TYPOGRAPHY MUST BE SEEN AS WELL AS READ
Graphic design is a visual language. Audiences are approached as readers as well as viewers. Images are intended to be read and interpreted, as well as seen. Typography must be seen as well as read. Familiar clichés, vernacular typography, and text-image connections are exploited through powerful provocative narratives to create layers of meaning as well as layers of form. Graphic design’s characteristic nature continues to shift between the dichotomies of art and business, visual and verbal, scientific and intuitive, which in turn contribute to enriching typography’s role in graphic design and their relevance in today’s complex and fast-changing environment.
Inspired by Yale’s Visual Semantics Project during Paul Rand’s tenure as a teacher, my challenge was to begin iterations in black and white and incrementally evolve the six iterations into colourful renditions. The term Visual Semantics refers to the meaning and manipulation of words (letters) to illustrate an idea, action, or the evocation of an image.
Composing with the typical geometric patterns, forms, and overlaps of the Bauhaus style, I integrated the fonts, Joschmi (originally created by Joost Schmidt and later re-created by Flavia Zimbardi), and Xants (originally created by Xanti Schawinsky and later re-created by Luca Pellegrini) into dynamic typographic designs.