Public Typography || Process Work Allie Fields VISC 402, Patrick Dooley
Project Synopsis As graphic designers we spend much of our time working with typographic application for a variety of two-dimensional surfaces from magazines to computer screens.
There is however, a world of rich typographic experience both formal and informal in signs, graffiti, and other forms of lettering that inhabit our everyday environment.
I was given the task of selecting a discrete sector of this environment and making a photo essay book about it. I had authorship of the collecting of the photo material, the writing of an essay to accompany it, and the design of the book. The first step was selecting the subject material for the book which became public typography purely found on the surface of brick.
RESEARCH MATERIAL
Main Body Text INTRODUCTION With the onset of the Industrial Revolution came the prevalent use of brick to construct our cities. Brick was in no way a new building material, but it began to transform landscapes across the nation. Along the way it provided a new medium for signage and lettering that today is so commonplace it often is taken for granted. The typography found on brick tells a story: a story of bygone eras, and how industrial cities have transformed and are used today. Embrace the history, texture, and possibilities of brick in Kansas City through Public Typography and Brick. CHAPTER 1: OF A BYGONE ERA
Immediately to the West of downtown Kansas City, one can find the West Bottoms, the original
Kansas City. First referred to as the “French Bottoms,” this area was the center of trade between Kansas Indians and French trappers. After the stockyards were established in 1871 and railroads reached their heyday the city emerged. Soon the area began to focus on the agricultural, meatpacking, freight and industrial investments of the time. Through the 1940’s these industries flourished, only to be devastated by the end of World War II and a major flood in 1951. Work has been done to reclaim the area through the building of Kemper Arena and the American Royal agricultural show, and some upscale and artistic tenants have begun to reestablish the area. A history still lays claim on the brick buildings of the West Bottoms. GHOST TYPE
Across the nation many have begun to take notice of ghost signs, some almost completely lost
while others appear only worn by the weather. Glimpses of the past glorify the booming industries which once dominated the area. In Lettering on Buildings, Nicolete Gray asserts that “one thing is indisputable: sans serif is the most rudimentary form of letter.” When examining the ghost signs in the West Bottoms and throughout downtown Kansas City, it becomes clear that legible typography was key when these signs were first painted upon the brick. While today the texture of the surface has begun to overwhelm the letterforms, the use of thick sans serif and heavy slab serif fonts was purposefully chosen.
Many of the buildings bear the names of the companies that once resided behind the brick walls,
and dually served as advertisements. Old advertising signs are sometimes called wall dogs. Ghost signs bear
only the remnants of the former colors used, and many appear to be faded white. Some even appear to have been covered by three-dimensional letter forms that today reveal a brighter red brick.
Ghost type often becomes difficult to read as several different signs were painted over each other
over time. This provides a unique record for that building as you can see the different industries and businesses housed there, as well as the changing styles of typefaces used. If these remnants are not preserved they will eventually disappear forever, and some examples are lost when buildings go into disrepair or are torn down. However, left unattended this typography offers a glimpse of the past, and while sometimes illegible, beautiful all the same. WEATHERED TYPOGRAPHY
Ghost signs occur because of the harsh weather conditions they have faced over time. The level to
which these signs are legible allows one to estimate several facts about the particular sign, such as its age and how well it has been restored and repainted over time. Some signs merely appear weathered, and are much newer than other ghost signs found within downtown Kansas City and the West Bottoms.
Many of these signs are still legible and are examples of the old practice of painting on brick
being used after the original industries that dominated the area had faltered. In the end one must always remember that this fading type once had a function: to convey an impression, as well as to spell out words; also it is part of a whole, and must be related to the function and design of that whole.
SIDEBAR: GRAFFITI All letterforms express different qualities, and graffiti offer some of the freest possible forms of expression. As a surface, brick gives texture to art and graffiti placed upon or within its vicinity. This quality can enhance the piece both visually, and offers a comparison to the original signs on brick.
CHAPTER 2: A FRESH COAT OF PAINT
GRAY CONVEYS THAT MODERN LETTERING IS MADE IN A bewildering variety of
new materials and techniques. While this most definitely is true, the simple act of painting on brick has not
RESEARCH MATERIAL
changed in terms of materials, but in techniques. Brick as a medium has never disappeared, and the texture of this surface will not change. Businesses are no longer constrained to any particular format for the design that they paint. Past ideas sometimes come into play, but many today appreciate painting with a handdone feel to it. To notice the differences, from stark stencils to loose script is to become aware of the many typefaces and styles of writing which saturate the brick buildings of our cities today. PAINTED ON BRICK
Today, these signs feature a wide variety of compositions and typefaces that would have seemed out
of place in a past era. Painted typography on brick has evolved with the times, and is often much freer and less confined than to boxes or bars near the tops of tall buildings. The newness of these signs presents a crisp presentation of paint on brick. NO CAUTION IN CURSIVE
Cursive writing is a suitable development of this technique, and can be found in multiple instances
as well. It is important that the type interact with the surface, and we need to find a norm which is legible, and which also uses the full beauty of curves and twists and the flowing nature of line . Script works best when accompanied by a sans-serif font.
SIDEBAR: TYPE AS ART Throughout Kansas City, or any city for that matter, brick is not only used for the practical purposes of advertising and signage. Brick walls provide the perfect medium for artists and vandals alike to paint or attach their artwork. Lettering itself can be an art where the formal ciphers are capable of being charged with imaginative content on a grand scale (11). Typography itself can becomes art when placed upon brick without the context of advertising or signage as used within other sections of this analysis.
CHAPTER 3: BRICK AS CONTEXT
With the development of the painted letterform, it is natural that other forms of signage would
develop along as well. Two-dimensional and three-dimensional signs have been placed upon brick buildings, and several patterns arise from taking note of these particular signs. When considering letterform,
placement, situation, scale and material these signs can be divided into several categories. Brick becomes secondary in this instance, yet still is an element to be noticed. The surface creates context, and the color of the brick can play a role in the signs which are attached to it. Size and type of sign tell the viewer about the business. These letterforms range from simple to elaborate. Material, color, and size define these signs. TWO DIMENSIONAL SIGNS
First, there are the two-dimensional signs. Some have painted letterforms, which are attached to
brick buildings in various fashions. These often show the most unique typography in that the brick does not restrict the shapes or size of the sign. There are many different colors of brick, and these signs most often complement the type of brick used in the building. THREE-DIMENSIONAL SIGNS
Three-dimensional signs are also found attached to brick buildings. These often utilize lights or
neon typography which work to distract from the ordinary building material of brick and highlight what is often an entertainment venue or restaurant. Three-dimensional signs offer in some ways the most creative freedom for the typographer. These signs can light up at night, or they can take advantage of negative space when shapes are cut out. Smaller text is often used in this type of signage since it is not as essential they be viewed from great distances. Color also seems to vary greatly within these circumstances. CONCLUSION
Brick is an unmistakable surface for typography within our cities, Kansas City being no exception.
Whether it be painted, old, new, or even three-dimensional one can’t walk down the street without passing by one of these signs. Often taken for granted, it is important to see the history brick provides for typography created long ago, and the opportunities it offers to serve as context for new signs today. This surface unites typography in a way few surfaces can through its unmistakable texture and its great abundance. Brick will never be a new surface for typography, yet it offers possibilities to remember our history, and embrace the future.
RESEARCH MATERIAL
Day-by-Day Synopsis of Notes 9.11 During this class we were introduced to the project. My first ideas focused on Kansas City as the location and I knew I was interested in ghost or weathered type as a portion of the project. I headed into Kansas City that weekend to take my first round of photos. 9.18
In class we looked at my first round of photos. At this point I knew I wanted to focus on brick as the subject matter and the feedback I received was positive for this idea. I needed to think more about what specific categories to divide my chapters into. 9.25
During class we reviewed the additional photos I had taken as well as my concept statement. I needed to go back to KC especially to get more photos of ghost type. 9.27 This class was dedicated to reviewing the mood boards we had created. I needed to make major revisions to my mood board and work on it capturing the feel of my book, rather than being a catalog of the pictures I had taken. I also had too many sections, needed to make sure I focused in on three main chapters. 10.2 We turned in our main body text. I was happy with where the text was going, but knew I needed to add more pull quotes
and extended captions. We also looked at our revised mood boards, mine seemed to be more on track but still could use some more work. 10.4 During this class we once again looked at our mood boards. Also due were our first type studies. There were elements in some of my studies that were strong to develop further and others that weren’t as successful. 10.11
After fall break we brought with us our portrait and landscape documents we created using the Blurb Book Creator plug-in. My revised type studies were critiqued as well. The class liked my titles I created in one version which I ended up applying to further studies and my final book. 10.16
When looking at my first round of layouts the feedback I got helped me to decide I would focus on the portrait orientation for my book. Critique focused on how there were too many decorative elements that may not be necessary to my spreads.
10.18
As we continued to focus on layouts and covers, I struggled most with creating the cover. There were several options that got positive feedback for the covers, but none of the type seemed integrated enough. The details seemed better on the spreads, but could still use refinement. 10.23 This was the first day we looked at the entire book front to back.. It became clear I needed to add some more text in my second two chapters and add more extended captions and pull quotes so there were more elements on each page. I also needed to adjust some of the sizes of the type slightly. 10.25
When we looked at my book in page-turning form there still seemed to be too much text in the first chapter. I continued to add more extended captions and pull quotes. I needed to make the format of the extended captions consistent throughout the book. 10.30 In my individual meetings certain specific little things were pointed out to correct in my book. I also continued to revise the text in my “sidebar� spreads between the chapters. 11.1 When looking at my book full scale in page turning form this day final refinements were suggested, one being that some of the pull quotes were a little long with only one word on each line. Also, I showed several cover ideas and worked on revising those during class. 11.6 This was the last day we had final individual meetings. I was able to decide on a final direction for the cover and knew I needed to revise the title page within the book still. I order the book from Blurb that evening! 11.20 Project Due.
RESEARCH MATERIAL
Photo Thumbnails
PHOTOS
PHOTOS
PHOTOS
PHOTOS
PHOTOS
PHOTOS
PHOTOS
PHOTOS
Mood Boards
DESIGN DEVELOPMENT
Type Studies
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
Horizontal Preliminary Layout
DESIGN DEVELOPMENT
Vertical Preliminary Layout
DESIGN DEVELOPMENT
Revised Vertical Layouts
DESIGN DEVELOPMENT
First Full Book Layout
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
First Covers
DESIGN DEVELOPMENT
Revisions to Layout
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT
Revised Covers
DESIGN DEVELOPMENT
Concept Statement Brick is a prevalent surface for signage and typography within industrial and urban settings. Brick tells a story through its texture, and the medium used to place these signs upon the surface. Focusing on the categories of ghost and weathered type, new painted signs on brick, and 2D and 3D signs attached to brick surfaces; this book will explore typography on brick in Kansas City
FINAL PROJECT
Final Project
FINAL PROJECT
FINAL PROJECT
FINAL PROJECT
Layout with Grid
Ghost Type Across the nation many have begun to take notice of ghost signs, some almost completely lost while others appear only worn by the weather. Glimpses of the past glorify the booming industries which once dominated the area. In Lettering on Buildings, Nicolete Gray asserts that “one thing is indisputable: sans serif is the most rudimentary form of letter.� When examining the ghost signs in the West Bottoms and throughout downtown Kansas City, it becomes clear that legible typography was key when these signs were first painted upon the brick. While today the texture of the surface has begun to overwhelm the letterforms, the use of thick sans serif and heavy slab serif fonts was purposefully chosen.
OLD ADVERTISING SIGNS ARE SOMETIMES CALLED WALL
09
DOGS.
GRAY CONVEYS THAT MODERN LETTERING IS MADE IN A bewildering variety of new materials and techniques. While this most definitely is true, the simple act of painting on brick has not changed in terms of materials, but in techniques. Brick as a medium has never disappeared, and the texture of this surface will not change. Businesses are no longer constrained to any particular format for the design that they paint. Past ideas sometimes come into play, but many today appreciate painting with a hand-done feel to it. To notice the differences, from stark stencils to loose script is to become aware of the many typefaces and
27
styles of writing which saturate the brick buildings of our cities today.
Since 1905, Michael’s has been fitting men in a fine tradition not easily found in today’s stores. Their building utilizes several types of signage, including this new painted sign, a beautiful example of this tradition.
LETTERING OF COMMERCIAL PURPOSES WILL OFTEN RESPOND
Light brick allows Business Systems Inc. to use decorative typography in a dark color. These type of signs can also be placed strategically based upon the structure of the building, depending on the details added.
TO THE FUNCTION
53
OF A BUILDING.
FINAL PROJECT
Reflection I began this project by taking pictures with no clear direction in mind. I knew I wanted to focus on Kansas City as the location, but after that initial thought I didn’t know exactly where I would end up. When looking through my first round of photos I realized that the images I found myself drawn to were all typography on brick. Once I knew that this would be the theme that joined each of the chapters I took several more trips into KC to take pictures. I enjoyed having complete freedom to write about whatever I felt was pertinent to explaining the typography of the pictures I had taken. I have always loved photography, so it a fun challenge for me to be able to create a book using only pictures I had taken. Once I had found the basic “look� of the book, I found it challenging to keep the theme consistent yet interesting as the chapters continued. As much as I enjoyed having complete control over these three main aspects of creating this book, I know that realistically I may not have control in the future over all of these elements. I think it is useful to understand how each of these elements work together so that in the future I will be able to work better with authors and photographers. I think the designer has a unique role in that their work brings together each of the elements. Designers much find unique ways to showcase words and images so that readers will be interested in actually reading the book. After completing this project I have a greater appreciation for the collaborative nature of the three main elements that go into creating a book. This became one of my favorite projects I have worked on and I hope that in I will be able to work on designing more books in the future.