Monotype - Craig Oldham In Loving Memory Of

An important aspect of the brief is D&AD's collaboration with Craig Oldham and his latest publication In Loving Memory Of Work. In this publication, Oldham also identifies a underrepresented community and that is of documenting the UK miners’ strike between 1984 and 1985. 

A publication demonstrates that each element of the design has been considered, from the varying stock used in the book to create tactility, structured grid system, size of the publication and content layout. Even the stickers placed on the front cover are considered. They follow a fixed pattern, as though in a grid, with similar angles on each side whilst in proportion to the books format. They represent the d.i.y attitude of the strikes. The publication demands attention from the reader which is appropriate to the amount of attention that should've been given to the underrepresent Miners.

The most important aspect of the book in relation to the brief is the bespoke typeface. The typography is laid out in bold, often across a double page spread which creates high impact on the reader. This relates to the high impact typography on the miners protest signs. They are placed throughout the book making a very visual reading experience. The layout of the publications content is contextually appropriate to the content itself. This is a factor to consider when producing the typographic campaign for the Maori's.

Liaison Headline Typeface is based on only a few rationales. The geometric forms of the letters reflect the industrial nature and the urgency of the dispute. The harshness created through these straight forms are made through its "quirks" such as the angled crossbars in H and the kinks in K, which creates the industrial look of the typeface. These design decisions follow the typeface's aim to be bold and direct in a visually noisy, mass demonstration.

The aims of the typeface can be simplified to

• The typeface must have a strong visual identity 
• The typeface must be bold enough to stand out from other protest signage
• The typeface must relate to the Miners and the demonstrations

Ferrymoor Headline Face is the second bespoke typeface created for the publication. This typeface takes its inspiration from "the reverse of the National Union of Mineworkers Ferrymoor Riddings Branch banner which has distinct letterforms, hand-cut and sewn into the banner fabric." The countering lines create uneasiness when reading but effective in communicating the tension of that period.

In terms of the brief, there needs to be a clear outline of the typeface's aims in order to effectively communicate its message. Looking at the example of the Liaison Headline Typeface, the typeface needed to work in its context and needed to relate to its culture.