Second text

To ensure all text was written appropriately it was proof read numerous times by both myself, peers and simon. This action was completed in order to allow the publication to appear professional. Other comments received were that the text appeared to be very negative, although this may seem like a criticism, the book's aim is to highlight key issues within cities through graffiti. Below remains the edited body copy for my text, along with the city in which they were taken. 

LEEDS

Timeworn this piece of typography is slowly deteriorating, a sad reality for that of street art. Unlike that of 'professional' art pieces, street art is exposed to its environment and thus changes as the city evolves. Although this means that the original artwork is not contained to its precise nature, it allows for designs in which capture the eye of the consumer more frequently as they are intrigued by the ever changing transformation of the design. 

LEEDS

Believe, this typographic piece was taken from that of a mural. Full of bright colours, this uplifting piece explores the sentiment of the future being much brighter and full of prosperity.

MANC

Within a hidden corner of Manchester's northern quarter lies this unorthodox piece of typography. Built primarily from glyphs, this hand rendered type breaks multiple rules in both the legal and graphic design world. Kerning is non-existent with letters frequently overlapping one another, a factor in which highlights the busy overpopulated city in which this design lies.The form of the type appears to be expressed through that of a graffiti pen, a fast yet durable tool to use when completing multiple designs. The rugged exterior remains legible as it is built from that of capitals, allowing the typography to break further rules such as intercrossing bars and stems.

Separating itself from traditional graffiti, this form of street art has a commercial purpose, to promote that of a small up-coming skate shop in which focuses upon the embellishment of skateboards in order to create art forms in which appeal to that of a niche audience. Therefore the contextual purpose behind this piece is to advertise to a market in which is already interested in art, both street and contemporary. This intellectual scheme has been explored by that of a company in which cannot afford grand scale promotion compared to that of its competitors, and thus this innovative form of advertising has been used. 

LEEDS

Stenciling is one of the most common forms of street art. As the stencil is often produced from paper or cardboard it allows for a cheap medium in which may be used multiple times, and thus the image is highly reproducible. This also allows for a more concise image to that of an individual in which
struggles to produce high quality images manually.


In the above context a typography based stencil has been used in order to promote fire safety legistrations Although large companies would commission someone to produce the sign, this small cafe building does not have the funding to do so, a factor in which expresses how wealth is distributed through the city.

MANC

Deeper into Manchester's suburbs this piece of typography was uncovered. Placed upon a security gate the tag 'FORDS' has been used in order for the individual to claim this location as his own. Although there are multiple reasons in which people tag locations, this approach appears personal, as if the individual is tagging a location in which he is influenced by. As the tagger is 'invisible' to that of the consumer of this piece it is impossible to make a conclusion to why he chose this location, although speculations may be formed.

 

MANC

Levels of homelessness within Manchester have arisen rapidly over the last decade, with many shelters now lacking essential resources. Located by Manchester's iconic piccadilly station, this art form explores the concept that homeless people are the same as the individuals passing them and should gain the same respect. Unfortunately many homeless people are mistreated within cities, a factor in which dampens human kinds nature.

MANC

Objective in nature, this piece is there to make the consumer think. The most beautiful ideology present with graffiti is that there is no profit made from each piece, meaning it is a message in which the consumer wants to portray rather than sell. The artworks are also exhibited upon the street, meaning no expense is spared by the viewer, in turn allowing all demographics to view the piece not just that of the rich.

LEEDS

Poor Kerning and missing letters, the basis of this typography piece. Completed in capitals the text itself attempts to portray authority a factor in which is highly difficult to do when a large assembly of individuals are congested together in one small area. Competition is rife between small businesses, with larger chain shops diminishing the hard working families in which build the community.

MANC

In this instance hand rendered has been used in order to inform the consumer. Uneven lettering allows for a personal approach to typography, one in which engages the interest of the consumer far more than that of a digital type. The type conveys affordable clothing, and a friendly atmosphere, two components in which are essential when developing a small business.

LEEDS

'Nowt' a word in which sums up a region. Using colloquial language this piece clearly exhibits the struggle of the artist, with this sentiment being further embedded by the location of the type, upon the rear of a job centre building. Not only may this refer to the rife levels of unemployment within the city but it may also express that of future prosperity, and the little future some may have without money.

LEEDS

Purposeful, this hand rendered type explores other ways in which calligraphy may be explored within a cities landscape. Unlike its durable competitor, computer aided design, this lettering is easily weathered as a result of the cities busy lifestyle.

MANC

Using stenciling this art form has been developed for a purpose, in order to promote that of a shop. The idea of a 'pop up shop' is something in which is relatively new and thus expresses the ever changing nature of the city and the demands in which it faces due to the ever increasing population.

MANC

Located next to the previous tag lies this piece of rivalry. Following the same basic 3D style type, the individual behind this piece has attempted to express their authority within the community. Focusing upon sharp glyphs the legibility of this type is limited, a factor in which highlights the shape's present. The white and black colours used dramatically set apart the typography from the background, a factor in which makes the design highly eye catching to the consumer.

 

MANC

A clear juxtaposition between hand rendered and digital type has been created within this situation, showcasing the individuality of the artist. The word 'shite' itself is a slang term commonly associated with that of northern language thus embedding the cities culture within the piece. The hand rendered type has been developed using that of a biro, a common tool in which is very cheap. The letterforms are roughly etched upon the sticker, expressing frustration and anger within the way in which society has positioned the individual, causing their outlook upon the future being 'shite'. 

LEEDS

Amongst meaningful graffiti there are often pieces in which seem to contain no sentiment, this design being one. Although little meaning behind this type is expressed the type itself is highly interesting and breaks a lot of typographical rules. Due to this and the street art nature of this design it could be suggested that the idea behind it is that there are no rules.

MANC

Wanted, a word with many outcomes. Within the dismal suburbs of the city lies this stenciled piece in which outlines the struggle of the author. Set in a broken, rusty frame this piece expresses the bleak future for those who have not been given the opportunity of self-actualisation. Cities contain many deprived areas, lack of funding and lack of employability.

 

MANC

Tags are a prolific influence within street art. Although most forms are expressing gang crime and marked territory, there are often cases whereby these glyphs are art forms in themselves. When referring back to the first human paintings, in Pettakere cave Indonesia, it is fair to suggest that it is human nature to develop images, in turn expressing a moment of history. Although it is unlikely whether this piece will last for the next 35,000 years, one thing that isn't debatable is that this piece expresses a form of culture. One of little prosperity.