SHARE AND DISCUSS
in class: group share and discussion of the items you collected. pin things up, organize, categorize. what do we see? how do we feel? what are the criteria for organizing?
homework: from this huge pool of information, think about large areas of typographic practice you’re interested in, or things designers should be paying attention to. do more research on those things, perhaps getting a bit more specific or in-depth than before. bring in more stuff. look at key designers engaged in this kind of work and find tons of examples. bring that in too.
read triggs pp 12-17
1 comment:
Response to TRIGGS' reading p.12-17
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It's funny, at least in Michael's class, we literally just do straight-up Weingart studies. (see: Wolfgang Weingart's experiments with the letter 'M' (1965-68).
Anyway, to respond to the second half of the Triggs reading, SPOT ON–our education, is highlighted in pages 12-17.
for instance:
"Experimental typography has reached a point where it is accepted an an integral part of the design process. Many educational institutions now offer classes dedicated exclusively to experimental typography and encourage students to engage with design research as a process of 'thinking' and of 'making"
It goes on to say:
"Designers and typographers have become more aware of the link between craftsmanship and historical understanding, cultural and technological issues, the aesthetics and function of type and the importance of language and meaning. At the same time, the broader audience has become more sophisticated in its 'ways of reading' and more accepting of the way designers and typographers present alternative models of visual communication."
I think a couple of (corporate) examples of that are the modern re-branding of companies like Pepsi, Walmart, etc... Those companies who want to refresh their look to appeal to the younger, hipper crowd.
...As well as the smooth arrivals of new products like the well-designed 'Truvia' sugar substitute. (Which is nasty, by the way.) Or, even the Shatto milk bottles from the local farm.
Also, the question is asked in the essay about the validity of our experimental processes now:
"Yet, has the typographic experiment played itself out? It has become evident that the typographic experiment had ceased to be experimental by the start of the new millennium. Rather, much of what is currently produced reflects a continuation of earlier experimental strategies and processes. Almost in recognition of this."
HOW CAN WE GO ABOVE AND BEYOND? I personally am going to approach my experimental type project with both a scientific, and visual communications outlook and objectives.
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