TYPE SPECIFICATION
078-044
Noah Campeau
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Strategy Grids Typeface Rationales Body Copy Heading/Folio/Pull Quote Title/Subtitle/Sidenotes Personal Narrative Vertically Aligned Text/Strikethrough Colour Photos Amendments Finishing
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Strategy
‘Thank-you for performing’ is a project that represents video and typographic response towards chance performance and reaction. From Cage’s performance, I admire the daring and experimental approach that creates a different role for the spectator. Since the orchestra isn’t filling out its performing role, the spectacle has shifted to the noises made by the audience and surrounding elements in the environment. This idea of creating a performance, which shifts the role of responsibility onto the audience has played a large role in decisions I have made towards connection and communicating with my own audience. Labanotation, which is a process used to read and record body movement, was interpreted and used by John Cage for influence. My own research into this area helped drive decisions and awareness surrounding how I was to display the performance as a presentable piece of work. It was essential that the video representation of the performance be shot in a way that highlighted such patterns of the participants. Whether they made a direct connection with the projection and reacted to it in an obvious way or not, once they had walked into the video frame, they played a role in this piece of work. Therefore it was important to combine a vast mixture of reactions and display it in a suitable manner as to highlight transformations in body language. Tim Crouch is a theatre artist from the UK. He wrote a play called the Author, which has been a strong area of reference for the development of my work. This particular play of his, questions the role and responsibilities of the spectator. The audience is situated on the stage, amongst the performers; they are highly involved with the performance happening around them, unaware who the legitimate performers actually are. I admire this approach towards creating a performance that insists the audience to question their surroundings and connection with the environment. My communication development was highly inspired by Crouch’s play, the way he has involved the audience suggested ideas towards giving my spectators the option to participate in my performance, 02
the projected text “Thank-you for performing between these lines� fills this role of giving the spectator this choice to become involved. Experiencing and witnessing the range of reactions has been exciting and fulfilling. I have gained a great sense of achievement throughout the process. The mixture of different research paths I have taken has added great significance to developing the concept of my own performance. The core communication tool in my performance piece has been the projector and the suggestive information that is being projected. For any performance it is essential to communicate with, and reach an audience. My video piece demonstrates how I have created a performance event through an optional gesture, thanking people to perform in a designated space. This simple yet intriguing form of communication has created chance reactions, which has resulted in a performance created by the willing public. It is the responsive reaction of the passers-by that has shifted the role of spectator to performer. This project has been highly involved around the short film of the performance. However, the typographic representation I have produced in the form of an informative documentation plays an equal role in supporting the relevance of this project. The order of content and structure of the book reflects my progress from the start to finish of the project. I decided it was relevant to involve my main influences for the performance and involve this in the design. I have also placed emphasis on my response to my own personal reactions towards the performance, using type and aesthetic detailing to highlight movement.
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Grids
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Document Size: 136mm x 190mm 1 2 3 4 5 6 7
Top Margin: 10mm Inside Margin: 14mm Outside Margin: 11mm Bottom Margin: 12.4mm Module Grid: 11.25mm Gutter: 3mm Baseline increments: 12.5pt
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Grids
With a mixture of text and images throughout the publication, 8 columns gave me enough freedom to organise my pages in a complimentary manner. I didn’t use a horizontal grid layout. I found the bass line was suitable for hanging the images.
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Typeface
Avenir LT
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Heavy
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Medium
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Book
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Light
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890
Gill Sans MT
Trade Gothic LT
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Book
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Book Italic
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Regular
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890
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Typeface Rationales
Avenir I decided to primarily use Avenir for all my personal quotes and Titles throughout the book. The typeface is a personal favourite of mine, so when responding to Cage’s work I felt it necessary to represent my own words with a typeface that means something to me. The typeface sits beautifully on the page with gradual weight changes throughout the family, which works nicely considering I am using 4 different weights. Gill Sans Gill sans has been used for the body. Gill sans has controversy surrounding it due to the history of the designer, Eric Gill. Using this typeface for the body text of the book, which is predominantly used when talking about John Cage, complements Cage’s 4’33” performance, which is also a controversial topic. Trade Gothic Trade Gothic has been used for headings and the folio throughout the book. Jackson Burke designed the typeface in 1948. Like Cage he was born in America. 1948 Was also the year that John Cage became more concerned with silence within his work. This is the year that the ideas evolved for his performance of 4’33”, which was later performed in 1952.
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Page 52 Personal quotes set in Avenir.
Page 11 Body set in Gill Sans.
Page 08 John Cage page header set in Trade Gothic
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Body Copy 1
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Body Copy: Gill Sans MT Pro, Book, 9pt/12.5pt leading, c=0,m=0,y=0,k=100 82.5mm Measure, 3.25mm Paragraph indents (measure of 1 EM space) Aligned left, Tracking range -15/+15
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Body Copy: Gill Sans MT Pro, Book, 9pt/12.5pt leading, c=0,m=0,y=0,k=0 54mm Measure, 3.25mm Paragraph indents (measure of 1 EM space) Aligned left, Tracking range -15/+15, Subscript 0.008pt extra stroke
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Body Copy: Gill Sans MT Pro, Book Italic, 9pt/12.5pt leading, c=0,m=0,y=0,k=100, 82.5 measure, Aligned left to opposite side of gutter
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Heading/Folio/Pull Quote 1
Heading: Trade Gothic LT, Regular, 6pt, c=0,m=0,y=0,k=100 3.25mm Indent, Aligned left
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Folio: Trade Gothic LT, Regular, 6pt, c=0,m=0,y=0,k=100 3.25mm Indent, Aligned right
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Pull Quote: Avenir LT, Medium, 8pt/10pt Leading, c=100,m=20,y=0,k=0 Aligned left
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On this occasion I have taken the quote from Cage’s text and written it in the third person. This breaks up this text heavy section of the book, also indicating that I treating this research area in a responsive manner. Square brackets were used to indicate that the quotes format has been altered.
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Titles/Subtitle/Side Notes 1
Title: Avenir LT, Medium, 9pt, c=0,m=0,y=0,k=100 Aligned left
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Subtitle: Avenir LT, Light, 6pt/9pt Leading, c=0,m=0,y=0,k=100 Aligned left 1
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Side Note: Avenir LT, Book, 7pt/8pt Leading, c=100,m=20,y=0,k=0 Aligned left
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Titles: Avenir LT, Heavy, 43pt/47.8pt Leading, c=0,m=0,y=0,k=100 Letters individually aligned central to each column
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Title: Avenir LT, Medium, 50pt/48pt Leading, c=0,m=0,y=0,k=100 Aligned left
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Personal Narrative 1
Narrative: Avenir LT, Medium, 10pt/14pt Leading, c=100,m=20,y=0,k=0 Aligned Left, Measure varies throughout the book.
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Narrative: Avenir LT, Medium, 9pt/12.5pt Leading, c=100,m=20,y=0,k=0 Aligned centre. The reason for caps and tight leading was to imitate readability of projected text. The last line has been structured to place emphasis on “GROUND LEVEL�.
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Narrative: Avenir LT, Medium, 10pt/12.5pt Leading, c=100,m=20,y=0,k=0 Tracking, +1000 (measured in thousandths of an EM)
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Narrative: Avenir LT, Medium, 13pt/50pt Leading, c=0,m=0,y=0,k=0 Aligned centre to central gutter.
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Narrative: Avenir LT, Medium, 10pt/25pt Leading, c=100,m=20,y=0,k=0 Aligned centre
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Personal Narrative(LARGE) 1
Narrative: Avenir LT, Heavy, 55pt/73pt Leading, c=0,m=0,y=0,k=100 I used irregular alignment, tracking and spacing to create a sense of movement between letters.
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Narrative: Avenir LT, Heavy, 18pt-92pt, c=0,m=0,y=0,k=0 Tracking +60, I used irregular alignment and font size to create a depth of field, imitating movement of the performers
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Narrative: Avenir LT, Heavy, 50pt/62.5pt Leading, c=0,m=0,y=0,k=0 Aligned cetre, Tracking +100
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Narrative: Avenir LT, Heavy, 50pt/62.5pt Leading, c=0,m=0,y=0,k=100 Rotation angle on each letter range between 10Ëš/-10Ëš to create a sense of movement.
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Narrative: Avenir LT, Heavy, 29pt/37.5pt leading, c=0,m=0,y=0,k=100 Aligned left, Tracking +40
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Vertically Aligned Text/Strikethrough 1
Vertical: Avenir LT, Heavy, 56pt, c=100,m=20,y=0,k=100 Tracking +40, Rotation angle 90째
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Vertical: Avenir LT, Heavy, 56pt, c=100,m=20,y=0,k=100 Tracking +40, Rotation angle 90째
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Strikethrough: Weight: 2pt, Offset: 10.5pt
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Strikethrough: Weight: 28pt, Offset: 3pt
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Colour 1
Colour: c=0,m=0,y=0,k=100
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Colour: c=100,m=20,y=0,k=0
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Black is the dominating colour throughout the book. To imitate the filmed performance I often used black background set with white text. Blue has been used in moderation, to represent my narrative sections. The colour has calming qualities. I wanted to use a subtle colour that could reflect the tranquillity of silence.
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Photos All photos have been taken by myself. Black & White: Photoshop CS5, 300dpi, Greyscale Colour: Photoshop CS5, 300dpi, Full Colour, -20% desaturation.
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Amendments 1
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Spelling and print error: An obvious spelling error with the extra ‘p’ in ’operation’. There should also be an over hanging ‘E’ relevant to ‘chance’ on the next page. The printer didn’t account this.
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Widows: I made a few obvious widow errors shown in the images below. Subtle tracking adjustments have improved this problem.
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Finishing
Book Printing: Printing Press: Indigo 3050 Bind: Perfect bound Stock: Slendergel 270gsm/160gsm Sewing: Hand sewn black & white thread, (pages 38/39) Package Printing: Printing Press: Roland AJ-740 Stock: Matt black vinyl machine cut, mounted onto card 300gsm Bind: Hand score and fold.
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