Communication Design School of Design

Sophie Ammann (She/Her)

Process-driven Designer. My main interests lie in analogue processes such as print, bookbinding and sign painting, with a focus on typography and lettering. Humour is an integral part of my work. Some of my recent work has been finding and digitally preserving letterings from ghost signs around Glasgow and re-introducing them into a new context. If I could be any letter of the alphabet, I would be an S.

Contact
sophie-ammann@hotmail.com
sophieammann.com
@sophieammanndesign
Projects
Ghost Signs
Writings on the Wall
narrative/image

Ghost Signs

Ghost signs are old signs on buildings that remain fragments of what used to be there. They provide a glimpse into Glasgow’s architectural, social, and cultural history. Many ghost signs are hidden in plain sight, painted over, or almost removed completely, putting Glasgow’s history at risk of being lost. This project is about archiving ghost signs around Glasgow and preserving the signs through digitising the lettering into typefaces. This project began with a walking tour of Glasgow, photographing all the ghost signs. Using the photographs to digitise the type in Glyphs as well as type encyclopedias and catalogues to re-create the missing letters from the sources.

Writings on the Wall

‘Free, the hedges grow’ is a mural project which speaks to the vibrant tight-knit community within Garnethill. We began an extensive research process into Garnethill – talking with residents to gain insight into people’s first-hand experiences. Searching through the archives of the Women’s Library and The Mitchell Library for old documents and photographs relating to the area. Scouting out ideal walls within the community to paint on, we merged type development with illustrative elements to create a bold, colourful composition. It was important to us that the mural spoke to the notion of putting time and effort into the community, creating a natural cycle that carries through the generations.

narrative/image

Silent comics are comic books using little to no dialogue and are driven purely by visual narratives. This book showcases ten silent comics from a range of different genres. Typography is used as a contradiction to the comics being silent. I explored the textures and materiality of the comics by scaling up small segments. The risograph reflects the traditional methods of comic bookmaking. The inspiration for this editorial came directly from the silent comics themselves. Silence is visualized through an interval of eight spreads. This book became the basis for a catalogue containing printed offcuts of the textures.

Catalogue

This is a catalogue of all of the offcuts produced from making the other book