Type Experiment Booklet

8/6/2019 Type Experiment Booklet

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TYPE EXPERIMENTATION


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How can I use the scale o the experiment to dictate the orm and legibility o the 3 planes?

How do I understand and work with the physical limitations o the eye?How can one typeace exist in both two and three dimensional orms?

How do the experimental orms exist in orm and space?

How can the type change or move over a period o time?

What messages can encourage or emphasize the orm?

QUESTIONS


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This is exemplied through the relationship between black and white, creating the illusion o

depth. Much o the optical art movement began in the 1960s with painters such as Bridget

Riley and Peter Sedgley that, although somewhat removed rom the psychedelic art move-

ment o the 1960s, used many o the same principles that applied to the group such as repeti-

tion, patterns, morphing, contrast o color, or the illusion o depth. On the reverse end, work

rom artists such as Felice Varin in the 1970s began using existing space and depth to create

the opposite eect. This movement applied those same principles; morphing, contrast ocolor, repetition and pattern. However, this is not necessarily a new trend to the 21st century.

Within the research I gathered on the trends involving anamorphosis and tricking the eye,

many individuals use methods such as sculpture, physical space, architecture, and some sorto grid to give structure to the creation. This provides a recognizable orm or the viewer to

understand the structure, but surprises them with a hidden technique or message. I would

describe this orm simply as an illusion. This is exemplied through, not only the creation o

anamorphic type that appears two-dimensional, but also with optical illusions that reverse the

process and create a two-dimensional orm that appears to be three-dimensional. Forms that

take on this trend oten make use o consciously placed lines, gradients and color.


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INTRODUCTION

On a unctional level, this distortion is important or its use on indicating trac-related instruc-

tions or drivers at a specic angle as well as interior and exterior signage that also relies on

the angle o the viewer or other natural elements like sunlight. However, aside rom the act

that optical illusions are cool to observe and wonder at, there is no real unctional importance

in their creation. Unless, o course, a message o some kind is crated within by the creator

that compliments the seen, unseen, imagination or other relating element.

The technique has been employed by various artists throughout history that have distorted

gures to create the illusion o proper proportion. Examples o this inlcude Andrea Pozzosceiling on the church o St. Ignazio in the 17th century as well as the work o renowned artists

like Michelangelos Sistine Chapel. Much o the work o optical artists appears in paintings,

publications, or other orms o two-dimensional suraces. With new technology, this has been

advanced to motion and screen-based optical art that will give an illusion in a much dierent

manner than print. Anamorphic experiments are oten set in architectural space as sculpture,

interior design elements or signage.


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To begin my experimentation, I made a quick

example o a "T" seen rom only one perspective.

Understanding this helps to orm ideas about what

I will want to add or remove as an area o interest

or the experimental type project as well as materi-

als I should use in the making process.

STUDY #1


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I used the word "security" or my initial experiments

and attempted to reinorce this message with the use

o materials such as abric and cotton.

STUDY #2


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STUDY #3

I began to explore more o the two-dimensional

part o my question as I considered creating a

three-dimensional illusion on screen (a fat surace).

This was then placed on a three-dimensional

surace that looks as i it could be two-dimensional

surace rom a specic angle. I chose to use a very

structured typeace and created a optically twodimensional type that is created using only lines.

This ocused on each point o the typeace.


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STUDY #4

In this study, I attempted to use the two dimen-

sional letterorms that were created to give the

illusion o sitting in three dimensional space and

placed them in physical space across ve dierent

planes, large-scale. Although this particular experi-

ment is not successul on its own due to the illeg-

ibility o most o the letters (specically i, g, and n, Ibelieve that the idea as well as the material worked

well or large, lined type that is not permanent.


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EXPERIMENTS NEVER END

Another important, in my opinion, discovery includes the orms used to create another.

For example, using lines to create a three dimensional box, in turn, was used to create astructured type that attempts to create the illusion o three dimensions rom both the let and

right sides o the letter. This illusion relies heavily on the placement o the lines in relation to

one another. In addition to that, some o my earlier experiments used the material to reinorce

the message. In that, I believe they were almost more successul than using tape or hand-

drawn line to create the letterorms.

One o the discoveries contained in my area o typographic studies was realized during my

rst ew attempts at creating optical illusions. The nature o the work requires a precision, not

only in crat (which has not been achieved as it should/will be), but also placement o certain

objects at specic angles. This precision later inorms the creation o actual type and applies

to orming the letters and creating a grid. It is interesting to use the grid and nd various ways

to manipulate this through the use o perspective outside o the original creation.


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Documents

Type Experiment Booklet