Art needs typography when text is integral to either a single piece, a series, or to an oeuvre. A word, a sentence, a text needs an appearance, needs a typeface. Maybe several typefaces. Which one, which ones? This question is the first step into the field of »typography« – design with and of typefaces.
Each typeface has it’s individual character, creates a certain atmosphere, sparks associations and communicates subtexts. These can be used for the intended message and impression – or can interfere with them involuntarily. Paul Watzlawick says: One cannot not communicate. This applies especially to type, meaning caution and clear awareness are particularly advisable here.
Art furthermore needs typography when one’s own work needs to be communicated by a website, a catalogue, an invitation, or a newsletter. Whether when choosing a designer, or when working with her or him, some basic typographical knowledge proves to be an asset.
In this workshop, we gallop through the history of type. Next, we exemplarily examine type in the arts. We watch formal relations and different solutions for comparable contents. We observe the effect of smaller and bigger typographical changes. We discuss contexts, and communicative intentions. We sum up selection criteria, and in doing so, will come upon questions sucha s: Who offers fonts? Who can design one for me? Where and how can I try how my text works with a certain typeface? How can I organise fonts on my own computer?
This workshop is basically about choosing fonts wisely. My other workshop »2d kisses 3d« might be a sensible continuation, as it is about the physical realisation of type.
procedure
Practical tasks alternate with theoretical digressions and short presentations. The participants work in groups, in twos and on their own, on things brought either by me or by them.
aim
Increased sensitivity to type. Awareness of problems, and sagacity in typographical matters. »Incompetence competence«: the ability to evaluate one’s own abilities in order to know when to get professional designers on board, and in order to be able to evaluate their work.
compatibility
I am looking forward to come to your academy, or studio. Just send me a mail so we can arrange details and dates.
Organized perception is what art is all about.
Roy Lichtenstein
I’ve never worked in advertising – my experience was as an editorial designer for magazines. I think that designers have an incredibly broad creative repertoire. They solve.
Barbara Kruger
Typography is air: we only notice it when it’s bad.
Erik Spiekermann