assignment #5: typecast

Typography and language are inextricably linked. So it is not so far-fetched to ask, how can typography become a performance? How can materials, composition, space, medium, scale, repetition, etc. determine how someone interprets the words?

Choose the lyrics to your favorite song, poem or a monologue from your favorite film. Set the words, in an expressive manner that acts as a "script" or "visual score" for the performance. Be as poetic or literal as you like, but keep the following in mind:

1. You can only use the words from the lyrics or monologue. This means no stage directions. Let the words SHOW how they are meant to be performed. Having said that, if your piece is a projection or 3D, you may want to give the performer instructions on how to INTERACT with the piece, but again, no instructions on how to READ it.

2. Think about what the words mean to you. How can you get the performer to express that meaning?

3. The piece will not only be a guide for the performance, it must be an object that enhances it. What form will your "script" take? What size is it? Can it be held? Is it folded? Is it 3D? Is it a projection?

DUE NEXT WEEK: a draft of your script/score. You will choose a classmate, and ask them to perform your piece. Pay attention to how s/he performs. Does it match your intention? REVISE.

DUE IN TWO WEEKS: Your final "script." We will deliver everyone's work to a guest artist. He will spend one week getting to know your piece before he stages your typographic compositions in class.

WEEK THREE: Performance day!

Assignment 2: Font Without Letterforms

OBJECTIVE Unrestricted by preconceived associations about the nature of letters and

words, youwill reveal the systematic nature of type and development of style through

chance.

PROJECT DESCRIPTION Through a series of steps a symbolic typeface will emerge,

ready for use in a poster that you will utilize to test possiblemeanings.

DAY ONE

CREATE THE GRID

This fontwill not be based on letterforms, but rather on a grid that you devise during

class. For this reason, it is essential that you fashion a grid that you find stimulating.

This grid can be anything fromoverlaying geometric shapes to emptying and outlining

the contents of your pockets. Itmust be containedwithin a 1 inch by 1 inch square.

Attempt at least 10 grids.

CHOOSE AND REFINE YOUR FORMS

Choose one grid and reproduce in illustrator as a 1x1 inch square (hairline stroke).

Build 40 studies fromyour grid. These studies should be reproduced as 1 inch by 1

inch squares and be highly diverse. If your grid is not producing varied or simple

enough forms, youmay wish to change it to add complexity or simplify.We will view

these as a class and have individualmeetings to discuss which studies willmake it

into an elite group of 20. Please have your 20 chosen in advance, but alsomake sure

that there are 40 completed studies, in case we needmore fromwhich to choose.

DAY TWO

ARRANGE YOUR FORMS

Bring your final 20 forms to class. Finish refining themin class using Illustrator. You

will begin to create paragraphs using your forms,with attention to kerning and leading.

Then begin to sketch out your poster - the poster is a vehicle for the forms - think

about what your forms suggest.

DAY THREE

CRITIQUE POSTER

Bring to class a postermade with your forms. This poster can be any size or shape,

color is up to you, but limiting color to 2 spot colors (Pantone)may be advisable.We

will critique these posters in class. Your postermust contain a title, subhead, and 2

paragraphs of “letterforms”.