A FOLDER ON TYPOGRAPHY IN PERSPECTIVES
T YPO
This page is written in the
picture picture perspectives is all about letting others in on a little secret. Both the plane viewer and the creator knows that what’s being portrayed is just a fake, perspective,
a illusion. That does not stop the eye from believing something totally different.
where the canvas is an imaginary flat surface and the object being viewed and is ordinarily a vertical plane. Scientificly speaking, the sight is perpendicular (one quarter of a circle, 90*) to the horizontal projection of the line of sight to the object’s order of interest.
T YPO
What perspectives can be taken into use within typography, and why should we be on the outlook for new expressions? In short, this folder is about the illusion of depth and the three dimensionality that accompanies certain types of perspectives. It’s a search for something expressivily new, and should serve just as an recommendation upon the reader to simply be willing to do the different. On that note the folder is experimental in the sense of investigating how typography can penetrate the picture plane in an interesting way and thus create new font styles and expressions.
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projection fig. 1
SRCE: WIKIPEDIA
Isometric
The phrasing “isometric” comes from the Greek for “equal measure”, reflecting that the scale along each axis of the projection is the same (unlike some other forms of graphical projection). An isometric view of an object can be obtained by choosing the viewing direction in a way that the angles between the projection of the x, y, and z axes are all the same, or 120°. For example when taking a cube, this is done by first looking straight towards one face after the other, meaning the x-axis, y-axis and the z-axis.
First formed by the professor William Farish (1759-1837), the concept of an isometrical view existed in a rough empirical form for centuries. From the middle of the 19th century isometry became an “invaluable tool for engineers, and soon thereafter axonometry and isometry were incorporated in the curriculum of architectural training courses in Europe and the U.S.” According to Jan Krikke (2000) however, “axonometry originated in China. Its function in Chinese art was similar to linear perspective in the respective Europeean scene.
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SRCE: WIKIPEDIA
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Linear perspective (from the Latin perspicere, to see through) in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is seen by the eye. The two most characteristic features of the perspective are that objects are drawn smaller as their distance from the observer increases. The size of an object’s dimensions along the line of sight are relatively shorter on dimensions across.
All of the drawings assume the viewer is a certain distance away from the drawing. Objects are scaled relative to that viewer. Additionally, an object is often not scaled evenly: a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as a aforeshortening in the traditional sense.
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“I believe that global communication is going to force designers—and thus typographers—to push themselves to understand and engage multiple cultures simultaneously” JAMES PUCKETT
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EXPRESSIVE, INTERESTING,
USELESS? TEXT: JAMES PUCKETT
SRCE: TYPOPHILE.COM
How do we make the typographic exploration bare fruit in useful fonts? What can we expect from the immediate future, both from typographers and graphic designers? In the immediate future I think we’re going to see more exploration of expressive/postmodern typography, but this time driven more by enhancing communication and less by the technological experimentation that was so prevalent the last time around. In type design, large, versatile families and superfamilies will become more popular as multinational entities flex their identity muscles on a global scale. There’s going to be a greater demand for fonts with five weights, three widths, and supports for every possible Latin language, Cyrillic, Chinese, and probably Arabic. On a somewhat related note, the “great designers” of the future will no longer be the high-minded hotshots in New York and Basel, they’ll Dubai-based geniuses who can effectively communicate across all or several different cultures.
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“In Melbourne I developed a way-finding-system for the Eureka Tower Carpark while working for Emery Studio. The distored letters on the wall can be read perfectly when standing at the right position.”
AXEL PEEMOELLER AXELPEEMOELLER.COM
T YPO
SRCE: GOOGLE
They are many, and several has recieved multiple design awards. Here are some of the more spectacular ones.
BELA BORSODI
EMILY C.M. ANDERSON
AUTOBAHN
Austrian New York-based photographer who made a fantastic editorial called Alphabet for WAD’s (We Are Different Magazine) dictionary series.
Emily CM Anderson is a graphic designer working in New York City. She studied at the Minneapolis College of Art and Design and at the Academie voor beeldende kunst en vormgeving Arnhem, in the Netherlands. I really appreciate the quality of her work, including her involvement with the redesigned and re-conceptualized 66 year old American Craft magazine, D&AD of Dwell during 2005/6, info graphics for New York Magazine.
Autobahn is a graphic design collective consisting of Jeroen Breen, Maarten Dullemeijer and Rob Stolte, graduated from Utrecht School of the Arts (HKU). Autobahn designs special graphical projects, often with an illustrative and typographical angle. Autobahn is characterized by an analytical approach in the beginning and a strong sense of form at the end of the process, combined with passion and ambition.
ECMANDERSON.NET
AUTOBAHN.NL
Through combining aspects of fine art, graphic design, craft, and psychology, his work offers a surreal imagery that makes clothing and accessories 3-dimensional. Borsodi says of his work “I love making things and putting things in an unusual context incorporating various visual languages coming from art and graphic design– eroticism is also a fascination of me that I love exploring”. BELABORSODI.COM
FOLDER AND DESIGN OLE-M ØDEGAARD