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Finally being ablt to draw conclusions upon the experiments.

Finally being ablt to draw conclusions upon the experiments.

Since developing the latent fingerprints from across all three experiments, I have used my system of recording and visualising them to be able to analyse each result individually. It was found that results visualised on certain paper types were more prominent than others, because of their effectiveness in reacting to the Ninydrin solution used.

Explaining my system in more detail.

Explaining my system in more detail.

I have decided to represent each individual touchpoin with a circle. I want to communicate the idea of touch and interaction whilst visialy mapping the results, so have therfor chosen to use the circle as the focal point of the design.

The diameter of each circle obviousely represents the surface area of the fingerprint and the markets around it’s perimeter indicate the pressure of the paeticula print or group of prints. I hose to use an opacity of 75% for both sets of results as I found this best communicated the fact that fingerprints were often layered over time.

To keep the design consistent with other parts of my project, I have used the ‘>’ mark, predomenently featured in my logo as a mark that also indicates the pressure exerted by a fingerprint upon the printed page.

Chosen sysytem for recording my results.

Chosen sysytem for recording my results.

After successfuly developing the latent fingerprints from my two printed experiments as well as from other printed materials such as a collection of Newspapers and Receipts, I have finally come to some decisions as to the system I intend to use to visialise the interaction upon the printed page.

My system aims to communicate both the area of interaction upon the printed page, as well as the pressure exurted. By using the document grid view in Adobe Indesign, I have been able to square off selected areas where fingeprints appear on the page, and by using the eyedropper tool, I have been able to retreive an average CMYK value for each fingerprit that will hopefully determine to a certain extent, the way that the graphic that represents each fingerprint looks like.

A typeface designed with Generative Graphics in mind.

A typeface designed with Generative Graphics in mind.

Tephra is a typeface that Hamish Muir has developed in recent years whilst teaching at various design and communication courses around the country. The typeface is based around a systematic process in its weight of stroke. The type family is made up of these variations of character size and stroke weights.

Tephra represents an interesting concept that I was able to make connections with in terms of my Extended Major Project. A lot of the typography in which Muir produces, bases itself around sets of mathematics. Almost, like a generative graphic, where the designer does not get himself involved in decision making and personal judgement. I could see this approach to typography, working effectively when I come to design the content for my printed pieces for the final experiment(s). It would allow the experiment(s) to be as non biased as possible from my part.

A guest lecture by type designer Hamish Muir on the 10 March 2009.

A guest lecture by type designer Hamish Muir on the 10 March 2009.

Hamish Muir, formal pupil of the Bournemouth & Poole Institute of design and the Basel school of design, Switzerland held a presentation in the main lecture theatre on the 10 March 2009, commencing at approximately 1045 hours on the Tuesday morning.

He covered many ideas in design, particularly in typography that I found personally, very interesting. His earliest pieces of design were completed using purely hand crafted techniques. Muir worked from a small, shared office during the early 1980’s, without the digital technologies that we take for granted today. He expressed how in 1989, himself and a colleague bought their first Macintosh computer which set them back a massive £9,000. This price included a basic software package, with programmes such as Quark 2 and a hard-rive that was just 20 mb in size!

One particular concept that Muir expressed was his belief of ‘how little you can possibly do as a designer in order to be most effective.’ This idea was evident most predominantly in his typographical work, especially throughout the International Journal of Typography of which he was a co founder in, Octavo (meaning 8 pages, otherwise known as a signature.)

He also talked about how not everything within Graphic Design has to come from a ‘big’ idea, and that sometimes, a response to something quite insignificant, has the potential to be as equally powerful.

An environmnet which is still heavily focussed towards the printed form.

An environment which is still heavily focused towards the printed form.

I intend to use public libraries as a large part of my final experiment. This is because the library still manages to retain that interaction with print on a level which remains part of the purest sense of the word. I aim to distribute a number of printed pieces around the library environment for a certain length of time before collecting the evidence and using, as previously mentioned, Forensic techniques and processes in order to uncover the unconscious human interaction with them.

However, before I begin my experiment, there are a number of areas which I still need to realise. For instance, do I design, print and bind these printed pieces which I aim to distribute myself, purposeful using all the graphic elements that I know from research, will have some effect on the way we interact with the printed form. Or, do I simply purchase brand new copies of various printed objects and use for the experiment?

From my research, I have managed to highlight a number of variables that I could test against in my experiment. However, because of the shear number of them, it might mean that I need to choose which areas I focus on retreiving results from. I need to therfore ask myself the question, what is it that I really want to find out?

Age: How do different age groups behave differently towards the same piece of print?

Gendre: How do men and women behave towards the same peice of print?

Graphic Designer/non Graphic Designer: Does an appreciation for print based media neccessarily effect the way inwhich we interact with it on an unconscious level?

Vertical/Lateral reading: Does the vertical and lateral ways inwhich we are forced to read something, effect how we interact with it unconsciously?

Print finishes/Paper stocks: How much of an effect does the physicality of the paper itself effect how we interact unconsciously with the printed form?

Format: How does the size and format of a printed peice effect unconscious interaction?

Content: How does what we’re reading as part of our conscious thought effect how we interact with the printed form on a more unconscious level?

Looking at how variouse factors within print effect our unconscious.

Looking at how various factors within print effect our unconscious.

from my research, I have found that there are a number of factors associated with the printed form which have a more direct effect on our emotions than others. It is these emotions that make us unconsciously decide to touch a certain area of the page than other areas for example.

Print finishes such as spot varnishes and embossing make us unconsciously judge something in a more positive way than a column of text seen in the daily newspaper for example. These unconscious judgements can be seen by the way in which we are apt to touch upon the page.

A peice of design that aims to communicate my intentions.

A piece of design that aims to communicate my intentions.

This is the book which I crafted and put together in an attempt to visualise and communicate the intentions of my Extended Major Project, and indeed, what the final outcome(s) might look like. Whilst designing the book, I aimed to take into account the type of paper used, typographic treatment and the overall format used, as these are some of the main factors that I have come to realise through my research which determine the unconscious interaction which we have with the printed form.

The purple areas are meant to represent the points of human contact. By taking this leap in designing something physical, I have been able to gain a much better understanding and realisation of my project and the areas I now need to improve on in order to make it as successful as possible.

An illustration that communicates the use of forensic fingerprint techniques.

An illustration that communicates the use of forensic fingerprint techniques.

Whilst thinking about possible ways in which I could develop my concept of the unconscious interaction with print based media, I had the idea of visualising this type of unconscious behavior through the use of Forensic fingerprinting.

I contacted the head of the Forensic Science department over at Bournemouth University and despite them being fully booked with all of their equipment and lab space, Alex Otto, kindly suggested me to consider purchasing a Special Formula Ninhydrin Spray that was especially good for recovering the latent fingerprints on printed material such as cards and papers.

She assured me, it is a perfectly harmless process that involved me spraying the Ninhydrin solution over whatever it was I wanted to recover fingerprints from, and it should develop them within a couple of minutes, producing a distinct, purple hue.


Stumbled across this clever design process. I think this focuses on a nice concept that considers closely the aesthetics of both hand rendered and digitally rendered typography. In an abstract sense, the outcome of this piece, visualises both ideas effectively.