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Day Oneh.y.. Typograp Studio 1

This Means This, A user’s Guide Sean Hall

Reading requerments: This means That: to Semiotics by

It starts with a list and a question:

And what kind

your Favorite things. of message would

you like to

tell through your

A list from


Then we come up

with the word

“culture” through the student’s list. Based on this

concept, we start three assignments:

“Di construct

con str actio n




is beauit maketsiful, lots of ideas.” Ja ne Jcob

Beside these three projec main ts we did so typo i me mage a ssignm ents. One of the m was to cre rhythm ate out of letter cut th s. We e lett ers an to con d trie sider d them a silhou s an ete im age ra alphab ther t ets. han

“Gravity i s one of th e effectiv e element s in our v ision.”

We see every thing around us change rapidly. Things move, colors change, people get old, monuments are consostructed and on the other hand crumbled.

“Evolu aspect

tion” d

Modern trained a situa ability mained surrou


s of ou

r daily

es eve



tion ha

and de



the re-

ency o






d in su

at deb

of iden

s been


tion th


f our Alph


loca ten


t” c

ts a


nd t

ng t

he s


e of

the ma o-ca g re o day lled ry. W and “ e c ons nee it is isd th day imp em with ossi eve ble out ryto t the hink m. of a ate

he s

The Strongest Desig n T Simpleelsls Stories t

The most important features of any vitavl medium,such as alphabets that used by humans, are improvement and modification.

we noisewith the body and e noises, k a m e w As , by s d n u o s sh aping and articulating ing are shap nds we th e u noise into meaningful o making s te with the sounds. When we look ica commun t ar ound us. ba n ck to the process e environm of speaking of the alphabets existen ity ce, a The activ g n ti a r e n e g s e involv

there was we see how from the a shift away pes abstract sha neiform namedas Cu , Wadi-elHieroglyph etc. toward Hol, Sinai, word. the written

But what is happening right now is another shift in which we try to read, not the alphabets or words but the images that represent them.

The image has grown in utility with the technological developments of the 20th century, but without sufficient context or prior knowledge, these im-

ages always need to be clarified with supporting text.

Communicating with words rather than images contain less misunderstanding and more accuracy, but we still would love to read images and communicate with them even though there is a chance to receive a wrong message.This conflict between the written words with the quality of exactness and image with its attraction causes one of the main concerns of communication artists.

What they (artist) attempt to achieve in these modern in a striking piece is to conpieces are strong vey the right massage to the auand expresdience and not confuse them. sive images. Even Letters are specialized images, in type- centered and we have the tendency to read pieces, type usually words as images. Some designbeing used as a meers play around this idea and dium to accentuate the experience the type as an imimage. age from the first place. They Lajos Major crated a letfade out the usual division ter juggling theater, where of text and image and try the actor, like a seal, balto find a spot that these ances letter on the tip of his two elements can conor his nose. Stories are told struct a unify totality, through the composition of a text- image terdifferent words using the charritory. acters. His primary medium is For example, type, but what we interpret from look at most his works are not through the type contempoitself. In some of his works an alrary typogphabet plays a role of an arrow, to raphiesthey are designed to highlight the point that they used image to represent the type and not the type to create an image. What play a dominant role

But any one who considers limitations and hurdles to be a shortcoming is making a fundamental mistake.” (Dax 6) Many artists and designers find these limitations as a chance to spread the process of brainstorming and find the solutions in that narrow corridor.

The “Letter-Fetish” project he used Fraktur and Grotesque letters ,which made of paper. “The best way to learn the alphabet is by aggressive osmosis”. (Major 176) vFor the graphic designer, using typography to produce visual branding for a band, an artist, or a DJ- or, conversely, caus ing the object of desire to disappeare behind the letters, but then again that too is form of branding- only opens up a narrow corridor.

If we consider his works as a poster and divide them to type and image, there will be no semantic relations between them.

emphasize and lead our eyes toward a human body gesture (Image). It would not make sense if we do what we usually do.

Typography is one of the so lutions that while we are adheri ng to the de signated rang e, we can divide it to as many as branches and derivatives that we need to detoxify the problem. This divisions th at the design ers play around with can be applied in va rious genres of communication contexts. From advertising, movie titles to music vide os. As we are co mpelled from birth to utte r sound to comm unicate, we ar e processed by a no less pr imal urge- a desire to ma ke a mark. We have develope d many visibl e systems of co ding to reco rd and docume nt spoken langua ge. We have sy stem that represent the wo rd with an im age- a systme of simple ma rks to repres ent the basi c sounds of spee ch that a huma n being can make. But what has happening since then is that thes e arbitrary images are changing thei r identity an d presenting themselves in a new covere d identity as type. So th ey are not an ymore considered as ab stract images vpendently can exist perf ectly. They ne ed to be

adapted with some other mediums of




communication. Since the messages

soon one of the most

and information that people need to


convey get more and more compli-


cated, type will not be able to

the large screen. The

deliver them by itself.

whole installation of

Type definitely needs some sort of

text, images, and mu-

support to clarify its message.

sic in this video cre-

One of these supporting levers is

ated a wonderful and



Kuntzel & Deygaz are a duo of vi-

that entertains the au-

sual artists who live and work in

dience in the beginning

Paris. They have created charac-

and gives a clear idea

ters such as “ The Beauty and

of what type of movie

Her Beas”, Caperino and Peper-

should we expect.

one”, Winney & Loosey”, and

Once again we might ask,

recently “MiCha” pet lamp.

why designers all the time

Their narrative and graphic

need to bother themselves

universe meets high end de-

and try to make complicat-

sign, fashion, and also cin-

ed compositions of type,

ema.Steven Spielberg commis-

image, sound, performance

sionned Kauntzel & Deygas to

and so on? Why they do not





let each area stay apart clearly and do its own task and function. The simplest answer would be, “it’s because of us”.

Source book  

This source book contains the process of my thinking. The whole design of this book is base on the concept of "culture and variation". A wal...