At one point during the Unit 14 project, I researched superstitions as the theme for a possible response, and while I found them very interesting, I decided this was unsuitable because superstitions often develop over many generations and did not have quite the contemporary twist I was looking for. I found nautical superstitions particularly fascinating and would like to use some of these as the basis for future project derived from this one—perhaps with the Degree Show in mind. Wood type seems like an appropriate medium for a project on superstitions because of the habit of saying 'touch wood' for good luck.
Nautical lifestyles and their superstitions are extremely far removed from what most of us are familiar, which is probably what makes them so interesting, so I would like to showcase some of these superstitions alongside possible explanations for them.
What follows is a list of nautical superstitions, and some early thoughts as to how they could influence the direction of the project:
It is unlucky to start a cruise on Friday.
This is the day Christ was crucified on.
Never start a voyage on the first Monday in April.
This is the day that Cain slew Able.
Don't start a voyage on the second Monday in August.
This is the day Sodom & Gomorra was destroyed.
Starting a cruise on Dec. 31 is bad.
This is the day Judas Iscariat hanged himself.
Black traveling bags are bad luck for a seaman.
Avoid people with red hair when going to the ship to begin a journey.
Red heads bring bad luck to a ship, which can be averted if you speak to the red-head before they speak to you.
Avoid Flat-footed people when beginning a trip.
They, like red heads, are bad luck. The danger can be avoided by speaking to them before they speak to you.
A stolen piece of wood mortised into the keel will make a ship sail faster.
A silver coin placed under the masthead ensures a successful voyage.
Disaster will follow if you step onto a boat with your Left Foot first.
Pouring wine on the deck will bring good luck on a long voyage.
A libation to the gods.
Throwing stones into the sea will cause great waves and storms.
A stone thrown over a vessel that is putting out to sea ensures she will never return.
Flowers are unlucky onboard a ship.
They could later be used to make a funural wreath for the dead.
Priests are not lucky to have on a ship.
They dress in black and perform funural services.
Women on board a ship make the sea angry.
It was traditionally believed that women were not as physically or emotionally capable as men. Therefore, they had no place at sea. It was also observed that when women were aboard, men were prone to distraction or other vices that may take away from their duties. This, among other things, would anger the seas and doom the ship.
A naked woman on board will calm the sea.
This is the reason for naked figureheads.
Don't look back once your ship has left port as this can bring bad luck.
A dog seen near fishing tackle is bad luck.
Black cats are considered good luck and will bring a sailor home from the sea.
Swallows seen at sea are a good sign.
Sighting a curlew at sea is considered bad luck.
A cormorant sighted at sea is bad luck.
Dolphin swimming with the ship are a sign of good luck.
Killing one will bring bad luck.
It is unlucky to kill an albatross.
It is unlucky to kill a gull.
They contain the souls of sailors lost at sea.
Handing a flag through the rungs of a ladder is bad luck.
Loosening a mop or bucket overboard is a sign of bad luck.
Repairing a flag on the quarterdeck will bring bad luck.
Turning over a hatch will cause the hold to fill with seawater.
Cutting your hair or nails at sea is bad luck.
These were used as offerings to Proserpina, and Neptune will become jealous if these offerings are made while in his kingdom.
Church Bells heard at sea mean someone on the ship will die.
St. Elmo's Fire around a sailors head means he will die within a day.
When the clothes of a dead sailor are worn by another sailor during the same voyage, misfortune will befall the entire ship.
If the rim of a glass rings stop it quickly or there will be a shipwreck.
Never say the word "Drowned" at sea.
The caul of the head of a new-born child is protection against drowning and will bring the owner good luck.
The feather of a wren slain on New Years Day, will protect a sailor from dying by shipwreck.
A ships bell will always ring when it is wrecked.
A shark following the ship is a sign of inevitable death.
Sharks were believed to be able to sense those near death.
A sailor who died from violence or being lost at sea was said to go to "Davy Jone's Locker".
A sailor with over 50 years of service was said to go to "Fiddler's Green" when he died.
The Evils of the Banana
Bananas are a mainstay of most cultures and are the world’s most popular fruit. However, these deliciously yellow treats have no place at sea. Since the 1700’s, it has been widely believed that having a banana on board was an omen of disaster.
In the early 1700’s, during the height of the Spanish’s South Atlantic and Caribbean trading empire, it was observed that nearly every ship that disappeared at sea and did not make its destination was carrying a cargo of bananas. This gave rise to the belief that hauling bananas was a dangerous prospect. There are other documented origins to this superstition as well.
Another explanation for the banana superstition is that the fastest sailing ships used to carry bananas from the tropics to U.S. ports along the East Coast to land the bananas before they could spoil,” Chahoc said. “The banana boats were so fast that fishermen never caught anything while trolling for fish from them, and that’s where the superstition got started.
Another theory is that bananas carried aboard slave ships fermented and gave off methane gas, which would be trapped below deck. Anyone in the hold, including cargoes of imprisoned humanity, would succumb to the poisoned air, and anyone trying to climb down into the hold to help them would fall prey to the dangerous gas.
And finally, one of the better known dangers of bananas at sea, is that a species of spider with a lethal bite likes to hide in bunches of bananas. Crewmen suddenly dying of spider bites after bananas are brought aboard certainly would be considered a bad omen resulting in the cargo being tossed into the sea.
Any of these scenarios could be the reason behind fishermen’s mistrust of the yellow fruit, possibly all of them. Whatever the case may be, it is best that you don’t attempt to bring any bananas on board your next seafaring excursion, just to be safe.
—
Research nautical measurements and increments to define/inform total number of prints. Surely they don't use metric measurements? – 6 feet make a fathon...make 6 A3 prints (side to side they will be roughly a fathom)?
Could use stolen/found wood for the frames or to make type.
Could cobble together images by printing with different shaped offcuts from wood workshop.
Introduce strange superstitions with contemporary/familiar phrases – eg. ‘NO GIRLS
ALLOWED!’, or ‘We have no bananas today’
Visit sea-side/fi shing town and interview people about contemporary nautical superstitions. Are
there any more recent beliefs?
Could collect imagery/visual cues from different ships to inform design decisions.
Use lettering on sides of ships to inform typographic choices – could design a contemporary typeface based on interesting lettering. Perhaps cut from found wood to print posters with?
Collect flotsome and jetsome from sea-side to print with/use somehow.
Be sure to research the reasoning behind the supersition.
Saturday, 22 May 2010
Science
In crits it was suggested that I considered how a contemporary message could be applied with the ancient typographic stylings of the Abracadabra charm. I found this a great challenge because I did not want to claim that something I created had magical powers when I knew full well that it did not. It felt a lot more honest to re-create the Abracadabra charm objectively in the present and let people make up their own minds about the potential of magic, than to try and create my own magic.
I began considering how in the Roman Empire, people had faith in magic and a plethora of Gods, and questioned what I myself believe in. The only thing I have faith in is science, and I considered how the word 'Abracadabra' could be replaced in the typographic charm by something relating to science, to illustrate how science has replaced magic and religion (at least for me it has).
I thought about using the names of scientists or famous scientific apparatus, but they seemed too obvious. Since the Abracadabra charm had a degree of mystery to it, I wanted these new prints to retain a degree of uncertainty. I recalled a TED Talk I watched a while ago, given by the scientist and author David Deutsch, where he asked why scientific equations were not immortalised in public monuments (as they are responsible for far more than any moral person could be), and he gave an example using the 4 equations that describe the Proton – Proton Chain Reaction; the principal nuclear reaction in our Sun, and by consequence the equation that is responsible for all life on Earth. I decided to use this equation for my prints.
The equations were printed using letterpress in the typographic style of the Abracadabra charm, with explanations of each equation printed on the back (science is meant to clarify the world, but as I said earlier I wanted these prints to maintain a degree of mystery, so the description was relegated to the back). Above each equation is printed 'INVENTORI LUCIS SOLI INVICTO AUGUSTO', which is Latin for 'To the contriver of light, Sol Invictus Augustis [the Roman Sun God]'. This is a nod to the historical heritage of the Roman typographic charm that inspired the prints, and also makes a direct connection to the Sun in each print.
I began considering how in the Roman Empire, people had faith in magic and a plethora of Gods, and questioned what I myself believe in. The only thing I have faith in is science, and I considered how the word 'Abracadabra' could be replaced in the typographic charm by something relating to science, to illustrate how science has replaced magic and religion (at least for me it has).
I thought about using the names of scientists or famous scientific apparatus, but they seemed too obvious. Since the Abracadabra charm had a degree of mystery to it, I wanted these new prints to retain a degree of uncertainty. I recalled a TED Talk I watched a while ago, given by the scientist and author David Deutsch, where he asked why scientific equations were not immortalised in public monuments (as they are responsible for far more than any moral person could be), and he gave an example using the 4 equations that describe the Proton – Proton Chain Reaction; the principal nuclear reaction in our Sun, and by consequence the equation that is responsible for all life on Earth. I decided to use this equation for my prints.
The equations were printed using letterpress in the typographic style of the Abracadabra charm, with explanations of each equation printed on the back (science is meant to clarify the world, but as I said earlier I wanted these prints to maintain a degree of mystery, so the description was relegated to the back). Above each equation is printed 'INVENTORI LUCIS SOLI INVICTO AUGUSTO', which is Latin for 'To the contriver of light, Sol Invictus Augustis [the Roman Sun God]'. This is a nod to the historical heritage of the Roman typographic charm that inspired the prints, and also makes a direct connection to the Sun in each print.
Triangles
Escalated indents result in type being set in inverted triangles. Shapes, like colours, have no intrinsic meaning—just different values imposed onto them. Collected here are various examples of triangles in history & culture with an explanations of their significance.
Pyramids—The distribution of weight in a pyramid, with more weight applied from above the higher the structure rises with greater support from bellow, made the pyramid structure ideal for early civilisations to build monumental structures. Also, they pointed towards the heavens, which was significant for cultures that often believed in many gods.
Holy Trinity—Often represented as a triangle.
Dragon's Eye—Ancient Germanic symbol. Combines triangle, meaning threat, with 'Y' meaning a choice between good and evil.
Nazi Classification—The Nazis used a code of coloured triangles to classify prosecuted cultures. Pink triangles were used to identify homosexuals, but the symbol has since been adopted by the gay community.
Recycling Symbol—Triangle most likely chosen as it is the simplest shape with corners necessary to create mobius strip effect.
Star of David—Originally a magical protective symbol and only became associated with the Jews in the 17th century.
In Dan Brown's The Da Vinci Code, the triangle is a male symbol ('the blade'), and the inverted triangle is a female symbol ('the chalice'), and the Star of David is a combination of these. However, it should always be remembered that The Da Vinci Code is purely a piece of fiction.
The Bermuda Triangle – A staple of conspiracy theories, adding to the triangle's seemingly mystical qualities.
'Love Your Vagina' Posters—A contemporary use of escalated indents in a recent poster advertising campaign, but only used for the inverted triangle's obvious visual similarity to a vagina. The only other example I can find of an inverted triangle being feminine symbol is in Dan Brown's The Da Vinci Code, but that is factually dubious at the best of times.
Pyramids—The distribution of weight in a pyramid, with more weight applied from above the higher the structure rises with greater support from bellow, made the pyramid structure ideal for early civilisations to build monumental structures. Also, they pointed towards the heavens, which was significant for cultures that often believed in many gods.
Holy Trinity—Often represented as a triangle.
Dragon's Eye—Ancient Germanic symbol. Combines triangle, meaning threat, with 'Y' meaning a choice between good and evil.
Nazi Classification—The Nazis used a code of coloured triangles to classify prosecuted cultures. Pink triangles were used to identify homosexuals, but the symbol has since been adopted by the gay community.
Recycling Symbol—Triangle most likely chosen as it is the simplest shape with corners necessary to create mobius strip effect.
Star of David—Originally a magical protective symbol and only became associated with the Jews in the 17th century.In Dan Brown's The Da Vinci Code, the triangle is a male symbol ('the blade'), and the inverted triangle is a female symbol ('the chalice'), and the Star of David is a combination of these. However, it should always be remembered that The Da Vinci Code is purely a piece of fiction.
The Bermuda Triangle – A staple of conspiracy theories, adding to the triangle's seemingly mystical qualities.
'Love Your Vagina' Posters—A contemporary use of escalated indents in a recent poster advertising campaign, but only used for the inverted triangle's obvious visual similarity to a vagina. The only other example I can find of an inverted triangle being feminine symbol is in Dan Brown's The Da Vinci Code, but that is factually dubious at the best of times.
Water Soluble Experiments
Since De Medicina Praecepta dictated that the Abracadabra charm be thrown into a river when it done with, I decided to experiment with water soluble materials, so I bought some cold water-soluble paper to print on.
The word 'Abracadabra' disappears in the typographic arrangement on the charm, so it seemed fitting that the object itself could also disappear in the medium prescribed by Sammonicus. Also, using a material with the amazing ability to dissolve quickly in cold water seemed to re-introduce a new, tangible element of contemporary magic.
The paper was too flimsy to be worn on its own, so it is kept in a frame around the neck and can be disposed of when it is no longer needed. I printed with both oil-based inks (with letterpress) and water-based inks (with silk-screen printing) to see what effect the water would have on the type when the paper dissolved. With the oil based ink, the letters retained most of their shape once the paper dissolved, and they floated around together which looked pretty spectacular.
I also made water-soluble papers. The intention was to use the logic of the Abracadabra charm on a larger scale. If worn around the neck, it blesses a person — if enlarged could it bless a whole building? I screen-printed some A2 posters on the water-soluble posters and found some derelict buildings which seemed like they needed some blessing and applied the posters to them. There is no rain forecasted for the next few days, so I tested one of the posters at home, and it dissolved quickly even when water was poured lightly.
The word 'Abracadabra' disappears in the typographic arrangement on the charm, so it seemed fitting that the object itself could also disappear in the medium prescribed by Sammonicus. Also, using a material with the amazing ability to dissolve quickly in cold water seemed to re-introduce a new, tangible element of contemporary magic.
The paper was too flimsy to be worn on its own, so it is kept in a frame around the neck and can be disposed of when it is no longer needed. I printed with both oil-based inks (with letterpress) and water-based inks (with silk-screen printing) to see what effect the water would have on the type when the paper dissolved. With the oil based ink, the letters retained most of their shape once the paper dissolved, and they floated around together which looked pretty spectacular.
I also made water-soluble papers. The intention was to use the logic of the Abracadabra charm on a larger scale. If worn around the neck, it blesses a person — if enlarged could it bless a whole building? I screen-printed some A2 posters on the water-soluble posters and found some derelict buildings which seemed like they needed some blessing and applied the posters to them. There is no rain forecasted for the next few days, so I tested one of the posters at home, and it dissolved quickly even when water was poured lightly.
Portable Items
Since the De Medicina Praecepta poem stipulated that the Abracadabra charm should be worn around the neck, I decided to experiment with portable items. I turned my first letterpress printed cards into necklaces by punching holds in the top and inserting thread.
The card-necklaces felt very flimsy, and would not have been able to withstand the 9 days of wear and tear required of them in the poem, so I decided to scan in the prints and enlarge them to make t-shirts.
I began thinking that the print could be used symbolically. It is effectively a symbol for 'healing' or 're-generation', so I tried printing it onto garments I bought from charity shops in an attempt to give them a new life and a new value.
The card-necklaces felt very flimsy, and would not have been able to withstand the 9 days of wear and tear required of them in the poem, so I decided to scan in the prints and enlarge them to make t-shirts.
I began thinking that the print could be used symbolically. It is effectively a symbol for 'healing' or 're-generation', so I tried printing it onto garments I bought from charity shops in an attempt to give them a new life and a new value.
Saturday, 15 May 2010
Kings Cross Type Proposal
So here's a brief summary of my contribution to the Kings Cross ID/Signage competition...
The intention was to communicate CSM's heritage and its contemporary activities simultaneously; new within the old. The method I chose was to use a typeface based on mid-19th century British letterforms (which also reference the architectural heritage of the building we are moving to), but to fill it with an ever changing in-line. The 'base' typeface used was Leviathan (by Hoefler & Frere-Jones).
The in-line could adapt to describe the activities of different departments. For example, chalk for the cafe:
Broadway-style dots for the theatre:
Books for the library:
Or neon lights for the bar:
The proposal for the different courses was to work with them to define a visual identity that matched their ethos, philosophy, or how they wanted their physical space in the new building to be percieved. For example, senior member of the fashion department said they wanted their space in Kings Cross to be a really basic, no-frills workshop area, so their in-line could be a clean san-serif:
The in-line could even become an arrow, for use in way-finding:
Unfortunately our proposal wasn't chosen, but there's been talk of me working with the uni on a different project as a result of this, so not all bad I guess. Let's see what the future holds!
The intention was to communicate CSM's heritage and its contemporary activities simultaneously; new within the old. The method I chose was to use a typeface based on mid-19th century British letterforms (which also reference the architectural heritage of the building we are moving to), but to fill it with an ever changing in-line. The 'base' typeface used was Leviathan (by Hoefler & Frere-Jones).
The in-line could adapt to describe the activities of different departments. For example, chalk for the cafe:
Broadway-style dots for the theatre:
Books for the library:
Or neon lights for the bar:
The proposal for the different courses was to work with them to define a visual identity that matched their ethos, philosophy, or how they wanted their physical space in the new building to be percieved. For example, senior member of the fashion department said they wanted their space in Kings Cross to be a really basic, no-frills workshop area, so their in-line could be a clean san-serif:
The in-line could even become an arrow, for use in way-finding:
Unfortunately our proposal wasn't chosen, but there's been talk of me working with the uni on a different project as a result of this, so not all bad I guess. Let's see what the future holds!
Tuesday, 4 May 2010
Checking In...
So I'm finally getting back to the Unit 14 project after working on the CSM Kings Cross identity project for the past few weeks. Bad news is we didn't get through to the next round, but one of the tutors who we had to pitch to was very complementary about my typographic contribution to the project (apparently it was "spot on"!) so at least I have a recent live project for my portfolio. Apparently I can submit my CSM-KX work towards my Unit 14 grade (which I think I will have to do considering how much time I've spent on it compared to the specific Unit 14 project recently), but I'm going to work on organising the research and presentation before I post about it.
I'm planning on heading back to letterpress this week to do some more printing. I've decided the next few prints are going to be about defining my initial research question, which was 'Where did typographic conventions like escalated indents come from, why did people use them, and where did they go?'. The aim of these prints is to be a point of reference I can relate all further work back to. Hopefully it should clarify the intention of my investigation and exploration for myself and anyone looking at it. I've learned that there's not too much point in working up roughs before heading to letterpress because of all the restrictions inherent with the process so I won't post any images for now (but to slightly contradict myself, it is interesting to compare the digital roughs with the finished letterpress print). I may post the roughs with images of the prints after they're all completed.
Anyway, today has basically been about writing a bit of an epic 'to-do' list for the next few weeks. We'll see where I end up.
I'm planning on heading back to letterpress this week to do some more printing. I've decided the next few prints are going to be about defining my initial research question, which was 'Where did typographic conventions like escalated indents come from, why did people use them, and where did they go?'. The aim of these prints is to be a point of reference I can relate all further work back to. Hopefully it should clarify the intention of my investigation and exploration for myself and anyone looking at it. I've learned that there's not too much point in working up roughs before heading to letterpress because of all the restrictions inherent with the process so I won't post any images for now (but to slightly contradict myself, it is interesting to compare the digital roughs with the finished letterpress print). I may post the roughs with images of the prints after they're all completed.
Anyway, today has basically been about writing a bit of an epic 'to-do' list for the next few weeks. We'll see where I end up.
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