Due to the limited time scale we have for this project, I knew I needed to finalise me idea sooner rather than later – this is where my initial sketches for the stamps come into play. I have to stress that these sketches really are just sketches, they don’t hold much detail and are simply used to express my ideas – my final design will look much more refined and detailed in regards to a small scale stamp. My ideas can be seen below:
On my previous blog post, I said goodbye to the idea of pub signs, which left me open to the possibility of working with the buildings of the pubs and restaurants I have chosen to illustrate. But before I start sketching out ideas for this style, I thought it would be beneficial to look at building illustration styles that I like and want to try and recreate within in my own illustrative style. I have included three different, yet similar styles of building illustrations below to attempt with my stamp designs:
I was drawn to this illustration because of its simple yet detailed style. The illustration itself is very clearly of a building, but the bottom section of the front shop has more focus due to the fact that this is the main section of the illustration. The entire illustration uses strong. bold lines to create the structure of the building, and these lines are also used within the illustration to add a simple level of detail throughout the design. As for the bottom half of the section, the entire front shop is brought to focus due to the use of colour, which is the only element of colour within the illustration. The illustration style itself seems to relate to expressing a realistic view on the structure of the building, but the strong, bold lines and limited colour scheme seem to imitate a more cartoon/illusionistic approach. I think this illustration could be used effectively with my stamp design because it draws the audiences attention directly to the pub/restaurant in the building structure. Focusing on the illustration style alone, this is very much my style of work. I have a dislike of blending colours, and having an illustration style that focuses on outline and block colours matches my illustration aesthetic perfectly. Its a small pop of saturated colour that works well with the black and white approach, which is a technique I would like to develop within my own illustration style as I have yet to find my niche.
I have included the above Instagram insert because this is where I first saw Gemma Marissa’s work. Lumiere is a relatively new lighting shop in Tunbridge Wells, and a shop that my sister did some of the Graphic Design work for, so obviously I had follow it! If you click next on the photo slide, you will see 5 Christmas Card designs that focus on the shops, restaurants and cafes along Tunbridge Wells High Street.The style of these designs is what made me interested in Marissa’s illustration work, and why I have looked into her style even more.
For this illustration, I was drawn to the focus on the shop windows. In the previous illustration above, the focus on was placed on the structure of the building. This illustration style still focuses on the structure of the building, but leaves it as a black and white outline. The main draw for this style is the shop windows which seem to hold more character for the building. In addition to this, I can see some of the colour spill out onto the streets, which makes me think that the colour is actually a focus point for the shop lights. Not only this, but the colour seems to act as 3D effect for the building, for example the roof of the building seems to have a few lines that focus on the pale pink colour as a sort of depth of view element – that is how I see it anyway. Focusing on the illustration itself, I think this illustration seems to relate more to a rough sketch aesthetic, especially when compared to the illustration above. Both illustrations I have currently looked at seem to focus on representing the entire building, everything from the pavement to the chimney’s on the roof have been included, which creates a more realistic impression for the building. Looking back at the use of colour for this illustration, it is very different from the flat vector colour of the blue above, the pastel pink seems to change when there is an object behind the window, which adds an element of depth to the building and scene within the shop. In addition to this, the pastel pink reminds me of digital watercolour process, which is a possible design route I can follow as it will differ highly from the Conspiracy Theory Illustration style.
Lastly, I was drawn to this illustration because it is a inverted style to the two illustrations shown above. For this illustration, colour is focused on the building specifically and even focuses on the section o the building that isn’t technically part of the shop, while the windows are designed in a black and white linear aesthetic. Its a contrast from the two other illustrations shown above, but it is still a technique that I am interested in. The use of colour for this illustration connects more to the first illustration as it is very bold and flat,, but this illustration focuses on more than one colour, which I thiknk adds more life and character to the overall design. Eventhough I don’t know this shop, I think the use of brighter and bolder colours creates a unique sense of reality for the building. All of the illustrations I have looked at focuses heavily on strong, bold lines. In this case, the lines are slightly lost in the colour, which creates the feel of a rough sketch. One of the main differences for this illustration is how the illustrator has made the decision to focus on the shop and not the rest of the building above. For this illustration, the top section of the building has been cut off, which creates the idea the building could extend up forever, it seems to highlight a more illusionistic approach for the building, which I think works well with the more cartoon-like aesthetic offered from the collection of bold colours.
Overall, all of the illustration styles I have shown above are very much connected to my style, and I am having a difficult choice on selecting just one style to focus on. The only aspect of each illustration I am certain about is the strong, bold lines used to frame the building and I think once I have this frame/outline I might be able to potentially use elements from all the illustrations above to ultimately create my own building illustration aesthetic. Although, I need to keep in mind the level of detail I want to include in my designs because they are being created for the purpose of a stamp, but this is a design element that can only be handled once the design process has actually began!
One of the ideas that I have for my stamps is to illustrate the signs for pubs and restaurants within the scale of a stamp. And while this seems like a good idea, if I followed this route, it is more than likely that I will be excluding restaurants from my stamp set because they don’t often have a sign I could illustrate, restaurants tend to focus more on the branding side and instead have a logo. However, it is still a viable idea, which is why I wanted to look into the already designed set of Pub Sign Stamps for inspiration:
Below I have included the individual stamp designs for the Pub Sign theme of commemorative stamps. I have tried to include both the larger scale designs and the accurate scale of the design in a stamp, which clearly highlights the level of detail that can be seen in the larger and smaller scale. The individual stamps can be seen below:
All of the stamps above are a variation or copy of a pub sign, and due to the sign being made with a scale in mind, it makes sense that it would automatically work with a stamps size. When a pub sign is designed, the scale of the piece must be thought about because the sign will be hanging in the air, quite a distance away from the general public, when scaling the signs down for a stamp, the same process is needed here. In addition to this, most pub signs focus on the name of the pub as their main icon, for example, if your pub is called the ‘White Bear’, you are more than likely going to have a white bear on the sign. Therefore the design for a pub sign is generally quite simple to ensure it connects to the name of the pub, because of this, transferring the pub sign to a stamp will follow the same precautions. All in all, the designs above are very relevant for a stamp theme, and work really well at such a small scale, but I am unsure if I want to follow this design route…
One of the deliverables mentioned within the brief states that we must ‘also present our stamp designs(s) as a postcard(s) OR in a commemorative folder.’ I am unsure of how to do this deliverable, but when looking through the Pub Signs Stamps, I soon discovered a presentation pack for the stamps. I am assuming that this is a variation on a commemorative folder, and a possible presentation route I can follow the my final designs. I have placed the presentation pack below:
Overall, the pub sign stamps are very effective stamps, but they are not the design style that I want to follow. Mainly because following this style will exclude all restaurants from being involved in my theme of celebrating hospitality. Because of this, I have the idea and intention of following a building illustration style which would allow me to incorporate all hospitality trades. But whether or not this idea follows the entire building or a section of the building is a different question!
Trying to find the size of stamps is a real task, and Google is less than helpful! Google will instead of offering the measurements of a stamp, will offer the size guidelines of what size letter goes with what stamp. But with enough searching, you can sometimes stumble across a silver lining!
I wanted to start simple, and list the things that I already knew about stamps. From my understanding, there are two 1st class stamp sizes – square and portrait/landscape. The portrait/landscape stamps are seen to also be referred to as a ‘large’ stamp, where as the square is seen to the classic stamp shape. In addition to this, each step is seen to have a perforated edge which surrounds the entire stamp design. One of the key elements of any stamp is the Queens head, on a original red stamp, the Queens head is the centre piece of the stamp, but when you start to look at commemorative stamps that have a different design, the Queens head is normally repositioned in the corner of the stamp, also slightly scaled down. But the Queens head is a key element that must be included! I have placed the two original stamp sizes below:
Now here’s the silver lining I was talking about! I managed to find a PDF document that focused on the user guide for a unsorted account barcode. I’m not 100% sure if this is a accurate stamp measurement, but it is the closest measurement I can find. What I think I have found is the Royal Mail barcode label that is printed onto certain envelopes and parcel, but this label does hold the measurements of where the stamp would normally reside.
When trying to find the measurements of a stamp, I was also involved in a conversation with some of my other classmates and a peer of mine had found some unused 1st class stamps at home, which they very kindly measured and sent to our group chat:
The measurements told to me by my classmate seems to be very similar to the portrait stamp measurment seen above. Which makes me think the information I discovered on the Royal Mail PDF is accurate!
As mentioned above, the Queens mark must be included on any and every stamp, but the size and scale of this element is still unknown. In addition to this, I have also seen two variations of the Queen’s mark on stamps, and I am unsure which one to use for my own project. At the minute, I am thinking either one of the steps will work because they are both clearly the Queen, one is prehaps a more modern version. Not only this, but it seems to relate to the stamp design. If you are using a classic red stamp, than it is more than likely that you will have the Queens head to fill the space of the stamp, and the mark for this is the more modern take on the Queen’s mark (Ref 4). If you are using a commemorative stamp with a unique design or illustration on it, it is more than likely you will have the classic Queen’s head mark, which seems to focus on the silhouette of the queen without any jewels or crowns (Ref 5).
Anyway, back to the size of the Queen’s mark on a stamp, I still don’t know, I think this is an aspect of the design that will need to be played by eye. The Queen’s mark seems to normally sit in either of the top corners of the stamp, with the ‘1st’ either next to or underneath. The scale of this mark is very important in terms of the stamp size, it is imperitive that the mark, along with the stamp design, is clearly visible at a small scale. And the design of the stamp cannot take presidence over the Queen’s mark, I think this is all about a level of balance, one that allows the design of the stamp to be noticable along with the Queen’s mark. And depending on the overall size of the stamp, will help to scale the Queen’s mark effectively.
With the difficult stamp measurements over, I wanted to take a look at a stamp scale that I am interested in using for my own designs. At the minute, I am leaning towards a rectangular landscape stamp, but the measurements mentioned above do not seem to connect with the stamp collection seen below:
The James Bond Commemorative Stamps, seem to be slightly longer than the measured 21mm. But I do have a gut instinct that this scale and size of stamp would greatly support my building theme because it offers a greater surface area to experiment with. I think in this case, I need to practive with possible stamp sizes and scales, and hopefully find something that resembles the stamp set shown above…
Using the briefs Indicative texts and other sources section, I was able to quickly find a selection of previously designed commemorative stamps to research. I wanted to look into a varied level of different designed stamps, but also include stamps that will somehow relate to my theme/idea – which is why I have tried to include a few different stamps that focus on buildings. My research can be seen below:
https://www.johnsonbanks.co.uk/work/stamps
This stamp collection focuses on the 60 years of fashion history, which was inspired by the stamps that featured Mary Quant’s mini-dress. The main challenge with this subject matter was how to present the clothes in a an interesting way and have no one wear them. It was decided that the stamps needed to highlight the fashion without the use of celebrities and models to distract the audience away from the clothes. The compromise for the this stamp shoot focuses on the clothes being modelled on real people, but digitally removing the faces and hands. Once the photoshoot was completed, they started to digtally retouch the image and bring out the lines, textures and movement of the garments. The stamp themselves celebrated the work of Hardy Amies, Norman Hartnell, Vivienne Westwood and Alexander McQueen.
For this stamp collection, Johnson Banks was supposed to explore the merchandise that surrounded the band. Which they did, but were always drawn back to the iconic designs used on the album covers. Their first idea was to photograph the album covers on a background that was very 60s inspired, but this soon developed into focusing on the album covers alone. Banks soon discovered that the irregular sets of alum covers worked stacked on top of each other, and they were able to persuade the Royal Mail that the asymmetric, irregular edges could be perforated aswell. The only difficult part of this project was the design process for the perforated edges.
This project was inspired by a series of designs in the 1990s that were a bit ahead of their times and shelved away. When the brief returned up for a set of ‘interactive’ stamps loosely aimed at children, Banks knew where to turn. It was suggested to the Royal Mail to focus on ten nicely photographed fruit and vegetable stamps, accompanied with 72 stickers. The idea focused on how the audience could create their own vegetable faces.
This stamp series were produced with a soft watercolour look that focused on key landmarks from different areas. The design above, which is the 35p stamp, focuses on a illustrative take on the medieval Powis Castle situated in the Welsh county, Powys.
This stamp series focused on a abstract painting aesthetic formed of strong bold lines emphasising the dominace of the buildings with their landscape. The 41p stamp shown above is a painting that depicts the Temple of Apollo at Stourhead.
All of the stamps shown above are linked to the theme of Childrens Books, sepcifically a series of books that have a focus in letter writing within the story:
‘I don’t know what to write about so I shall tell you a story of 4 little rabbits, whose names were Flopsy, Mopsy, Cottontail and Peter…’
Dear Aunt Lucy,
I expect this will come as a great surprise to you, but not only have I arrived in England, but I have an address! I’m staying at number 32 Windsor Gardens and it isn’t at all like the Home for Retired Bears…
`I haven’t opened it yet,’ said the White Rabbit, `but it seems to be a letter, written by the prisoner to–to somebody.’
`It must have been that,’ said the King, `unless it was written to nobody, which isn’t usual, you know.’
`Who is it directed to?’ said one of the jurymen.
`It isn’t directed at all,’ said the White Rabbit; `in fact, there’s nothing written on the outside.’ He unfolded the paper as he spoke, and added `It isn’t a letter, after all: it’s a set of verses.’
“We are pleased to inform you that you have been accepted at Hogwarts School of Witchcraft and Wizardry. Please find enclosed a list of all necessary books and equipment. Term begins on 1 September. We await your owl by no later than 31 July.”
https://www.dezeen.com/tag/stamps/
For this series of stamps, the Royal Mail commisioned six artists to create bespoke stamps to celebrate 250 years since the Royal Academy was founded. Each artist’s stamp is designed to be a reflection on their won work, and the RA’s annual Summer Exhibition. This stamp collection has been called a ‘wonderful miniature works of art.’ If I had to pick a favourite stamp from the collection above, it would have to be Yinka Shonibare’s stamps (top right hand corner) which is called Queuing at the RA and features a number of colourful umbrella tops dottedd across the gallery’s Burlington House courtyard entrance.
This series of stamps are dedicated to the the contemporary architecture in the UK. Designed by London design agency GBH focus on 10 of the most famous public buildings from the last two decades. The buildings include London Aquatics Centre; Library of Birmingham; SEC Armadillo, Glasgow; Scottish Parliament, Edinburgh; Giants’ Causeway Visitor Centre, Northern Ireland; National Assembly for Wales, Cardiff; Eden Project, St Austell; Everyman Theatre, Liverpool; Imperial War Museum North, Manchester and the Blavatnik Building (formerly Switch House), Tate Modern, London. Each photograph was carefully planned to ensure that the photographer could achieve the perfect shot of the building, when completing this project, the style of a square stamp was always in their mind, and they had to retake many of the photographs until they got the desired image.
For this series of stamp, the London design studio Osborne Ross was asked to create a series of 6 animale shaped Royal Mail Stamps, specifically used to appeal to children. Each of the creatures designed appears to hang or cling onto the envelope, making the desing far more engaging for children. Each illustration of an animal was shown to the Royal Mail and reworked to fit in with their technical requirements, which dictate where the stamp can appear on an envelope and what colours can be used.
Because I have looked at a various collection of stamps, I have a limited idea on what should be included within the design. Nearly every stamp shown above differs in someway, but the overall theme of them all is to engage the audience and celebrate their designed topic. Stamps can be as simple or as complex as the artists wants to make them, but also long as they are easily visible and understandable at a small scale, then they are effective as a stamp design. It seems to me that almost anything can be done when designing a stamp as long as the size and scale is kept in mind. This is a key element I need to remember when illustrating my chosen pubs and restaurants. As well as, colour and positioning of course, but this can be done in the initial sketching process.
Before I start any illustration work I wanted to create a list of possible pubs and restaurants I could focus on. While trying to put together this list, I soon realised that I could use this project for more than just stamps and potentially create illustrations of the buildings listed below, and gift them to the owners as a celebratory token of the hardship they have all endured throughout the two lockdowns and Tier systems. Because of this idea, I will need to illustrate these pubs at a larger scale than a stamp, which means the stamps could follow the previous mentioned idea of holding a small illustrated area of the building, however, this is not set in stone, I still plan to illustrate different ideas for the stamp designs and decide from there. My list of possible pubs and restaurants can be seen below:
When I mentioned the idea of creating stamps for the hospitality trade and my idea of including both pubs and restaurants, Sancha suggested the idea of narrowing the focus done to pubs alone, and possibly calling the commemorative stamps ‘Kentish Pubs’. This was suggested because Royal Mail are potentially more likely to focus on the pubs as a key interest for the public, but I don’t just want to focus on the pubs. During the Covid-19 pandemic, restaurants have also struggled just as much as pubs, which is why I want my stamps to act as a celebratory token for all hospitality trades in and aorund the surrounding area of Kent.
I am also aware that the brief states that we must produce 2 – 4 stamp designs and I have a list above that holds 6 different buildings. My aim for this project is to produce more than 2, I am hoping to produce stamps for all 6 buildings but if I run out of time, I will make sure that there are at least a showcase of Pubs and Restaurants – either 1 of each or 2 of each. Eventhough the brief’s highest stamp design number is 4, I know a student in the year above who offered 6 stamps for this project last year, so I do think that offering 6 different designs will be acceptable, if they are producded to a high standard.
We were set this brief on Friday November 27th, which gave us 2 weeks for the project to be completed in – has to be handed in on Friday 11th December alongside Conspiracy Theories. However, I was unable to start as soon as the brief was set because I still had my illustrations to complete for Conspiracy Theories. But, as I have now finished this part of the project, I am able to start fresh with the new brief under the same topic as Options!
It is stated within the brief, that we have free choice on what our theme for the stamps can be. The only requirements from the stamps is to make sure we are celebrating an idea, concept, object, piece of history or anything at all that would:
And this decision about the theme must be decided quickly!
When the brief was first set, I initally went for the idea of Disney Commemorative Stamps because the year 2021 is the 50th Anniversary of the Walt Disney Resorts opening. My initial idea was to focus on the classic Disney Fairytales, such as Cinderella, Snow White, Aladdin etc, and illustrate a very simple icon from the fairytale, such as Cinderella’s Glass Slipper, Snow White’s Poisonous Apple, Aladdin’s Genie Lamp etc. on the stamp to create a clear link between the chosen fairytale story.
I suggested this idea to Sancha, and while I recieved some positive comments on the idea, it was also pointed out to me that following a Disney route for the stamps could pull up copyright issues. Of course, there are ways around this, Sancha suggested focusing on the Walt Disney Resorts themselves and illustrate crowds of people within the resort, moving focus away from the fairytales and more on the actual themepark, but I wasn’t taken by the idea, so I decided to have a rethink!
And the rethink is where I came up with an even better idea!
My new idea, which I greatly prefer because it connects to an important part of my life, is creating a series of stamps that celebrate pubs and restaurants in Kent that had a troublesome year due to the Covid-19 pandemic. My family own a pub, and we have all felt first hand how difficult this year has been for not just our own business, but for all hospitality trades. At this current time, I have three potential ideas on how I can illustrate these theme for the stamps:
Even with the small time limit, I will be treating this project like any other, but just making quicker decisions! With my theme outlined along with possible illustration routes, I will now decide on what pubs and restaurants I want to focus on for the stamps, research into previous commemorative stamp designs, such as sizing for the stamp aswell as the Queens mark and research into building illustration styles and sketch out a few quick possible designs for the stamps. I’m actually really excited to start this project because it will be quite meaningful for the pubs and restaurants in Kent.
The brief states that we must include mockups of our Conspiracy Theory pages, because of this I managed to find a series of mockups made for a Square Magazine (trying to find a Square Coffee Book Table mockup was near to impossible). In addition to this, I wanted to find a mockup that was quite thin to ensure that the gutter wouldn’t effect the middle of my designs to strongly, this made a magazine a perfect fit! I have included both the link for my mockup base and my created mockups below:
With all of my pages now completed for the Conspiracy Theory Section of the Options Project, I thought it would be beneficial to upload them all onto a single blog post, so they can easily seen! All 6 of my double page spreads can be seen below, and the next step is mockups:
With all of my infographic spreads completed, I wanted to move on to a question that was asked of me during the Interim Crit – how will I include the small write-up for my Conspiracy Theories? When I was designing the infographic spreads, I followed the aesthetic of a police investigation board, and forgot about the inclusion of a write-up for each conspiracy theory. But as soon as the Interim Crit was over, I started to think of a way around, that will leave my infographics untouched but include the paragraphs that are needed for the final piece. And I think I soon discovered a fix that will keep everyone happy and follow the rues of the brief:
I decided to create extra work for mysel, and create an additional 3 double page spreads that would hold the paragraph for each Conspiracy Theory. The I idea I had was very simple, the background for these pages would be the same papyrus effect seen in the infographics, but instead of illustrations, I will be including text. On the left hand side of the spread will sit a quote about the Conspiracy Theory (taken from the Critical Research blog posts) and on the right hand side of the spread, will sit the title of the Conspiracy Theory and the write-up for it. As mentioned above, the idea is very simple, and I wanted these pages to be simple because it would create a nice contrast with the busy infographics. I think if I attempted to create a busy information page, the audience would be too taken a-back and the business of the infographics would become cluttered because the information pages add to it. In this instance, I think simplicity is best! My information spreads can be seen below, along with the text that I have included on them:
“My conception of the Hollow Earth, based on my research is that the shell of the Earth is about 800 miles thick, from the outside to the inner surface. Suspended in the center of that hollow is an interior sun that is divided by day and night sides.
Rodney Cluff, author of World Top Secret: Our Earth IS Hollow
There is a suggestion within society that we are not alone, but instead of looking up to space, we should instead look below into the centre of our Earth. It is theorised that our Earth is hollow, which opens up to the idea of a lost civilization within the Earth’s structure. Many explorers have tried to turn this theory into fact, and some have become close. Edmund Halley was the first to theorise this possible idea, John Cleves Symmes Jr is the most famous explorer to possibly find the Hollow Earth entrance and Admiral Richard E. Byrd is one of the first explorers to claim that he infact flew into and visited the city within the Hollow Earth.
“Is CERN the most dangerous thing in the cosmos that could lead to the ultimate destruction of the Earth and the entire universe?”
from an article reported by Rob Waugh
The Large Hadron Collider is a pivotal piece of machinary within the science industry, it is powerful, strong and has the possible chance of summoning a God… This conspiracy theory follows the idea that the Large Hadron Collider is capable of bringing destruction to our Earth if an experiment is ever to go wrong. But what could it summon? There are 3 main beings that could be called upon; the ancient egyptian God, Osiris, God of the Underworld, the Hindu God, Shiva, God of Destruction. or finally, the Antichrist but which form the Antichrist could take is unknown, will it be Lucifer Morningstar or the Satanic depiction of the Antichrist as a beast.
“You cannot find anything in any ancient writing about where Cleopatra is buried. But I believe she prepared everything, from the way she lived to the way she died to the way she wanted to be found.”
Statment about Cleopatra’s Tomb spoken by Kathleen Martinez
Cleopatra, the last Queen of Egypt and a woman of mystery. Many historians and archaeologists have tried to find any information about the last Pharoah of Egypt. But what we know, has still kept us in the dark. Cleopatra’s history is one full of interest and intrique, which surrounds her from the moment she is born to the moment she dies. What does Cleopatra look like? How did Cleopatra die? Was it poison or something else? Who did she love? Julius Caesar? Mark Anthony? Where is she buried? Where is the great Tomb of Cleopatra? These are just some of the questions we all have about the great Queen, but whether or not we discover answers is a mystery.
When creating these pages, I soon discovered that I needed something to act as an eye-catching element. I soon decided to take inspiration from my own blog theme. There is an option when writing a quote on the post to have it positioned as a ‘pull quote’:
Pull Quote Appearance
Pull Quote Apperance
As shown above, this style of pull quote, places a speech mark symbol above the quote to highlight what it is. I wanted to include this symbol within my own information spread. From here, this soon developed into also including lines to break up the quote from the reference, and the title from the paragraph. I think this little design element adds a sense of sophistication to the spread, and draws the audiences attention in because there is more than just pieces of text on a page.
In addition to this, my choice of font is still consistent with the overall style of handwritten notes. For the quotes, I have kept the font ‘Chantal Medium’ to keep it consistent with the font used in the infographics. For the title, I decided to use a font called ‘Particle’ because it offers a clear and understandable font that the audience can easily read, as well as also being a very simple and generic font style which allows it to fit in comfortably with the handwritten fonts. For the paragraph, I wanted a font that still conveyed handwriting but not as strong and powerful as the Chantal font, which is why I chose ‘Inkfree’ for the paragraph. This font is a very light and easy to read handwriting font, which connects effectively to both Chantal and Particle.
Overall, I think these information pages work really well, and effectively offer a explanation on what the audience will see when they turn the page to the infographic. Hopefully the write-up is clear and understandable, and is obscure enough to allow the audience to create their own opinion and interpretation on the Conspiracy Theory they are about to learn about!
HND2 Baxter's Designs 