Discovering
Graffiti A Typographer's Field Notes Shelby Robin
Discovering Graffiti
Typography
Discovering Graffiti A Typographer's Field Notes
Shelby Robin
Robin Egg Publishers Berlin + Boston 2016
Shelby Robin is a design student at Northeastern University in Boston Massachussetts. This book is the compilations of her five week study abroad in Berlin, Germany. Robin Egg Publishers Northeastern University Crellestr. 21 10827 Berlin Š 2016 by Shelby Robin All rights reserved. Printed in the city of Berlin in 2016. No part of this book may be used or reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval systems, without written permission of the publisher or author, except where permitted by law. Printed in the city of Berlin First Printing, 2016 ISBN 5-3116000-0-0
To my summer spent in Berlin.
vii
“
Graffiti is one of the few tools you have if you have almost nothing. And even if you don’t come up with a picture to cure world poverty you can make someone smile while they’re having a piss.” Banksy, Banging Your Head Against a Brick Wall, 2001
viii
Contents
Introduction
1
1
Form
3
2
Feature
3
Artifact
4
Texture Movement Line 11 Letter Punctuation Symbol 19 Mark Banner Body
Systems
27 Internal External
ix
Preface
During my first few hours in Berlin, I saw the graffiti. The graffiti covers buildings, bridges, train stations and more. The graffiti attracts tourists and artists who are sure to be inspired by a city that isn’t all shades of grey, but rather is bright and colorful. The graffiti is a stamp of Berlin embracing and valuing freedom. The graffiti is a mark of Berling being a rapidly changing city since the wall was taken down in 1989. This book is full of observations I made as I explored the city and photographed its beauty. I wanted to showcase the range of graffiti seen all over the city, as well as similarities the graffiti shares. As a typography student
I was interested in how graffiti’s hand done type differers so drastically from typography, yet there are many connections that can be made. This book came into being through an assignment from professor Nathan Felde on a dialogue of civilization in Berlin with Northeastern University. The assignment encouraged us to notice a form that is unique to Berlin. Though you can find graffiti in cities all over the world, graffiti is tied to Berlin’s history. During my stay, Berlin has inspired me greatly, and I am grateful for the ideas it has given me.
xi
graffiti noun
typography noun
Writing or drawings scribbled, scratched, or sprayed illicitly on a wall or other surface in a public place.
The art or procedure of arranging type or processing data and printing from it.
Introduction
Graffiti and typography each have unique goals that they are trying to achieve. The goals lead to the two mediums having distinct sets of rules that they follow. The goal of typography is for the type to be legible and beautiful, so it has strict constraints. The goals of graffiti are much looser. Legibility is not a concern, and self-expression is encouraged. These differences will become apparent in the spreads to come.
This book is divided up into four sections; form, feature, artifact, and systems. At the beginning of each chapter, a definition of each term will be given, along with what they mean in the context of graffiti and typography. Within each of these four sections, a few comparisons will be made between graffiti and typography, with graffiti on the left and typography on the right.
1
Form
Chapter 1
Form form noun The visible shape or configuration of something. A particular way in which a thing exists or appears.
On the most basic level, graffiti and typography are both forms. Form relates to all the visual qualities that does not include literal content. It encompasses elements such as color, scale, texture, and movement. These qualities are distinctively different for graffiti and typography. This is because of the contrasting goals and process methods the two mediums have.
3
Texture
texture noun The feel, appearance, or consistency of a surface or a substance.
The tools used for graffiti and typography have strong effects in the visual outcome because of what they are capable of making. Spray paint creates a vague line. It does not make clear beginnings and ends to the form, and instead has a faded border. Before computers, when type was made using lead and ink, a similar phenomenon could be seen up close, and even now printed type has small amounts of dispersal. But, type is also now often viewed on a computer screen, where it is made up of mathematically precise vectors that are completely definite.
4
Superposition
Crispness
Form
5
Movement
movement noun The act of moving from one place or position to another.
The movement of the forms in graffiti can be broken down into two categories, gestural and mechanical. Gestural means that an organic movement of the body created the form. Mechanical means the form appears to be have been made by a machine, with premeditated and harsher shapes. These two categories are more extremes then two separate umbrellas. Graffiti and typography can fall anywhere on the spectrum from gestural to mechanical, though graffiti will lean more gestural and type will lean more mechanical.
6
Mechanical
Gestural
Form
7
Line
line noun The use of various marks, outlines and implied lines in artwork and design. Includes width, direction, and length.
Gestural and mechanical are two extremes rather then two separate umbrellas. Graffiti can fall anywhere on the spectrum from gestural to mechanica. Gestural means that an organic movement of the body created the form. Mechanical means the form appears to be have been made by a machine. There are also fonts that appear to be more gestural or mechanical. Though typefaces now are being rasterized by a computer, some are made to feel like they were handmade, while others are made to look machine made.
8
Tapered
Thick
Thin
Form
9
Feature
Chapter 2
Feature feature noun A distinctive attribute or aspect of something.
Graffiti and typography more or less share similar features. The same set of letters, punctuation, and symbols are repeatedly used in both, which makes them easy to compare. Graffiti and typography have distinct preferences that you can see repeated if you are analyzing their features. Graffiti is more likely to be experimental and attention grabbing then typography.
11
Letters
letter noun A character representing one or more of the sounds used in speech; any of the symbols of an alphabet.
Though the same letterforms are used in graffiti and typography, the style of the forms are distinct. A typographer would normally divide fonts into two categories, serif and sans serif. In graffiti there are many creative ways of making the same letterforms. Legibility is not the first goal of graffiti, so they are able to be experimental. When a typographer is being experimental they still have to be constantly checking that their work is still legible. Here you can se many unique forms of the letter "n" found in graffiti and typopography.
12
Feature
N N N N 13
Punctuation
punctuation noun The marks, such as full stop, comma, and brackets, used in writing to separate sentences and their elements and to clarify meaning.
Both typography and graffiti use punctuation, but the function it serves is very different. Examples of punctuation found in both graffiti and typography are displayed to the right. In typography punctuation adds to our understanding of a text, and it follows a distinct set of rules. Correct punctuation is never optional. In graffiti, punctuation is not used consistently, and when it is used it is not typically grammatically correct. The punctuation usually serves a decorative or attention grabbing function.
14
Comma
Period
.
, Exclamation
Ampersand
*
!
Quotation
Asterisk
Feature
&
" 15
Symbols
symbol noun A mark or character used as a conventional representation of an object, function, or process.
Symbols are something often used in graffiti and graphic design, but less in typography. Symbols are a quick and effective way to communicate meaning. In graffiti symbols are used to decorate text and enhance the message the artist is making. There are some typographic symbols that are used in both graffiti and typography, but these symbols are much more accepted in the world of graffiti. Symbols are commonly used in the communication system of texting, as a way for people to further express what they are trying to say in a visual way.
16
Faces
Heart
Arrow
Feature
♥ ☺ 17
Artifact
Chapter 3
Artifact artifact noun An object made by a human being, typically one of cultural or historical interest.
Graffiti and typography can be compared on an artifact level. Because they are both methods of communication they are often trying to do the same things, just in different ways and in different settings. The audiences are different, which also has a big impact in the outcomes. The concern of typography having to be legible and graffiti not having to be legible also plays a big role on the artifact level.
19
Mark
mark noun A line, figure, or symbol made as an indication or record of something.
A mark is a repeated visual structure that is representative of a person, group of people, place, or company. In the world of typography this would be called a logo, and in the world of graffiti this would be called a tag. A mark is repeated so whenever you see it you think of whom it belongs to. Logos are very important in branding, because you want a logo people will recognize, remember, and relate to. In graffiti, a tag is a way to quickly mark where you have been, and leave a mark on an area.
20
Logo
Tag
Artifact
21
Banner
banner noun A heading or advertisement appearing on a web page in the form of a bar, column, or box.
Banners are what catch a passerby’s attention. It is meant to draw you in to read the text that is smaller. For graffiti the banner is often the whole deal. The message is concise enough to be presented just as a banner. In a piece of typography the banner is often just meant to be a tag line. The real information is discussed bellow and needs more time invested in it. Sometimes in graffiti, the banner is eye-catching, but the message is not clear because it is not legible or in context. Typography has to balance between eye-catching text and flashy or kitsch text.
22
Artifact
23
Body
body noun The main or central part of something, especially a building or text.
Body text is what delivers the balk of the content. The defining difference of body text in graffiti and typography is the number of contributors. A body text of graffiti contains graffiti from multiple different peoples and points of time. It is more open to additions and collaborations. Typographic body text is stagnant and not open to change. It has a conscious message it is delivering, and the type is just a vessel for the content.
24
Artifact
25
Chapter 4
System system noun A set of things working together as parts of a mechanism or an interconnecting network; a complex whole.
There are the systems being referenced by the words of graffiti and typography. Many different social, cultural, and political issues are discussed by graffiti and typography. There are also pre-existing systems that allow for the graffiti and typography to be produced. There are historical, economic, and environmental systems that create a world full of graffiti and typography.
27
Internal
internal adjective Of or situated on the inside.
Many systems are referenced in the content of graffiti and typography. Both of these mediums are great ways of communicating messages and making a stand. Graffiti artists often use graffiti as a way to make themselves heard. You can find graffiti addressing specific political problems, social issues, or philosophical ideas. Because graffiti is often in an urban area it gets a lot of passersby, but people are not necessarily noticing the individual points being made. Typography can also be a successful way to communicate ideas, but distribution can be difficult.
28
System
29
External
external adjective Belonging to or forming the outer surface or structure of something.
Neither typography nor graffiti exist inside a bubble. Outside systems both makes it possible for them to exist and effects how they interact with the world. There are historical systems that contributed to the value graffiti and typography both hold today in relationship to Germany. The Berlin Wall introduced graffiti to Berlin’s culture, and the Bauhaus made design important in Germany’s history. The setting of where these things are placed and the process of how graffiti and typography are created also contribute to its systemic value.
30
Process
Setting
Historical
System
31
System Bibliography
Colophon
Banksy. Banging Your Head against a Brick Wall. United Kingdom: Weapons of Mass Disruption, 2001. Print.
Font: Futura Software: Adobe Suite
Gatti, Mauro. Save the Arctic. Digital image. Mauro Gatti's House of Fun. Mauro Gatti, n.d. Web. Sontag, Michele. Beauty Is in the Eye of the Beholder. Digital image. Behance. Behance, July 18. Web. Carreras, Genis. Feminism. Digital image. Studio Carreras. Studio Carreras, 2013. Web. Water. Digital image. Wanhuajing. N.p., n.d. Web. Google Logo. Digital image. Google. Google. Google, n.d. Web. Coca Cola Logo. Digital image. Coca Cola Journey. Coca Cola, n.d. Web. DFB Eagle. Digital image. Wikipedia. Wikipedia, n.d. Web.
33
34