Tuesday, March 24, 2009

Type IV: Installation Typography

Here are my most updated Concept Map and Timeline


RESEARCH
I brainstormed a list of theme names and decided to go with something not so descriptive, seeing as though if I used the words 'distortion', 'ornamentation', or 'meaning', I would be too specific and rule out some of my potential guests who aren't interested in those areas of my exploration. So, since I did cover such a broad spectrum during my experimentation, I need something simple to sum it all up: 
INSTALLATION TYPOGRAPHY
or
typecon 2010: installing meaning

What my theme encompasses:
The world of installation typography opens the door to infinite areas of exploration and experimentation. However, applying meaning to typographic imagery that exists in a 3D space is the main focus of the topics introduced at this conference. Keynote speakers, such as designer Anna Garforth, will provide their insight on the use of expressive typography in physical spaces. Participants will learn how the use of a projector, highly ornamented typography, physical objects/materials, grids, and a combination of all these elements can be used to send a message with multiple levels of read. By considering word choice, typeface choice, materials used, and the setting of the installation, the artist is responsible for what is being portrayed. Why not install meaning into a typographic installation?

Designer Bio:
Anna Garforth is a successful designer and illustrator who lives in London and graduated from a school called Central Saint Martins. Anna set up an illustration/design practice known as abe, through which she has produced editorial works for The Ecologist Magazine, website designs and created various large scale art installations. She is best known for her recent work titled Mossenger, which consists of type crafted from moss. This piece landed her a place in Creative Review’s October 2008 Issue and she has since installed site specific pieces around Europe. Mossenger has also recieved press in over twenty magazines world wide.

In regards to Mossenger, she said "It seems as if writing with moss, represents an unusual synthesis between advanced civilization and nature. It is a chance for us to speak as individuals and artists, but also to be the spokesperson of organisms which have no voice in our world. We hope that not only the words will be noticed, but also the moss itself, put to the forefront through it’s sculpting, fashioned into a form we can understand."

Anna's typographic installation work goes hand in hand with this conference's theme because she uses ornamented typography in 3D spaces/environments to send powerful messages about nature and civilization. She has an awareness of materials that simultaneously dictate their own message, and eloquently uphold her message and principles. She aims to utilize readily available, renewable materials and objects. In effect, she gives life to "expired" matter, introducing the opportunity for cradle to cradle design.

Fundamental to her conceptual thinking, Anna has the ability to connect herself and the viewer to nature's sense of oneness. The wilderness is the ultimate reminder of the need to be whole and complete. She says, "Wilderness reminds us what it means to be human, what we are connected to rather than what we are separate from." Anna carefully considered word choice, typeface choice, and the materials she used in this work. She aims to continue exploring the potential of organic and inorganic materials, initiate questioning in the viewer, and convey the message of unity, balance, and moderation.

Examples of Anna Garforth's Installation Typography









1 comment:

minithingy said...

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