Hate, Vol. 2: Buddy the Dreamer. Image taken by me, Joshua Murphy. Capture date 3/22/18
The trip to the art museum helped me get a better idea of the overall product that I want to create. One of the texts that was show to us was “Buddy The Dreamer” and it shares the graffiti like font that I want. The font has rules that I may want to include in my own font, the X-height is very low and can be seen by how the top parts of the letters are heavier and the crossing of the A and the middle line of the E are very low in relation to the whole letter.
One thing that stands out the most to me is how the letters are angled in different directions even though they are the same letter, an example is the “DD” in buddy. Looking at this font I can tell that it would not look right if all the letters were to be straight up and down on the same plain. The angles in the letters help ad an effect to the font that i would like to implicate into my own font. My font is trying to look like it was graffiti but follows set rules that are followed throughout the font. I think it is a good idea for me to take my font and try writing out words with the letters angled to make them feel more jaunty. I have been working on words but manipulation the weight and curves to make it look right but when I make a new word it does not look right and now thinking about it, graffiti fonts never are straight across, they are angled and have feeling to them.
Going to the art museum and looking at various pieces there fairly eye-opening regarding my typeface however it was more interesting to look at all the different pieces of art and understand why we call them art. It was funny how early on I didn’t think half of the pieces would have been considered art but after looking more critically and taking a deeper look into what it took to create the pieces I became more appreciative of the work that was put in.
One piece that I liked especially was the white paper with “Love” printed also in white. The reason I liked this one so much was because it was an example of a work that made you look deeper than what was on the surface. If one merely looked at the surface of this particular artwork, they would miss the entirety of the product. There was also another piece we looked at that was similar to this one that said, ” I. C. U.” printed in white on a white background. Both of these were my favorite because they made the viewers really try to visually interact with what was going on in the piece of art.
Work done by Nancy Chunn in 1996. Photo taken at WSU Art Museum.
This newspaper was done by Nancy Chunn and it was interesting for me because it looks like a normal newspaper we use now on days but actually it is pretty old, and it is looking fresh and with color. I personally liked this piece because it shows a good representation of unique work, looking almost like the other normal newspapers but with Chinn’s inspiration and art. It shows typefaces on top of more writing and even though it is a little hard to read the typing on the back, the typing on top is giving a clearly explanation of what the article talks about. I like the drawings and the diversity of colors to identify even genders. This piece was made to show the content of The New York Times in a different and quick way so people can see all the work at once.
This work has a little bit of typefaces that inspired me to use in my project 2. The title “The New York Times” has a similar font that I am trying to use for my design of letters. That funky and round shape of the letters are the details I am going to use to create mine. I am going to add a little bit of more design around the letters so it looks more of a unique font.
One of the most unique collections we saw during our visit to WSU was the artwork created by a nun named Corina Kempt. While the museum director himself was not fond of the pieces, I thought they were great examples of typography. She is famous for creating a LOVE stamp in the 1980s and her unique use of screen painting. She worked with a lot of words and vivid colors. I was struck by the thought that her designs were so simple, they
Corina Kent, unnamed. Depicts materials-based method. Paint on paper.
almost looked like they were created by a child. Along with the simplistic artwork, every piece was complete with a quote, usually about love, that she imagined herself. Her work didn’t seem amazingly religious to me but more about peace and acceptance. The piece I chose to write about was unnamed but depicts a butterfly with rainbow wings and a scribbled purple quote that reads “there is no birth of consciousness without pain.” The butterfly has obvious paint strokes, with different weights and densities. The colors are vivid and simple. All in all, the image resembles a child’s finger painting. The script is nearly illegible (I still do not know what the last words says), with fast-paced lettering and uneven density. It looks obviously very methods-based, seemingly done with the same paint from which she made the butterfly. I thought the script of this piece would be similar to mine, in the way that I also want my typography to seem materials-based and quick. A lot of the elements – the cursive inspiration, the unevenness, the messiness – are what I want to come across in my typography inspired by Sylvia Plath. While Sylvia Plath’s writing is somewhat more structured and legible than Kent’s, I want the typography to be more messy, like Kent’s. The “f” and “t” were very similar from both examples. Kent’s piece gave me inspiration to edit the neat script more.
Andy Warhol created this replication of a receipt he got from the liquor store.
The recreation of one of Andy Warhol receipts for the liquor store was interesting because he is such a famous artist and it seems so simple but his work usually has more meaning. I thought the various typefaces was interesting and I thought the way the red lettering stands out could possibly relate to my typeface. I cannot have multiple fonts in my poster, but I think that I want to have the colors in my font that contrast well with a white or black background.
I also enjoy the difference between the handwritten letters versus the printed letters because it gives the authentic feel to the receipt. The thing I most enjoy about this piece is that raises the questions of why he made this and why did he choose a liquor receipt? I would like to hope my typeface and poster can combine to raise questions like these when I am finished.
During our trip to the WSU Art Museuem I was intrigued by a work that depicted Andy Warhol in a relatively sardonic, clinical fashion.
The photo is stylized almost like an old school anatomy diagram, with arrows pointing to each part of his body and then a brief description or anecdote related to said body part. This inspired me to think more critically about the anatomy of my type design, and how each choice I make could be justified in the context of my overall vision. Using this “anatomy and loose description” model has helped me connect my abstract ideas of what I would like my design to embody to what it actually could look like. It also helped me when figuring out what method I was going to use to create my type.
This also helped me with figuring out whether my design was more modular or organic. I wanted to create a design that organically reflected this fictional world which it was inspired by, but the world itself has a heavy and historical focus on modular, technological design. In order to attempt to compromise this I used a breadboard to develop the letters, which provided a good skeleton and structure for me to test out ideas upon.
Art covers a broad range of disciplines, and one of the more fascinating genres of art style is depicted in comic books. The defining aspect of comic-style art is its ability to tell a story through a sequence of panels. Though usually separated by space, each comic panel builds upon the ones before it, the various parts of the series coming together to tell a story. Also, other aspects such as drawing style, text bubbles, and narrative boxes help create a cohesive identity for comics as a whole.
“Coffee”, a comic found in the Dune comic book at the WSU Art Museum
On our trip to the WSU Art Museum, one such example of comic book prowess really spoke to me. Looking through the various examples reminded me of my childhood, flipping through comic books and magazines, drinking in the stories they told through page after page of action and antics. Garfield, Calvin and Hobbes, and all the various superhero comics available to me were devoured in a rush, with long nights of reading with a light under the covers or in the backseat while my parents ran errands. Old-school comics hold a near and dear place in my heart, that can’t be replaced by the digital and technological marvels of today.
Flipping through the examples in the Dunes comic book, I happened upon this page. The whimsical aspect of this page was greatly accentuated by the exaggerated actions taken by the rabbit; what might otherwise be interpreted as a simple overreaction to the taste of coffee is now a subject of comedic value. Though there isn’t much text, what little there is becomes a useful tool to help the reader understand the rest of the comic. Through this short sentence “Ah!/Coffee!/How I love/the way you smell/but not/the way/you taste”, a whole rollercoaster of emotions is conveyed to the reader in a short sequence. The font used lends itself to the comic; the sans-serif, hand-drawn letters fit well with the organic, fun, lighthearted theme of the comic. If the text was typed rather than handwritten, I believe that the effect would be drastically different. While I am pursuing an entirely different kind of text for my project, I think that it’s important to keep in mind how the context of the piece itself can be affected by the appearance of the text and to incorporate my text as well as I possibly can. I myself am trying to create a typeface heavily influenced by Hebrew script; perhaps handwriting the font myself would be an avenue of approach that I can consider. I’ll remember this lesson as I move forward!
“If White People Didn’t Invent Air” by Dread Scott
Screen Print, 2001, 24 X 18 inches
The example I chose to write about from our visit to the WSU Art Museum is by the visual artist Dread Scott. He makes revolutionary art to propel history forward. While he was a student at the School of the Art Institute of Chicago, he first received national attention due to his arts transgressive use of the American Flag. I found this piece interesting because before I even did any research on the artist, I could already tell what kind of art he created. Based on the words and the photo, I could tell this piece was criticizing history. The words read “If white people didn’t invent air, what would we breathe?” These words seemed powerful to me, and it made me want to know more about the piece. What also caught my attention was how the author was able to put the text on top of the photo without taking away from the image or text, they balance out really well in my opinion. This made me think about how I wanted to design my poster for project 2. I had an idea of including a photo but I thought it would be hard to make the text stand out without taking away from the overall poster design idea. How the artist used black and white with a color that wasn’t too bold but also not too soft or the contrast, really made this piece successful. This piece gave me some ideas and rules to follow if I would like to make similar design choices. Since I am using song lyrics, I thought about maybe creating an album cover type of poster. Instead of the artist, the title of the album, or even cover art being the main focus I wanted the selected lyrics to be the main focus. Overall, this piece helped me see that my idea is possible to do without losing the complete meaning of the piece.
Illustration from “Trailer Blaze: Short Run”s Ladies Comics & Books Residency at the Sou-wester on beautiful Long Beach in Seaview, WA”.
The piece I have chosen is from the “Trailer Blaze: Short Run”s Ladies Comics: Books Residency at the Sou-wester on beautiful Long Beach in Seaview, WA” zine! On the particular page, there is not text present but I like the variety of density of the lines of the seats that are drawn that have a brush like texture. I understand that there is no text, but I want to use this a inspiration and probably influence in my typeface. However, since I want to lean towards a modular based design rather than a material based… I will not have the brush strokes but I hope to use a variety of thickness/density in my lines for each letter. I also like the black with an accent color! Again, with the watercolor texture.. I am not sure I will do that for my modular based letters, but it gives me the idea of do blocks and shapes of colors around my text that is offset rather than making the design look neat. Although each chair is different and not exact, they all have a rhythm between them all, creating a consistent look which I hope to create within my typeface!
I hope that my typeface over all will have a clear look and personality like each chair has but a rhythm between each letter, making it clear that my letters will represent song lyrics whether I finalize with a twenty one pilots or Halsey song.
This photo shows Andy Warhol’s “Paris Review 18” at the WSU Museum of Art.
I selected Andy Warhol’s “Paris Review 18” as the work I will analyze. This piece features a reproduction of someone’s handwriting, which is a strong cursive. It is messy, giving it a very human look to it. I selected this piece because it shows an imperfect form of calligraphy. It has the classic hard thick and thin lines to the text, and it has a very rushed look. I am hoping to give my typeface a calligraphic look, and I want it to be imperfect, like this handwriting.
I think the subject of the piece is very interesting, as it is very simple, but quite beautiful. I feel it exemplifies the “less is more” saying. I hope to take that into consideration as I create my typeface.
I find the effortless look of the text to be quite beautiful. I would like to add that feel to my font, to give it a more elegant and polished look, while still being imperfect. Something that is interesting to me is that no two letters or numbers are the same. For example, in the price column for the $6.00 vodka, the zeros are not even close to the same. This is an interesting idea, because that’s how people really write. We are never able to create the same exact letter again. However, I don’t know how that could be transferred to a typeface. Maybe you could have a few variations of each letter, so not every one is the same. But that seems very impractical for the creation of a typeface. I suppose that’s why people will always have a soft spot for hand-written letters.
By looking at this example as well as examples of calligraphic texts, I hope to find a happy medium between the two to give my text an organic feel while also having it be able to be somewhat reproduced