First thoughts -further investigation.

Here I had a little bit of experimentaton combining Gill Sans with humanist typefaces and some Victorian type.

Also I’ve investigated into where have Victorian typefaces evolved to in our time.
Trilby designed by Jonathan Ross is a 19th-century French Clarendon, with its unorthodox reversed stress, never achieved the versatility of its sans and slab siblings.

Trilby Typeface by David Jonathan Ross

Ivbe also looked at another French Chlaredon based typeface called Amasis. Designed by Ron Carpenter is a slab serif design which has been drawn with a humanist approach, rather than the traditional geometric construction associated with this style of letter. The result is a typeface that has an affinity with the Ionics, although in character it belongs to the latter decades of the twentieth century. The Amasis italic fonts, rather than being sloped roman or cursive in nature, are related more to the Old Style italics. Amasis works particularly well in small sizes where readability is important. Amasis has proved excellent for use on low resolution printers and for facsimile transmissions.

What has interested me here is that Amasis works perticulary well in small sizes and could be used for continuous text, which is vital for my project.

Amassis Typeface designed by Ron Carpenter

Another choice for continuous text would be Serifa, as it is a slab serif and has a good legibility at all sizes. From http://www.typedia.com “Serifa was designed by Adrian Frutiger for the Bauer foundry in 1966. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

Usually, slab serif types are blocky and difficult to read in text, but Serifa has more humanistic forms that are highly readable for both text and display applications such as headlines, captions, or corporate logos.”

Serifa Typeface by Adrian Frutiger

The last typeface I have looked at is Rockwell designed by Monotype. Rockwell is traditionally a display font, so it could be well used for the cover design or headings.

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Selecting type – first thoughts.

When I started to think about selecting typography the first two things that came to mind is that typographic selection should be concerned with two things – time frame and geometry. Time frame of the novel fall onto Victorian Era which is overpopulated with French Clarendon type and if to think of typefaces concerned with geometry first thing that comes to mind is Gill Sans as the typeface was designed on the proportions of the square(which ironic is the narrator of the story).

Gill Sans by Eric Gill based on the proportions of the square

I looked at the number of fonts associated with Victorian era. I found an article from http://letterpressdaughter.blogspot.com that gives a close examination of a number of typefaces from the era.

The Whole Story in One Minute

“Donnie Darko” is a 2001 full feature film written and directed by Richard Kelly is very related to the main topic of “Flatlands”. It just as well speaks about the possibilities of other dimensions and time travel. The story line is complex and is quite confusing at times. However an Australian comediant Tim Minchin manages to explaine all the events in the film in just one minute.

It could be a good idea to try and explain the story of “Flatlands” in a super fast one minute kinetic typography piece?

Graffiti Research Lab – LASER Tag

The project demonstrated in this video, brought to us by Graffiti Research Lab.

What I find very interesting here is that not only that the image is brought to the viewer by means of light, it also includes a human interaction element which is an introduction of fifth dimension, where the development of the events could take multiple ammount of conclusions.

Stereo.type by Ebon Heath

Brooklyn-based graphic designer Ebon Heath exhibited a series of typographic mobiles called Stereo.type in Dubai. Heath hand-cuts thousands of letters from Tyvek and assembles them on fishing wire to form lyrics from songs, poems, and other passages of text.

Stereo.type: a typographic ballet

Stereo.type explores the balance between an individual’s internal voice and that consumed via visual osmosis from the surrounding environment. Grown in opposition to urban ‘noise’ created through advertising mediums in the modern day landscape, stereo.type explores the written word.

The fusion between typography and body language in kinetic typographic mobiles. The liberation of type from the two dimensional page to dance a duet with its author. This project has evolved from extensive research and conceptual development to its present incarnation of exhibits, and a soon to be released retail collection. The Typograhic Mobile sculptures give typography a physical form away from the traditional boundaries of a page. Basic geometric shapes burst into theatrical structures of cut letters, choreographed to reflect the kinetic power of language unleashed.

The idea and technique that artist uses fits perfectly into this project. Using paper cut letters and fishing string to illustrate the text of the novel in some eye-catching composition could work really well and could be captured in many different ways using photography. Seems like a very flexible platform that will allow for a lot of creative outputs.

Qualities Needed by Courriette Schoenaerts

Here are some illustrations showing the outcome of a campaign for the Ultretched School of the Arts by Courriette Schoenaerts.

"Fantasie" by Corriette Schoenaerts


What do I find interesting here? Designer uses light as a media, the letter forms shown are formed by either projection or with use of LED and lamps. Light is the only thing that exists in many dimensions as it does not have form , shape or mass!Because we live in 4 dimensional world it might be useful to present typography in non-dimensional space using light projections of type over moving objects.

From A to Z and Much More

thios is a 3-dimensional typographic drawing game. This game allows to create typographic forms and draw in 3D. This type of concept could be well applied to the project -creating a board game that explains the concept of “Flatlands” in a form of the game.

by Alban Courtine