ROT T . W ELLER
THE GRAFFITI HELPED ME DESIGN, NO DOUBT AND I HAVE A GREAT INTEREST IN TYPOGRAPHY, THATS WHY I LOVE GRAFFITI
AN INCREASING NUMBER OF AUTHORS IS REPRINTING OR USING CULTURAL PRODUCTS AND WORKS CARRIED OUT BY OTHERS. IT CAN BE SAID THAT THOSE AUTHORS WHO INSERT THEIR WORKS IN THE OTHER, CONTRIBUTE TO ABOLISH THE DISTINCTION
WHAT ONCE SEEMED TO BE A SMALL ART MOVEMENT AND IN A WAY ALSO “REBELLIOUS”, HAS BECOME A HIGHLY RESPECTED ART FORM, ACCEPTED AND PUSHED BY GALLERIES, MUSSEUMS AND THE MEDIA - ALL OVER THE WORLD
The distinctive design of the “tag rectum” has charmed many designers. Because it was something created in São Paulo in order vernacular and anarchic pixadores by many around the city without much relation to other cultures. This font has been studied mainly for those interested in digital sources. The process usually observed in the design consists in ‘freezing’ manual writing practices (calligraphy or lettering) in typographic forms. We are confronted with an inverse phenomenon, where the desire to reproduce mimetically these fixed typographical shapes, using different tools from those initially employed, and their adaptation to a different context, gives birth again to a manual, gestural practice, in other words, to movement. The back and forth between calligraphy and type design is nonetheless particularity evident in the blackletter fonts, like Fraktur, where the relation with the manual origin of the design is maintained and remains visually particularity evident.
The result of these studies has translated, among other possibilities, the development of digital sources that are marketed by international distributors, which has caused these letters are known and legitimized worldwide while introducing this style of circuit cultural industry.
The reproduction and adaptation of these typographic logos using everyday tools like the ball-point or felt-tip pen on paper and with a paint roller or spray can on a wall ‘poor’ drawing tools from the classic calligraphy viewpoint), appear manually as mono linear lines. Our assumption is that this re-appropriation facilitated the emergence of an effective urban environment alphabet. This hybrid system is organized round a graphic notion of economy of means, developing a maximum visual effect, based solely on the structure and skeleton of each letter. “one thing lead to another”; creation of a new universe, this time in the lettering field using existing shapes, actualized by the hazard of identificatory fashions.
PIXAÇÃO GUSTAVO LASSALA_PICHAÇÃO NÃO É PIXAÇÃO
F R AKTU R SP
N OI Z Z O NA N O RTE . IG O R
z io n. p
Strength, rhythm and unit are some of the aspects that make pixação a topic relevant to the typography
TI P O PIX O SP .
SAM PA.
HENRIQUE NARDI_TIPOCRACIA
Typographic poster 1994 with the font shoestring