how things ought to be'

PG.26
'people are strange [when] viewed by another creature'
'It is an unfamiliar world in which one is uncomfortable and which forbids all human effusiveness'

PG. 27
'uncanny is to be understood as an effect, a felt experience that disturbs the body, resulting in a departure from the everyday. Yet no less a displacement from the everyday, the uncanny simultaneously places us in the midst of the familiar. Here a disturbance occurs: The uncanny refuses to concede to stillness, and instead presents us with something genuinely novel: an augmented familiarity, the (un)familiar to the core (unheimlich). Close enough to be recognised as broadly familiar, the world of the uncanny nevertheless subtly manipulates that familiar screen, thus engineering a shiver down the spine of anyone caught in it’s rays.'
'This creeping gesture points to one of the uncanny’s enduring characteristics: The term resists unequivocal definition, leading not only to experiential anxiety, but to conceptual doubt, too.'
'The uncanny takes up residence in the manifold space between experience and thought'

PG. 28
'Leaving us with a porous divide between the real and unreal'
'Experientially, the fright constitutes a moment of apprehension rather than outright terror. The uncanny is strange rather than shocking, weird rather than annihilating.'
'A feeling of disempowerment occurs'
'Unnerved precisely because lack the conceptual scheme to put the uncanny in it’s rightful “place'

'If things in the world are hidden, then they are nevertheless remain present, spatially and temporally'

PG. 32
'The more monstrous and inconceivable the events and entities describes, the more precise and clinical the description.' (2008, 79) Houellebecq, M.
'As a rule therefore, we would do better to counter this tendency toward ‘humanising’ things for the sake of preserving familiarity'

The Art of Memory

Frances, Y.  2014 The Art Of Memory. Print. London.

PG. 71
'Memory is being both present and absent concurrently'
'We remember a thing from the past, but augment that memory in order to preserve its presence. In doing so, the relation between the original experience and the previous version of that experience draws an increasing distance.'

PG. 72
The blending of memory and imagination marks a broader tension between memory and history, whereby the past becomes articulated indirectly.

PG. 171
'How does places retain its meaningful, absorbing and dynamic presence in time without succumbing to a static image of memory, whereby the lived past is superimposed on the still-unfolding present'

PG. 174
'fragmentation - the list of imagination in the face of the diminishment of memory'
'forcing the image of the past which time is literally held in an unreal place'
'Characteristic of the structure of nostalgia is the pronounced fixation, qualitatively positive or negative, of an image that binds itself to a place or time'

PG. 175
'Entwined with the past, that same past is re-experienced in the present as one of presence and absence simultaneously.'

PG. 206
'kinaesthetically touched by the past'

PG. 214
'the boundaries separating memory from imagination have been flooded by… its movement and disconcerting in its refusal to be placed. In one word, uncanny”
'the uncanny would always be an area in which a person was unsure of his way around: the better orientated he was in the world around him, the less likely he would be to find the objects and occurrences in it uncanny'

Confessions of an Advertising Man

Ogilvy. D. 2011. Confessions Of An Advertising Man. London: Southbank Publishing

PG. 16 

'On the average, five times as many people read the headline as read the body copy. When you have written your headline, you have spent eighty cents out of your dollar.' 

PG. 81

'I do not regard advertising as entertainment or an art form, but as a medium of information. When I write an advertisement, I don’t want you to tell me that you find it ‘creative.’ I want you to find it so interesting that you buy the product.'

PG. 381 

'What you say in advertising is more important than how you say it.'

Advertising is a Science by Ray Wright 

Wright. D. 1999. Advertising, New York: Prentice Hall

PG. 11

'Advertising is the art of persuasion'

COP3 Dissertation Timeplan

I intend to keep to this plan that I have designed to ensure that I manage my workload and time professionally.

Update: 13th January 2016

I have kept to my plan, as intended and have managed my time rather well. I have found that making this table helped to keep me on track. I am more than happy with the outcome of my practical and dissertation.

COP3 Dissertation Proposal Feedback

It was discussed that I am obviously very interested in the uncanny to want to extend and expand on it for my dissertation.

Feedback:

- Locate more specific sources

- Take books out of the library: find relevant quotes to analyse

- Re-read your essay and research from last year in order to refresh your memory more

- Think about your practical a little as to get an idea of what you could include within your discussion, although the mention of advertising and graphic design is the most obvious road to go down.

- After researching and developing the previously mentioned areas, prepare a more detailed presentation of your understanding of the uncanny and what you would like to discuss 

COP3 Dissertation Proposal Form

Aim/ Objectives

To further my knowledge and understanding of The Uncanny from Level 5. I would like to focus more on how it is used within Graphic design/advertising (why, how and when).
- How can the Uncanny aid Design and advertising?
- Re-think how and why is it/can be used.

What research needs to be undertaken into the general and specific contexts of your practice?

- The general use of the uncanny and surrealism in addition to the historical and cultural uses.

- Audience and how these theories are received and perceived.

- How the uncanny can be a problem and a solution

- Research the uncanny in general to ensure a deeper undertanding

- Link other appropriate theorists and their theories (understand them too)

- The impact of this theory

- Case studies which has been carried out already

- Imagery/type/sculpture etc

What approach(es) will you take and what processes, methods, materials and tools are to be involved in research into your practice?

I will focus on researching the previously mention areas over summer to ensure that I have a of the appropriate information to use once I return.

 In addition to this, I will research other theorists to then conclude how they all relate and aid each other.

If any appropriate studies are found, I will (if possible) re-do them to show my understanding and gather my own results. This could then be included as a case study. 

 Researching into materials which contrast and contradict (as the uncanny can do being both familiar and unfamiliar) will also be appropriate.

What preparation or investigations do you need to undertake for your practice to take place?

- Conducting case studies using the factors that will be researched (Primary research)

- Secondary research.
- Looking into the designs of the selected market.

- Looking at appropriate texts and other writings (dissertation) using similar theories

What research do you need to undertake regarding who your creativity is for?

I need to make sure I have a full awareness and knowledge of what my research is saying to create the best possible outcome for both my dissertation and practical element/s. The research I conduct needs to be both in-depth and understood.

The research and practical element will be aimed towards both advertisers; to show them how using the uncanny could aid the success of their products and company, whilst being actually shown to affect the public audience.

Primary Sources of Information

- Case studies and observations. Using the theory of the uncanny, surrealism and other appropriately linked theories, I would explore and experiment with the editing and media to create something that can be used within graphic design and advertising.

- Re-conducting any appropriate existing studies to gather my own results, ensuring that the data referred to within my dissertation is correct. This will allow me to understand how the uncanny can affect people through various media etc.

- Experimentations, putting the theories into practice and documenting these.

Secondary Sources of Information

- Books
- Magazines/Journals
- Websites
- Emails
- Articles
- Films/Documentaries

Perceived problems or difficulties:

As far as problems of difficulties go, I feel that my proposal is rather viable in terms of an idea. I have a lengthy amount of time to research and conduct any experiments, case studies, to read and analyse everything that I need to.

 I  cannot think of any difficulties that could not be solved. However, as mentioned, I have a lengthy time to overcome any issues if they do so appear.

OUGD501: COP: SB1: Practical Work Development & Final Outcomes

Calligraphy Experiments
To start my project it was obvious for me to start to experiment with hand rendered type. Although I will not be using this technique, as it is not appropriate for my brief, I wanted to ensure that I experimented with all types of hand-rendering approaches. 

    

  

The first images are simple free hand experiments in which I started to read about and develop my calligraphy skills. From here, I created the fifth page which concentrated on proportion, decoration and angles more. This is my most successful experiment so far.
Lastly, I used a Copic pen to create varies in weight and shape as well as a more fluent, realistic hand written typeface. Although this allowed me to write using my own handwriting, the pen changed the appearance of the letters which became less like my own. This was an interesting technique to learn about and use, yet it would be more appropriate for me to us a bold Stabilo which allows me to write freely and without distorting the glyphs in any way.
I really enjoyed learning to write in this way and I would love to continue developing my calligraphy skills at a later point. Yet, as I mentioned previously, it is not appropriate for the project that I am currently designing for. This did in fact, make me more aware of how the glyphs are formed and how different pressures and amounts of ink can affect a letter shape.


Developing My Own handwriting
As mentioned in my research, I decided that I would start with my own handwriting and develop it, using the traits and characteristics that I identified to be uncanny.

  

Starting with writing out the alphabet (lowercase firstly so that I can get the basics before developing an uppercase) multiple times, I circled the versions that had similar aesthetics to the traits that I wanted to incorporate within my development of the type. I highlighted these ensuring that it was clear when I re-traced them back together again.

I wrote out the 'rules' that I needed to abide by so that I had them to hand, defining each letter change and eventual layout plan.

 

Above left, shows the alphabet re-traced together with the initial changes made. These include
- Unfinished bowls on some letter formations (a, b, d, e, o)
- Taller stems (higher upper zones: b, d, h, k, l, t)
- Straight lower zones (f, g, j, p, y)

I also varied the x-height as this is something else in which I identified that would contribute to a more uncanny typeface. This, in turn, varied the positioning of the ascenders, descenders and bowls etc, making the individual letters appear more varied from shape to shape.

Developments

After reading back through my research I decided to make these alterations, below, as to ensure that my typeface is the most uncanny possible (using my findings).

 

- Unfinished bowls on some letter formations (a, d, g, o, p, q)
- Taller stems (higher upper zones: b, d, h, k, l, t)
- Varied lower zones (f, p straight) 
- Varied lower zones (g, j combination of straight and flourished)
- Varied lower zones (y more flourished)
- Varying the widths is another way to represent pressure which is another trait in which I wanted to show. To do this I will used a softer brush tip pen (Copic Ciao, black).

These adjustments, according to my research should provide a more varied and contrasting letter form. Above right is the image with adjustments, image left is the type without the new adjustments. You can see the difference more on letters d, j,l and x mostly.

Italicising Type (Oblique)

 

Through my extensive research it came to my attention that 'slant' of the handwriting was linked with negative and even disturbing feelings and thoughts and so would be classed as being uncanny. I wanted to apply this 'slant'/oblique to my typeface.
In order to do this, I had to create a grid by hand. I started off with a oblique of 0.3cm (above left) as not to be too extreme to start with after speaking to my peers, I increased the oblique to 0.5cm (adding 0.2cm from the previous experiment) as to be a little more obvious as it was mentioned that it was not enough to notice without comparing it to the original version.

Why Oblique?
A right slant indicates a response to communication, but not how it takes place. For example, the writer may wish to be friendly, manipulative, responsive, intrusive, to sell, to control to name some examples.  I also looked into 'How To Identify A Psychopath Through Their Writing & Personality' and identified this as something that would be looked for.

My original 'free hand' type looked much more human and authentic and so I re-created (traced) the previous 0.5 oblique type free hand in order to attempt this more genuine aesthetic. The line weights are more varied and appear less forced. This is more appropriate as I am trying to base my type off a fluent and natural set of glyphs rather than a 'perfect' rendition.

The size of the type in this sample is rather small and indicates a thinker and an academic, (depending upon other features in the script).

I used the same technique as the previous image (freehand with 0.5cm oblique), the only adjustment that I made was that I tried to use, only, the tip of the pen. Surprisingly, this version appears produced more varied line weights. This appearance of 'pressure', links well to one of the characteristics identified as this connotes change in mood, usually negative moods. This provides a more uneasy and in turn, slightly uncanny image and emotion.

Heavy pressure indicates commitment and taking things seriously, but if the pressure is excessively heavy, that writer gets very uptight at times and can react quickly to what they might see as criticism, even though none may have been intended. These writers react first and ask questions afterwards. This links well to the 'Identification of a Psychopath' where 'many marital relationships' is concerned.

Developing the previous experiment, I re-drew the freehand 'tip of pen' 0.5 oblique variation with extended ascenders and descenders. This provides a strange, thin aesthetic which, when paired with the thicker areas creates more of a contrast. This connotes that there was also a sudden change in the mood of the writer.

According to my research, tall upper strokes proposes that this person is reaching towards goals and ambitions, yet the strokes are very extended, which suggests that this writer may have unrealistic expectations of what they feel they must achieve. This is one of the writing traits that are usually identified when looking for a 'Psychopath' (as mentioned previously) which identifies someone who has a 'grandiose estimation of self'.

The long, lower zones/descenders reveals that this is a person who is in possession of an animal appetite (not necessarily for food) and enjoys physical force.

The straight lower zones can be a sign of impatience and intelligence. Yet, as they are varied this also introduces the idea that the writer may feel unsettled and unfocused emotionally and have shallow affect (superficial emotional responsiveness). Several examples of what to look for in a 'Psycopaths' writing.

These traits, combined with all of the previous ones through my development, should create the most uncanny typeface available. Combining this with the research into how hand rendered type, when digitised, becomes more uncanny because of it's removal of emotion, falsity and it's mimicry of human form.

Above is a GIF which shows the development of the type throughout this project. As you can see, the oblique, line weight and variation, heights and shapes of the glyphs alter according to my research and identification of 'What Would Make Type Uncanny', in combination with 'How To Identify A Psychopath Through Their Writing & Personality' all in more detail on my previous post. The image previous to this should be the most uncanny as I have experimented and added/developed it using all of my findings from conducting in-depth research for this project.

Crit Feedback

 I showed the last image, above, to my peers to see whether they thought it was uncanny or at least unfriendly and eerie. It was agreed that the last one looks the closest to uncanny; as it should. since it features all of the traits that I have identified through my research as creating something uncanny/eerie, and then some. It was recommended that I experiment with the type digitally (once I have created my uppercase) and even use it over images so that it is displayed in context.

Final Lowercase

Above, is my final lowercase typeface. I have combined my research and findings of type, surveys and Graphology in order to create the aesthetic which is supposed to be the most uncanny type possible.

From my research, I intended to design a lower zone using these identified characteristics;

The varied lower zone (g, p, y, f etc)

Upper line slope

Heavy pressure

Right letter/word slant (varied in places)
Varied Tittles

The type should really have a small central focus combined with a long, lower zone. 
The lower zones will be varied, having the 'j', 'g' and 'p' as straight whilst the 'y' and 'f' with appear more flourished.
oblique

In my original statement I mentioned that I would vary the lower zones, designing the  'j', 'g' and 'p' as straight whilst the 'y' and 'f' with appear more flourished, yet after my experimentation, I found that happened to draw out the j, g and y as more 'rounded' and flourished whilst the f and p featured straighter lower zones. This is simply as I thought about the variation along with how certain glyphs are used more than others, shown below,

"eotha sinrd luymw fgcbp kvjqxz"
http://en.wikipedia.org/wiki/Letter_frequency

This shows that as 'f' and 'g' are used more frequently compared to the other letters. For this reason it was more appropriate to create opposing lower zones between the two of these, as there is more of a chance of these letter forms being used. Therefore more or a chance to show the varying lower zones within blocks of type. As for the design change for the letter 'j', as to create balance (as the letter q uses a straight lower zone) I altered the line shape to be a little more 'rounded', yet it does almost combine the two line types as it is not too drastically curved or flourished.

The 'upper line slope' would have to be created through altering settings when developing the type into an actual working typeface. Altering the positioning of the individual letters, above, would not work when writing out words as I do not know which order they would be typed in. This slope would represent a distracted mind, and hopefully connote an uneasy feeling.

The Heavy pressure shows emotion, usually negative emotion and the commitment of taking things seriously. This is portrayed through the thicker line weights in areas. This, in combination with the 'right letter/word slant' which is in fact varied in places, represents someone who is a little more unstable and even unable to control their feelings, alongside featuring manipulation amongst other negative and even disturbing feelings and thoughts. Thus, this would be classed as uncanny.

The use of 'varied tittles', meaning that their positioning is inconsistent indicates a distracted mind, yet again. This links well to my identification of traits seen within type and hand written letters from psychopaths (shown in my research), this would then hold similar negative connotations and thus, create an uncanny typeface.

The small central focus combined with a long, lower zone almost creates a strange contrast between areas of the letter forms causing an unbalanced aesthetic. This combined with the unfinished letters looks eerie and unfriendly. These aesthetics, together, according to the study of Graphology, mean animal appetite and physical force along with being a sign of impatience and intelligence. I have linked all of these traits to that which would be more than appropriate to use to create an uncanny typeface whilst also being features that are identified within the writing of psychopaths.

Final Uppercase

Using the traits I identified through my research, I created the above sample of uppercase type. I used the same 0.5 oblique grid as used on the lowercase and in fact used the final lowercase to trace from. This ensured that the two worked well together as a typeface. In combination to this, I held the pen and used the same pressure etc as used on my final lowercase design. This, one again, established a similarity and continuity throughout the lower and uppercase for this typeface.

Large capital letters 

Varied lower zones (straight and varied- the J, Y etc)

Upper line slope

Heavy pressure

Right letter/word slant (varied in places)
Varied X- Height (and thus placement on the baseline)

The tall upper strokes show that this person is reaching towards goals and ambitions yet, as they are very extended, there may be unrealistic expectations of what the person feels they must achieve. The size of the letters is also important, as they are rather large, especially in proportion and in comparison to the lowercase, this denotes a person who is self-motivated, determined, quite ambitious and successful in business. These all fall under the title of 'Grandiose estimation of self' which is something that is analysed as being a trait seen within my research into 'How To Identify A Psychopath Through Their Writing & Personality'.

All of the traits which where diagnosed and determined in the lowercase have also been put to use in the uppercase as to, again, provide continuity. For example, the right slant (0.5cm oblique) represents manipulation amongst other negative and even disturbing feelings and thoughts. Thus, this would be classed as uncanny.

The appearance of excessively heavy pressure, through the variation in line weight represents a person that gets very uptight at times and can react quickly to what they might see as criticism, even though none may have been intended. These writers react first and ask questions afterwards. This would also apply to impulsiveness and behavioural controls. Capital letters made with heavy pressure indicate that a person is under stress or going through a phase of aggression.

Crit

Although this was my first attempt of the uppercase, it was perfect, as I knew what I wanted to create and how I would draw it out as I had experienced and experimented with techniques previously. Creating the uppercase was simply a case of using the final lowercase design to influence and provide the basics. I then would trace from this.

I showed this first and final version (along with the comparison image, above) to my peers whom agreed that this it fits well with the lowercase and works well to provide a fluent and continuous design throughout both of the cases. It holds all of the character and visual traits which I identified such type (for uppercase) would need.

As to verify that the two do work together as a typeface, I will need to display them together and also offer a line of type using both case. In order to so this grammatically and correctly, I will also need to design and create punctuation. I did actually state in my research that I would create comma, period, exclamation mark and question mark, yet I will need to add an apostrophe to this too.

Glyphs

I used the 0.5cm oblique grid as to ensure continuity with the angle throughout my typeface and extra glyphs. I also used the shapes of the upper and lowercase letter forms to influence the lines and aesthetic of these glyphs. This, again, was to provide some familiarity and continuation from type to punctuation. Along with using my previous final work as inspiration, I used the 'rules' and characteristics that I have identified through my research, to create appropriate deviations of the symbols.

By experimenting with shape, line weight, positioning and height, I have given myself multiple variations of the design to choose from.

Crit

I held a small crit as to see whether my designs could be improved or developed any further to thus become more appropriate and aesthetically linked to the typeface.

- Increase the height of both glyphs as to appear more consistent with the alphabet

- Experiment more with line weight, again as to appear continuous with the typeface itself

- Think about moving the question and exclamation point around as you have done with the tittles on the letters within your alphabet.

Developments From Crit

 

As mentioned in my crit, I extended and increased the height of both symbols in order to attempt to create more continuity and an obvious visual link to the letter forms etc. The image left is the first development image whilst the image above right is a page of developments in which I pushed the previous glyphs to their top point.

In relation to this, I used my findings (through extensive research) to influence these changes. The extended ascenders and descenders provides a strange, thin aesthetic which, when paired with the thicker areas creates more of a contrast. This connotes that there was also a sudden change in the mood of the writer.

According to my research, tall upper strokes proposes that this person is reaching towards goals and ambitions, yet the strokes are very extended, which suggests that this writer may have unrealistic expectations of what they feel they must achieve. This is one of the writing traits that are usually identified when looking for a 'Psychopath' (as mentioned previously) which identifies someone who has a 'grandiose estimation of self'.

The long, lower zones/descenders reveals that this is a person who is in possession of an animal appetite (not necessarily for food) and enjoys physical force.

The straight lower zones can be a sign of impatience and intelligence. Yet, as they are varied this also introduces the idea that the writer may feel unsettled and unfocused emotionally and have shallow affect (superficial emotional responsiveness). Several examples of what to look for in a 'Psycopaths' writing.

Crit & Development

I held another crit as to narrow down the symbols to then develop further more. In order to collect these particular symbols above, I asked a group of 10 of my peers to choose 1 or 2 from each of the three pages, comparing them to the upper and lowercase type that I had already finalised.

The question marks do not seem too dissimilar, with exception of the second sketch. They all have varied line weights and have medium to large question points. Visually, I can see the similarities to the my developed typeface.

As for the exclamation marks, they are rather contrasting and are a varied collection, using thin to medium to a thicker line weight. The exclamation points on the other had are rather similar to one another, yet I can see why they have been chosen (similarities to the typeface and also to the question mark).

As to narrow these down, I compared them to the typeface and analysed which worked the best with my research findings and identifications throughout this process and practise. For aesthetic and theoretical reasons, I chose to use the first version of each glyph (coincidence).

Chosen Glyph Developments

After choosing the first version of the glyphs from the previous experiments, I wanted to ensure that I had pushed them to their limits as to have the most aesthetically appropriate design for my typeface.
(Chose first of each previous) and developed further into the ones above. I simply adjusted the size and positioning of the points which is something that was mentioned in one of my earlier crits, which I do not feel that I did enough. (Below I have created a way to compare them).

Comparison Crit

Using this sentence created using my typeface (and some other punctuation for the meantime), I added the glyphs (all 6 variations of each) which I fed through in order to discard the less appropriate and aesthetically correct versions.

After much deliberation, I chose to continue with the 5th version of the question mark and the 4th version of the exclamation mark. This is simply as the look more fitting and 'a part of' the typeface already. I will analyse them in further detail below.

I used this particular sentence as a test, as I wanted something slightly eerie to read, to analyse whether my type, so far is doing it's job. Only when I make a sentence, that is not eerie to read already, then seem eerie with the use of the specific glyphs, will I know that my project and experimentation is successful.

Crit & Final Glyphs

These are my final glyphs. In the crit it was mentioned that they appear too large compared to my typeface and so I reduced them by a fraction. The above image features my final versions (not to scale).

Through experimenting and developing my sketches these were my final, chosen, glyphs. They are the most appropriate and aesthetically fitting (not how I didn't say pleasing, they are simply more fitting with the typeface rather). The difference in line weight, 0.5 oblique, varied baseline and diverse positioning of tittle are appropriate and appear to be in fitting with my concept as well as my final typeface design.

Apostrophe, Comma, Period & Speech Marks

I held a small crit as to ensure that I gather opinions 

As for the periods, I traced the size and positioning of the point on the question and exclamation marks for these two marks, of which I chose the first version (question point). This was appropriate to use as I know that the size and positioning already works well with the type. Additionally, this will provide some kind of repetition when used and typed out using my final created typeface. This also replicates the fact that some letter forms and glyphs you write very similarly, naturally. I chose to use the

The positioning of the period, below the baseline, will alter the appearance of the line when reading a sentence. Thus, creating something that visually, looks strange and ultimately unfriendly and uncanny. This links with the idea of having a 'line slope', relating to the writers mood;

• Rising: optimistic and energetic
• Falling: worried, lack of confidence
• Straight: self-controlled, reliable

The above obviously depends on what is written previously to the addition of the punctuation as to whether it looks like the like as whole is falling or just the period. Either was this will look uncanny.

The comma experiments above, feature many varied sizes and shapes. When looking at the ones used in my previous experimentation's (examples), the one that 3 of my peers and I chose is the most similar to the one used then. I also know that this works well with the type within a written sentence, this being the 10th version along.

Lastly, the apostrophe, again was inspired by the one used in my example, previous (GIF). The positioning and shape worked well with the design of the type. I still asked my peers for help when narrowing down the final choice, in which it was unanimous as we all chose the 6th version. This is not only similar to the shape and size of the one used in my experiment but it is also very close to the design of my chosen, final comma.

These three glyphs have been chosen carefully by my peers and myself whilst taking my final typeface designs into consideration. Along side this, I have continually referred back to my research when thinking about size, shape, positioning and weight. This ensures that I create the most 'uncany' type possible (according to my research investigation and results).

I originally intended only to create apostrophes, comma's and periods, yet speech marks are also a very important part of punctuation as so it was more than appropriate to create them too. As to keep some kind of continuity within my work I simply duplicated the the apostrophe mark yet changed the positioning slightly as to ensure that they are varied as the rest of my alphabet and glyphs are.

Final Glyphs

I allowed the baseline to remain over the image, above, simply to show the variation of the positioning of each glyph. This reveals how each glyphs would work with the type to change the baseline, positioning and slope.

My glyphs are rather simple and yet work so well with my typeface. It is difficult to gain a balance of uncanny without appearing illegible. Using my characteristics and traits that I identified throughout my research, I have been able to create glyphs that are subtle and yet can appear uncanny, when used within a block of type. The larger characters, such as the question mark does have an uncanny aesthetic to it because of the weight variation and oblique. This is what I wanted to achieve, and I have.

Duplicated Glyphs
So that my alphabet is varied when used for lengths of type, I thought about adding duplicated letter forms and punctuation so reduce the un-human appearance, yet this would not support my writing. Within my essay, I spoke about how a hand rendered type becomes more uncanny when digitised because of the repetition of the glyphs over a large amount of text. Even the punctuation plays a part in this. If I created duplicate glyphs, this would go against what I have written in my essay and what I wanted to create practically. It would create a less 'uncanny' typeface, whereas, my aim was to design the most uncanny type that I possibly could, using my research results.

All Final Work

Creating a Working Typeface
Using a website named 'Your Font', I paid around £10 and was able to develop my work into an actual typeface allowing me to type using it. The websites system altered some of the letters slightly, this is simply so that these areas would be visible on screen.
I named my Typeface 'My Uncanny'. This is more than appropriate as the title of the typeface describes what it appears like on screen.
I am not too happy with the outcome of this typeface (when created using the website) as it missed off some of the detail, such as the tittles from the lowercase letter 'i'. It still works to appear uncanny as this can represent a more distracted and pre-occupied, drifting mind, yet this is not how I designed and intended my work to look. I know next time that I either have to use a different technique of creating my own typeface or simply make it myself.
Other problems include some of the letters being almost illegible, such as the letter 'y'. This is something else that I am not happy with within my typeface, yet, other than that, it definitely serves its purpose; to be uncanny.

Presenting Practical Work

 

I used my research to arrange and create the above image. As I have mentioned earlier, I developed my designs into a working typeface, yet the setting for the tracking, leading and kerning etc were not adjustable and so are set as 'default';
Type: 12pt
Leading: 14.4pt
Tracking: 0
Kerning: 0

The typeface itself is very small as I had to reduce the size in order for all of the glyphs to fit, proportionately, within the guides (to send off to be created into a typeface digitally). I used 30pt type as to resemble a 10pt typeface as well as altering the leading to 13pt and lastly the tracking to -20. This was all inspired by my research below.
The information below, when combined, should create a rather 'uncanny' letter. This was all identified through my extensive research; 

- Closely spaced lines indicates that that the writer operates close to the action. For writers who do this and who have writing that is rather loose in structure, the discipline of having to keep cool under pressure brings out the best in them. This shows lack of empathy as they do not care if they get their hands dirty.

- Margins- If it is left narrow, caution and wanting to avoid being pushed before they are ready is indicated. Narrow right margin shows impatience and eagerness to get out there and on with things. Both conclude poor behavioural controls.

- Small word spacing shows the intrusive side.

All of these traits and aesthetics, combined my typeface, work together to provide a letter which looks uncanny and unfriendly. This is a perfect example of my typeface in 'context'.
I used a white textured stock purely for aesthetics which is appropriate as this is what I have focused on for my whole project, aesthetics. It also provides a more textured and home-made/handwritten element to the product.

"Come to the party and have fun. Billy The Clown will be there too! Come see for yourself. We’ll have a whale of a time!

I do hope you can come. Will you let me know ASAP? I am so excited to see you!

Lots of love,

George"

After showing the type in a relatively plain way, using Lorem Ipsum so that no connotations can come from the words etc, I decided to write something rather friendly to see if, when used in a different way, would change the way that something is read and understood.
I wrote out a rather friendly, childlike invitation to a party and yet, because of the type face, it appears uncanny, eerie unfriendly. This is the ultimate test for an uncanny typeface, as whether it can alter the appearance and reading of something, and it has, very successfully might I add.

Presenting Practical Work
Posters
As to present my typeface, I created 3 posters featuring uppercase, lowercase and the glyphs individually and in context. This displays my work in a more visual and aesthetic way.

Above are my experiments with layout. I finally chose the last two images (shown below) as the hierarchy works the most successfully. The audience would see the type first, then see how it appears when written out and finally read the explanation as to what this typeface is.

As you can see, I also created a poster for the Glyphs so that all of my work was displayed and shown together, in the same way. This creates continuity within my presentation as well as the type itself.

Publication
Alongside the posters, I also created a small publication to show my type used in larger blocks of text in order to reveal the repetitions and provide more connotations etc.

Size
A5. This would be given as a 'flyer' or booklet to an audience so that they can see how it works in combination as a typeface.
Type Used
'My Uncanny' Typeface
Arial: as a translation typeface. This is a rather neutral typeface which does not interfere with any of the connotations of the type throughout.
'My Uncanny' Type Settings

30pt (which roughly translates as 10pt)

14pt line spacing

0.42 word spacing

Above are the settings in which I would have adjusted the default to if the online generator had let be do so.

Stock

I printed on white as not to connote or denote any emotions or thoughts through use of colour which could alter the way that the audience see the typeface. I used a 135GSM satin paper as to give a slender, professional aesthetic relating to the use of this publication, a 'flyer'. This stock will handle much nicer and provides a much more visually pleasing aesthetic.

Evaluation
Overall I have provided context and even challenged my typeface by using it in areas that should remove the 'uncanny' ('George's party invitation', and yet it did not.
I have pushed my experiments to develop the most successful typeface possible in relation to my essay and the Uncanny.
My final typeface has turned out differently then I thought it would. Although my initial digital typeface was much more legible and readable, it did not appear to hold the uncanny feeling. As I developed it into a working typeface, this changed. Yet, it is not appropriate to write with as it is difficult to read.
As far as creating an uncanny type goes, I have successfully done that, although it is not legible, no where did I state that it had to be. This actually adds to the feeling of the uncanny, as found in my research.

I chose to present my work in the particular ways, above, as to simply show how and where the typeface works; letters, books and posters. Although, as mentioned, it would not be appropriate, unless the message is supposed to be distorted, uncanny and illegible. Maybe this could be the typeface used by psychopaths and murderers, this is the equivalent of their handwriting after all.
I used all of my research, findings and refinement of my research (into results) to influence every design choice which has made this final work as successful as it is.

As I have stated in my essay, typefaces that are designed and created from hand writing always appear uncanny as this is not the reason as to why it was initially written and created. This deviated from the original intent of the letter forms. In relation to Comic Sans, 'My Uncanny' typeface “…was NOT designed as a typeface". My typeface (although I knew that I was going to create a typeface from this for my practice work) was based on my own handwriting which, as handwriting does, features mistakes and obvious deviations from letter to repeated letter.

The repetition of the letters alone would create an uncanny and strange aesthetic as, with Comic Sans, the robotic mimicry is more obviously visible. This removes the human element to the type and yet it still holds traits of 'human formed' lettering, as it should since it was based on my handwriting. The variation in x-height and baseline creates an unreliable and inconsistent aesthetic (between words, not letters) which relates to Festingers theory that “…humans strive for internal consistency”. In this case, my typeface proves that this is true as my type is not consistent and so appears uncanny, more so.

I asked my peers and other colleagues whether they thought my final digital typeface would be classed as 'Uncanny'. I received really positive feedback.
"The fact that it is illegible works with the idea of the uncanny as it appears 'alien' and strange, it almost represents a dark unknown". - K. Mitchinson
"Linking Graphology and the uncanny together has really worked to create not only the typeface but also the idea of a persona and a 'writer' within your physical work and your essay. I understand the concept of 'Uncanny' more now. And your typeface definitely is!" - J. Valentine
"It does look very strange and not exactly aesthetically pleasing to look at. It's hard to read and gives off an eerie tone. If this isn't uncanny, I don't know what is!" - G. Stuart
"The type has a certain unease about it when in large quantities of text, it doesn't flow naturally when you're reading it. This creates a feeling of disturbance when you stare at it for too long." - R. Halford
As you can see, above, my peers all agree that the aesthetic.
Alongside this I asked my peers which they thought was 'more uncanny' between my handwritten type and the digitised one. The latter was chosen every time, which proves that type that is used in formats that it should not, such as from handwriting to digital appears more uncanny.

Although I am extremely happy with my final outcome, my typeface looks completely different to what I expected it to look like. I feel that it does work within the context of 'being uncanny' yet understand that it could be much more successful, such as if it were readable and legible.
I have really enjoyed using different techniques and experimentation's to create this final work and intend to continue this into my third year, more so. If I had more time, I would have liked to create a whole font family whilst also including more glyphs (such as punctuation and numbers).

Final Work

  

As my project and essay are based on the aesthetics of a typeface and how to create something which appears strange and uncanny, I used this to influence my stock choices and layouts.

I decided to display my typeface in this way to show firstly the glyphs, upper and lowercase separately, then use Lorem Ipsum to reveal how they look when used as a typeface, in combination. I used A3 paper to connote that this is some kind of advertisement of the type, to show how and that it can be done.

When it came to choosing stock, I decided to used a white, satin stock as to aid to the aesthetics, yet again. This in combination with the white stock contrasts the negative, unpleasing and uncanny type.

As for the layout of the posters, I am aware that I could have displayed the features using my findings to make it appear more uncanny, such as use small left and right margins. I created a mock up of a letter using these features, below as I wanted to display my type in a more aesthetically pleasing way to show that although the positioning and layout is pleasing to the eye, the type can remove this somewhat.

  

Again, as my project and essay are based on the aesthetics of a typeface and how to create something which appears strange and uncanny, I used this to influence my stock choices. To create continuity, I chose to use the same stock used on the posters.

To be in keeping with the 'advertisment' of my typeface, I created a small publication which simply introduces and breaks down the typeface within. Most of the type is created from Lorem Ipsum, so this, again, is a purely aesthetic based physical piece to show my final outcome in context (although, as mentioned, it would not be appropriate as it is illegible and unreadable).

(Letter, publication, CD with typeface)

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