Typographic Voice
The first iteration of my intervention, in the form of a GCD Practices task
Background
In the first session of this block we explored how the visual arrangement of typography can be used to express meaning/emotion. In previous units we have explored typographic approaches to hierarchy, organisation, grids, legibility/readability. Building upon this knowledge, this task asks you to further explore, experiment and challenge these fundamental aspects of typography.
The task
We often talk about typography as being a visual ‘voice’ for language. For this task you are asked to design a poster that uses typographic means to visually communicate a quote of your choosing.
This task asks you to do two things:
– Explore how typography can be used to express and enhance the meaning of a chosen quote
– Consider your own positionality/identity in terms of the quote you choose and how you approach the design. By doing this you are aligning yourself with the message (content) and the design methodology (form).
Practical considerations / specification
– Format: A2 portrait poster (420 × 594 mm)
– Typography only (You may use more than one typeface and any glyphs contained in the typeface)
– 2 spot colours (these would be specified as Pantone colours to a printer, you can set these up in InDesign using the colour swatches)
– No images, graphics, shapes, etc. Typographic elements are allowed such as underlines, modifying typefaces, hand lettering, etc (in discussion with your tutor and see references for examples)
– You will need a laptop with InDesign and access to Adobe Fonts for this task
– You will need to print an actual size poster by the end of the session, the print can be tiled and printed on 2 x A3 sheets and stuck together to make A2
Approach
Consider your own intersectional identity as a way to ‘frame’ this project. Can you find a quote that speaks to your own identity in some way? Our intersectional identities might include aspects of our identities such as: gender identity, gender expression, race, ethnicity, class (past and present), religious beliefs, sexual identity and sexual expression.
Research the quote, author and context. Your typographic decisions should be informed by the quote you have chosen, the themes of the message, the inherent structure, language and rhythms of the text. Consider how typographic decisions such as: choice of typefaces, size, arrangement, use of colour, etc can express / enhance the meaning of the words.
How might your design challenge the Eurocentric canon of Western typography? Challenge conventions of what is considered ‘good’ or ‘correct’ typography.
In terms of visual references and research, you might look at visual or conceptual ideas relating to your own identity, these might include those from indegenous cultures, queer culture, vernacular sources, religious manuscripts, non-latin scripts and layouts.
References
– The People’s Graphic Design Archive
– Anoushka’s ‘Ways of Seeing’ workshop (students do this in Stage 2?)
– Anoushka Khandwala, What Does It Mean to Decolonize Design?, AIGA Eye on Design
– Paul Soulellis, What is queer typography?
– Black Panther Newsletters, published by UAL’s Shades of Noir
– New Black Face: Neuland and Lithos as Stereotypography
– Robert Brownjohn, playful approach to typography
– Amandine Forest, CSM GCD alumna who’s work explores themes of decoloniality and typography
– Black Joy Archive
– Rose Nordin
Schedule
Prior to the session
– Choose a quote that in some way connects to your own intersectional identity / positionality
Week 1
2pm: Briefing and intro
2.45–3.30pm: Positionality workshop
3.30–3.50: Break
3.50–4.30pm: Initial ideas, sketching, work quickly and loosely, try different typefaces
4.30–5pm: Review sketches/ideas/trials with peers on table
Week 2
2–3.30pm: working on final designs
4.15pm: Pin-up on wall for review / feedback