VV I S U A L

I N T E L L I G E N C E

A N I N V E S T I G A T I O N I N T O T Y P E W I T H A N D A S I M A G E .

VOLUME 1 APRIL 10 FREE

2

First published in 2010.

Leeds College of Art and DesignBlenheim WalkLeedsLS2 9AQT: 0113 202 8000F: 0113 202 8001E: info@leeds-art.ac.uk

All rights reserved. No part of this book may be reproduced in any form without written permis-sion of the copyright owners. All images in this book have been reproduced with the knowledge of the artists concerned. Much effort has gone to ensure that credits accurately comply with the information supplied.

SBN 1 72386534 345654

Printed in the UK.

First Printing: 2010

Designed by Hayley Kavanaghwww.hkfreshdesign.com

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INTRODUCTION

TALK THE TALK

THE FRESHCREATIVES

THE WORLD OFTYPE & IMAGE

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work inresponse

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i n t r o d u c t i o n

A smal l but yet very for f i l l ing jour ney into theexplorat ion of type with and as image.

A jour ney through des igners, their work and interviews in which they have discussed their love and fasc inat ion of their specia l i s t area.

Ending with work produced in response to my pass ion for type with and as image.I quote:

>>" t y p e c o m b i n e d i s v i s u a l i n t e l l i g e n c e "

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C H A P T E R

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a l e x t r o c h u t

aAlex Trochut i s a f ree lance Graphic Des igner f rom Barcelona. Many would agree that he has become a very respected and ta lented des igner for the 21st century. His work i s adored and i s inspirat ional to hundreds of des igners around the world.His two art i s t ic loves are type and image and he combines them in the most beaut i fu l ly unique way.Some would recognise him by his famous quote:

> >" M O R E I S M O R E "

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" I t h i n k e v e ry t h i n g c h a n g e s fas t , a n d e x p i r e s fas t e r i f yo u s ta rt f e e l i n g t o o at ta c h e d t o i t " .

I N T E RV I E W W I T H A L E X T R O C H U T BY D E S I G N TA X I :

Design Taxi quoted Alex Trochuts work as being:

' A S T Y L E D E F I N E D BY G E O M E T RY A N D F L U I D I T Y ' .

D T : Besides the g raphic des igner- i l lus trator you are a huge fan of typography. How do you f ind a balance between the aesthet ic aspect of le t -ter s and legibi l i ty?

AT : Yes, I care more about the aesthet ic over leg ibi l i ty and I f ind i t d i f f icul t to get r id of a nice abstract for m in exchange of a more legible le t ter but I t ry to f ind a balance.

d t : Your love of both type and i l lus trat ion has come together amazing ly in a lot of your work. How would you handle the cr i t ics that say type i s to read, which ef fect ive ly dismisses a des ign l ike your cover le t ter ing for Beaut i fu l Decay?

at : Everything def ines i t ' s the level o f funct ional ly by i t s context and use, I wouldn ' t impose a "hard to read" le t ter ing i f i t has to be read in a few seconds, many t imes have the chance to use the text as a pretext to le t the shapes f ree and seek for a s trong image with a hidden message.

I N T E RV I E W W I T H A L E X T R O C H U T BY A R M I N V I T :

Quote from the legendary designer Alex Trochut:

' t h i n k a b o u t t y p e a s a p u z z l e ' .

AV : Your work thrives in it’s intense merging of typography, lettering and il lustration. How did you arrive at this approach?

AT : I guess it’s because I love type, and I also love il lustration so the work is just a ref lection of this double and equal love. I l ike to feel close to Graphic Design but in an expressive way of seeing it- so doing expressive typography is where I find my place, and I can sti l l feel l ike a Graphic Designer.

AV : One of the things that struck me about your work was your ability to use existing typefaces and manipulate them to feel fresh, unique, and spontaneous.What do you look for in typefaces that you want to customize?

AT : When I look for a display type I l ike to see it in some kind of density and a solid and connected structure from letter to letter. I really love all kind of 70's display fonts, I think that period was very free and complex in the creation of type.

av : How has your technique and ability to compose these type-il lustrations evolved over the years?

at : It 's just been a question of practice and challenging myself, trying to improve, complex every time and thinking about type as a puzzle of abstract and geometric shapes.

Q&A

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" I t h i n k e v e ry t h i n g c h a n g e s fas t , a n d e x p i r e s fas t e r i f yo u s ta rt f e e l i n g t o o at ta c h e d t o i t " .

I had the g reat p leasure of v i s i t ing Alex Trochut on a v i s i t that I took to Barcelona.I contacted him previous to the v i s i t , and he invi ted me a long to come and v i s i t h i s s tudio. He taught me a lot in the short t ime that I spent wi th him and he real ly inspired and encouraged me to push my work to the l imits and a lways do the work that I want to be doing.As I was leaving he presented me with one of type/image exper imental pr ints which was a g reat honour to receive.

Here i s a personal one on one interview with Alex Trochut in his s tudio in Barcelona:

h k : Where does your inspirat ion for your typographic ideas come from?

AT : A lot of my inspirat ion actual ly comes from s igns that I come across, ranging from restaurants and cof fee shops to road s igns. I have masses of my own photographs that I use as inspirat ion.

H K : When did your interes t in typography begin?

AT : I began to look into typography further when I d i scovered the work of my grandpa Joan Trochut and the invent ion of Superveloz.

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j e s s i c a h i s c h e

jJess ica Hische i s a typographer and i l lus trator who combines both e lements beaut i fu l ly together in the most e legant and natural way.A lot of her work focus ’s on hand let ter ing which lends i t se l f to a very personal and unique s ty le.

> >" I PAY T H E B I L L S BY M A K I N G P R E T T Y T H I N G S . "

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Q&A

" I l l u s t r at e d t y p e i s a v e ry a c c e s s i b l e k i n d o f a rt " .

Q : W H AT A R E S O M E O F YO U R I N S P I R AT I O N S ?

A : I worked for Louise Fi l i for two and a hal f years, she has def in i te ly had the biggest impact on my work. Her col lect ion of random vintage type ephemera i s as tounding. I read des ign blogs and look at images onl ine a lot a l so.

Q : D E S C R I B E YO U R D E S I G N I N O N E S E N T E N C E ?

A : "Jess ica Hische’s work combines equal parts : des ign, typography, i l lus trat ion, brown sugar and a heavy cream”.

Q : W H AT A D V I C E D O YO U H AV E F O R A YO U N G I L L U S T R AT O R O R G R A P H I C D E S I G N E R ?

A : When you’re not doing c l ient work, do a lot of per sonal work. I t takes a lot of pract ice and explorat ion to be a g reat des igner, so do i t in any way poss ible. Plan ahead, th ink of the k ind of work that you want to be doing and try and f ind the most d irect path to that .

Q : A R E YO U A S E R I F O R A S A N S - S E R I F K I N D A G I R L ?

A : Hard to say, I th ink general ly sans-ser i f. Everything I draw s tarts as sans-ser i f and then I decide later i f I want to make i t have ser i f s.

Q : H O W D O E S T Y P E E F F E C T YO U R E V E RY D AY E X P E R I E N C E ?

A : I have a theory that my process for drawing type has a f fected my memory negat ive ly. I work in a sort of s tream of conscious way when i t comes to type, only making general decis ions up front and let t ing type k ind of evolve as I go, and I th ink not having to conscious ly queue up “ inspirat ions” as I go a long i s s lowly destroying my short t ime memory.

Q : W H AT A D V I C E D O YO U H AV E F O R P E O P L E T H AT WA N T T O D R AW T Y P E ?

A : I f you want to be a good type des igner, you have to make as much of i t as poss ible and look at as much of i t as poss ible. Buy old type books, h i s tory books and anything about v intage type. Pract i se, pract i se, pract i se !

Q : W H AT D E S I G N E R S / I L L U S T R AT O R S I N S P I R E YO U ?

A : I have a major des ign crush on Marion Bant jes and a brain/con-cept crush on Chris topher Niemann, I have a real ly ta lented g roup of f r iends so they keep my motivat ion high.

" E N V Y C A N B E A B I G M O T I VAT O R " .

I N T E RV I E W Q U E S T I O N S C O M M O N LY A S K E D T O

J E S S I C A H I S C H E :}

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" I l l u s t r at e d t y p e i s a v e ry a c c e s s i b l e k i n d o f a rt " .

T i t l e : B a r t h o l o m e w Fo r t u n oTy p e o f w o r k : Fo n t d e s i g n f o r b o o k c ov e r

C l i e n t : H e n r y s H o l t a n d C o m p a n y

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D A R E N N E W M A N

DDaren Newman, a typographer, i l lus trator and des igner.He wit t i ly descr ibes himsel f as a male, smal ler than average, good/bad soh, beard wearing, r ight-handed, rotr ing loving Mancunian. Daren Newmans work has a s trong focus on hand drawn typography and i l lus trat ion.He i s a l so the founder of the Manchester des ign agency Funnel Creat ive.

Funnel Creativewww.funnelcreative.co.uk

> >"ME&MY PEN"

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A L I S O N C A R M I C H A E L

AAlison Car michael has pract ica l ly cor nered the market for hand- let ter ing in UK advert i s ing.Although very expl ic i t , her work i s recognised everywhere and many des igners are inspired by her indiv idual i ty and abi l i ty to push boundaries and free herse l f in the des ign world.

>>"I LOVE A PUTTY RUBBER".

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Q : H av e y o u d o n e e v e r y t h i n g y o u wa n t t o d o ?

A : Def ini te ly not - there i s so much more to be done! I want to do more personal projects and more environmental/photographic s tuf f. The best way to get complete job sat i s fact ion i f you are a commercia l ar t i s t i s to do your own projects in addi t ion to commiss ions as otherwise you are a lways going to be a s lave to your c l ients.I would a l so eventual ly love to do an exhibi t ion. I fee l a bi t l ike the poss ib i l i t ies are l imit less but there are only so many hours in the day!

Q : H o w d i d y o u b e c o m e a h a n d l e t t e r i n g a r t i s t ? w h at i s y o u r b a c k g r o u n d ?

A : I s tudied Graphic Des ign at Ravensbour ne where at the t ime, they s t i l l taught a bi t o f hand let ter ing as part of the course. I specia l i sed in hand let ter ing and cal l ig raphy for my degree. After leaving col lege, I worked in var ious creat ive f ie lds as a directors ass i s tant , ass i s tant art d irector, model maker, s tory boardart i s t (a very bad one! ) and then got a port fo l io of handlet ter ing together and s tarted going around to a l l the des ign con-sul tants and ad agencies try ing to get f ree lance work. Gradual ly I bui l t up my c l ient l i s t and my range of s ty les and I have been doing this now for around about ten years.

Q : W h at i n s p i r e s / i n f l u e n c e s y o u ?

A : I t sounds cheesy but to be a good des igner, i t i s important to be open minded and a l low yourse l f to be inspired by everything.I am very interes ted by anything hand created or craf ted, h i s tor ica l documents, fashion des igned, inter ior des ign, s ignage, i l lus trat ion, pr int ing methods, anything v intage where computer fonts were not avai lable, photography, f i lm t i t les, doodles, typography, o ld le t ter s. . . . Natural ly, I am very inf luenced by what other des igners and i l lus trators are doing. When I see work that a ta lented i l lus trator or typographer has done, i t sort of f rustrates me into want ing to be more creat ive which i s def in i te ly a good thing! Looking at other peoples work makes me want to be bet ter at what I do .

Q : W h i c h d e s i g n e r s / i l l u s t r at o r s d o y o u l i k e ?

A : All the obvious ones for type and let ter ing! Stephen Sagmeis ter, Marian Bant jes, Alex Trochut , Herbert Lubal in, Accept & Proceed, Rob Ryan, House Industr ies, George Bickham, Paul Rand, Mark Denton, Jess ica Hische, Jean Larcher. . . .Other des igners whose work I love are Le Courbusier, Charles and Ray Eames, Saar inen, Vitra , Missoni , Dorothee Becker,Alexander Girard, Smythson, Vivienne Westwood, Marc Jacobs, Sonia Rykie l , Chanel . . . . . i could go on.

I tend to favour des igners who have an e lement of humour in their work but i a l so real ly love s imple c lass ic des ign. I l ike de-s ign which i s rea l ly minimal , c lean and s imple. I don' t rea l ly l ike fussy s tuf f.

Q : H o w d o y o u w o r k ? W h at p e n s a n d m at e r i a l s d o y o u u s e ?

A : I mainly work on marker pad and there are certa in pens that i use for drawn let ter ing - they are Pi lot s ign pens, Faber-Caste l l p i t t ar t i s t brush pens, TRIA black markers and pi lot f ine l iner s. Chinagraph penci l i s good for creat ing something that looks as i f i t i s drawn with chalk but wi thout the smudge! I love a putty rubber and I actual ly s t i l l l ike us ing a t ippex pen. . .or art i s t s white-out . . . .but t ippex i s quicker.Most of my wri t ten s tuf f tends to be done with a mont blanc pen and I a l so have a real ly beaut i fu l o ld ang led copper plate nib pen which i use for f iner wri t ing and i ta l ics. I o f ten use a Chinese brush for brush let ter ing as i t g ives a g reater contrast in l ine weight than a nor mal water colour one, I love good old black Quink ink.

I tend to sketch s tuf f in penci l and then trace i t a few t imes unt i l i t i s how I want i t to be, then draw i t up, f i l l i t in and scan i t and then c lean i t up in Photoshop a bi t .

" t o b e a g o o d d e s i g n e r o r a rt i s t , a l l o w yo u rs e l f t o b e i n s p i r e d by e v e ry t h i n g " .

I N T E RV I E W Q U E S T I O N S C O M M O N LY A S K E D T O a l i s o n c a r m i c h a e l :

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" t o b e a g o o d d e s i g n e r o r a rt i s t , a l l o w yo u rs e l f t o b e i n s p i r e d by e v e ry t h i n g " .

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g r a n d p e o p l e

gGrandpeople are a Norwegian s tudio es tabl i shed in 2005. They provide di f ferent and dis t inct ive so lut ions in Graphic Des ign, art d irect ion and i l lus trat ion. Their c l ients range from industr ies such as fashion/music/art/advert i s ing and cul ture.

T: +47 45 26 02 27W: www.grandpeople.org

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Q&Au s : H o w d i d y o u g e t i n t o a r t ?

g p : I can not remember ever making a conscious choice about picking up art or about going to art school . I was constant lydrawing and making s tuf f as a k id, and somehow I jus t cont inued.

u s : H o w d o y o u g e t i n s p i r at i o n f o r t h e p i e c e s y o u p r o d u c e ?

g p : I t ´ s a bi t o f a mystery to me how this works, but general ly I ´m inspired by nature, ar t , good craf t smanship and popular cul ture. An Idea for a speci f ic project however, can in my exper ience be sparked by jus t about anything.

u s : W h at h a s b e e n y o u r b e s t c r e at i o n t o d at e ?

g p : I don’t know, I t ´ s d i f f icul t to assess ones own work. I t a lways fee l s l ike the las t one i s the best , though i t never fee l s qui te good enough. One of the most recent and enjoyable projects i s the Vagant covers and i l lus trat ions. This was pret ty much a carte blanche job, and people seem to l ike the resul t .

u s : H o w m u c h d o y o u t h i n k h y p e a f f e c t s t h e p u b l i c p e r c e p t i o n o f w h at g o o d a r t i s ?

g p : Hmm, I ’m not sure. I t probably has a huge ef fect in ter ms of s t i r r ing up at tent ion, reaching large audiences etc , but i t seems to me that there are no s ing le publ ic percept ion of what good art i s, but rather a whole lot of d i f ferent trends, movements and art scenes f lour i shing s ide by s ide. There can’t be any object ive rules about what makes good art , so any hype i s at best a suggest ion or an indicat ion of what some people think i s good, and I hope most people see i t th i s way.

u s : H o w d i d y o u f e e l w h e n y o u r e a l i s e d t h at a r t c o u l d m a k e y o u s o m e m o n e y ?

g p : Pr iv i leged and re l ieved.

u s : W h y d o s o m a n y p e o p l e s p e n d m o n e y o n m u s i c y e t s o f e w b u y a r t ?

g p : I somet imes fee l that the art world i s a bi t introverted - that i t ’s some kind of c lub with a compl icated set of ru les you have to know in order to understand what´s going on. Being a ser ious art buyer i s t ime consuming and expens ive. Music i s immediate, a f fordable and socia l . Bes ides, music i s o f course a l so art .

u s : I s t h e r e a d o w n s i d e t o b e i n g s o ta l e n t e d ?

g p : There i s one downside that probably has more to do with being human, and that i s the constant quest ion of how to put yourse l f and your abi l i t ies to best use. I a lways fee l l ike there i s a mi l l ion di f ferent things I should be doing, projects I should be pursuing etc .

Referenced from: www.underspray.com/grandpeople.html

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" t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g

s i d e by s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p -t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t

o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g s i d e by s i d e " t h e r e a r e n o s i n g l e p u b -

l i c p e r c e p t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d

a r t s c e n e s f l o u r i s h i n g s i d e by s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f w h at g o o d a r t

i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g s i d e by

s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f

" t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g

s i d e by s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p -t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t

o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g s i d e by s i d e " t h e r e a r e n o s i n g l e p u b -

l i c p e r c e p t i o n o f w h at g o o d a r t i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d

a r t s c e n e s f l o u r i s h i n g s i d e by s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f w h at g o o d a r t

i s , b u t r at h e r a w h o l e l o t o f d i f f e r e n t t r e n d s , m o v e m e n t s a n d a r t s c e n e s f l o u r i s h i n g s i d e by

s i d e " t h e r e a r e n o s i n g l e p u b l i c p e r c e p t i o n o f

35

C H A P T E R

T W O

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1. How would you describe yourself in three words?

Overly-exci table, Spast ic , Analyt ica l .

2. How would you describe your work in three words?

Socia l , Ir reverent , Br ight .

3. As a designer what do you specialise in?

E x p e r i e n c e .

4. Where does your inspiration come from? Who/what are you inspired by?

The everyday marr ied with the amazing. Everything inspires me (not k idding,I am shocked by how t ick led I get by the random & mundane)

5. What agencies have you worked for in the past?

Future Far mers, Car michael Lynch, Wolf Motel , Brand NewSchool , Rockwel l Group.

6. Is there anything you would suggest I do to really get my foot in the doorwaY to becoming a Graphic Designer?

Make AMAZING WORK (I know, too obvious ) Exper iment a lot and take r i sks.

<< >>INTERVIEW

7. In what context is your work mainly used for?

Event , archi tecture, interact ion, etc . Ei ther way - my work spreads over a lmost a l l arenas within the g raphic des ign world. I have a l so been doing a lot of ins ta l lat ion that fa l l s into the art rea lm.

8. Finally are there any quotes that you live by?

- I have a whole l i s t !- Make the work I wish I where making.- Be courageous & vulnerable.- Keep lear ning.- Never set t le.- Fai l o f ten & I wi l l progress.- Invi te disrupt ive change.- Choose to bel ieve my own opinion as much as I bel ieve in others. .- Recognize my s trength & be honest about my weakness.- Invest in the fantast ic - i t can someday be real .- Fai l o f ten & I wi l l progress.- Invi te disrupt ive change.

Hope that is what you where looking for.HAPPY MAKING!many wisheskdd

i n t e r v i e w w i t hk e e t r a d e a n d i x o n

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38

" m a k e t h e w o r k i w i s h i was m a k i n g "

Q U O T E : K e e t r a D e a n D i x o n

39

" m a k e t h e w o r k i w i s h i was m a k i n g "

42

INTERVIEW

<< >>I 'd descr ibe mysel f as industr ious, opt imis t ic and t i red. I would

descr ibe my work as harder working typography. My inspirat ion comes from anywhere you see type doing something

i t wasn ' t meant to : peel ing painted s igns, tor n poster s, badly pr inted newspapers, s treet markings, environmental typography etc

etc . I worked at , In order, CMW, Elv i s, MCBD, CHI & Partners and now Grey in New York. In ter ms of advice, do one thing wel l and eventual ly someone wi l l take not ice and you can never do too much se l f promotion - as long as the work i s worth i t . I made a lot of work s tra ight out of uni but my work sucked so no-one paid any

at tent ion.

I d idn ' t send out another emai l or mai ler for 3 years. My work i s used pr imari ly in publ i shing and advert i s ing and the

only quote I l ive by i s -Moderat ion i s g reat in moderat ion. Eventual ly someone wi l l take not ice and you can never do too

much se l f promotion - as long as the work i s worth i t .

i n b r i e f :

i n t e r v i e w w i t hc r a i g wa r d

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44

" D o o n e t h i n g w e l l a n d e v e n t u a l ly s o m e o n e w i l l ta k e n o t i c e " .

Q U O T E : C r a i g Wa r d

45

" D o o n e t h i n g w e l l a n d e v e n t u a l ly s o m e o n e w i l l ta k e n o t i c e " .

49

C H A P T E R

T h r e e

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}" H AV E T H E F R E E D O M T O

L E T Y O U R M I N D S P I L L

Q U O T E : D A R E N N E W M A N

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C H A P T E R

W O R K I N R E S P O N S E

54

yResponse:

Over t ime I have developed a real ly intense love for image and typography combined together, i t fasc inates me how

di f ferent des igners inter pret and combine the two together in their own unique and indiv idual ways to produce v i sual ly

s t imulat ing des ign.In response to my devot ion to this area my work has

transfor med and developed and I fee l I have my specia l i s t interes t and s ty le that I keep cons i s tent wi thin my work.

A lot of the work that I have chosen to display within my publ icat ion has a s trong focus on a commercia l

context and in ref lect ion that i s where my work l ies.

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