The
keyboard: a Tool Kit.
Typography is more than the arrangement of textual content. A letter
is more than a glyph. Instead of just looking at letters, we read
pictures. The graphic shapes of characters derive from objects or
abstracts, the symbolic representation of a letter gives it its value
in communication. Re(de)constructing the alphabet, can be an investigation
for a new visual language. A letter can be anything, anything can
be a letter.
In contrast to the old typewriter, with its static typewriter letters,
the personal computer offers the infinite flexibility to apply thousands
of typefaces to its keyboard, including the customization, manipulation
and mutilation of typeface designs.
The search for originality and distinction stimulated extensive experimentation
with not only the esthetics of letterforms, but their symbolic meaning
as well. Questioning the institutionalized alphabet and typefaces
and the deserted territories of legibility and symbolic values were
the exploration fields of a handful experimenting pioneers (Emigre,
LT, Fuse, TYP) in the mid 80s.
Replacing the character set with anything else than the standard alphabet,
changes the function of the keyboard in its originally intended sense.
Dingbats, or picture fonts are a useful way to use the keyboard for
additional signs and symbols. The range from a well crafted legible
typeface designs to a completely abstract visual system can be very
broad.
As a visual composing tool kit, the possibilities of the keyboard
are endless. Experiments, not just to redefine type or typography,
but to redefine the keyboard, is possibly most useful to expand the
territories of graphic design, typography and visual communication
in either print or dynamic media.
In a society with such an competitive information overload, distinction
and differentiation becomes |
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essential. Strong corporate identities, strong branding policies
or original identity concepts are essential communication tools.
Logos, symbols, typefaces and design styles, become part of visual
concepts of communication policies. As far as letterforms are concerned,
the more they are individualized and customized, the more they'll
express an individual identity. It is a basic concept, which applies
to any level of visual communication: an identity program for a
corporation, or a single sign for a garage sale.
Custom designed typefaces and letterforms define individual identity
in visual communication, distinct one product from others. The increasing
need for noticeable identities is the biggest excuse for development
and design of new typefaces. The speed of consumption of information
in a competitive and constantly fluctuating communication industry,
stimulates the creation of new spices for the ever changing taste
experiences.
The merge of the ‘old’ school typography into visual communication,
confirms the point that typeface and symbol design must be a part
of the educational program of visual communication. And as much
as photography, motion graphics, illustration and image processing,
it will offer the future designer a serious tool for the enhancement
of individual identity concepts.
Max Kisman, April 2003.
Links:
A letter can be anything.
A workshop at CCA, San Francisco. In this issue of Tribe.
El
teclado: una caja de herramientas. Typográfia,
revista de diseño, #57, Agosto Septiembre 2003, Buenos Aires
Argentinia. Extract of article in Spanish
The
Key board: a Tool Kit. The whole article in English at Icocrada.org
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