TRIGGS RESPONSES PP 12-17
what do you think about technology's role in enabling typographic experimentation? what technology is the present-day equivalent to the desktop computer, and how might that be utilized in type design or typography?
what potential exists for continuing to explore the "second order of denotation" as mentioned in the cranbrook/mccoy sections?
further, what potential might your area of interest have to "promote multiple rather than fixed meanings" as jeffery keedy mentions? and what role might the reader play in the construction of your typographic messages?
thoughts? does this spur any ideas for your own work? respond in the comments here.
Showing posts with label week 2. Show all posts
Showing posts with label week 2. Show all posts
2.01.2010
week 2 A
RESEARCH TRENDS PART DEUX
in class: in a quick session of one hour or less, we will review everyone’s area(s) of interest as a group.
narrow things down to one large interest area, “architectural typography” or “sign painting” or “utilitiarian type” for example. spend time organizing your collection of stuff into appropriate categories. if you can give it a loose descriptive title like above, it’s probably an appropriately sized chunk of the type world. before the end of class, make something visual that represents your collection/interest area. it can take any form and include all of your (2nd) collection, just a few bits, or be something entirely new. just respond visually -- no pressure. we will look at everyone’s creations the last five minutes of class.
homework: outside of class, meet up with other classmates working on similar themes. share findings, observations, and just generally get a feel for what others are doing.
write a page or so (not including images) about this recurring typographic tendency or larger trend you observe from your research. how would you describe it? what are its traits? where did it begin? where does it appear? who’s doing it? why is it important?
writing is another mode of expression and creation apart from visual making. it can help you think, analyze, categorize, and clarify to yourself what it is you’re working with.
make a visual organization of your 2nd collection, or some edited version of your collection. put it into some visual form according to appropriate subcategories, gradients, or other organizational strategy. we’ll look at these in the next class session.
ideally your interest area is something more lasting than the industry’s year-long obsession with a particular script typeface, but is a emerging undercurrent of typographic practice. feel free to go back and add example images after you write.
read: triggs chapter openers, pp 20-25, 54-57
in class: in a quick session of one hour or less, we will review everyone’s area(s) of interest as a group.
narrow things down to one large interest area, “architectural typography” or “sign painting” or “utilitiarian type” for example. spend time organizing your collection of stuff into appropriate categories. if you can give it a loose descriptive title like above, it’s probably an appropriately sized chunk of the type world. before the end of class, make something visual that represents your collection/interest area. it can take any form and include all of your (2nd) collection, just a few bits, or be something entirely new. just respond visually -- no pressure. we will look at everyone’s creations the last five minutes of class.
homework: outside of class, meet up with other classmates working on similar themes. share findings, observations, and just generally get a feel for what others are doing.
write a page or so (not including images) about this recurring typographic tendency or larger trend you observe from your research. how would you describe it? what are its traits? where did it begin? where does it appear? who’s doing it? why is it important?
writing is another mode of expression and creation apart from visual making. it can help you think, analyze, categorize, and clarify to yourself what it is you’re working with.
make a visual organization of your 2nd collection, or some edited version of your collection. put it into some visual form according to appropriate subcategories, gradients, or other organizational strategy. we’ll look at these in the next class session.
ideally your interest area is something more lasting than the industry’s year-long obsession with a particular script typeface, but is a emerging undercurrent of typographic practice. feel free to go back and add example images after you write.
read: triggs chapter openers, pp 20-25, 54-57
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