Glasgow School of Art, Scotland  
  School List Project Description View Project
School Directory

Problem: 50 Watchfaces

Purpose. To develop a sensitivity to typographic form. To explore the syntactic representation of time and space within a fixed format. To encourage an intuitive response to a short brief.

Assignment. Spend a little time at your local jeweller to consider the design of the standard circular watchface. You will note a vast array of typographic designs, classical and sophisticated through to tacky and brash. All are the work of designers!

You are required to generate a series of 50 typographic watchfaces, each adhering to the size and format of the template provided. Work in single colour (black) and begin with conventional approaches, incrementally finding more experimental and challenging compositions. Look at the typographic forms that you have at your disposal, the range of typefaces and the positive/negative shapes that they possess. Consider the way that your eye may be lead by certain compositions, how rythmn may be achieved, how function can be challenged. Look to explore syntactic aspects of time and space.

Work quickly, trust your intuition, and take risks. Don't rip off Tibor Kalman…

Format. 50mm (2 inches) diameter. Single colour: black

Time. 20 hours

preview image

Steve Rigley graduated from Nottingham Trent University in 1989 then worked for a number of UK design consultancies and completed a Masters at Sheffield Hallam University before moving to a full-time post at Glasgow School of Art in 1996. He is currently Co-ordinator for Graphic Design dividing his time between teaching and research into design theory and aesthetics. As Visiting Tutor he has taught in schools in Europe and the USA and is currently external assessor for Graphics for the University of Leeds.

Jo Petty studied Visual Communication at Edinburgh College of Art, graduating in 1993. After working as a designer in Edinburgh for five years she began teaching Graphic Design at The Glasgow School of Art in 1999. Recently, she returned to Edinburgh College of Art to study ceramics at the post-graduate level and now both teaches graphics and makes her own sculptural ceramic work. The combination of these two seemingly disparate practices are in fact mutually supportive, working with a material in a very physical way is liberating from the computer but, equally, both are simply mediums for expressing ideas of space and form.

Return to top