Professional Documents
Culture Documents
CONTENTS
ILLUSTRATIONS
Figure 1. Mosley James, (1963) The inscription in situ [Photograph: Black and white
shot of Trajans column from below, with partial view of the inscription] Available:
http://www.codex99.com/typography/21.html (Accessed 22/06/15)
Figure 2. Yoder, Greg (2011) Park Avenue Shoe Store sign [Photograph: Restored
hand painted sign of a shoe store on Park Avenue, Lancaster] Available: http://
gregyoder.com/2011/12/old-hand-painted-signs-around-town/ (Accessed 07/10/15)
Figure 3. Buncic Jasna, (2010) The National Gallery, Sainsbury Wing [Photograph:
outside the Sainsbury wing of the National Gallery, London, type has been carved
into the wall, design by Michael Harvey] Available : http://www.fotolibra.com/gallery/
674577/the-national-gallery-sainsbury-wing/ (Accessed 22/06/15)
Figure 4. Davies, Rhianna (2015) The National Gallery staircase frieze [Photograph
inside the National Gallery, at the top of staircase with inscription starting at Raphael]
Figure 5. Kindersley, Richard (2009) Canning Town Underground, [Photograph: On
staircase facing concrete inscription wall, A Public Arts Commission designed and
created by Richard Kindersley] Available: http://www.kindersleystudio.co.uk/site/wpcontent/uploads/2009/10/canning-town-concrete-01-476x620.jpg (Accessed
06/07/15)
Figure 6. Why Not Associates (2001) The Cursing Stone, Carlisle [Photograph:
Inside Millennium Subway, facing The Cursing Stone, created by Gordon Young,
typography by Why Not Associates, implementation by Russel Coleman] Available:
http://www.whynotassociates.com/wp-content/uploads/
Cursing_Stone_01_MEDIUM.jpg (Accessed 29/08/15)
Figure 7. Paula Scher (2004) NJPAC environmental graphics program [Photograph:
side of the theatre, displaying painted typography surface designed by Paula Scher]
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Available: http://www.walkerart.org/calendar/2004/paula-scher-pentagram-new-york
(Accessed 07/10/15)
Figure 8. Bread Collective (2012) The Walls Have Ears [Photograph: One of the
mural displays in Hackney Wick, reading: Mint Creams] Available: http://
www.breadcollective.co.uk/the-walls-have-ears-olympic-site-murals-hackney-wick/
(Accessed 07/10/15)
Figure 9. Boa Mistura (2012) Luz Nas Vielas (Light In The Alleyways) [Photograph:
Available: http://www.boamistura.com/luz_nas_vielas.html (Acessed 10/10/15)
Figure 14. J Mayer H, (2011) Rapport [Photograph: View of entrance hall installation
by J Mayer H for the Berlinischen Galerie] Available: http://www.jmayerh.de/97-0Rapport.html (Accessed 10/10/15)
Figure 15. Yoko Ono,(2014) Earth Peace [Photograph: Street view of billboard
installation in Folkestone] Available: http://www.folkestonetriennial.org.uk/artist/yokoono/ (Accessed 30/09/15)
Figure 16. Totya Hu (2006) LOVE [Photograph: LOVE sculpture by Robert Indiana,
on the corner of 6th Avenue and 55th Street in Manhattan, NY] Available: https://
commons.wikimedia.org/wiki/File:LOVE_sculpture_NY.JPG (Accessed 30/09/15)
Figure 17. Kimpton, Laura (2012) Ego [Photograph of alight EGO at Burning Man
2012, Black Rock Desert, Nevada] Available: https://ignitechannel.com/stories/artistinterview-with-sculptor-laura-kimpton/ (Accessed 11/10/15)
Figure 18. Studio Vollaerszwart (2009) Evergreen [Photograph: Seat letters covered
with artificial grass at the Thij College in Oldenzaal, NL] Available: http://
www.vollaerszwart.com/88203/735664/projects/evergreen (Accessed 15/10/15)
Figure 19. Brossa, Joan (2008) Walkable visual poem in three phases [Photograph:
in the foreground is the 3rd phase: 3. Destruction, 1984, sculpture by Joan Brossa
next to the Horta Velodrome and Labyrinth in Barcelona, Catalonia] Available: https://
upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)__Joan_Brossa_-_Barcelona.jpg Accessed (08/10/15)
Figure 20. Love-Spain, Jaume Plensa (2012) Nomad [Photograph: Nomad in the
Yorkshire Sculpture park, England, in 2007] Available: http://40.media.tumblr.com/
tumblr_llrinlMIIJ1qkx931o1_500.jpg (Accessed 15/10/15)
Figure 21. R & R Studios (1996) M [Photograph: Architectural letter M sculpture
outside Riverwalk Station, Miami] Available: http://www.rr-studios.com/ (Accessed
28/10/15)
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Figure 22. Gollings, John, (2001) The Marion Cultural Centre [Photograph: Street
view and side views of the cultural centre, at daytime and night, South Australia]
Available: http://openbuildings.com/buildings/the-marion-cultural-centre-profile-3154#
(Accessed 15/10/15)
Figure 23. The New England Holocaust Memorial (no date) [Photograph: Views of
the etched glass memorial walls, and two tower structures from below, Boston, US]
Available: http://www.nehm.org/photo-gallery/ (Accessed 21/10/15)
Figure 24. Martin, Manuela (2014) Monumento Victimas 11-M, Madrid [Photograph:
View from inside the monument, looking up through the dome to read the text]
Available: http://www.designcurial.com/news/typography-in-architecture-4285057/
(Accessed 21/10/15)
Figure 25. Serviceplan (2010) BMW LightWall, Hamburg Airport [Photograph:
Billboard reflection in situ, flat view from afar and perspective view] Available: http://
www.serviceplan.com/en/case-details/bmw-lightwall-1618.html (Accessed 21/10/15)
Figure 26. MacPherson, Angus (2007) Campbells soup: Hunger installation
[Photograph: Help hunger disappear in a grocery store in Canada, images of full
display and after user interaction] Available: http://adsoftheworld.com/media/ambient/
campbells_soup_hunger_installation (Accessed 21/10/15)
Figure 27. Popp, Julius, (2002) bit.fall, [Photograph: Network based digital
installation using water droplets to form the word processing] Available: http://
www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htm (Accessed 14/11/15)
Figure 28. Sanborn, Jim (2004) A Comma, A, [Photograph: Copper installation at
night with projected words shining on plaza in front of library, and on adjacent
building, University of Houston, TX] Available: http://jimsanborn.net/hires/First.jpg
(Accessed 14/11/15)
ACKNOWLEDGEMENTS
I would like to start by thanking all of the Theory and Context team at
Ravensbourne, as their support throughout this process has been invaluable. In
particular, Sally Waterman and Eti Wade for being there whenever I had questions in
the early planning stages, and later in the production of the writing.
My primary research has been crucial for this project as I was tackling a very
subjective question. I would like to thank Elaine Tribley, Johanna Drucker, Daniel
McGhee and Luke James for taking the time to answer my questions; they were all
helpful and insightful responses.
I would also like to thank the team at Pentagram for hosting the Paula Scher talk in
April, and for generally being supportive of my inquiries into this line of study.
Lastly, a big thank you goes to all my friends and family who supported me
throughout.
INTRODUCTION
Lettering is everywhere. From the first minutes of life, when a label stating our
name is clipped around a tiny wrist, to our final resting place, a headstone or
memorial book, it is lettering that quite literally scores the alpha and omega of
our lives (Haslam, 2011, p.6)
This dissertation examines the innovative use of typography in three dimensional
spaces. To clarify; the installations inhabit a dynamic space where people live and
life flows, as opposed to printed typography, where letters lie on the static space of a
page (Saccani, 2013, p.19). The focus throughout is primarily on contemporary
practise, as the number and range of typographic installations has grown
exponentially in the past three or four decades (Heller and Ilic, 2013, p.10).
A major figure in the study of this discipline, Jock Kinnier writes:
If public lettering was just a larger size of type there would be little to interest
us. Yet, quite apart from the question of the extra dimension, there are
obviously a host of different relationships to be explored. Buildings and
people, rather than pages, are the frame of reference, and sometimes even
the sky and open fields. (Kinnier, 1980, p.72).
The lead question tackles difficult concepts, as defining art is extremely subjective.
The definition of what is art changes from generation to generation (Heller and Ilic,
2013, p.10). The oxford dictionary definition is ambiguous and open to interpretation:
[Mass noun] The expression or application of human creative skill and imagination,
typically in a visual form such as painting or sculpture, producing works to be
appreciated primarily for their beauty or emotional power (Oxford Dictionaries,
website, no date).
What complicates this study is the significant lack of research; very few have
addressed typography that was not part of a sign or commercial message, and little
is published about the role typography plays in public spaces intended for interaction
(AbiFares, 2010, p.8). Nevertheless I will highlight factors that can lead to
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typographic installations being seen as art, or argue for them not being considered
art. Additionally, I aim to evaluate how our perception of these typographic
installations as art can alter the way we view everyday public lettering and
commercial messages.
The dissertation is split into four chapters: Archaic Type, Type in Art, Type as More
and Digital Type, and within these are smaller sections of text that categorise
examples. These examine a wide range of global sources, as my lead question has
an explorative aim.
Chapter 1 briefly outlines two relevant pivotal points in history for environmental
typography; Roman inscriptions and 16th century sign painting. Following on from
this, I look at the revivals of these archaic typographic methods in contemporary
settings, and how their historic roots can have an impact on meaning/audience
reaction.
Chapter 2 focuses on environmental typography in art, split into two-dimensional
examples (lettering on flat surfaces), and three-dimensional examples (sculptural,
often free standing); artists such as Barbara Kruger, Stanislaw Drozdz and Robert
Indiana are referenced. This chapter also explores the different way artists use
language, and the resulting impact on their work. Examples include single word
installations, isolated letters, whole phrases and even numbers.
Chapter 3 regards the concept of type being used as something more than
language, but not being overtly recognised as works of art. The main categories of
lettering in this are architectural, memorial and commercial, each addressing
different purposes in various public spaces.
Chapter 4 examines digital installations, and how their format influences our regard
of them in comparison to the aforementioned physical lettering. I also explore into
the future of this practise and the possibility of digital technologies replacing
traditional methods.
The examples used throughout this dissertation are only a select few from the
hundreds to choose from, and many others could have fit into the writing
appropriately. The chosen examples are most suited to the ideas expressed in the
text, a way of visually explaining each concept. Most of the examples have a focus
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on the integration of text and language in the urban environment to enhance spaces
or engage the public, either in the rejuvenation of delinquent spaces or the creation
of spectacular landmarks (AbiFares, 2010, p.14).
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resumed with the development of the printing press and moveable type.
Advances in metalworking and woodcarving led to the rise of commercial
signage, with a mix of pictograms and simple messages. (Berger, website,
2014)
Painted lettering on shop facias did not develop until the sixteenth and seventeenth
centuries. (Haslam, 2011, p.30) Up until this point, where literacy levels were rising,
pictograms were used as a broader communication method. (Haslam, 2011, p.30)
Sign painting was essentially a form of advertising, and in the nineteenth century,
with consumerism and trade becoming ever more important, commercial displays
were in much higher demand. (Gregory, website, 2013) It even came to a point
where the intense need to promote wares, along with the ease of posting words
anywhere; led to buildings that were
besieged by ads [Fig .2] and therefore
strict laws were passed to limit or
localise postings. (Heller and Ili 2013,
pg. 74)
It is thought that the most widespread
and immediate method for writing on a
building is by painting, as the great
virtue of painted letters lies in their
The development of technologies over the centuries has made construction and
production of tangible letters possible; contemporary production methods allow us to
generate type of any size, on virtually any substrate (Heller and Ili 2013, p.10)
(Baines and Dixon, 2003, p.7). The number of typographic shrines, monuments and
sculptures designed for function and folly has grown exponentially in the past three
or four decades; large letters designed to be experienced are appearing in the most
surprising places, on, in and around buildings, along roadways, littered throughout
landscapes, and affixed to anything that will hold them. (Heller and Ili 2013 p. 10)
Arguably, the advances in technology cannot be the sole reason for the rise in
environmental lettering in recent years. The expansion of graphic design beyond the
confines of the page has also made an important contribution; this was undoubtedly
the result of artistic experimentation in the post-war period, using language as a
visual material, and most importantly, translating concepts into typography. (Saccani,
2013, p.9) Graphic designers trained in two dimensional work are trying their hands
at three-dimensional expression. (Hunt et al, 1994, p.9) The rise could also be due
to the practices multidisciplinary nature, and the amount of varied creatives
engaging in the topic today, including the work of letterers, sign-writers, graphic
designers, artists, architects and engineers. (Baines and Dixon, 2003, p.7)
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15
Perhaps the greatest difference between this kind of lettering, and the typographic
installations this dissertation focuses upon, is the attention they demand from their
audience.
In contrast to this, Robert Kindersleys installation
at Canning Town underground station, London, is
of a much more playful, experimental nature [Fig.
5]. The inscriptions ponder the history of the area,
once a shipyard; carved into concrete, a difficult
material to work with as its texture gives
unpredictable results compared to traditional
materials, such as stone. (Saccani, 2013, p.172)
The text forms waves and curls, coiling around
itself or creating diagonal lines, evoking the
movement of the waters ploughed by the
legendary HMS Warrior (the first warship with an
iron hull) (Saccani, 2013, p. 172). The application
Fig. 5. Canning Town
Underground (2009)
typical roman styling of type. In addition, Kindersley probably wasnt aiming for a
hand-crafted aesthetic, reminiscent of the stone carving of the Romans, but instead
his work is suggestive of the modern production methods that allow for further
freedom of typographic layout.
The installation was commissioned by Britains Public Arts Commission; so the
purpose for the work is fundamentally different to Harveys inscriptions. Kindersley
also designed this work for a very different audience; commuters passing by every
day. (Saccani, 2013, p 172)
The decorative element will obscure the message, which is about local
history, and with this intentional obscuring, the message will not immediately
yield up the words, but over many visits to the station people will slowly
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decipher the writing. In this way interest in the piece will be prolonged,
hopefully for many visits. (Kindersley, 2011, quoted in: Saccani, 2013, p. 324)
It could be argued that this difference in meaning and effectiveness of
communication is what makes an environmental typographic installation like this art,
and not simply public lettering. This work is an example of: Strange juxtapositions of
new and old being an integral part of the contemporary landscape (Baines and
Dixon, 2003, p.9)
Another urban example that can
demonstrate unconventional
inscription is from Why Not
Associates, a London based
design studio who often
collaborate with the artist
Gordon Young for environmental
work. The Cursing Stone and
Reiver Pavement [Fig. 6]
courted negative reactions, and
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graphics if you have strong content. (Why Not Associates, 2004, quoted in: Saccani,
2013, Pg. 282).
The reactions of audiences could also be a factor that defines an installation as art,
as typically public lettering like wayfinding is designed to be emotionally detached,
We are so used to seeing typographic signs in the environment they are easily
ignored or taken for granted (Heller and Ili 2013, p.15) Generally wayfinding signs
are spatial instructions, placed only where they are needed. (Mollerup, 2005 p.8)
Therefore, environmental lettering that does not provide information in the traditional
signage sense, and instead invokes powerful audience reactions, could be
considered as self expression instead.
In a similar fashion to these inscription methods being revisited in modern
environments, so too are painted letters on surfaces, renewed interest in covering
buildings with bold typography (Heller and Ili 2013, p. 74) Pentagram partner Paula
Schers 2000 NJPAC (New Jersey Performing Arts Centre) project raised public
awareness of the theatre, and created a lively neighbourhood landmark [see Fig 7]
(Heller and Ili 2013 p.74). Scher was commissioned by the president of NJPAC to
create a new image for the centre, but within the limits of a very small budget.
(Saccani, 2013, p.226).
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It was common practise in Victorian times to paint the sides of theatres with
information about the performances and plays. You can see the faded
lettering to this day on the sides of theatres in Covent Garden in London. Paula Scher (Sacccani, 2013, p.329)
In a recent talk at Pentagram, Scher explained her divergence into environmental
graphics; 3D space exploration was something I had never done before, it was
about doing something that wasn't expected of me, so yet another way of rebelling
against conformism (Scher, Presentation talk, 2015). In this example, Scher has
rebelled against most conventional signage systems, creating a very memorable
piece that undoubtably stands out in contrast to surrounding typographic messages.
It is evident that old hand painted signs have deep nostalgic appeal, which explains
the work of British design studio Bread Collective (Heller and Ili, 2013, p. 75). Their
typographic mural, The walls have ears (2012), was intended to help clean up an
unloved street in Hackney Wick, based on the history of the industrial area, using
vintage vernacular style lettering [Fig. 8] (Heller and Ili, 2013, p.99). We like
everything we do to have a hand crafted feel, giving the work a more human and
tactile quality (Kirkup, website, 2014).
Fig.8. The Walls Have
Ears (2012)
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This work is another example of typography being used for expressive purposes
rather than functional wayfinding or traditional labelling. Arts ability to engage and
strengthen a sense of coherence within a community has become evident to
many (AbiFares, 2010, p. 10).
Audience reactions have been positive, with comments being made about passing
through the area in the 1970s and smelling all the smells from the industries, both
pleasant and unpleasant, or about their parents or grandparents that worked in the
factories (Bread Collective, website, 2012). The typography here works directly with
the environment, the words become a tangible physical entity in the landscape,
contributing to its personality and unique identity (Saccani, 2013, p.11).
This kind of lettering can challenge our perception on the purpose of public text, as it
does not advertise a product, or give the audience instruction; but instead
decoratively ponders the historic context of the environment in a visually engaging
manner, much like Robert Kindersleys inscription, and Why Not Associates cursing
stone.
Lastly, looking at modern appropriation of painted letters in environments, an
example can be found in the work of Boa Mistura. The multidisciplinary art collective
is based in Madrid, a group of five artists who focus on graffiti art as a means of
community building (Huffington Post, website, 2012). Boa Mistura have been
referred to as Anti-Banksy, as their method is out in the open, creating artwork with
direct support from local communities who will benefit and feel well represented by
the work produced (Bramucci, website, 2015).
The collective has several projects that are relevant to this discussion, but I was
drawn to their 2012 'Light In The Alleyways' [see Fig. 9] in Brazil due to their
combination of traditional painting methods, and contemporary anamorphic
manipulation. This means flattening the perspective from a single point
(anamorphosis), so that the letters become distorted if viewed from any other angle
(Bramucci, website, 2015). The concept was to create new environments within the
maze of narrow and winding streets that connects the alleys through bright chromatic
interventions and typographic illusions. (Heller and Ili, 2013, p.75). Several
different words are used in this series, beauty, strength, love, tenderness and pride;
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For us, these words were qualities wed seen reflected daily by the families wed
come to know in Vila Brasilndia (Bramucci, website, 2015).
This work is similar to Bread Collectives vision with The walls have ears; we can
see that environmental typography is being used to uplift run-down communities,
essentially using art as a tool for change (Heller and Ili, 2013, p.75).
This can indicate a perspective shift for type in our urban environments, as
messages are being
used to positively
reinforce a sense of
community, and not
just label, instruct or
advertise.
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autonomy and desire, although her black-and-white images are culled from the
mainstream magazines that sell the very ideas she is disputing. (www.pbs.org)
Krugers work is intimidating in its disregard for the conventions of art as a framed
canvas on a wall; she has managed to pave the way for typographic artworks to
flourish in virtually every environment. (Heller and Ili, 2013, Pg. 178)
The question arises over what differentiates Krugers practise to that of designers, as
at least on a superficial level she is utilising typography, space and image to promote
a set of ideals, much like a designer would. Kruger explains why she doesn't see
herself as a designer in an Interview in 2013;
BOLLEN: But you've been such an influential artist on design. You're almost a
designer's artist of sorts. You've revolutionised graphic design.
KRUGER: I think that designers have an incredibly broad creative repertoire.
They solve. They create images of perfection for any number of clients. I
could never do that. I'm my client. That's the difference between an artist and
a designer; it's a client relationship. And so, to me, it's not a hierarchical order;
it's not like artists are better than designers, but it is a particular
instrumentality, which makes for a difference. (Bollen, website, 2013)
We can see from Figures 10, 11
and 12, that Krugers art often
only uses typography; with the
message being the point of
artistic focus. For example, in
her installations Belief + Doubt
in Washington, Whitney on Site
in New York and Circus in
Germany. Visitors will walk upon
her words, be surrounded by
Fig. 11. Circus (2010)
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Perhaps the intention of Barbara Krugers type installations (aside from their clear
messages about society), is to get people to engage with public lettering more.
In an increasingly digital world, virtual words are becoming weightless, the more
words wash over us, the less we understand them, Barbara Kruger rematerialises
words, so that we can read them closely, deeply (Rosenbaum, website, 2012).
Although Kruger has produced many successful public artworks, she distances
herself from this definition:
I should say that I feel uncomfortable with the term public art, because Im not
sure what it means. If it means what I think it does, then I don't do it. Im not
crazy about categories. Im an artist who works with pictures and words.
Sometimes that stuff ends up in different kinds of sites and contexts which
determine what it means and looks like. (Kruger, 1997, quoted in: Saccani,
2013, p. 254)
From this we can see that
Kruger believes her work with
type is just a material, like her
imagery or colour use. It also
shows us that the placement
of her artworks, whether in a
gallery or on the street should
not redefine the work as
something else, like public
lettering; Kruger strongly
believes her work is still art
A more contemporary example of this concrete poetry can be seen from designer J
Mayer H, who created an installation for the Berlinischen Galeries ten-meter high
entrance area in 2012 [see Fig 14] (Heller and Ili, 2013, p.192). Data security
patterns are printed on the floor and walls, creating a flickering effect that transforms
the space into a playful scenario with interconnected forms and structures. (H Mayer,
website, 2011).
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to commerce, it is often difficult to understand the artistic merits of artworks that are
entirely driven or composed of type and typography (Heller and Ili, 2013 pg. 178)
It may seem obvious in an art gallery when an installation is supposed to inspire and
provide thought provoking concepts, but Yoko Onos example [Fig 15] demonstrates
the opposite of that. I'm very much interested in the idea that you can use text and
known visual mediums to pass on a message which won't reach everyone that sees
it, many people will walk past and not recognise what they're seeing is not quite right
- as will they when they walk past the Yoko Ono piece. (Tribley, email, 2015)
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Most will be familiar with this work, but few the artist behind it; Indianas Love is
probably the most popular, misunderstood, typographic sculpture in the world.
Taking this approach at
converting a single word into a
typographic sculpture, other
artists have adopted this
technique but added a further
depth that Love was missing. For
example, Laura Kimptons Ego in
Nevada, where the sculpture was
set on fire for an annual
celebration. [Fig. 17] (Heller and
Ili, 2013, p. 191) The installation
was sculpted out of wood and framed with plaster cast pans,
Remaining with the theme of sculptural works, but comparing examples that dont
pragmatically spell out a word or phrase (similar to the aforementioned concrete
poetry examples), Joan Brossas first urban visual poem [Fig. 19] is completely
different to the examples I have looked at so far.
The walk-though Transitable Visual Poem consists of a path divided into three
parts, marking the stages of life; birth, life with all its events and pauses, and
death. It is impossible to see the three stages of the poem all at the same
time; they can only be discovered by visiting them one by one. (Saccani,
2013, p. 64)
Birth is a sans serif 12m high letter
A, The road: pauses and
intonations are represented by
punctuation marks lying at random
intervals throughout the sloped
park, and Finale is the broken
remains of another letter A. (Baines
and Dixon, 2003, p. 157). Part of
the success of this piece is the
Fig. 19. Walkable visual poem in three
phases (2008)
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In this piece in particular, it is easy to identify parallels between architects work, and
fine artists, as both manipulate scale, colour, material and placement to enliven an
environment in a particular way. Possibly the only difference would be that R&R were
working to meet a client brief.
Architectural typography is rarely anything other than physical attachments of type to
a structure, but there are innovative examples arising where the buildings are
constructed almost entirely out of letterforms and words. The Marion Cultural Centre,
South Australia [Fig 22] is such an example, completed by the architect group Ashton
Raggatt McDougall in collaboration with Phillips Pilkington Architects (PP + ARM).
Drawing inspiration from nineteenth-century architectural lettering, where words were
displayed on the main facade to give importance to public buildings, the word
Marion is integrated into the architecture and surrounding environment (Saccani,
2013, p.36). This example is interesting because the shapes of M, A and R are fully
integrated within the architecture of the building, a fragment of the letter A for
example, cuts through the entire construction, determining the internal spaces of the
centre (Saccani, 2013, p.36). Phil Baines believes this influence of type on
architecture is a negative development; Type has come to dominate. And where
strong architectural traditions once fed typeforms, the influence is now the other way
around - to the detriment of the practise, but in this example its hard to be negative
about its unconventional typographic labelling, which has led to a much loved
community area and landmark. (Baines and Dixon, 2003, p.100)
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Letters and words are something that both visually challenged and visually
savvy clients can understand. And this is at least one reason for architectural
typographys growing popularity in some surprising venues (Heller and Ili,
2013, p.129)
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The Memorial is designed around six luminous glass towers, each reaching
54 feet high, and each lit internally from top to bottom. The number six has
many meanings here: the millions of Jews killed in the Holocaust; the names
of the six main death camps; a row of memorial candles; and the six years,
1939-1945 (The New England Holocaust Memorial, website, no date).
The memorial not only communicates the factual information about the historic
event, but the site offers a unique opportunity for reflection on the meaning of
oppression and freedom and on the importance of a societys respect for human
rights (The New England Holocaust Memorial, website, no date). What is moving
about this piece, is not the physical execution, but the simple act of recording, in this
case by numbers not names, of the millions of lives taken: It serves to remind us
again of the resonance that text alone can achieve (Baines and Dixon, 2003, p.170)
Another memorial that utilises the quantity of lives lost is The Monument to the
Victims, by Studio SIC and Buj + Colon, 2007 [see Fig. 24]. The monument
commemorates the 191 victims of the terrorist bombings of March 11, 2004 in Madrid
(Saccani, 2013, p. 110). The 36 ft glass cylinder has thousands of messages of
condolence made in the days after the attacks inscribed on the inside of the tower
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(BBC News, 2007, online article). Located in front of the Atocha railway station, the
scene of one of the attacks, the monument was presented with the motto Light
dedicates a moment of the day to every missing person. (Saccani, 2013, p.110).
Visitors can read these messages from a space below the dome, and also the
names of the victims on the entrance wall (Saccani, 2013, p.110-111).
This memorial was not simply a way to honour the dead; the design of the sculpture
was the expression and the sense of Spanish society after the attacks, GilFournier, as well as an attempt to convey the immateriality of those feelings and
make them eternal (Heller and Ili, 2013, p.104). In many ways, examples like this
are works of public art, even though it was not the intent; as Steven Heller phrases
it art is a consequence, not a goal (Heller and Ili, 2013, p.129).
38
CHAPTER
39
40
CHAPTER
physical quality that is only made more fascinating due to the process; The viewer is
able to experience digital processes sensually, as an analog sculptural
installation. (www.goethe.de)
Jim Sanborn is another artist that uses digital technologies alongside typography.
A Comma A, was commissioned for the M.D. Anderson Library, University of
Houston, Texas in 2004 [Fig. 28] (Heller and Ili, 2013, p. 224).
The lettering in this work arguably has a more physical nature than that of Popps
processed words, but uses technology to create a more impactful ambience at night;
Made mostly of copper and bronze, the sculpture is comprised of snippets of
poems, novels and prose from languages from all over the world. At night, a
built-in projector will shine light through the sculpture, reflecting the text onto
the librarys exterior walls. (Vasquez, 2004, online article).
This demonstrates how digital installations can manipulate the audiences
perception; as the viewer has to read letters in their environment that arent
physically there, but have every appearance of being. The light-emitted words are
thrown every which way, attaching themselves to the ground and buildings like an
infestation of abecedary insects (Heller and Ilic, 2013, p.180)
Fig. 28. A Comma, A, (2004)
42
Until the 20th century, virtually all processes of creating lettering were static - the
calligraphers pen, the letter-cutters chisel and the printers impression all left an
indelible mark on vellum, stone or paper. (Haslam, 2011, p.224) The invention of
film, the cinematic camera and television liberated lettering, enabling it to move
across the screen. (Haslam, 2011, p.224)
LUST studio in the Netherlands has an excellent example of this kind of digital
installation, although used in a gallery environment rather than an outdoor space.
Part of the exhibition Type/Dynamics in Amsterdam, the installation represents the
continuous stream of information readily accessible to us, with floor to ceiling data
morphing into words, letters and sentences that transform into larger typographical
formations as time goes on [see Fig. 29]. (Fulleylove, online article, 2015) This use
of digital technologies creates a sense of movement that is gaining popularity in the
design industry; Time-based typography is no longer a novelty with a limited
application in film title sequences, it has matured into a discipline. (Woolman, 2005,
p.6)
43
The three digital examples above should be considered works of art due to their
consideration of form, material and process, in conjunction with overall meaning and
symbolism from their chosen typography.
Throughout history, technology has provided artists with new tools for
expression. Today, these two seemingly distinct disciplines are interlinked
more than ever, with technology being a fundamental force in the
development and evolution of art. (Gever, online article, 2012)
However, digital production also means typographic installations can be created
quickly, and by anyone with an inclination to, A huge concern is that, as a result of
so many new tools and techniques, we may lose our sense and ability to evaluate
what is great art. (Gever, online article, 2012)
To which one could argue, did we ever have an ability to evaluate great art?
44
CHAPTER
CONCLUSION
While the questionable future of this practise may be hard to conclusively predict,
many other conclusions can be drawn from my exploration.
One of the main observations from studying this topic was the clarification of the
difference between lettering and type; as I had been unconsciously categorising
them as the same thing. Baines and Dixon offered an intriguing explanation that
stayed with me throughout the working of this dissertation;
Type is an industrial product capable of duplication and automation, while
lettering is a one-off, created for a specific purpose and capable of
responding to the demands of scale, material and surroundings in quite a
different way. Baines and Dixon (quoted in Saccani, 2013, p.23)
This can explain the wide differences between projects; each installation is utterly
unique because they are all responding to completely different environments and
purposes, with producers varying in creative backgrounds.
The answer to my lead question is yes and no.
Environmental typography can be considered as artwork for many reasons. For
example, it could be due to the use of language (Barbara Kruger), it could be due to
a placement in a gallery (Drozdz), the reactions from audiences (Why Not Associates
and Bread Collective), the physical journey (Joan Brossa), the popularity (Robert
Indiana), the scale or physicality (R&R, Juan Plensa) or even just the way the creator
has made it different to other messages in our environment.
On the other hand, my exploration also shows how some typographic installations
are hard to view as artwork, even though they may share similarities to fine art
installations. I have found that method alone cannot create an artwork; Michael
Harveys inscriptions are beautiful, but the content only labels a physical space. I
have learnt that too much emotional meaning can often keep a work from being seen
as art; for example The New England Holocaust Memorial. In addition, it seems that
physical scale on its own and impressive displays of type struggle to be categorised
46
as art because they are fundamentally lacking a meaningful concept (BMW light wall
& Campells Hunger).
This double sided conclusion can also show us how unclear our perception of
typographic installation is. We understand commercial lettering. We understand the
need for way finding and labelling buildings. But tell an individual to discriminate
between a piece of public lettering, commercial text and fine art, and suddenly we
dont really know what were looking at anymore. This could lead to audiences
looking for alternative meanings in typography that just aren't there, or completely
missing any subtle artistic messages.
In the last chapter I questioned the future of this practise, and looked into the
possibility of digital technologies replacing traditional methods. However, Luke
James (Bread Collective) and Daniel McGhee (Why Not Associates) both believe
that technology and traditional practise can co-exist together, and this is supported
by the existence of all of the examples collected for this dissertation (the majority of
which required some form of digital technology in order to produce).
Its the ephemeral vs the permanent; similar to the print vs digital argument in
publishing, a physical installation made of stone or steel has the potential to last
hundreds/thousands of years whereas the lifespan of a screen based installation
would rarely if ever compete with this. (McGhee, email, 2015)
47
APPENDICES
Appendix 1:
Tribley, Elaine (2015) Public environmental artist, email to Rhianna Davies, 17th July
1.) I recently walked past your Witham bridge project, and was curious at the method
of how you created the letter indents; how did you create this piece, and do you often
experiment with permanent materials like this?
The lettering is created by shot blasting the concrete, it's a fairly dangerous process
where micro plastic balls are fired through a nozzle/gun so needs an experienced
person in full protective gear. For this job Lazenby in Yeovil undertook the blasting on
site and the parapets were then transporting to site and installed by the construction
company.
The majority of my work is within public art so materials need to be permanent, this
particular bridge has a life of over 100 years.
2.) How do you go about choosing a typeface for your installations?
I try where possible to include the choice within the history and context of the work.
The Witham text and typeface background is as follows:
Horace Walpole the 4th Earl of Orford (24 September 1717 2 March 1797), was an
English art historian, man of letters, antiquarian and politician. He is now largely
remembered for Strawberry Hill, the home he built in Twickenham, and for coining
the word Serendipity. In 1749 he wrote what pleases me most in my travels was Dr.
Sayers parsonage at Witham ... one of the most charming villas in England. There
are sweet meadows falling down a hill, and rising again on tother side of the prettiest
winding stream you ever saw. To further echo the words of Walpole the text flows
with them and the suggested river, and is set in a typeface of the same era, Caslon.
The typeface Caslon was designed by English gunsmith and typeface designer,
William Caslon I (16921766) in 1722. It is cited as the first original typeface of
English origin. The Caslon types were distributed throughout the British Empire,
including British North America. Caslons types were immediately successful and
used in many historic documents, including the US Declaration of Independence.
After William Caslon Is death, the use of his types diminished, but saw a revival
between 184080 as a part of the British Arts & Crafts Movement. The Caslon
48
design is still widely used today. For many years a common rule of thumb of printers
and typesetters was when in doubt, use Caslon, particularly if no typeface was
specified. Several revivals of Caslon do not include a bold weight. This is because it
was unusual practice to use bold weights in typesetting during the 18th century, and
Caslon never designed one.
3.) You have studied as a fine artist, yet use typography in your work much like a
graphic designer would; why and how do you manage this?
I have always had an interest in graphic design and studied the subject before fine
art, although not at degree level. I've been through periods of trying to be a little
more organic (messy) within my work but always return back to a more graphic
approach, I would say my art practice very much operates on the line between fine
art and graphic design.
Typography naturally falls into this. I struggled with medium when first studying fine
art and found myself returning to the 'safety' of text when producing work, this has
continued throughout my career with some major exhibiting work and public artwork
being text based.
4.) To what extent do you believe type (on its own) can be viewed as a piece of
artwork?
Fully, the impact of just one word can be enormous, the important thing is how the
artwork is executed, take for example Yoko Ono's recent installation at the Folkstone
Triennial last year, just two words black on white 'Earth Peace' but printed on a huge
billboard poster on a site amongst the back roads of the town. So easy to walk past
the message becomes almost subliminal lodging into your subconscious, it works
because it's both very much like an advertisement but also very much not - there's
nothing to buy here but there's everything to lose, that's an artwork.
5.) In your opinion, what differentiates an innovative public lettering sign from a fine
art installation that uses type?
49
See above! when utilising text for an artwork the consideration always still remains
with the context not the sale or the direction, but it can be fun to play around with
these ideas. Enchanted Wood is a piece of work I created for an exhibition back in
2008 where the brown tourist sign was used with the words 'enchanted wood' but
they directed people through the gardens of the exhibition grounds to the busy A
road which dissected the land and an area about to be developed where the woods
once stood, instead of the wood you come to a dead end with a large yellow road
sign saying 'enchanted wood closed' and no entry sign and traffic cones. All of these
signs were ones we see everyday but there was now a context to the message. I'm
very much interested in the idea that you can use text and known visual mediums to
pass on a message which won't reach everyone that sees it, many people will walk
past and not recognise what they're seeing is not quite right - as will they when they
walk past the Yoko Ono piece.
Appendix 2:
Drucker, Johanna (2015) Author/ art critic, email to Rhianna Davies, 1st October
Have you ever read my piece, "Signs of Life, Spaces of Art"? It might be helpful to
you. I do not have a copy on my computer, so can't send it. Also "Language in the
Landscape"?
1. In your opinion, do you believe that type on its own can be considered as art?
Can you explain why you think this?
I'm not sure type by itself can carry enough conceptual weight to be art. For
something to move from craft to art it needs to be able to bear within it some ideas,
expression, imagination, or critical reflection. Type can be part of a work and its
graphical and visual properties can be used as part of the material codes of a work,
but simply by itself? I'm not sure. Usually when a work is typographic and a work of
art at the same time, the words it is expressing are an integral part of its meaning
and message.
50
Appendix 3:
Scher, Paula (2015) Graphic Artist, Presentation talk at Pentagram with Rhianna
Davies present, 15th April (I transcribed a few select phrases from Schers talk)
3D space exploration was something I had never done before, It was about doing
something that wasn't expected of me.
Environmental graphics was a relatively new area in the 90s, before that everybody
was still creating flat 2D graphics and sticking it on the wall
was yet another way of rebelling against conformism
It started by being commissioned to design the outdoor posters for a theatre, and
then being hired by 3 theatres at once because they thought I was a theatre
designer. That gave me the opportunity to explore more architectural work, and the
scale of my typography applied to a building.
Computers are an amazing tool for environmental graphics, as it lets you visualise
space accurately
My early environmental work was about making something physical, as my stuff at
Pentagram was increasingly more digital. So I thought, I wonder what happens when
I put my paintings in a 3-dimensional space and get people looking at them that way
51
space exploration and environmental graphics is now just another form I use to
express myself, much of the content is still the same, but presenting it in a different
way
drawn to the scale of environmental graphics because it was exciting, a different
way of working
architects have the skills available to produce environmental graphics thats often
better than what you can do, because theyre better at visualising space than
designers
Appendix 4:
McGhee, Daniel (2015) Designer at Why Not Associates, email to Rhianna Davies,
13th October
1. In your opinion, do you believe that type on its own can be considered as art?
- Can you explain why you think this?
Short answer yes, I think it can.
But I suppose your question is open to interpretation. What does type on its own
mean?
More questions/thoughts come to mind...
Lots of artists use typography in their art so does this mean that typography can
be considered another medium like paint, or granite? Yes, I think so.
Lots of artists use language and the spoken word in their art so could typography
be considered the physical embidiment of this? Again yes, I think so.
Can a typeface, or even a single character from a typeface be considered art? I
think here you start getting in to the territory of where is the line between what is art
and what is design? no straightforward answer to this. Although one of the
examples Jake and I showed you the other day the project by Emil Kozolehttp://
emilkozole.com/Project-Seen is, I think, a typeface which ticks the box of also
being art.
52
and public lettering is going to be digital. (Screens instead of physical sings). To what
extent do you agree?
Short answeri disagree that the future will be only digital it has to be both.
To expand a bit:
As long as buildings and public spaces are made of stone, brick, steel, wood, etc,
then I think public lettering will also exist in the physical world using these same
materials.
A physical installation of typography (or any kind of physical installation) does a
completely different thing to one which is projected, or displayed somehow digitally.
Its the ephemeral Vs the permanent similar to the print vs digital argument in
publishing but taken to the extreme a physical installation made of stone or steel
has the potential to last hundreds/thousands of years the lifespan of a screen
based installation would rarely if ever compete with this. It would be interssting to
see some actual figures on the longevity of digital public installations.
Anyway there are some thoughts hope they make some sense!
Good luck with the dissertation.
Best,
Daniel.
Appendix 5 :
James, Luke (2015) Designer at Bread Collective, email to Rhianna Davies, 30th
October
Hi Rhianna,
Sorry for the delay in getting back to you.
We have answered the questions below - hope it is of use.
Many thanks,
Luke
53
1. In your opinion, do you believe that type on its own can be considered as art?
Can you explain why you think this?
Yes of course. Art can be defined by anything that can be appreciated for its beauty
or emotional power. Typography has the potential to fit this criteria so can
unquestionably be called art.
2. What role does location play for typographic installations?
Location is key. The most successful typographic installations consider their
environment. They may compliment or conflict with their immediate surroundings but
if the environment is considered then the installation has the potential to be much
more powerful and impactful.
3. Some individuals I have spoken to believe the future of environmental typography
and public lettering is going to be digital. (Screens instead of physical signs). To what
extent do you agree?
I believe there is the scope for the 2 to co-exist. Digital screens are flexible and have
to potential to convey numerous messages where as physical signage is suited to
more permanent opportunities. In all aspects of art and design the question is often
posed about new technologies and whether they will push out more traditional
approaches - this rarely happens and the 2 often find their own space within their
particular field.
54
BIBLIOGRAPHY
Books:
AbiFares, Smitshuijzen Huda (2010) Typographic Matchmaking in the City, Khaat
Books
Baines, Phil and Dixon, Catherine (2003) Signs; lettering in the environment,
Laurence King Publishing
Berger, Craig M (2005) Wayfinding, RotoVision
Harvey, Michael (2013), Twelve Letters On a Grand Scale - The Sainsbury Wing
Inscriptions
Haslam, Andrew (2011) Lettering; a reference manual of techniques, Laurence King
Publishing
Heller, Steven and Ili, Mirko (2013), Lettering Large, The Monacelli Press
Hunt, Wayne, Rosenthswieg, Gerry, LaBrecque, Eric (1994) Designing and Planning
Environmental Graphics, Madison Square Press
Kinnier, Jock (1980) Words and Buildings: The art and practise of public lettering,
The Architectural Press
Mollerup, Per (2005) Wayshowing, Lars Muller Publishers
Saccani, Anna (2013) Letterscapes, Thames & Hudson: SHS Publishing, Rome
Woolman, Matt (2005) Type in Motion 2, Thames & Hudson
Papers:
55
56
Online articles:
BBC News, (2007) Madrid memorial for train victims Sunday, 11 March 2007 [Online]
Available: http://news.bbc.co.uk/1/hi/world/europe/6439825.stm (Accessed 21/10/15)
Bollen, Christopher (2013) Barbara Kruger, Interview Magazine , Thursday 28
February [Online] Available: http://www.interviewmagazine.com/art/barbara-kruger#_
(Accessed 29/08/15)
Bramucci, Steve (2015) Street Art Collective Boa Mistura Takes Us On A Trip Around
The World, Uproxx; Life [Online] Available: http://uproxx.com/life/2015/06/boamistura-street-art-tour/ (Accessed 10/10/15)
Fulleylove, Rebecca (2015) LUSTs typographic installation visualises the
information surrounding us, Its Nice That, Friday 26 June [Online] Available: http://
www.itsnicethat.com/articles/lust-studio (Accessed 14/11/15)
Gever, Eyal (2012) Technology and art: Engineering the future, BBC Entertainment &
Arts, 4 October [Online] Available: http://www.bbc.co.uk/news/entertainmentarts-19576763 (Accessed 14/11/15)
Huffington Post: Arts & Culture (2012) Boa Mistura Uses Graffiti To Connect
Communities [Online] Available: http://www.huffingtonpost.com/2012/03/17/boamistura-graffiti-_n_1345702.html (Accessed 10/10/15)
Jaquemet, Nour (2015) Text-based If These Walls Could Talk installation redefines
art, Columbia Daily Spectator, February 26 [Online] Available: http://
columbiaspectator.com/arts-and-entertainment/2015/02/26/text-based%E2%80%98if-these-walls-could-talk-installation-redefines-art (Accessed 02/09/15)
Kirkup, James (2014) Getting to Know; Bread Collective [Online] Formfiftyfive
Available: http://formfiftyfive.com/2014/04/getting-to-know-bread-collective/
(Accessed 07/10/15)
57
58
Berger, Craig (2014) Web Guides: Sign Media [Online] Available: http://
www.signmedia.ca/environmental-graphic-design-the-history-of-typography-andsigns/ (Accessed 04/10/15)
http://www.pbs.org/art21/artists/barbara-kruger (Accessed 29/08/15)
Bread Collective (2012) Web Guides: The Mural Is Finished! [Online] Available:
http://www.breadcollective.co.uk/blog/the-mural-is-finished (Accessed 07/10/15)
D&AD (2011) Web Guides: Reflection The BMW Light Wall [Online] Available:
http://www.dandad.org/awards/professional/2011/typography/18916/reflection-thebmw-light-wall/ (Accessed 21/10/15)
DeMoney, Charlotte, (2007) Web Guides: La Grande Nomade dAntibes by Jaume
Plensa, Petanque & Pastis [Online] Available: http://
petanqueandpastis.typepad.com/my_weblog/2007/08/la-grande-nomad.html
(Accessed 12/10/15)
http://www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htm (Accessed 13/11/15)
Graphic Design History (2012) Evolution of the Roman letterform, Available: http://
www.designhistory.org/Handwriting_pages/Evolution.html (Accessed 22/06/15)
Gregory, Richard, (2013) Web Guides: Letters Potent - Signwriting and Civilisation
[Online] Available: http://www.signpainting.co.uk/lettering/victorian.htm (Accessed
07/10/15)
H Mayer, J (2011) Web Guides: RAPPORT. Experimental Spatial Structures. [Online]
Available: http://www.jmayerh.de/97-0-Rapport.html (Accessed 10/10/15)
Maddever, Mary (2008) Web Guides: Campbells helps hunger disappear [Online]
Available: http://strategyonline.ca/2008/07/01/upfrontbrilliant-20080701/ (Accessed
21/10/15)
59
Oxford Dictionaries (no date) Web Guides: art [Online] Available: http://
www.oxforddictionaries.com/definition/english/art (Accessed 22/10/15)
Puhvel, Jaan (1974) Web Guides: Encyclopaedia Britannica [Online]. Available:
http://www.britannica.com/topic/epigraphy (Accessed 22/06/15)
https://segd.org/blog/wayfinding-and-playfinding (not used yet)
Studio Vollaerszwart, (2009) Evergreen [Online] Available: http://
www.vollaerszwart.com/88203/735664/projects/evergreen (Accessed 11/10/15)
The New England Holocaust Memorial (No date) [Online] Available: http://
www.nehm.org/the-memorial/ (Accessed 21/10/15)
Young, Karl (1987) Web Guides:The Roman Alphabet in its Original Context,
Available: http://www.thing.net/~grist/ld/TextBackHome/Roman.htm (Accessed
22/06/15)
60
PROGRESS MAP
Ideas started with my personal
interests and experiences
Books
Considered book design
because I am interested in
editorial and the physical
form of books. History of
book cover design?
However I didn't want my
dissertation to be dry and
repetitive of other
students investigations,
so kept this idea to the
side whilst I explored other
possibilities.
Artist
Designers role
My work experience
last year made me
inquisitive into the
role of designers in
industry, however I
struggled to think of
where else I could
go with this area.
Anamorphic Type
Historical and
contextual place?
Why has anamorphic
type recently become
more popular in
contemporary design?
Is a focus primarily on
anamorphic type too
repetitive and simple?
Not sure I will remain as
passionate throughout
compared to a wider
topic within typography.
Environmental
How is type being used
differently in spaces
today? Signage, way
finding, commercial
advertising, sculpture
Found a relevant book
on type installations Letterscapes Thames & Hudson
which gave me a great
starting point to
research.
61
Progress Map
Rhianna Davies
E.g.
How do graphic designers make type interactive?
How do type installations engage an audience and to
what extent do their designers consciously produce
secondary meaning?
Some
photographs
taken whilst in
Porto.
Progress Map
Rhianna Davies
Further development of my lead question, I
wanted my topic to question the concept of
art a little, and how changes in type can be
linked to artistic influences.
Book on
innovative
way finding
and signage.
Introduction
Chapter 1: Historical context
Chapter 2: Information and architecture
Chapter 3: Methods and public lettering
Conclusion
Progress Map
Rhianna Davies
4.) To what extent do you believe type (on its own) can be
viewed as a piece of artwork?
Best wishes,
Rhianna Davies
Visited the
National Gallery in
London, seeing
the inscriptions by
Michael Harvey.
Relevant book:
Twelve letters on
a Grand Scale,
book about the
Sainsbury Wing
inscriptions by
Michael Harvey.
Includes
inscriptions
64
Progress Map
Rhianna Davies
2.) I try where possible to include the choice within the history
and context of the work.
The Witham text and typeface background is as follows:
Horace Walpole the 4th Earl of Orford (24 September 1717
2 March 1797), was an English art historian, man of letters,
antiquarian and politician. He is now largely remembered for
Strawberry Hill, the home he built in Twickenham, and for
coining the word Serendipity. In 1749 he wrote what pleases
me most in my travels was Dr. Sayers parsonage at
Witham ... one of the most charming villas in England. There
are sweet meadows falling down a hill, and rising again on
tother side of the prettiest winding stream you ever saw. To
further echo the words of Walpole the text flows with them
and the suggested river, and is set in a typeface of the same
era, Caslon. The typeface Caslon was designed by English
gunsmith and typeface designer, William Caslon I (1692
1766) in 1722. It is cited as the first original typeface of
English origin. The Caslon types were distributed throughout
the British Empire, including British North America. Caslons
types were immediately successful and used in many historic
documents, including the US Declaration of Independence.
After William Caslon Is death, the use of his types
diminished, but saw a revival between 184080 as a part of
the British Arts & Crafts Movement. The Caslon design is still
widely used today. For many years a common rule of thumb
of printers and typesetters was when in doubt, use Caslon,
particularly if no typeface was specified. Several revivals of
Caslon do not include a bold weight. This is because it was
unusual practice to use bold weights in typesetting during the
18th century, and Caslon never designed one.
3.) I have always had an interest in graphic design and
studied the subject before fine art, although not at degree
level. I've been through periods of trying to be a little more
organic (messy) within my work but always return back to a
more graphic approach, I would say my art practice very
much operates on the line between fine art and graphic
design.
Typography naturally falls into this. I struggled with medium
when first studying fine art and found myself returning to the
'safety' of text when producing work, this has continued
throughout my career with some major exhibiting work and
public artwork being text based.
Progress Map
Rhianna Davies
66
Progress Map
Rhianna Davies
Rhianna,
Good luck!
JD
67
Progress Map
Rhianna Davies
History in
chapter 1;
Roman
epigraphy and
hand-painted
lettering i.e.
revolutionary
moments in
environmental
typographic
history.
Inscription
methods being
used today,
chapter 1;
three
contemporary
examples.
68
Progress Map
Rhianna Davies
2D type
being used
in art, starting
with Barbara
Kruger
2D type
being used
in art;
examples of
concrete
poetry,
where words
arent used
for linguistic
interpretation
3D type being
used in art;
examples of one
worded
sculptural pieces
being used in the
environment.
69
Progress Map
Rhianna Davies
70
Daniel.
Progress Map
Rhianna Davies
Progress Map
Rhianna Davies
Looking over what I have written so
far, I feel like the style is too choppy; I
use too many visual examples that
the writing doesnt have smooth
transitions from one point to another.
Its almost like a mash up of mini
essays all in one?
72
Progress Map
Rhianna Davies
73