#expanded practise

[experimentaltypographyblog-blog]

Final outcome to “How has typography been affected by change” line of research. 

[experimentaltypographyblog-blog]

Final outcome for expanded brief. 

[experimentaltypographyblog-blog]

02 Research Essay

Discuss the statement ‘How has typography been used as a voice of change in design’.

It can be argued that typography itself is not a primary source of change, rather it’s used as a platform and tool to express change. From the radical era of Punk Rock to the digital age of computers, typography can be seen as the shadow and reflection of change. 

It’s important to analyse history as this is the best way to explore patterns and understand the reasons why certain certain things have happened. For example, Constructivism saw the dismissal of "pure" art in favour of art used as an instrument for social purposes, namely, the construction of the socialist system. A typographer who followed this notion and movement is El Litssitzky who donated his entire career to the belief that the artist could be an agent for change, and therefore his artwork whether it be graphic design, art, or typography had the potential of being the visual mouth piece for change. Other movements inspired by social turmoil also followed this pattern, Futurism, Dada and Bauhaus, all of which saw a new abstract expression and with this, the entire domain of typography and its function changed forever.

A modern day example would be the developments in computer technology, this progression has resulted in a vast change in how typography is created to be suited in a new digital context. The pixel has come a long way since its invention and opened up a huge platform for experimentation in terms of typography. The screen brought about many issues that typographers had to work with however developed digital softwares mean there are very few. A modern day example would be Charles Williams’s work which is characterised by a a surreal three-dimensional aesthetic. His work has the ability to be defined in such a way and typography has continued to reach new heights through moving image, animation and manipulating digital softwares, therefore eliciting changes in the typography domain.

Alternatively, is can be considered that current typography styles are not due to an expression of change. In recent times, old ways of type setting and printing have been coming back into fashion. The letter press for one and hand drawn type also. Perhaps we are in an age where we’ve had enough of digital typefaces and long for something more authentic with personal character and elegance. The old printing technique of the letterpress has been around for centuries yet recently, regardless of our digital technologies, has been coming back into design. Alan Kitching is a perfect example of this having recently just had his exhibition and book published entitled ‘A Life in Letterpress’. No social eruption has instigated this changing trend, simply an appreciation and a respectable nod towards hand made design in the age of computers.

In conclusion, it can said that typography can be a reflection of cultural aesthetics of its time, however this is not always the case. Furthermore, typography will continue to be a mouth piece of the change that go on as our world shifts and changes.

Kitching. A. A Life in Letterpress. Exhibition. 2016. 

[experimentaltypographyblog-blog]

01 Research Essay

Discuss the statement “The alphabet is not a vehicle for communication so much as a backdrop against which designers spin their elaborate narratives”.

There are many controversies regarding the rational behind typefaces. From the development of moveable type to the printing press in the15th century by Johannes Gutenberg. Typography took a huge turning point in the modern world with a similar progression coming with the invention of computer technologies. Since these huge progressions what can type be defined as in todays context, and how have they affected designers decisions in the creative industry.

Due to the huge amount of information thrown at society on a daily basis, the function of typefaces has changed from what it was years ago. In todays culture a font’s function is arguably readability, enticement, the ability to hold the readers attention and to successfully express the message constructed in the pattern of letters. A practising typographer named Jackson Cavanaugh offers his opinion stating “ I’d say [readability] is the most important quality of a good typeface. Type design, for me, is about creating a unique tone of voice and atmosphere for a text.” Therefore suggesting that an essential factor of typeface design is its value of communication, another valuable example being the neat, practical styles of Swiss typography. Cavanaugh goes on to state “I don’t really consider type design to be “self-expression”, although there is a lot of personal style and characteristics that come out.” Furthermore, although type has developed from being solely a communication vehicle into an experimental form of expression, it still remains significant its ability to communicate.

On the other hand, developments in type design has seen “a new order of craft and invention, driven by corporate culture, nostalgia and the demands of the screen” says Emily King. Digital technologies have not just changed the conditions in which type is designed and distributed, but also dramatically altered the circumstances in which it is being used. This has lead to vast experimentation with the factors outlined in the previous paragraph and the alphabet indeed can be viewed as a backdrop for designers to tell their own narratives. However with this statement, comes the issue of originality. Is a typeface truly owned by someone? Consider the New Typography Movement. An artistic movement bringing graphics and information design to the forefront of design. Are designers simply copying each other adding their own slight variation and flair.

In conclusion, perhaps it can be considered that type design has now been forced to be viewed in different contexts. Depending on the typeface’s purpose, the above statement only agrees with some typeface styles whilst other sub categories of type, copy text for example, does not fit under this explanation. Furthermore, type has become a significant element of design so vast and varied in its form, style, aesthetic and function, that in todays context it has become more of visual whilst simultaneously being a vehicle of communication.

References: 

Cavanaugh. J. Typographer. Interview. 2016. 

King E. 2001. [Online] Eye Magazine. Journal. Available at: http://www.eyemagazine.com/feature/article/digital-type-decade-full-text [accessed 26/12/2016]