Monday, August 27, 2012

tender buttons. the initials.


the reading.
"typography at its best is a visual form of language linking timelessness and time"
"typography is just that: idealized writing"
"typography is to literature as musical performance is to composition: an essential ac of interpretation, full of endless opportunities for insight or obtuseness"
"can be used to manipulate behavior and emotions"
"typography at its best is a slow performing art, worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return"

the concept.
moving from an idea that is solid to more of an hypothetical or unknown. the breakdown of what we can accept as a physical item to what can only be spoken about and not always understood. one can explain and show what “a chair” is, but one cannot easily explain and show what “more” is. this is the same concept that can be used to trying to understand the poems. although, at first the poems may appear to be simple, there is more that goes into them than what meets the eye. thus, the actual form of the booklet/book/poem collection will slowly breakdown.

the poems.
“objects”
“a chair”
“a piano”
“a box”
“a cloth”
“a new cup and saucer”
“a carafe, that is a blind glass”
“a fire”
 “a method of a cloak”
“a time to eat”
“a frightful release”
 “in between”
“nothing elegant”
 “more”
“objects”

the typefaces.
main type: serif, or something close to typewriter, maybe Courier New.
titles of poems: san serif, maybe Helvetica LT Std, Helvetica Neue, or Akzidenz-Grotesk.













the layouts.
option1 for first poem.

option2 for first poem.

last poem option1.















last poem option4.

the moral.
Kidwell is right. I think too much.

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