Typography & meaning

Type is essential for effective communication.

Type can:

deliver a concept or express an opinion.

The way text is displayed will add meaning to the words themselves.

By changing layout, spacing, punctuation etc, we can portray a certain message. For example, the boldness of ‘Kindness’ in the sign below, suggests that kindness can be bold and robust. The height of the word ‘Strength’ illustrates strength itself.

design by Anthony Burrill

British graphic designer, Anthony Burrill is well known for his prints which often contain bold statements that are punchy and effective.

By repeating the word ‘Justice’, Burrill is making a statement about the importance of justice. When people are passionate and certain about something, they repeat the sentiment. This is further emphasised by the black and white. When something is in ‘black’ and ‘white’, metaphorically it means there are no doubts about it. Here Burrill is using this in the literal way.

Words are powerful.

They invoke emotion, feelings and ideas. They are powerful because of their ability to encapsulate a concept.

Words can be transmitted from person to person, often in an instant format. This is why memes are powerful. Because of the speed they can be shared and the way they need to be understood quickly, means they are also put together in a way that is simple and concise.

In a small space, a lot of meaning can be packed. This includes imagery and experiences. Stories can be packed into a few words.

Extinction Rebellion

Extinction Rebellion are a movement set up to tackle the climate change problem.

They use guerilla marketing strategies to get their message across, for example civil civil disobedience and demonstrations. They create a disruption, sometimes spreading flyers where they aren’t allowed to.

They use bold, big statements in uppercase type. The typeface they use is similar to Futura, but with rounded edges. Sometimes images function as letters, i.e. skulls.

Their symbol is an abstracted hourglass. This emphasizes time running out and the circle is a symbol of the Earth.

Black Lives Matter poster (left)

This poster was designed by the anti-racist advocate Sophie Williams. She puts her message outside in the street for the public to see.

She uses repetition, different angles and spacing to add emphasis to her message.

Climate Crisis font by Helsingin Sanomat. This is an example of variable font.

Helsingin Sanomat, abbreviated HS and colloquially known as Hesari, is the largest subscription newspaper in Finland and the Nordic countries, owned by Sanoma. 

Variable fonts are an evolution of the OpenType font specification that enables many different variations of a typeface to be incorporated into a single file, rather than having a separate font file for every width, weight, or style.

The typeface is based on real arctic sea ice data and gives us a visual representation of the loss of sea ice on Earth.

Typefaces tell stories. Sad, complex, pretentious…

Sa Soriano

‘For the Museo Morelense de Arte Contemporáneo Juan Soriano (MMAC), we designed a sans-serif typeface with a display character, inspired by features of the museum’s architecture. The specific reference is the windows and openings drawn on large-scale plans, gestures that were replicated in the typography through cuts and gaps, alluding to positive-negative, interior-exterior, window, landscape space.’ 

This is an example of form follows function.

The content can lead what the type looks like, or the type can follow the content of the project.

Incomplete without the T campaign, Grey London. With the aim of raising visibility of trans issues, Grey London came up with the idea of removing the letter “T” from a range of different texts to highlight the erasure of a letter from “any word, in any language”. This means reducing or removing both the comprehension and the unity behind it – “and the same is true when you remove the T from LGBTQ+,” states the magazine. 

Studio Dunbar

Erasing parts of the word ‘Alzheimer’, represents how the memory is erased in people with Alzheimer’s disease. It also simulates the frustration experienced by people with memory loss, by giving us the experience of reading the word with difficulty.

Pentagram- Maholy Nagy Foundation

This is an example of analogical techniques being used to create type.

Maholy Nagy was an artist from the Bauhaus. He worked with experimental photography and was one of the first people to experiment with photograms.

For this book cover design, Pentagram have used water to give the type a wavy effect.

Age of rage– The Guardian’s guide to anger. This is another example of design that uses analogical techniques.

Linguistic tricks

Linguistic tricks can make a phrase more memorable. They can be used when writing headlines.

Examples of Portmanteu:

Examples in English include chortle (from chuckle and snort), smog (from smoke and fog), brunch (from breakfast and lunch), mockumentary (from mock and documentary), and spork (from spoon and fork). A portmanteau is a suitcase that opens into halves.

(combining 2 words to create 1 new word)

A Palindrome is a word that reads the same backwards and forwards, for example:

Alliteration makes a phrase more memorable. It is often used in brands and advertising, for example:

Rhymes

Neologism are new phrases that have been recently made up because their use has become popular, for example:

‘Google it’

‘Tweet about it’

Acronym

Computer key – LOL

Denotation is the literal meaning for example, a cross.

Connotation is about our associations. In relation to a cross, it would be Christianity, hospitals. etc.

Project 2- Group work

Using the skills we learnt from this week’s lecture, we designed expressive type around an article about deforestation. We were placed into groups and needed to each design this heading. ‘We Need Trees’ works as a heading because it is snappy and uses rhyme.

I first read the article carefully, underlining key words. I then scribbled my ideas in my notebook, focusing on the key themes.

I sketched visual ideas for the heading:

I designed the heading in Illustrator. I typed the heading into a text box and changed the font to ‘Impact’ :

I used this photo of a tree canopy. (below) I bitmapped the photo by opening it in photoshop, converting it to greyscale and then selecting bitmap> diffusion dither.

I placed the group’s designs into InDesign and exported the document as a PDF. This would allow us to present it to the class easily in the next lecture.

Below designs by:

1)Ben 2) Ben 3) Ben 4) Holly 5) Demelza 6) Demelza 7) Demelza

Final zine evaluation

I used different images, combining photos of my figure with photos I had taken around Oxford. This allowed me to express different elements of the narrative. For example, printing the brick wall image over the image of the figure’s face expresses a stubborn or trapped state.

Black and white is suitable for a zine generally because it cuts down printing costs, but I also feel it helped to create the mood I wanted in this story. The zine begins sad and the greyscale helped me to show this.

I pulled inspiration from a variety of sources, such as the song lyrics, personal experience and zines I have seen in the past.

Looking at graphic design books was also helpful in informing my ideas. Books such as The graphic design idea book : inspiration from 50 masters, Fanzines by Teal Triggs, The fundamentals of creative design by Ambrose/Harris, Behind the zines self publishing culture, and Visible Signs : an introduction to semiotics in the visual arts . Buying 2 zines from etsy.com was useful because I could see how another artist would approach zine-making.

Looking at photos of zines on the internet was important because it allowed me to see how a physical zine can be constructed. I didn’t take every idea on board but absorbing these ideas allowed me to be creative and apply my own methods to zine making. For example, I looked at the posterzines by people of print and although I liked the way all the information is compact on the one sheet of paper, I did not want to go down this route with my zine. Since my zine is about a story of change, I wanted it to physically read like a book, with pages that could be turned and a narrative that could be slowly revealed to the audience.

I considered the bookbinding methods we were introduced to in Ruth’s workshops for module 002. These methods informed the direction of the physical format of the zine.

The use of cut-out text reflected the theme of the zine. My zine is about breaking and fixing. Both emotionally, physically, and metaphorically. The way I glued the words together, forming them from separate found letters, helps to represent this narrative.

I used exclusively collage for my zine. (I did not use drawing or digitally produced images). I stuck with analogue methods for this extended project as I wanted the zine to feel handmade and personal. The cut and paste method I used for the images gives the same impression as the repairing theme mentioned above.

Once I got into the making of the zine, I took it in my own direction. I was still reading and looking at research material throughout but I felt like I needed to tell my story in my own way. There was a point in the process where I did not feel the need for outside input anymore. This was after I made the draft zine. My research period was more near the beginning of the project.

I have avoided copying any one design, but have been influenced by elements such as the distortion used by Sofia Clausse in her zine about ‘the windy city’. The distortion in her zine was a reference to the windy weather. In my zine, the distortion represents change and mental health.

I struggled with knowing how long to spend on each area. For example, I did a lot of experimentation because I felt I needed to explore my object and how to present it on paper. This was not much of a problem in this semester but did lead me to feeling overwhelmed. If I had set time limits for each task, it might have helped me keep on top of the module overall.

Richard Long

Richard Long is an artist from Bristol, UK. He creates work out in nature. His first artwork of this kind was made when he was still a student in the 1960’s. He was rolling a snowball down a hill in winter. Looking back up the hill, he saw the dark path of visible earth the snowball had created over the ground. The track left on the white landscape inspired him to continue making art in this way, to show the mark he has left across a landscape for example.

The geometric lines in this piece, signify stopping and moving. The viewer can make a comparison between the two as the two canvases are displayed side by side.

from Richard Long: Heaven and Earth
from Walking in circles by Richard Long

In 3 lines of text, the artist illustrates his walk. We are told where, what and when. The simplicity of the design makes the piece easy to read. He uses arrows to draw the wind direction. Although there are no natural colours in this piece, I can picture the green of nature because I know that Dartmoor is green, open and hilly because I have driven through there.

In this map, Long has used a photo of a landmark, words and lines. The combination of these elements helps us to build up a picture of the journey being mapped. He tells us about walking times and this tells us that the action was walking.

Here he has mapped the rivers across England and Wales following 1 route. The choice of blue for the text helps to signify water:

The circular formation of the words suggests the artist may have been walking in a circular route. He focuses on the things he has seen , what he has experienced and the days that have passed on the journey:

The word ‘splash’ is used to signify each time the artist has thrown a stone into the sea or river:

Here, Long has mapped his early morning island walk. Although the words are displayed in lists, each list gets shorter, which forms a kind of diagonal path across the page: