Discussion Point 2 - Andrea Agathocleous

Both Pre-Digital and contemporary typographic design have provided staggering influence to the field. While the foundations of Pre-Digital typographic design are inarguably fool-proof, contemporary innovation in the field of typography is just as important as its inaugural counterpart in promoting evolution in this field. 

The common misconception is that pre-digital typographic designers were not prone to experimentation and innovation. Francis Picabia proves this wrong through his Dada & Abstract inspired art. [1]

 [2]

[ Issue 7 of Dada, titled ‘Dadaphone’, with machine portrait on cover by Francis Picabia (Victoria & Albert Museum)]

Clearly, Anthony Froshaug disagree's with this typographic style, believing that structure is there for a reason, backed by David Birdsall who argues that he is merely "supporting the thoughts" of the designer through type. Artists like Robert Massin and Picabia, however show the power of expression through type, exemplifying a line or body of type's semiotic abilities.

Of course, when seen on it's own, Picabdia's work is understood as quite innovative. When contrasted with modern experimental typographic design, however, the evolution of type design is evermore visible. 

 [3]

[Issue 1 of QWERTY, titled 'For those who get their fingers dirty' by Stephen Banham]

Stephen Banham's design in comparison highlights the revolutionary freedom and lax attitude in typographic design. Banham is a Melbourne typographic designer born in 1968 and is founder of a typographic Studio named Letterbox. [4]

Banham's context is more culturally and technologically accepting of freedom in design, even though his book QWERTY was a revolutionary and monumental piece of work in Australian typography, giving it it's own identity thanks to his dedication to innovation and creativity. 

In the aforementioned ways, Banham's art contrasts that of Picabdia. His text ascends in a vertical fashion, while on a grand scale Picabdia's work remains in the horizontal grid and experiments mostly by literally pushing the borders (or margins) of the page and varying font size and boldness, images and type in an unorthodox manner. Evidently, there is a drastic change in the degree of experimentation and evolution. 

In conclusion, although a staggering difference in between the era of both Banham and Picabdia, the same attitude and justification to experimental type is the core motivation of both artists. Artists including, but not limited to these two, Robert Massin and David Carson should be applauded, as the entire 'face' of graphic design can be changed via the innovation of one or more rule breaking, talented minds. 

[1] "Wikipedia." Francis Picabia. Web. 20 Sep 2012. <http://en.wikipedia.org/wiki/Francis_Picabia>.
[2] Picabia, Francis. Dadaphone. N.d. Photograph. Flikr, Victoria & Albert Museum. Web. 20 Sep 2012. <http://farm4.static.flickr.com/3237/2739468117_0941f405f1.jpg?v=0>.
[3] Banham, Stephen. QWERTY: 'For those who get their fingers dirt'y. 1990. Photograph. Letterbox, Melbourne. Web. 23 Sep 2012. <http://www.letterbox.net.au/wp-content/uploads/2009/08/LB_QWERTY_res_bks_qwerty102.jpg>.
[4] "Wikipedia." Stephen Banham. Web. 22 Sep 2012. <http://en.wikipedia.org/wiki/Stephen_Banham>.