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7/31/2019 e Oy Presentation

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Level 05

PPD Presentation


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Level 05 Summary


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Level 05 Summary

Gainedagreaterunderstandingofthe

designprocessasawhole

RealisedtheareasofgraphicdesignI

shouldfocuson

Begundevelopingmyownmethodsof

completingbriefs


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Personal

Development

Takenamuchbetterattitudetowards

graphicdesignasasubject;whichhas

hopefullybeenreectedthroughmy

workandgrades

Punctuality;aimingtoarrivenolater

than8:30amdaily

Realisedmypersonalinterestswithin

thesubject


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OUGD 201

Midnight Maths Regular


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YCN:

Collaborative Brief

Student.

+


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Product / Range /

Distribution

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Type Sessions

Experimental

Typography.

Peter Bilak writes for migr is married with two dogs and lives and works in Amsterdam.

The Good and Bad Typography.

Whateverthatmeans.

Very ew terms have been used so habitually and carelesslyas the word experiment. In the eld o graphic designand typography, experiment as a noun has been used tosigniy anything new, unconventional, deying easy cat-egorization, or conounding expectations. As a verb, toexperiment is oten synonymous with the design process

itsel, which may not exactly be helpul, considering that all design isa result o the design process. Te term experiment can also have theconnotation o an implicit disclaimer; it suggests not taking responsibil-ity or the result. When students are asked what they intend by cratingcertain orms, they oten say, it's just an experiment, when they don'thave a better response.

In a scientic context, an experiment is a test o an idea; a set o ac-tions perormed to prove or disprove a hypothesis. Experimentation inthis sense is an empirical approach to knowledge that lays a oundationupon which others can build. It requires all measurements to be madeobjectively under controlled conditions, which allows the procedure tobe repeated by others, thus proving that a phenomenon occurs ater acertain action, and that the phenomenon does not occur in the absenceo the action.

An example o a amous scientic experiment would be Galileo Gali-

lei's dropping o two objects o dierent weights rom the Pisa tower todemonstrate that both would land at the same time, proving his hypoth-esis about gravity. In this sense, a typographic experiment might be aprocedure to determine whether humidity aects the transer o ink ontoa sheet o paper, and i it does, how.

A scientic approach to experimentation, however, seems to be validonly in a situation where empirical knowledge is applicable, or in a situ-ation where the outcome o the experiment can be reliably measured.

What happens however when the outcome is ambiguous, non-objective,not based on pure reason? In the recent book Te ypographic Experi-ment: Radical Innovation in Contemporary ype Design, the authoreal riggs asked thirty-seven internationally-recognized designers todene their understandings o the term experiment.

As expected, the published denitions couldn't have been more dis-parate. Tey are marked by personal belie systems and biased by theexperiences o the designers. While Hamish Muir o 8vo writes: Everytype job is experiment, Melle Hammer insists that: Experimental typog-

raphy does not exist, nor ever has. So how is it possible that there are suchdiverse understandings o a term that is so commonly used?

Among the designers various interpretations, two notions o experi-mentation were dominant. Te rst one was ormulated by the Americandesigner David Carson: Experimental is something I haven't tried beoresomething that hasn't been seen and heard. Carson and several otherdesigners suggest that the nature o experiment lies in the ormal nov-elty o the result. Tere are many precedents or this opinion, but in anera when inormation travels aster than ever beore and when we haveachieved unprecedented archival o inormation, it becomes signicantlymore difcult to claim a complete novelty o orms. While over ninetyyears ago Kurt Schwitters proclaimed that to do it in a way that no onehas done it beore was sufcient or the denition o the new typographyo his day and his work was an appropriate example o such an approachtoday things are dierent. Designers are more aware o the body o workand the discourse accompanying it. Proclaiming novelty today can seemlike historical ignorance on a designer's part.

Interestingly, Carson's statement also suggests that the essence o ex-perimentation is in going against the prevailing patterns, rather than be-ing guided by conventions. Tis is directly opposed to the scientic usageo the word, where an experiment is designed to add to the accumulation

o knowledge; in design, where results are measured subjectively, thereis a tendency to go against the generally accepted base o knowledge. Inscience a single person can make valuable experiments, but a design ex-periment that is rooted in anti-conventionalism can only exist against thebackground o other conventional solutions. In this sense, it would beimpossible to experiment i one were the only designer on earth, becausethere would be no standard or the experiment. Anti-conventionalism re-quires going against prevailing styles, which is perceived as conventional.I more designers joined orces and worked in a similar ashion, the scale

would change, and the ormer convention would become anti-conven-tional. Te ate o such experimentation is a permanent conrontation

with the mainstream; a circular, cyclical race, where it is not certain whois chasing whom.

Does type design and typography allow a n experimental approach atall? Te alphabet is by its very nature dependent on and dened by con-ventions. ype design that is not bound by convention is like a privatelanguage: both lack the ability to communicate. Yet it is precisely the

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Experiment of Typography. The Honor - Type Portrait

constraints o the alphabet which inspire manydesigners. A recent example is the work oTomas Huot-Marchand, a French postgradu-ate student o type-design who investigates thelimits o legibility while phsically reducing thebasic orms o the alphabet. Minuscule is his

project o size-specic typography. While theletters or regular reading sizes are very close toconventional book typeaces, each step downin size results in simplication o the letter-shapes. In the extremely small sizes (2pt) Mi-nuscule becomes an abstract reduction o thealphabet, ree o all the details and optical cor-rections which are usual or onts designed ortext reading. Huot-Marchand's project buildsupon the work o French ophthalmologist Lou-is Emile Javal, who published similar researchat the beginning o the 20th century. Te prac-tical contribution o both projects is limited,since the reading process is still guided by thephysical limitations o the human eye, however,Huot-Marchand and Javal both investigate theconstraints o legibility within which typogra-phy unctions.

Te second dominant notion o experimentin Te ypographic Experiment was ormulat-ed by Michael Worthington, a British designerand educator based in the USA rue experi-mentation means to take risks. I taken literally,such a statement is o little value: immediately

we would ask what is at stake and what typog-raphers are really risking. Worthington, how-ever, is reerring to the risk involved with notknowing the exact outcome o the experiment

in which the designers are engaged.Belgian designer Brecht Cuppens has cre-ated Sprawl, an experimental typeace basedon cartography, which takes into account thedensity o population in Belgium. In Sprawl,the silhouette o each letter is identical, so that

when typed they lock into each other. Te ll-ing o the letters however varies according tothe requency o use o the letter in the Dutchlanguage. Te most requently used letter (e)represents the highest density o population.Te most inrequently used letter (q) corre-sponds to the lowest density. Setting a sampletext creates a Cuppens representation o theBelgian landscape.

Another example o experiment as a processo creation without anticipation o the xed re-

sult is an online project . Ortho-type rio o au-thors, Enrico Bravi, Mikkel Crone Koser, andPaolo Palma, describe ortho-type as an exercisein perception, a stimulus or the mind and theeye to pick out and process three-dimensionalplanes on a at surace. Ortho-type is an online

application o a typeace designed to be recog-nizable in three dimensions. In each view, theviewer can set any o the available variables:length, breadth, depth, thickness, colour androtation, and generate multiple variations othe model. Te user can also generate thosevariations as a traditional 2D PostScript ont.

Although this kind o experimental processhas no commercial application, its results mayeed other experiments and be adapted to com-mercial activities. Once assimilated, the prod-uct is no longer experimental. David Carsonmay have started his ormal experiments outo curiosity, but now similar ormal solutionshave been adapted by commercial giants suchas Nike, Pepsi, or Sony.

Following this line, we can go urther tosuggest that no completed project can be seri-ously considered experimental. It is experimen-tal only in the process o its creation. Whencompleted it only becomes part o the body o

work which it was meant to challenge. As soonas the experiment achieves its nal orm it ca nbe named, categorized and analyzed accordingto any conventional system o classication andreerencing.

An experimental technique which is re-quently used is to bring together various work-

ing methods which are recognized separatelybut rarely combined. For example, languageis studied systematically by linguists, who arechiey interested in spoken languages and inthe problems o analyzing them as they operateat a given point in time. Linguists rarely, how-ever, venture into the visible representation olanguage, because they consider it articial andthus secondary to spoken language. ypoga-phers on the other hand are concerned with theappearance o type in print and other repro-duction technologies; they oten have substan-tial knowledge o composition, color theories,proportions, paper, etc., yet oten lack knowl-edge o the language which they represent.

Tese contrasting interests are brought to-gether in the work o Pierre di Sciullo, a French

designer who pursues his typographic researchin a wide variety o media.

His typeace Sinttik reduces the letterso the French alphabet to the core phonemes(sounds which distinguish one word rom an-other) and compresses it to xx characters. Di

Sciullo stresses the economic aspect o such asystem, with an average book being reduced byabout 30% percent when multiple spellings othe same sound are made redundant. For ex-ample, the French words or skin (peaux) andpot (pot) are both reduced to the simplest rep-resentation o their pronunciation - po. Wordsset in Sinttik can be understood only whenread aloud returning the reader to the medievalexperience o oral reading.

Quantange is another ont specic to theFrench language. It is basically a phonetic al-phabet which visually suggests the pronuncia-tion, rhythm and pace o reading. Every letterin Quantange has as many diferent shapes asthere are ways o pronouncing it: the letter cor example has two orms because it can bepronounced as s or k. Di Sciullo suggests thatQuantange would be particularly useul to or-eign students o French or to actors and pre-senters who need to articulate the inectionalaspect o language not indicated by traditionalscripts. Tis project builds on experiments oearly avant-garde designers, the work o theBauhaus, Kurt Schwitters, and Jan schichold.

Di Sciullo took inspiration rom the read-ing process, when he designed a typeace orsetting the horizontal palindromes o Georges

Perec (Perec has written the longest palindromeon record, a poem o 1388 words which canbe read both ways, see http://graner.net/nico-las/salocin/ten.renarg//:ptth). Te typeace isa combination o lower and upper case and isdesigned to be read rom both sides, let andright. (Tis is great news to every Bob, Hannahor Eve.) Di Sciullo's typeaces are very playuland their practical aspects are limited, yet likethe other presented examples o experimentsin typography, his works points to previouslyunexplored areas o interest which enlarge ourunderstanding o the eld.

As the proession develops and more peoplepractice this subtle art, we continually redenethe purpose o experimentation and becomeaware o its moving boundaries.

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Self-promotion

Michael Mooney

Graphic Designer

m-mooney.tumblr.com

[email protected]

07544 564 785


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Into Level 06...

Fullydevelopadesignprocessthat

worksforme

FocusmoreontheareasofdesignthatI

aminterestedin

ReachastagewhereIamfullyableto

promotemyselfandrefertomyselfasa

professionaldesigner


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Inspiration


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Inspiration


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Ambition/Plans

Makecontactwithagreaternumber

ofprofessionals,notsolelywithinthe

graphicdesignindustrybutalsofrom

otherareaswhichIaminterestedin

Focusonmusicmoreandndwaysto

tiethisintomydesignpractice

Establishanonlinepresenceandbegin

toseemyworkoutintherealworld


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