Public Type Process by Samuel Willger

Urban Communication Public TYPE Samuel J. willger Process | Typography III Patrick Dooley

Project 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.

Each student was asked to select a discrete sector of this environment and make a photo essay book about it. We were given authorship of the collecting of the photo material, the writing of an essay to accompany it, and the design of the book.

Book Copy ///////// URBAN COMMUNICATION The extent of the urban street for local pedestrians is generally the pavement, the road, and the first floor of the builds. Off the main street, graffiti, fly posters, stickers, ghost typography, and small vernacular shop fascias are an integral part of urban living and working. Much of this typographic material will have been done by amateurs, some by vandals, and some by designers, including professional sign makers. Graffiti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type of public markings that may appear in the forms of simple written words to elaborate wall paintings. Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. In modern times, paint, particularly spray paint, and marker pens have become the most commonly used graffiti materials. In most countries, marking or painting property without the property owner’s consent is considered defacement and vandalism, which is a punishable crime. There are identifiable styles or types of graffiti. From the simple, quickly-done tags to the elaborate and often breathtaking full-wall pieces, graffiti runs the gamut. There’s a whole language and complicated hierarchy of graffiti out there that most people simply walk by every day without noticing. TAGGING /// the simplest type of graffiti consisting of the writer’s street name in one color. Tags are basically the graffiti; if they’re associated with a crew, they might also contain the crew’s name or initials. Tags can be seen everywhere and are done in spray paint, markers or pens. If a tag is put up over another writer’s tag or piece, it’s extremely disrespectful. THROW UP /// not made with stomach contents. A throw-up is a little more complicated than a tag, usually having two or three colors, but not nearly as elaborate as a piece. A throw-up is something that can be done quickly and repeatedly, while still identifying the writer. They’re usually done in bubble letters, often in one color with a differently-colored outline. When a graffiti writer goes out bombing, they’re usually either putting up tags or throw-ups all over their area. New artists, ideas and tactics displace faded images and create a new narrative within the environment.

STICKERS /// some say the lazy graffiti. Stickers are a quick and easy way to throw up a tag quickly. Graffiti writers used to use the “Hi, My Name Is” name tag stickers, but these days it’s also common to see them on the free address labels you can get from the Post Office. It’s just as likely to see elaborate, professional-looking printed stickers with a message or image plastered all over. Graffiti artists like stickers because they can take their time on the art in private, then quickly slap them up wherever. STENCIL /// thrown up in a matter of minutes very quickly. By holding the stencil against the wall and spraying, you can get a much more detailed picture than you would be able to with just a spray can. Even if you use two or three layers to make a more colorful and intricate picture, stencil graffiti can be thrown up in a matter of minutes. This is the type of graffiti that was made popular by the likes of Blek le Rat and Banksy and has now taken hold with graffiti writers everywhere. Banksy’s street art combines irreverent dark humor with graffiti done in a distinctive stenciling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. WILDSTYLE /// Wildstyle is a particular style of writing that was developed and popularized by graffiti artists. It’s a complicated and extremely stylized form of writing that, to the untrained eye, is not easy to read. Wildstyle writing features arrows, spikes, curves and other elements that non-graffiti artists may have a hard time understanding. Wildstyle pieces are often 3D and considered to be one of the most complicated forms of graffiti. PIECE ///////// Short for masterpiece. A piece is a graffiti painting, much more complex than a tag and having at least three colors. Pieces are hard to do illegally because of the time and effort involved, so a good piece will gain a lot of respect for that particular graffiti artist. As graffiti has gotten more respect as a legitimate art form, a lot of pieces have been commissioned – or at least the artists given permission to put them up. HEAVEN ///////// Hard to reach locations. A heaven is a piece that’s put up in a very hardto-reach location, often near or on the tops of tall buildings or on freeway signs. Because they’re so dangerous and difficult to reach, graffiti artists who manage to get a piece up in such a spot will usually gain some added respect from their peers. Beneath the surface of vandalism are layers of typefaces each competing for their own space and proof of importance. Graffiti can also be used as an offensive expression. This form of graffiti can be difficult to locate, as it is mostly removed by the local authority. We are bombarded by images all day, everywhere, and street artists have become skillful in demanding out attention in the cluttered urban landscape.

BLOCKBUSTER /// A blockbuster is used to cover maximum area in a minimal amount of time. Often consisting of large block letters, the blockbuster can be accomplished with paint rollers and two or three colors of paint. Usually a blockbuster is put up to cover up other work or block other writers from putting anything up on the same area. A blockbuster receives the greatest respect due to the amount of time and risk the artist takes. GHOST TYPOGRAPHY /// The term refers to faded old wall signs, survivors from the days when business names and product ads were skillfully painted directly onto bricks and mortar often lingering on in unreachable places, or revealed by building works. HISTORY /// From the past to the present. Using walls as a canvas for signs has a long history dating back at least as far as the ancient Egyptians. The preserved ruins at Pompeii have painted lettering that can still be seen today. While it is difficult to accurately date many of the ghostsigns they are broadly placed in the later years of the 19th century and the first half of the 20th century. From the 1950s onwards the economics of production swung in favor of mass printed posters and billboards. It is quite unusual to find hand painted signs produced after this time although some examples do exist. One vanishing art that can still be studied in the interstices of the assault of global retail is ghost typography. All over the world, there are cities and towns that retain their rich traditions of hand painted signage. Unfortunately, the fate of these typographic havens is being threatened by the uniformity of corporate advertising, which ignores and subverts local history and tradition. Creating letters by hand allows graphic artists to integrate imagery and text, making design and illustration into fluidly integrated practices. Lettering can emulate existing typefaces or derive from the artistâ&#x20AC;&#x2122;s own drawing or writing style. Designers create lettering by hand and with software, often combining diverse techniques. Ghostsigns are the typically faded remains of advertising that was once painted by hand onto the brickwork of buildings. They can be found in cities, towns and villages across the country advertising many different products and services, some familiar, some less so. For hundreds of years, artisans and signmakers have designed and fabricated architectural and advertising signage grounded in the local visual culture of the cities and regions in which they were produced. As retail has become more and more global in reach, the visual environments in many world cities have become indistinguishably uniform. As a result, the craft of vernacular sign making and design has been all but erased. VERNACULAR HISTORY /// From the past to the present. Vernacular is the everyday language spoken by a group of people that includes slang and regional phrasing. It is the language of the street, no matter where that street is. To a certain extent, the textures of vernacular can be communicated in text through the use of typography. Type has personality and from the typographic choices made, text can be instilled with the personality of the typeface, whether conservative, authoritarian, young or rebellious.

Technological developments such as personal computers and the software packages that operate on them have democratised font development, reducing the barriers - particularly time - that previously restricted development to a handful of professional typographers. A designer can now produce type quickly for a specific job within or outside of traditional typographical confines, while he or she juggles other pieces of work. Technological development means that type no longer has to be formal or developed by dedicated typographers. Local Flare /// around the city. Handwriting is more individual, it adds a personal touch, free expression, less limitations, it is only obvious that these signs did not have to abide to restrictions. The need to differentiate has resulted in shop-owners for example making their signs as personal as possible. A calligraphic style is found in many applications, to reinforce the personal touch of the shop. Vernacular typography is an important form of urban communication, significant not only for its aesthetic appeal, but because of its ethnographic importance as a marker of regional identity, its way of creating and preserving a sense of place, and its role as a symbol of local culture and history. The accelerating pace of the loss of these vital cultural symbols makes it critical to move beyond documentation alone, and to emphasize the preservation and active encouragement of this dying craft. Future/// Global preservation project. Vernacular Typography is a project that identifies, documents, and preserves elements of the visual environment that are increasingly endangered by the homogenizing influences of globalization. There are even projects that individuals can donate online. CONCLUSION /// Typography is an essential communication and design element that has evolved over several centuries, and continues to evolve as tastes continually change and technological development makes it easier to develop new typefaces. Type plays a fundamental role in the communication process as much through the shapes and styling of the letterforms as the actual words that they form. This book attempts the outline the characteristics of graffiti, ghost, and vernacular typography within the city landscape. People view vernacular typography all the time yet very few know it just means type written in the native language of a place.

Quotes “Some people become cops because they want to make the world a better place. Some people become vandals because they want to make the world a better looking place.” —Banksy “An image speaks a universal language, to any person of any age or ethnicity. Today’s new graffiti is more focused on the world surrounding it and more alive than classical graffiti.” —Olivier Stak “Many signs have survived until today but many more have been lost due to weathering, being painted over or their host building being destroyed.” —Sam Roberts “Today’s new graffiti movement is more focused on the world surrounding it and more alive than classical graffiti.” —Olivier Stak

Surveys Do you believe that graffiti is an act of artistic expression or vandalism? 54% Expression 46% Vandalism Do you think ghost type should be restored or left in its vintage state? 58% Restore 42% Left Vintage Do you think vernacular is considered quality typography? 46% No 54% Yes

Day By day 9.20 Initial subject alcohol branding Other students in the past were not very

10.13 Compared to last project its to busy Keep minimal and unitary

successful Whatâ&#x20AC;&#x2122;s the story?

10.18

Pictures should be just at arm length

Scale of subheads Integrate type and picture spreads

9.27 Finished up last project

10.20

Changed subject to graffiti

Covers to busy Transparency may make type less legible

9.29 Textures create elements of the alleys

10.25

Chapters - stickers vs. spray paint

Work on sidebars Make sure spreads have rhythm

10.4 Great pictures maybe focus on ghost type

10.27

Read classroom readings for ideas

Some pages are stronger than others

Story?

Revise as necessary

10.6

11.01

Give enough space to each type style or

Tweak type

focus on one

Make book unique to subject

Create an overall approach that fits each subject

11.03 Work Day By next class send off to Blurb

Initial Photos

Final Photos

Extra Photos

Graffiti is the name for images or lettering scratched, scrawled, painted

Graffiti or marked in any manner on “An image speaks a universal

language, to any person of any

property. Graffiti is any

age or ethnicity. Today’s new

graffiti is more focused on the

type of public markings

world surrounding it and more

alive than classical graffiti.”

that may appear in the

—Olivier Stask

forms of simple written words to elaborate wall paintings. Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire.

New artists, ideas and tactics displace faded images and create a new narrative within the environment.

Type Experiments

New artists, ideas and tactics displace faded images and create a new narrative within the environment.

Graffiti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type

Graffiti

Graffiti art is constantly changing. Fresh coats of paint and newly pasted posters appear overnight in cities across the world.

of public markings that may appear in the forms of simple writ“An image speaks a universal lan-

ten words to elaborate wall paintings. Graffiti has guage, to any person of any age

existed since ancient times, with examples dating or ethnicity. Today’s new graffiti

back to Ancient Greece and the Roman Empire. is more focused on the world surrounding it and more alive than classical graffiti.” —Olivier Stask

Beneath the surface of vandalism are layers of typefaces each competing for their own space and proof of importance.

Graffiti

“An image speaks a universal language, to any person of any age or ethnicity. Graffiti is the name for images or lettering

Today’s new graffiti is more focused on scratched, scrawled, painted or marked

the world surrounding it and more alive in any manner on property. Graffiti is

than classical graffiti.” —Olivier Stask New artists, ideas and tactics displace faded images and create a new narrative within the environment.

any type of public markings that may appear in the forms of simple written words to elaborate wall paintings. Graf-

fiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire.

Graffiti art is constantly changing. Fresh coats of paint and newly pasted posters appear overnight in cities across the world.

Controversies that surround graffiti continue to create disagreement amongst city officials/law enforcement and writers who wish to display and appreciate work in Graffiti art is constantly changing. Fresh coats of paint and newly pasted posters appear overnight in cities across the world.

public locations. There

Graffiti

are many different types and styles of graffiti and

“An image speaks a universal language, it is a rapidly developing

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Today’s new graffiti is more focused on highly contested, reviled

the world surrounding it and more alive by many authorities while

than classical graffiti.” —Olivier Stask New artists, ideas and tactics displace faded images and create a new narrative within the environment.

also subject to protection, sometimes within the same jurisdiction.

Controversies that surround graffiti continue to create disagreement amongst city

Street Art

officials/law enforcement and writers who wish to display and appreciate work in public locations. There are many different types and styles of graffiti

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art form whose value is highly

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language, to any person of any

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tion, sometimes within the same jurisdiction. Greece and the Roman Empire. Beneath the surface of vandalism are layers of typefaces each competing for their own space and proof of importance.

public locations. There are many different types and styles of graffiti and

“An image speaks a universal language, it is a rapidly developing

to any person of any age or ethnicity. art form whose value is

Today’s new graffiti is more focused on highly contested, reviled

the world surrounding it and more alive by many authorities while

than classical graffiti.” —Olivier Stask New artists, ideas and tactics displace faded images and create a new narrative within the environment.

also subject to protection, sometimes within the same jurisdiction.

New artists, ideas and tactics displace faded images and create a new narrative within the environment.

Graffiti

Controversies that surround graffiti continue to create disagreement amongst city officials Graffiti is the name for images or

law enforcement and writers who wish to dislettering scratched, scrawled,