When Is Typography Conceptual? Steen Ejlers, the Royal Danish Academy of Fine Arts, School of Architecture
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2013 | Volume III, Issue 1 | Pages 1.1-1.10 When is typography conceptual? Steen Ejlers, The Royal Danish Academy of Fine Arts, School of Architecture A conceptual artwork is not necessarily constituted the sentences disappeared in an even vertical/ by exceptional practical skill, sublime execution or horizontal pattern of letters: beautiful and orderly - whatever might otherwise regularly characterize and difficult to access. “fine art”. Instead, the effort is seated in the Both of these strategies of making stone preparatory process of thought – or as Sol Lewitt inscriptions appear strange to our eyes but once put it: “The idea becomes a machine that apparently it must have worked out. And even so! makes art” (LeWitt 1967). The conceptual work of – the everyday frequency of stone inscriptions that art typically speaks primarily to the intellect and not had to be decoded by the ancient Greeks can hardly necessarily to an aesthetic/sensual experience. be likened to the text bombardment, let alone the But what about the notion of “conceptual reading process, that we live with today. Moreover, type”? Could this be, in a way that is analogous to the Greek inscriptions, like the Roman ones of “conceptual art”, typefaces that do not necessarily the same time, consisted solely of capital letters, function by virtue of their aesthetic or functional all of which could, characteristically enough, be qualities but are interesting alone owing to the deciphered when laterally reversed. However, when foregoing idea-development process? Or is a boustrophedon was brought into practice with the typeface which, in its essential idiom, conveys a Latin alphabet’s majuscule and minuscule letters, message or an idea, conceptually? In what follows, I a number of confusing situations could arise and will try to examine these issues by invoking a series of crucial moments in the history of typeface, from antiquity up to the twenty-first century. The Latin alphabet, in and of itself, is a concept, where, originally, pen and brush strokes were conjoined in a particular order and thereby created a family of characters. The Latin alphabet is the later development of the relatively less refined Greek alphabet, which - in stone inscriptions dating from the Sixth Century BC – makes its appearance on the so-called boustrophedon, signifying by definition that the direction of the script alternates with every line break: on the first line, the text reads from left to right; on the second, from right to left; on the third, from left to right, and so on. This mode of writing texts has taken its name from the farmers’ manner Boustrophedon stone inscription, 4th century BC of plowing with a team of oxen – boustrophedon Among the ancient Greek stone inscriptions, certain texts can literally means “ox-turning”: a layout concept that, be found that are set up in such a way that the direction of the in our optics, has a tendency to exert a disruptive type alternates with every line shift: on the first line, the text reads from left to right; on the second, from right to left; on the influence on the whole. third, from left to right, and so on. This style of writing out a Later on, stone inscriptions were organized text has taken its name from the farmers’ way of plowing with in the form of stoichedon. Here, the Greek capital the team of oxen – boustrophedon literally means ‘ox-turning’. letters were placed into a completely smooth This is a layout concept that, in our optics, has a tendency to grid, vertically and horizontally, without any exert a disruptive influence on the whole and on the readability of the text. spaces between the words. This means to say that the spatial divisions between the words and Photo of the Gortyn Code by PRA from Wikimedia Commons. 1.1 pairs of letters like ‘d’ and ‘b’ and ‘p’ and ‘q’ could be by virtue of their idiom, bearers of a secondary reciprocally mistaken for each other. kind of information, typically implemented in Even today’s elementary school children accordance with fairly stereotyped perceptions often employ, during their acquisition of a written that one might spot, for example, in a lot of language, alternating writing directions and packaging- and advertising-graphics, where sometimes they consistently make laterally reversed elegant Didone or script typefaces are used letters – and sometimes they even employ an ox- to peddle perfumes, lingerie and the like. The turning approach. They have partly managed to awareness of this secondary communication is grab hold of the concept of writing, but often cannot always present in the graphic designer’s practice, see or understand the importance of the writing’s which has now, presumably, come to be more direction. nuanced than it ever was before – spurred on by a growing availability of typefaces on a high level of Fundamentally speaking, an alphabet is a discrete design. Paul Watzlawick’s axiom, “You cannot not set of characters that can be used as a phonetic communicate”, sounds remarkably appropriate, code. When we read a text aloud, the letters especially in this connection (Watzlawick, Bavelas indicate sounds; when we read a text for ourselves, & Jackson 1967). we see not only the letters but also read in word pictures or ideograms. We can recognize words Is the rising interest in type design a manifestation visually without having to spell our way through of the fact that type has now come, more and more, them. This flow presupposes that the letters are to be part and parcel of a visual culture and also distinctly individual and predictable – and thus perhaps a reflection of a creeping illiteracy … of recognizable. In such a case, the visual image of the fact that people are reading the message “on a word stands as a code that is unconsciously the outside”, in the typeface’s idiom, instead of in cracked, so the reading individual can concentrate the text? We are far away from Beatrice Warde’s exclusively on the content. viewpoint, expressed in The Crystal Goblet (1956), Typefaces in the Latin alphabet are where the author declares that the typeface has to developed on the basis of the formal convention that be as transparent as crystal in order to allow the was established in the Renaissance’s scriptoriums words to shine through the text. Beatrice Warde and eventually carried further into the first printed was certainly no less concerned with aesthetics Roman typefaces. We regard it as an almost God- than we are but she is an exponent for an estimable given basic condition that this alphabet consists of effort that has characterized the printer’s profession a dual representation – uppercase and lowercase for a good many centuries: the quest to optimize letters, that form pairs with the same phonetic readability and accordingly the presentation of the value, notwithstanding the fact that with few text’s content through the typeface’s elaboration exceptions (such as ‘s’ and ‘o’) the uppercase and and rules for how it should be handled. Because the lowercase letters don’t even look alike. The system typography may not in any way stand as a barrier first arose in the Renaissance’s scriptoriums, where to communication between author and reader, the the Roman typefaces were developed by coupling ideal is to achieve what is the optimally readable – antiquity’s capital letters, which we know, for “transparent” – layout. example, from the Trajan’s Column in Rome, together Let’s hope that graphic designers are still with a style of handwriting (Carolingian minuscule) striving for optimal readability when it comes to developed during the reign of Charles the Great. manipulating type in newspaper- and book-related connections, and when working with signage Because the unconscious reading process in wayfinding. But at the same time, what has presupposes an immediate recognition and emerged is an increasing focus on the typeface’s identification, a typeface that needs to function as intrinsic signals and even laypeople have now the body type in a newspaper or a book may not become analysts of various type designs’ embedded deviate radically from the accepted convention. layers of communication. The prevalent incidence Similarly, the signage on the highway must of digital typefaces, coupled with the personal preferably not give rise to all too much profound computer’s praxis, where type has now come to meditation on the graphic’s significance. be a changeable and individually chosen personal expression has undoubtedly helped to sharpen the Type is accordingly a sensitive instrument, if the layperson’s ability to categorize and interpret the communication is going to function effectively. typefaces’ “surface”. However, alongside this fundamental process, display typefaces – especially – are also, if only Artifact | 2013 | Volume III, Issue 1 | Pages 1.1-1.10 1.2 Paris Metropolitain, Paris, the 1900th metro-stairway with sign The signs on the renowned Art Nouveau metro stations in Paris were designed by the architect, Hector Guimard (1867-1942). The Metro stations, which were originally designed for the World Exhibition in Paris in 1900, are worked out in an exemplary fash- ion: the lettering, the sign-frame and the signposts appear to be sprouting from one and the same formal legitimacy. Everything is “organic”, and the very same “DNA” seems to be seated as the basis for the lamps, the railings, the sign-frames, etc. Moreover, the type is also consistent and systematic in its otherness. The type-design was defined by an overall concept that encompasses both two- and three-dimensional elements. The architect Hector Guimard was also the originator of wooden furniture and ceramics in precisely the same idiom – and even though the materials, the setting and the function there are of an entirely different nature, it is precisely the same idiom that is de- ployed here.