PUBLIC
IN AN AUDIBLE E N V I R O N M E N T
TYPOG RA P HY
Lauren Bowles University of Kansas Fall of 2011
PHOTO TAKEN AT GRINDERS—BACKYARD 417 EAST 18TH ST KANSAS CITY
A setting is a multidimensional form of design that provides context and framework for our experiences. Concert venues are an ideal example of settings that can directly influence the mood and energy of an atmosphere—each of which are unique in their physical aesthetic and “personality.” This book is an exploration of public typography and how it is used in an environment to amplify and define the character and overall feel of a space.
7
INTRODUCTION
8 GRINDERS 16
UPTOWN THEATER COMPLEX
24
LIBERTY HALL
34
CLOSING
36 references
I had my first taste of live music when I was thirteen years old and impuslively decided to tag along with a close friend to show in Kansas City. Naive about the such an environment, I was thrown into a world of ground shaking chaos, that ignited an excitement and deep love for this world of loud and exciting energy.
PHOTO TAKEN AT
GRINDERS—PERFORMING stage
417 EAST 18TH ST KANSAS CITY
5 PUBLIC TYPOGRAPHY
INTRODUCTION
7 PUBLIC TYPOGRAPHY
INTRODUCTION
INTRODUCTION ATMOSPHERE TRANSLATED THROUGH TYPE
Music is a highly sensuous manifestation of emotion. To attend a live performance is to experience music in its rawest, most genuine state. The atmosphere is brought to life by the lighting, the movement, the sound, and the intimate connection formed between the audience and the performer. Enthralled by the sounds, it’s as though everyone in the crowd slips into a trance, escaping their realities for a brief while and loosing themselves to the gravity of the music. Setting is key in providing context and framework to an experience and becomes a strong influence in the mood and energy of the atmosphere – especially with regard to live performances. The environment dictates formality and demographic and can influence as much as the genre of music of a concert.
“ARCHITECTURAL LETTERING CANNOT BE REDUCED TO FUNTION IN THE SENSIBILITY OF LEGIBILITY. ITS FUNCTION IS TO CONVEY AN IMPRESSION, AS WELL AS TO SPELL OUT WORDS. IT’S PART OF A WHOLE AND MUST BE RELATED TO THE FUNCTION AND DESIGN OF THAT WHOLE.” —baines NAMING PLACES and defining spaces
9 PUBLIC TYPOGRAPHY
INTRODUCTION
PHOTO TAKEN AT
GRINDERS—BACKYARD
417 EAST 18TH ST KANSAS CITY
An environment is a multidimensional manifestation of basic design. It is strongly contingent on space, texture, color, and typography-– these elements collectively influence and contribute to the creation of the unique character that is associated with a particular place and its identity. Each of these articles of design are discerning aspects of the brand for an establishment but the use of typography is especially defining and unifying, though ironically, is underestimated and often overlooked. Rarely do we notice how accessible typography is to the public eye. Our world is flush with type from flashy billboards, street signs and storefronts to the miscellaneous scribbles on the sides of walls and table surfaces. It is our visual communication. It is everywhere. Architectural lettering describes lettering which is integral to an overall structure and which is conceived as part of that structure. The naming of buildings is not just a pragmatic exercise. Rather, it carries with it a promotional aspect.
13 PUBLIC TYPOGRAPHY
CHAPTER 1
GRINDERS RAW, UNCONVENTIAL APPEAL
Grinders was born out of a deep passion for live music and the arts.The personality of the environment speaks to a younger, edgier demographic with its unrefined, eclectic appeal. The aesthetic here is fit to coexist with the local, artful charm of the Crossroads district—expressive, raw, unorthodox, and colorful.
The mono-weight form of each character is based off of the shape of a circle, a geometrically ‘perfect’ figure, a relatively unconventional approach to type design. The material of the sign is an old rusted metal that has been roughly cut into rigid letterforms and framed with disjointed strips of neon lights. The style of this lettering embodies the unique, untraditional vibe of the establishment. PHOTO TAKEN AT GRINDERS—BACKYARD 417 EAST 18TH ST KANSAS CITY
PHOTO TAKEN AT GRINDERS—outdoor bar 417 EAST 18TH ST KANSAS CITY
15 PUBLIC TYPOGRAPHY
CHAPTER 1
“If there’s a characteristic shared by many great rock venues, it’s that they’re rarely about glitz, glamour, or Vegas-style flash. Often times, the best venues have a raggedly dilapidated quality that feels part and parcel of rock music itself.” —Russel Hall Gibson Guitars
Typography is more than a collection of words. It is an expression, a vivid interpretation of audible language through visual language. Vernacular type is often times more honest and immediate in its portrayal of the message within the content. It is bold and unrestrained, like that that is found across the interior and exterior.
Vernacular typography and music are both used to vividly communicate a message or an idea. They are limitless forms of expression that share a quality of originality.
PHOTO TAKEN AT GRINDERS—condiment holder 417 EAST 18TH ST KANSAS CITY
Most of the artists that are showcased at Grinders share a similar personality of that which is flaunted by the style of the venue itself. Musicians that are considered to of be lesser mainstream genres such as bluegrass, folk, and reggae perform at this venue most. The understated, gritty environment is cohesive to the unpolished twang of such music.
“The function of music is to release us from the tyranny of conscious thought”
The crude, unpolished attitude is the essential foundation behind the brand. Bold
—Sir Thomas Beecham English conductor
signage is hung throughout the backyard of the venue with content advertising for booze, food, and even tattoos. The smallest detailing of text found in Grinders adds to the identity and personality of this establishment. Profanity and crudely illustrated text decorates the condiment holders and picnic tables, further exemplifying the untraditional, unrestrained attitude of not only the setting itself but of the employees and audience members that frequent the establishment.
PHOTO TAKEN AT GRINDERS—shot stand out back 417 EAST 18TH ST KANSAS CITY
PHOTO TAKEN AT
GRINDERS—interior
417 EAST 18TH ST KANSAS CITY
“THE ESSENTIAL DYNAMIC BETWEEN UTILITY AND EXPRESSION ALLOWS FOR LETTERING TO SAY SOMETHING MORE ABOUT THE SPACES AND PLACES AROUND US.” —baines NAMING PLACES and defining spaces
19
417 EAST 18TH ST KANSAS CITY
GRINDERS—condiment holder
CHAPTER 1
PHOTO TAKEN AT
PUBLIC TYPOGRAPHY
Rusted signage is hung among the array of miscellaneous ornaments. Walls are adorned with generations of sharpie signatures and scribbled messages in between the vintage posters, street signs and old photographs. They not only add to the authentic, garage style decor, but they inadvertently document the stories of people who have shared they’re nights here.
PHOTO TAKEN AT UPTOWN THEATER COMPLEX窶年ORTHEAST ENTRANCE 3700 BROADWAY, SUITE 300 KANSAS CITY, MO
23 CHAPTER 2
UPTOWN
CLASSIC OLD STYLE
THE AT E R The Uptown Theater in downtown Kansas, City embodies a sophisticated identity that is reminiscent of the 1920s. With the unique pairing of Venetian inspired architecture and Broadway like signage, this venue is recognized for its old fashioned, upscale style and intimate atmosphere of
atmosphere adds drama and intimacy to live performances. In juxtaposition to neighboring businesses, the Uptown Theater is marked by its extravagant architecture and old style signage. Because it is highly untraditional of most modern day public type, it serves not only as a prototypical business element but also as a distinguishing trademark of the identity of the theater.
3700 BROADWAY, SUITE 300 KANSAS CITY, MO
popular not only for its unique character but because its
UPTOWN THEATER—BEHIND ARCHITECTURAL SIGN
the theater space itself. Such an environment is strongly
PHOTO TAKEN AT
PUBLIC TYPOGRAPHY
PHOTO TAKEN AT
UPTOWN THEATER—PUBLIC THEATER HALL
3700 Broadway, Suite 300 kansas city, mo
“Flamboyant Broadway-like signage that is characteristic of the roaring twenties”
The juxtaposition of informal, pop culture posters taped to the window, the storefront type and the classic old style architecture creates an almost poetic irony. The script painted across the front windows echoes the same style of the Uptown sign, gestural and expressive and mimicking of signage from the 1920s.
Photo Taken at uptown theater complex—northeast entrance 3700 Broadway, Suite 300 kansas city, mo
3700 Broadway, Suite 300 kansas city, mo
uptown theater complex窶馬ortheast entrance
PUBLIC TYPOGRAPHY
Photo Taken at
25
CHAPTER 2
“Great performers can do their thing in any venue, but the artistic comfort a performer gets from a performance space can really contribute to magical performances.” —RUSSEL HALL GIBSON GUITARS
27 PUBLIC TYPOGRAPHY
CHAPTER 2
The theater is a dramatic and elegant with its overarching balconies, elaborate architecture, and regal, velvet curtain that frames the stage. One of its primary attractions is the small-scale theater, which is not only acoustically pleasing but beneficial in strengthening the connection between the audience and performer. It makes sense that most of the typography incorporated throughout the Uptown Theater reflects the bold, flamboyant style of the 1920s seeing that it was
ing such formality. Photo Taken at uptown theater complex—NEON MARQUEE 3700 Broadway, Suite 300 kansas city, mo
PHOTO TAKEN AT
and works compliments the architecture in emphasiz-
UPTOWN THEATER—PUBLIC THEATER HALL
outside the building are flaunts Broadway-like styles
3700 Broadway, Suite 300 kansas city, mo
founded in that era. The neon script and marquee
Public typography is a ubiquitous element within our surroundings that is more available than we consciously realize. The exit sign, for example, is a standard example that is found in nearly every societal establishment. Being of such a generic, insignificant detail in a space, it often goes unnoticed as such an immediate application of public typography. However, the exit signs in the theater of the Uptown have been redesigned to mimic the elaborate style of the venue.
PHOTO TAKEN AT
STYLE Of THE VENUE”
UPTOWN THEATER COMPLEX—INTERIOR
3700 BROADWAY, SUITE 300 KANSAS CITY, MO
“SIGNS IN THE THEATER HAVE BEEN REDESIGNED TO MIMIC THE ELABORATE
The letterforms are characterized by untraditional structures and florid serifs that mimic the illuminated golden border shown surrounding the text itself. An ornate stone frame that is embossed in the wall, accentuating the architecture, encloses the sign while the unusually warm tint of the sign echoes the dim glow of the sconces that line the walls.
33
CHAPTER 3 PUBLIC TYPOGRAPHY
PHOTO TAKEN AT UPTOWN THEATER COMPLEX—INTERIOR 3700 BROADWAY, SUITE 300 KANSAS CITY, MO
PHOTO TAKEN AT UPTOWN THEATER—PRIVATE VIP LOUNGE 3700 Broadway, Suite 300 kansas city, mo
It wasn’t until the late 70’s and through the mid-80’s the Uptown operated mainly as a concert venue. The atmosphere within the theater is warm and intimate, appealing to a more sophisticated demographic. The use of such distinct typographic elements contributes to an underlying theme of Broadway style class. It is sensual and expressive—corresponding perfectly to the unmistakable mood of the space. In back of the main theater, a vast collection of framed posters from past performances and productions adorn the walls of a VIP lounge. The collection spans across several decades, including posters from movie screenings, plays, and concerts. While documenting the history of musicians past, the prints showcase the obvious evolution in design over said duration of time. Several of which incorporate typography that echoes the classic, vintage style of the theater itself. This display further exemplifies the unique application of old style letterforms within a contemporary space.
LIBERTY HALL
35 PUBLIC TYPOGRAPHY
CHAPTER 3
between such historical architecture and the modernization of the new age electronica music that is so often showcased in the theater. This paradoxical combination gives the theater an element of unconventional “funk” and sets it apart from the multitude of venues within the area. PHOTO TAKEN AT
LIBERTY HALL THEATER—MAIN ENTRANCE
644 MASSACHUSETTES ST LAWRENCE KS
Layers of rust from years of exposure and weathering enhance the vintage marquee that serves as the “storefront” for Liberty Hall. Over time, the paint has speckled, chipped, and faded. The fact that this sign is still around is a testament to the civil investment made by earlier generations and to the practicality of its design. The type itself is characterized by harsh geometric forms that echo the style of the architecture.
PHOTO TAKEN AT
Liberty Hall claims a unique atmosphere that is created by the unusual union
LIBERTY HALL—MAIN ENTRANCE
644 MASSACHUSETTES ST LAWRENCE KS
AN UNWARRANTED COLLABORATION
these many years, Tina Turner, Al Jolsen” The architecture of Liberty Hall is strongly distinguished by its ornate vintage detail and sophisticated aesthetic. The marble tile that the covers floor of the entryway, while trodden from the decades, still maintains its It stands as a historic corner stone in such an eclectic environment.
Photo Taken at Liberty hall theater—interior 644 MASSachusettes st lawrence ks
Photo Taken at
“All kinds of entertainers have been here over
Liberty hall theater—interior
644 MASSachusettes st lawrence ks
According to Rob Fitzgerald, the events manager, “All kinds of entertainers have been here over these many years, Tina Turner, Al Jolsen, and lots of others.” Twenty first century musicians and performers of today stand on the same stage as did those of the past. Present day owners, David and Susan Millstein along with Fitzgerald continue to make improvements strive to continue bringing life back to a theater that has been through so much.
644 MASSACHUSETTES ST LAWRENCE, KS
LIBERTY HALL THEATER—WEST ENTRANCE
PHOTO TAKEN AT
39 PUBLIC TYPOGRAPHY
CHAPTER 3
“The place makes the musicians feel free to do what they need to do, and go where the moment moves them. You know the performers aren’t ‘behaving’ because of the venue.” —RUSSEL HALL GIBSON GUITARS The hand painted lettering used throughout the interior and exterior adds a level of authenticity and craftsmanship to the aesthetic. Such typography has been newly re-done allowing it to feel fresher and more appropriate to the younger demographic, for example the “No Smoking” signage seen among the columns in the theater space. However, the basic characteristics of this typeface do reflect trends in typographic design from this time. The curved incline on which the baseline lies and the elongated form of the “S” are especially unique to this era.
PHOTO TAKEN AT LIBERTY HALL THEATER—WEST ENTRANCE 644 MASSACHUSETTES ST LAWRENCE, KS
PHOTO TAKEN AT LIBERTY HALL THEATER—WEST ENTRANCE 644 MASSACHUSETTES ST LAWRENCE, KS
41 PUBLIC TYPOGRAPHY
CHAPTER 3
“the of vernacular typography seems to be understood as anything that is hand-done or has a hand-done look.” —PAUL TOSH THE UNCULTURED WORLD
theme of vintage design that is characteristic of Liberty
The hand-painted lettering that garneshes each of the front
Hall. This typeface shares
doors of Liberty Hall is closely modeled after the heavy
similar qualities with that
weight Broadwayv typeface, a sans serif font that was
used on the exterior of the
designed in the early 20th century and was highly char-
establishment. However, the
acteristic of much of public signage in the 1920’s. Certain
lettering here is more elon-
aspects of these letterforms, however, have been slightly
gated and possesses greater
exaggerated or simplified adding a sense of authenticity.
weight variance.
Photo Taken at
strates the incorporation the
Liberty hall theater—signage
the theater further demon-
644 MASSachusettes st lawrence ks
The restroom sign outside
CONCLUSION ATMOSPHERE TRANSLATED THROUGH TYPE
Music is not solely intended to be heard, it is to be experienced. Live performances are the most direct means of experience. Such a unique experience, however, is born out of a collection of surrounding elements with setting being a key ingredient. The aesthetic of the concert hall influences the mood and energy of the atmosphere.
“THE EXPRESSIVE ELEMENT Of LETTERING IS GIVEN A STILL fREER REIN AND THE NAME AND THE ARCHITECTURE Of A COMMERCIAL SPACE ARE INEXTRICABLY LINKED” —BAINES NAMING PLACES AND DEfINING SPACES
Each of the venues examined strongly differs from the next in terms of the ambiance or atmosphere channeled by the architecture. This is translated fluently through the use of typography across both the interior and exterior of the establishment. Public typography, as shown previously, as a powerful element that is used to communicate messages through the visualization of verbal language. These venues, being unique and specific in their personality, differ greatly in the uses of public typography.
43 PUBLIC TYPOGRAPHY
CONCLUSION
It is about the intimate connection made with music. Concerts offer the audience the most direct means of experience because the music is raw and unedited. Each person in the crowd shares a level of passion and energy that is amplified with company. The venues contribute vastly to the experience and the relationship between the audience members and the performers.
45 PUBLIC TYPOGRAPHY
CONCLUSION
Photo Taken at uptown theater complex—small stage 3700 broadway st kansas city
CREDITS DESIGNER, AUTHOR, AND PHOTOGRAPHER Lauren Bowles University of Kansas Designer as an Author—Patrick Dooley
FONTS USED Clarendon Calibri
SOURCES “Graphic Design the New Basics” —Ellen Lupton & Cole Phillips “Designing for Music”—Spencer Drate & Roger Dean “Layout Workbook”—Kristin Cullen www.libertyhall.net/ www.grinderspizza.com www.uptowntheater.com
SPECIAL THANKS TO Rob Fitzgerald and Justin Kent