Experimental Typography

Wolfgang Weingart is an internationally renowned graphic designer and typographer. His work is categorised as Swiss typography and he is credited as "the father" of New Wave or Swiss Punk typography. Weingart strongly believes that one must know the rules in order to break them which is encouraging me to research into design principles and imbed this into my work.

Weingart is also a teacher and his deconstructive style was picked up by many of his students, distributing it around the world.

In an interview with Eye magazine, it became apparent that this movement of typographic experimentation was already in full swing before the introduction of the Macintosh, however this technology ultimately speeded up the manual process.

I find it really inspiring how Weingart questions the role of typography for an artistic context. The cropping and layering of a variety of typographic forms creates intriguing negative space that which remind me of architecture. 

Interview with Weingart:

Published his book not just to showcase the work he has created, but to show why and where the inspiration came from. This would be a great source for me to get hold of because I am intrigued by the meaning and justification for breaking typographic rules. Not just doing it for the sake of it. 

He is a doer rather than a thinker

Dropped a case full of type. Instead of putting the type back into the case, Weingart decided to have fun by setting the type that had fallen out into a circle held together by a piece of cardboard. 

Juxtaposed the compositions with images from his travels:

Weingart compares a lot of his typographic prints to nature and other objects which became evident again when he explores the use of line:

Weingart's exploration of line reminded him of the desert:

Juxtaposed the composition with the photographs - I like how Weingart combines two completely different subjects and processes which are often aesthetically complimentary. 

Bending metal 

Weingart's experimental practice was laughed at by his colleagues. Considering how successful and influential he has been on the forming of contemporary visual culture, it shows how doing something different and exploring subjects and areas of practice that others reject can be successful. 

A middle axis 

'A middle axis does not correspond to my taste. Nor do the elements of decoration'

Working with a middle axis is limiting because the content only flows from top to bottom and doesn't consider left and right. Weingart prefers asymmetry because the lack of symmetry offers a lot more possibilities.

Moving away from the middle axis, to me, shows when contemporary visual culture began. 

Weingart doesn't use a grid which was pleasantly surprising. He believes 'a grid forces me in a cage. I can not move backwards, forwards, up or down. There's always an end.' I can relate to this, however at my stage in my design education I believe the grid can benefit me as it aids organisation and consistency. 

He wanted to change this because the rigid typography could not be developed. 

Liked to work with Akzidenz-Grotesk - Found Univers too complicated 

Lithographic Film

Looked for new ways and possibilities of expression. 

Used a hanky to create the Matterhorn for the cover of his book. 

Scrunched it up and the scanned it. - Numerous scans and compositions were collaged together:

Used a paper view finder to crop the composition and find a section that looks like the Matterhorn. Layering film and collage 

Combining physical manipulations with photographic technology is something that I like to do. I take my prints, scan them and then digitally manipulate to create new compositions. I really like this autonomous way of working and it is encouraging to see Weingart pursuing it. 

The colour was a 'huge surprise. You cant anticipate that' - Outcomes to design don't need to be planned out and formalised. Working autonomously and experimenting with techniques and processes is key to pushing the boundaries to which I aim to imbed into my practice. 

I have been really inspired by the work Weingart creates as his approach is exciting and innovative. The aesthetics of his work really appeals to me which I aim to explore with manual processes such as print. Looking at other materials and technology such as film and the photocopier is a new way to broaden my practice. 

During my experience at p98a, I printed a typographic poster that had been set using traditional typesetting principles:

Gallery p98a is owned by Erik Spiekermann, a world-leading authority on typography and design who has shaped the world of typography as we know it. The composition is clear and legible however I aim to deconstruct it digitally ask:

• How far can typography be deconstructed before it loses all meaning?
• What can digital do for print?
• Breaking typesetting rules

Layering and stretching the type taken directly from the scan:

Reorganised the typesetting as if it was still on the press. The size of the type and all elements of the composition are exactly the same as the original. I worked on these composition autonomously by moving elements around in order to make the composition legible but also use up the available space. 

Personal projects are something that I aim to work on over the summer and through to next year. I think of concepts and experiments that aren't appropriate for a brief, however it is important to exercise my right as a designer and explore personal projects. Hopefully these experiences and outcomes will make me a well rounded designer to which I can transfer my skills and knowledge into appropriate contexts.