Discussion point 3 - Andrea Agathocleous

Personally, Typography has always grasped my attention and made it's relevance in contemporary design prominent. Each letter is a piece of art signifying the purpose of an article, poster or design. Thus, every piece of art, as a photo - speaks a thousand words. Typography always has a place and a purpose. Taking this seriously and understanding original typographic conventions and traditions is important, as it shows (if nothing else) the respect and consideration of this medium and it's purpose in design and publishing.

These Typographic conventions also show consideration as they simply adhere to making a design aesthetically pleasing. Much like Otl Aicher, principals were taken from other schools and institutions of design as they have been tried and tested, thus bound to work. In this same way, contemporary publishing can take from traditional typographic conventions.

The question that comes in my mind is if these traditions are bounding and possibly constrictive to designers in a way. Reading the lecture and and watching David Carson's video leaves me pondering how the entire 'face' of graphic design can be changed via the innovation of one rule breaking, talented mind. If we do stick to typographic conventions and traditions as so, maybe we were only slowing the evolution of graphic design - one which should have no limits. Neville Brody and Robert Massin are few of the many exemplifications of this in the lecture.

Clearly, Anthony Froshaug disagree's with this, and believes that structure is there for a reason, in contrast to more avant-garde work. While he is right in suggesting structure never fails to hold things together, arguably, one can't take his opinion as an accurate definition of how typography should be, as the avant-garde era would have never succeeded if completely unappealing and not purposeful. The lack of structure was used for a REASON and this reason had been justified in the way avant-garde typography was.

[1]

While in the lecture, David Birdsall argues that he is merely "supporting the thoughts" of designer through type, I believe type plays a much more significant role. 3 Above is Aleksandr Rodchenko's 1924 poster, beginning to display avant grade notions in Russian Art. As a new political system was beginning to come through from the past, structure was falling literally in a political sense and thus reflected in the poster. This confirms what I had initially insisted, that typography assists to semiotically represent intention. As long as intention is justified, rules can be broken and history can be made. 2

While innovation is encouraged especially when it can be justified (but even sometimes when not), these inaugural methods are known to work and when all else failed - they are a safety net.


[1] Rodchenko, Alexander. Untitled. N.d. Graphic. BloggerWeb. 26 Sept 2012. <https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_P-zTG-zdF9EW39CsbknDRvkXnEv3UP0BHUI7OH95twFP4kTSc0c2_FxmiZQSSmIzBFjc40ejU_Ab6qy3AzX86nwxSNFQfn7GRgUG4dk8F77WXVpBN3dW5aVuskLblfmjPUIZbVkIkKQ/s400/Rodchenko Untitled Advertising Poster 1924.jpg>.

[2] Blanchard, Dough, ed. "The Russian Avant-Garde Part 2; Constructivism." Counterlight's Perculiars. Blogspot, 5 Aug 2009. Web. 1 Oct 2012. <http://counterlightsrantsandblather1.blogspot.com.au/2009/08/russian-avant-garde-part-2.html>.

[3] McArthur, Ian. "Historical, cultural & contextual considerations." Online Lecture. College Of Fine Arts. Keynote.