Dissertation - Environmental type installations

8/17/2019 Dissertation - Environmental type installations

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Environmental type installations; can typography ever

be considered as art, and does this affect our way of

perceiving public lettering and commercial text?

An exploration into three dimensional typography in

urban environments and art galleries around the world.


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List of Illustrations …………………………………………………………Pg. 3-7

Acknowledgements ..………………………………………………………Pg. 8

Introduction …………………………………………………………………Pg. 9-11

Chapter 1: Archaic Type …………………………………………………..Pg. 12-21

-Historic Context .…………………………………………………..Pg. 12-14

-Modern application of historical methods ………………………Pg. 15-21

Chapter 2: Type in Art .……………………………………………………Pg. 22-32

-Flat installations……………………………………………………Pg. 22-27

-3D installations………………………………………………….…Pg. 28-32

Chapter 3: Type as More.…………………………………………………..Pg. 33-40

-Architectural ……………………………………………………….Pg. 33-35-Memorial……………………………………………………………Pg. 36-38

-Commercial ………………………………………………………..Pg. 39-40

Chapter 4: Digital Type …………………………………………………….Pg. 41- 45

-Digital installations ………………………………………………..Pg.41-44

-The future ………………………………………………………….Pg. 45

Conclusion …………………………………………………………………..Pg. 46-47

Appendices ………………………………………………………………….Pg. 48-54

Bibliography …………………………………………………………………Pg. 55-60

Progress Map ……………………………………………………………….Pg. 61- 73

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CONTENTS


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Figure 1. Mosley James, (1963) The inscription in situ [Photograph: Black and whiteshot of Trajan’s column from below, with partial view of the inscription] Available:

http://www.codex99.com/typography/21.html (Accessed 22/06/15)

Figure 2. Yoder, Greg (2011) Park Avenue Shoe Store sign [Photograph: Restored

hand painted sign of a shoe store on Park Avenue, Lancaster] Available: http://

gregyoder.com/2011/12/old-hand-painted-signs-around-town/ (Accessed 07/10 /15)

Figure 3. Buncic Jasna, (2010) The National Gallery, Sainsbury Wing [Photograph:

outside the Sainsbury wing of the National Gallery, London, type has been carved

into the wall, design by Michael Harvey] Available : http://www.fotolibra.com/gallery/

674577/the-national-gallery-sainsbury-wing/ (Accessed 22/06/15)

Figure 4. Davies, Rhianna (2015) The National Gallery staircase frieze [Photograph

inside the National Gallery, at the top of staircase with inscription starting at Raphael]

Figure 5. Kindersley, Richard (2009) Canning Town Underground, [Photograph: On

staircase facing concrete inscription wall, A Public Arts Commission designed and

created by Richard Kindersley] Available: http://www.kindersleystudio.co.uk/site/wp-

content/uploads/2009/10/canning-town-concrete-01-476x620.jpg (Accessed

06/07/15)

Figure 6. Why Not Associates (2001) The Cursing Stone, Carlisle [Photograph:

Inside Millennium Subway, facing The Cursing Stone, created by Gordon Young,

typography by Why Not Associates, implementation by Russel Coleman] Available:

http://www.whynotassociates.com/wp-content/uploads/

Cursing_Stone_01_MEDIUM.jpg (Accessed 29/08/15)

Figure 7. Paula Scher (2004) NJPAC environmental graphics program [Photograph:

side of the theatre, displaying painted typography surface designed by Paula Scher]

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ILLUSTRATIONS

http://www.codex99.com/typography/21.htmlhttp://gregyoder.com/2011/12/old-hand-painted-signs-around-town/http://gregyoder.com/2011/12/old-hand-painted-signs-around-town/http://www.fotolibra.com/gallery/674577/the-national-gallery-sainsbury-wing/http://www.fotolibra.com/gallery/674577/the-national-gallery-sainsbury-wing/http://www.kindersleystudio.co.uk/site/wp-content/uploads/2009/10/canning-town-concrete-01-476x620.jpghttp://www.kindersleystudio.co.uk/site/wp-content/uploads/2009/10/canning-town-concrete-01-476x620.jpghttp://www.whynotassociates.com/wp-content/uploads/Cursing_Stone_01_MEDIUM.jpghttp://www.whynotassociates.com/wp-content/uploads/Cursing_Stone_01_MEDIUM.jpghttp://www.whynotassociates.com/wp-content/uploads/Cursing_Stone_01_MEDIUM.jpghttp://www.kindersleystudio.co.uk/site/wp-content/uploads/2009/10/canning-town-concrete-01-476x620.jpghttp://www.fotolibra.com/gallery/674577/the-national-gallery-sainsbury-wing/http://gregyoder.com/2011/12/old-hand-painted-signs-around-town/http://www.codex99.com/typography/21.html


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Available: http://www.walkerart.org/calendar/2004/paula-scher-pentagram-new-york

(Accessed 07/10/15)

Figure 8. Bread Collective (2012) The Walls Have Ears [Photograph: One of themural displays in Hackney Wick, reading: Mint Creams] Available: http://

www.breadcollective.co.uk/the-walls-have-ears-olympic-site-murals-hackney-wick/

(Accessed 07/10/15)

Figure 9. Boa Mistura (2012) Luz Nas Vielas (Light In The Alleyways) [Photograph:

Available: http://www.boamistura.com/luz_nas_vielas.html (Acessed 10/10/15)

Figure 10. Norbert Miguletz (2010) Circus © Schirn Kunsthalle Frankfurt

[Photograph: Circus installation covers the rotunda of the Schirn Kunsthalle in

Frankfurt, image captures side of wall and ceiling] Availbale: http://artobserved.com/

2011/01/go-see-%E2%80%93-frankfurt-barbara-kruger%E2%80%99s-

%E2%80%98circus%E2%80%99-at-schirn-kunsthalle-through-january-30-2011/

(Accessed 02/09/15)

Figure 11. Kruger, Barbara (2012) Belief + Doubt [Photograph: Inside the Hirshorn

Museum, Washington DC with Barbara Kruger’s Belief + Doubt installation]

Available: http://artobserved.com/2012/08/washington-dc-barbara-kruger-belief-

doubt-at-the-hirshorn-museum-through-august-27-2015/ (Accessed 10/10/15)

Figure 12. Kruger, Barbara (2010) Whitney Museum of American Art, Whitney On

Site [Photograph: Image from adjacent building looking down on installation, 2010]

Available: http://whitney.org/WhitneyOnSite/Kruger (Accessed 10/10/15)

Figure 13. Museum of Contemporary Art Krakow (1997-2004) Between [Photograph:

Original installation in Foksal Gallery, 1977 by Stanislow Drozdz] Available: https://

en.mocak.pl/in-between (Accessed 19/09/15)

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http://www.walkerart.org/calendar/2004/paula-scher-pentagram-new-yorkhttp://www.breadcollective.co.uk/the-walls-have-ears-olympic-site-murals-hackney-wick/http://www.breadcollective.co.uk/the-walls-have-ears-olympic-site-murals-hackney-wick/http://www.boamistura.com/luz_nas_vielas.htmlhttp://artobserved.com/2011/01/go-see-%E2%80%93-frankfurt-barbara-kruger%E2%80%99s-%E2%80%98circus%E2%80%99-at-schirn-kunsthalle-through-january-30-2011/http://artobserved.com/2011/01/go-see-%E2%80%93-frankfurt-barbara-kruger%E2%80%99s-%E2%80%98circus%E2%80%99-at-schirn-kunsthalle-through-january-30-2011/http://artobserved.com/2011/01/go-see-%E2%80%93-frankfurt-barbara-kruger%E2%80%99s-%E2%80%98circus%E2%80%99-at-schirn-kunsthalle-through-january-30-2011/http://artobserved.com/2012/08/washington-dc-barbara-kruger-belief-doubt-at-the-hirshorn-museum-through-august-27-2015/http://artobserved.com/2012/08/washington-dc-barbara-kruger-belief-doubt-at-the-hirshorn-museum-through-august-27-2015/http://whitney.org/WhitneyOnSite/Krugerhttps://en.mocak.pl/in-betweenhttps://en.mocak.pl/in-betweenhttps://en.mocak.pl/in-betweenhttp://whitney.org/WhitneyOnSite/Krugerhttp://artobserved.com/2012/08/washington-dc-barbara-kruger-belief-doubt-at-the-hirshorn-museum-through-august-27-2015/http://artobserved.com/2011/01/go-see-%E2%80%93-frankfurt-barbara-kruger%E2%80%99s-%E2%80%98circus%E2%80%99-at-schirn-kunsthalle-through-january-30-2011/http://www.boamistura.com/luz_nas_vielas.htmlhttp://www.breadcollective.co.uk/the-walls-have-ears-olympic-site-murals-hackney-wick/http://www.walkerart.org/calendar/2004/paula-scher-pentagram-new-york


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Figure 14. J Mayer H, (2011) Rapport [Photograph: View of entrance hall installation

by J Mayer H for the Berlinischen Galerie] Available: http://www.jmayerh.de/97-0-

Rapport.html (Accessed 10/10/15)

Figure 15. Yoko Ono,(2014) Earth Peace [Photograph: Street view of billboard

installation in Folkestone] Available: http://www.folkestonetriennial.org.uk/artist/yoko-

ono/ (Accessed 30/09/15)

Figure 16. Totya Hu (2006) LOVE [Photograph: LOVE sculpture by Robert Indiana,

on the corner of 6th Avenue and 55th Street in Manhattan, NY] Available: https://

commons.wikimedia.org/wiki/File:LOVE_sculpture_NY.JPG (Accessed 30/09/15)

Figure 17. Kimpton, Laura (2012) Ego [Photograph of alight EGO at Burning Man

2012, Black Rock Desert, Nevada] Available: https://ignitechannel.com/stories/artist-

interview-with-sculptor-laura-kimpton/ (Accessed 11/10/15)

Figure 18. Studio Vollaerszwart (2009) Evergreen [Photograph: Seat letters covered

with articial grass at the Thij College in Oldenzaal, NL] Available: http://

www.vollaerszwart.com/88203/735664/projects/evergreen (Accessed 15 /10/15)

Figure 19. Brossa, Joan (2008) Walkable visual poem in three phases [Photograph:

in the foreground is the 3rd phase: “3. Destruction”, 1984, sculpture by Joan Brossa

next to the Horta Velodrome and Labyrinth in Barcelona, Catalonia] Available: https://

upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)_-

_Joan_Brossa_-_Barcelona.jpg Accessed (08/10/15)

Figure 20. Love-Spain, Jaume Plensa (2012) Nomad [Photograph: Nomad in the

Yorkshire Sculpture park, England, in 2007] Available: http://40.media.tumblr.com/

tumblr_llrinlMIIJ1qkx931o1_500.jpg (Accessed 15/10/15)

Figure 21. R & R Studios (1996) M [Photograph: Architectural letter ‘M’ sculpture

outside Riverwalk Station, Miami] Available: http://www.rr-studios.com/ (Accessed

28/10/15)

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http://www.jmayerh.de/97-0-Rapport.htmlhttp://www.jmayerh.de/97-0-Rapport.htmlhttp://www.folkestonetriennial.org.uk/artist/yoko-ono/http://www.folkestonetriennial.org.uk/artist/yoko-ono/https://commons.wikimedia.org/wiki/File:LOVE_sculpture_NY.JPGhttps://commons.wikimedia.org/wiki/File:LOVE_sculpture_NY.JPGhttps://ignitechannel.com/stories/artist-interview-with-sculptor-laura-kimpton/https://ignitechannel.com/stories/artist-interview-with-sculptor-laura-kimpton/http://www.vollaerszwart.com/88203/735664/projects/evergreenhttp://www.vollaerszwart.com/88203/735664/projects/evergreenhttps://upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)_-_Joan_Brossa_-_Barcelona.jpghttps://upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)_-_Joan_Brossa_-_Barcelona.jpghttps://upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)_-_Joan_Brossa_-_Barcelona.jpghttp://40.media.tumblr.com/tumblr_llrinlMIIJ1qkx931o1_500.jpghttp://40.media.tumblr.com/tumblr_llrinlMIIJ1qkx931o1_500.jpghttp://www.rr-studios.com/http://www.rr-studios.com/http://40.media.tumblr.com/tumblr_llrinlMIIJ1qkx931o1_500.jpghttps://upload.wikimedia.org/wikipedia/commons/0/0e/Poema_visual_(destrucci%C3%B3)_-_Joan_Brossa_-_Barcelona.jpghttp://www.vollaerszwart.com/88203/735664/projects/evergreenhttps://ignitechannel.com/stories/artist-interview-with-sculptor-laura-kimpton/https://commons.wikimedia.org/wiki/File:LOVE_sculpture_NY.JPGhttp://www.folkestonetriennial.org.uk/artist/yoko-ono/http://www.jmayerh.de/97-0-Rapport.html


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Figure 22. Gollings, John, (2001) The Marion Cultural Centre [Photograph: Street

view and side views of the cultural centre, at daytime and night, South Australia]

Available: http://openbuildings.com/buildings/the-marion-cultural-centre-prole-3154# (Accessed 15/10/15)

Figure 23. The New England Holocaust Memorial (no date) [Photograph: Views of

the etched glass memorial walls, and two tower structures from below, Boston, US]

Available: http://www.nehm.org/photo-gallery/ (Accessed 21/10/15)

Figure 24. Martin, Manuela (2014) Monumento Victimas 11-M, Madrid [Photograph:

View from inside the monument, looking up through the dome to read the text]

Available: http://www.designcurial.com/news/typography-in-architecture-4285057/

(Accessed 21/10/15)

Figure 25. Serviceplan (2010) BMW LightWall, Hamburg Airport [Photograph:

Billboard reection in situ, at view from afar and perspective view] Available: http://

www.serviceplan.com/en/case-details/bmw-lightwall-1618.html (Accessed 21/10/15 )

Figure 26. MacPherson, Angus (2007) Campbells soup: Hunger installation

[Photograph: ‘Help hunger disappear’ in a grocery store in Canada, images of full

display and after user interaction] Available: http://adsoftheworld.com/media/ambient/

campbells_soup_hunger_installation (Accessed 21/10/15)

Figure 27. Popp, Julius, (2002) bit.fall , [Photograph: Network based digital

installation using water droplets to form the word ‘processing’] Available: http://

www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htm (Accessed 14/11/15)

Figure 28. Sanborn, Jim (2004) A Comma, A, [Photograph: Copper installation at

night with projected words shining on plaza in front of library, and on adjacent

building, University of Houston, TX] Available: http://jimsanborn.net/hires/First.jpg

(Accessed 14/11/15)

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http://openbuildings.com/buildings/the-marion-cultural-centre-profile-3154#http://www.nehm.org/photo-gallery/http://www.designcurial.com/news/typography-in-architecture-4285057/http://www.serviceplan.com/en/case-details/bmw-lightwall-1618.htmlhttp://www.serviceplan.com/en/case-details/bmw-lightwall-1618.htmlhttp://adsoftheworld.com/media/ambient/campbells_soup_hunger_installationhttp://adsoftheworld.com/media/ambient/campbells_soup_hunger_installationhttp://www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htmhttp://www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htmhttp://jimsanborn.net/hires/First.jpghttp://jimsanborn.net/hires/First.jpghttp://www.goethe.de/ins/ee/prj/gtw/aus/wer/pop/enindex.htmhttp://adsoftheworld.com/media/ambient/campbells_soup_hunger_installationhttp://www.serviceplan.com/en/case-details/bmw-lightwall-1618.htmlhttp://www.designcurial.com/news/typography-in-architecture-4285057/http://www.nehm.org/photo-gallery/http://openbuildings.com/buildings/the-marion-cultural-centre-profile-3154#


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Figure 29. Rooij, Gert-Jan van (2013) LUST: Type/Dynamics [Photograph:

Installation view with visitor. Information opens up when visitors are near to the wall,

Stedelijk Museum Amsterdam] Available: http://lust.nl/#projects-5525 (Accessed

14/11/15)

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http://lust.nl/#projects-5525http://lust.nl/#projects-5525


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I would like to start by thanking all of the ‘Theory and Context’ team atRavensbourne, as their support throughout this process has been invaluable. In

particular, Sally Waterman and Eti Wade for being there whenever I had questions in

the early planning stages, and later in the production of the writing.

My primary research has been crucial for this project as I was tackling a very

subjective question. I would like to thank Elaine Tribley, Johanna Drucker, Daniel

McGhee and Luke James for taking the time to answer my questions; they were allhelpful and insightful responses.

I would also like to thank the team at Pentagram for hosting the Paula Scher talk in

April, and for generally being supportive of my inquiries into this line of study.

Lastly, a big thank you goes to all my friends and family who supported me

throughout.

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ACKNOWLEDGEMENTS


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Lettering is everywhere. From the rst minutes of life, when a label stating our

name is clipped around a tiny wrist, to our nal resting place, a headstone ormemorial book, it is lettering that quite literally scores the alpha and omega of

our lives (Haslam, 2011, p.6)

This dissertation examines the innovative use of typography in three dimensional

spaces. To clarify; the installations inhabit a dynamic space where people live and

life ows, as opposed to printed typography, where letters lie on the static space of a

page (Saccani, 2013, p.19). The focus throughout is primarily on contemporarypractise, as the number and range of typographic installations has grown

exponentially in the past three or four decades (Heller and Ilic, 2013, p.10).

A major gure in the study of this discipline, Jock Kinnier writes:

If public lettering was just a larger size of type there would be little to interest

us. Yet, quite apart from the question of the extra dimension, there are

obviously a host of different relationships to be explored. Buildings andpeople, rather than pages, are the frame of reference, and sometimes even

the sky and open elds. (Kinnier, 1980, p.72).

The lead question tackles difcult concepts, as dening art is extremely subjective.

“The denition of what is art changes from generation to generation” (Heller and Ilic,

2013, p.10). The oxford dictionary denition is ambiguous and open to interpretation:

“[Mass noun] The expression or application of human creative skill and imagination,typically in a visual form such as painting or sculpture, producing works to be

appreciated primarily for their beauty or emotional power” (Oxford Dictionaries,

website, no date).

What complicates this study is the signicant lack of research; very few have

addressed typography that was not part of a sign or commercial message, and little

is published about the role typography plays in public spaces intended for interaction

(AbiFares, 2010, p.8). Nevertheless I will highlight factors that can lead to

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INTRODUCTION


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typographic installations being seen as art, or argue for them not being considered

art. Additionally, I aim to evaluate how our perception of these typographic

installations as art can alter the way we view everyday public lettering and

commercial messages.

The dissertation is split into four chapters: Archaic Type, Type in Art, Type as More

and Digital Type, and within these are smaller sections of text that categorise

examples. These examine a wide range of global sources, as my lead question has

an explorative aim.

Chapter 1 briey outlines two relevant pivotal points in history for environmental

typography; Roman inscriptions and 16th century sign painting. Following on from

this, I look at the revivals of these archaic typographic methods in contemporary

settings, and how their historic roots can have an impact on meaning/audience

reaction.

Chapter 2 focuses on environmental typography in art, split into two-dimensional

examples (lettering on at surfaces), and three-dimensional examples (sculptural,

often free standing); artists such as Barbara Kruger, Stanislaw Drozdz and Robert

Indiana are referenced. This chapter also explores the different way artists use

language, and the resulting impact on their work. Examples include single word

installations, isolated letters, whole phrases and even numbers.

Chapter 3 regards the concept of type being used as something more than

language, but not being overtly recognised as ‘works of art’. The main categories of

lettering in this are architectural, memorial and commercial, each addressing

different purposes in various public spaces.

Chapter 4 examines digital installations, and how their format inuences our regard

of them in comparison to the aforementioned physical lettering. I also explore into

the future of this practise and the possibility of digital technologies replacing

traditional methods.

The examples used throughout this dissertation are only a select few from the

hundreds to choose from, and many others could have t into the writing

appropriately. The chosen examples are most suited to the ideas expressed in the

text, a way of visually explaining each concept. Most of the examples have a focus

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on the integration of text and language in the urban environment to enhance spaces

or engage the public, either in the rejuvenation of delinquent spaces or the creation

of spectacular landmarks (AbiFares, 2010, p.14).

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In order to fully understand what the term ‘environmental typography’ means today,

and why it has increased so dramatically in contemporary environments, we rst

need to outline the historical context of the practise.It has been argued that typography for signage and lettering in the environment only

began at the dawn of the rst century A.D, when the Roman Empire addressed the

issue of communicating on a mass scale. Lettering

began to be used to mark political and historical

events, indicate road names and street numbers,

which was believed to help rationalise cities while

promoting language skills. (Berger, website, 2014)These Roman examples of lettering are referred to

as ‘monumental inscriptions’; they were intended

for permanent display and were therefore usually

executed in lasting material such as stone or metal

(Puhvel, website, 1974). It is also thought that the

Romans inscribed in stone for a gloried effect on

its viewers; a way to demonstrate the massivepower of the Roman state (Young, website, 1987).

“The Romans were the rst people to devise

monumental inscriptions as we know them,

Western civilisation can never repay that debt” (Bartram,1975, quoted in: Heller,

2013, p.11).

One of the most revered examples of an inscription using Roman capitals is at the

base of a war monument in Rome; Trajan’s column, C. E. 117, [see Fig. 1] (GraphicDesign History, website, 2012). Many people consider this work to represent the

resolution of the latin letterform, with several type designers using it as a prototype

for derivative designs, such as Edward Johnston, Eric Gill and Carol Twombly

(Graphic Design History, website, 2012).

The owering of signage during the Roman era was short-lived, however, and

the collapse of the empire reverted typography back to its key use in religious

documents. It was not until the 15th century that typographical innovation

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Fig. 1. The inscription in situ , (1963)

ARCHAIC TYPE - Historic contextAPTER 1


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resumed with the development of the printing press and moveable type.

Advances in metalworking and woodcarving led to the rise of commercial

signage, with a mix of pictograms and simple messages. (Berger, website,

2014)

“Painted lettering on shop facias did not develop until the sixteenth and seventeenth

centuries”. (Haslam, 2011, p.30) Up until this point, where literacy levels were rising,

pictograms were used as a broader communication method. (Haslam, 2011, p.30)

Sign painting was essentially a form of advertising, and in the nineteenth century,

with consumerism and trade becoming ever more important, commercial displays

were in much higher demand. (Gregory, website, 2013) It even came to a point

where the intense need to promote wares, along with the ease of posting words

anywhere; led to buildings that were

besieged by ads [Fig .2] and therefore

strict laws were passed to limit or

localise postings. (Heller and Ili # 2013,

pg. 74)

It is thought that the most widespread

and immediate method for writing on a

building is by painting, as the great

virtue of painted letters lies in their

legibility. (Saccani, 2013, p.19)

A painted word always has a better chance of being legible from an acute

angle than most constructed or modelled characters. Nineteenth century sign

painters got the best of both worlds by giving their letters pretend returns and

shadows, so that they were enriched without a loss of legibility - Peter St John

(Saccani, 2013, p.19)

However, “As the need for mass production grew, the use of hand techniques such

as painting and carving gave way to industrial processes such as casting.” (Baines

and Dixon, 2003, p.98)

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Fig. 2. Park Avenue Shoe Store sign (2011)


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The development of technologies over the centuries has made construction and

production of tangible letters possible; contemporary production methods allow us to

generate type of any size, on virtually any substrate (Heller and Ili # 2013, p.10)

(Baines and Dixon, 2003, p.7). The number of typographic shrines, monuments andsculptures designed for function and folly has grown exponentially in the past three

or four decades; large letters designed to be experienced are appearing in the most

surprising places, on, in and around buildings, along roadways, littered throughout

landscapes, and afxed to anything that will hold them. (Heller and Ili # 2013 p. 10)

Arguably, the advances in technology cannot be the sole reason for the rise in

environmental lettering in recent years. The expansion of graphic design beyond the

connes of the page has also made an important contribution; this was undoubtedly

the result of artistic experimentation in the post-war period, using language as a

visual material, and most importantly, translating concepts into typography. (Saccani,

2013, p.9) “Graphic designers trained in two dimensional work are trying their hands

at three-dimensional expression”. (Hunt et al, 1994, p.9) The rise could also be due

to the practice’s multidisciplinary nature, and the amount of varied creatives

engaging in the topic today, including the work of letterers, sign-writers, graphic

designers, artists, architects and engineers. (Baines and Dixon, 2003, p.7)

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Perhaps the greatest difference between this kind of lettering, and the typographic

installations this dissertation focuses upon, is the attention they demand from their

audience.

In contrast to this, Robert Kindersley’s installation

at Canning Town underground station, London, is

of a much more playful, experimental nature [Fig.

5]. The inscriptions ponder the history of the area,

once a shipyard; carved into concrete, a difcult

material to work with as it’s texture gives

unpredictable results compared to traditional

materials, such as stone. (Saccani, 2013, p.172)

“The text forms waves and curls, coiling around

itself or creating diagonal lines, evoking the

movement of the waters ploughed by the

legendary HMS Warrior (the rst warship with an

iron hull)” (Saccani, 2013, p. 172). The application

of inscription, unlike Harvey’s frieze, contradicts

any historic references by using unconventional

curved typography, and straying away from the

typical roman styling of type. In addition, Kindersley probably wasn’t aiming for a

hand-crafted aesthetic, reminiscent of the stone carving of the Romans, but instead

his work is suggestive of the modern production methods that allow for further

freedom of typographic layout.

The installation was commissioned by Britain’s Public Arts Commission; so the

purpose for the work is fundamentally different to Harvey’s inscriptions. Kindersley

also designed this work for a very different audience; commuters passing by every

day. (Saccani, 2013, p 172)

The decorative element will obscure the message, which is about local

history, and with this intentional obscuring, the message will not immediately

yield up the words, but over many visits to the station people will slowly

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Fig. 5. Canning Town

Underground (2009)


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decipher the writing. In this way interest in the piece will be prolonged,

hopefully for many visits. (Kindersley, 2011, quoted in: Saccani, 2013, p. 324)

It could be argued that this difference in meaning and effectiveness ofcommunication is what makes an environmental typographic installation like this art,

and not simply public lettering. This work is an example of: “Strange juxtapositions of

new and old being an integral part of the contemporary landscape” (Baines and

Dixon, 2003, p.9)

Another urban example that can

demonstrate unconventional

inscription is from Why Not

Associates, a London based

design studio who often

collaborate with the artist

Gordon Young for environmental

work. ‘The Cursing Stone’ and

‘Reiver Pavement’ [Fig. 6]

courted negative reactions, and

gave rise to something of a furore (Saccani, 2013, p.17)

The installation was created in 2001, situated in the Millennium subway, its aim to

create a cultural connection between Tullie House Museum and Carlisle Castle

(Saccani, 2013, Pg. 282). “In 1525 the Archbishop of Glasgow put a curse upon the

Border Reivers, in an attempt by the Church to stop violence by the robbers and

sheep rustlers who terrorised the borderlands between England and

Scotland.” (Heller and Ili # 2013, p. 177)

Even before completion, the stone was called ‘a shrine for devil worship’ by local

churchmen, and blamed for local disasters (Heller and Ili # 2013, pg. 177). “Attempts

were even made to have it destroyed but, despite protests, the stone remains in its

original position.” (Saccani, 2013, pg.17) As Why Not Associates have pointed out,

this incident underlines the strong impact a typographical installation can have on a

community: ‘We think the project proves that you can only create really powerful

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Fig. 6 The Cursing Stone (2001)


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It was common practise in Victorian times to paint the sides of theatres with

information about the performances and plays. You can see the faded

lettering to this day on the sides of theatres in Covent Garden in London. -

Paula Scher (Sacccani, 2013, p.329)

In a recent talk at Pentagram, Scher explained her divergence into environmental

graphics; “3D space exploration was something I had never done before, it was

about doing something that wasn't expected of me, so yet another way of rebelling

against conformism” (Scher, Presentation talk, 2015). In this example, Scher has

rebelled against most conventional signage systems, creating a very memorable

piece that undoubtably stands out in contrast to surrounding typographic messages.

It is evident that old hand painted signs have deep nostalgic appeal, which explains

the work of British design studio Bread Collective (Heller and Ili # , 2013, p. 75). Their

typographic mural, ‘The walls have ears’ (2012), was intended to help clean up an

unloved street in Hackney Wick, based on the history of the industrial area, using

vintage vernacular style lettering [Fig. 8] (Heller and Ili # , 2013, p.99). “We like

everything we do to have a hand crafted feel, giving the work a more human and

tactile quality” (Kirkup, website, 2014).

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Fig.8. The Walls HaveEars (2012)


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This work is another example of typography being used for expressive purposes

rather than functional waynding or traditional labelling. “Arts ability to engage and

strengthen a sense of coherence within a community has become evident to

many” (AbiFares, 2010, p. 10).Audience reactions have been positive, with comments being made about “passing

through the area in the 1970s and smelling all the smells from the industries, both

pleasant and unpleasant, or about their parents or grandparents that worked in the

factories” (Bread Collective, website, 2012). The typography here works directly with

the environment, the words become a tangible physical entity in the landscape,

contributing to its personality and unique identity (Saccani, 2013, p.11).

This kind of lettering can challenge our perception on the purpose of public text, as it

does not advertise a product, or give the audience instruction; but instead

decoratively ponders the historic context of the environment in a visually engaging

manner, much like Robert Kindersley’s inscription, and Why Not Associates’ cursing

stone.

Lastly, looking at modern appropriation of painted letters in environments, an

example can be found in the work of Boa Mistura. The multidisciplinary art collective

is based in Madrid, a group of ve artists who focus on grafti art as a means of

community building (Hufngton Post, website, 2012). Boa Mistura have been

referred to as ‘Anti-Banksy’, as their method is out in the open, creating artwork with

direct support from local communities who will benet and feel well represented by

the work produced (Bramucci, website, 2015).

The collective has several projects that are relevant to this discussion, but I was

drawn to their 2012 'Light In The Alleyways' [see Fig. 9] in Brazil due to their

combination of traditional painting methods, and contemporary anamorphic

manipulation. This means attening the perspective from a single point

(anamorphosis), so that the letters become distorted if viewed from any other angle

(Bramucci, website, 2015). “The concept was to create new environments within the

maze of narrow and winding streets that connects the alleys through bright chromatic

interventions and typographic illusions.” (Heller and Ili # , 2013, p.75). Several

different words are used in this series, beauty, strength, love, tenderness and pride;

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“For us, these words were qualities we’d seen reected daily by the families we’d

come to know in Vila Brasilândia” (Bramucci, website, 2015).

This work is similar to Bread Collective’s vision with ‘The walls have ears’; we cansee that environmental typography is being used to uplift run-down communities,

essentially using art as a tool for change (Heller and Ili # , 2013, p.75).

This can indicate a perspective shift for type in our urban environments, as

messages are being

used to positively

reinforce a sense of

community, and not

just label, instruct or

advertise.

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Fig.9. Luz Nas Vielas (Light In The Alleyways) (2012)


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This chapter examines 2D work created by artists, and further on, 3D sculptural type,

in both gallery and urban environments. Notably the examples in this chapter are all

considered art, either ‘installation art’ in gallery settings, or ‘public art’ outdoors.

A clarication that rang true about the concept of type being considered art, was by

Steven Heller, a renowned art director, critic and graphic design author; “A typeface

is not art, but typefaces are used to create art. Artists are treating typography as a

medium for expression, like oil paint and watercolour, pencil and pastel, marble and

clay.” (Heller and Ili # , 2013, pg.178) Also agreeing with this line of thought about how

type is considered art, Daniel McGhee from Why Not Associates mentioned that“Lots of artists use typography in their art – so does this mean that typography can

be considered another medium like paint, or granite? Yes, I think so.” (McGhee,

email, 2015) Type can be part of art and its graphical and visual properties can be

used as part of the material codes of a work. (Drucker, email, 2015)

Text is nothing new to art - Pablo Picasso, Juan Gris, Kurt Schwitters, Hannah

Hoch, Marcel Duchamp, and many other early twentieth-century artistsincluded disjointed fragments of printed pages in their works. Sixties Pop Art

appropriated commercial brands and logotypes, while Fluxus and other

conceptual art movements blurred the boundaries between art and text (Heller

and Ili ! , 2013, pg. 178)

Barbara Kruger is considered one of the artists who cast typography in a leading role

rather than a side player in art. (Heller and Ili#

, 2013, pg. 178) Having worked as agraphic designer, art director,

picture editor, and artist, she

has a rm understanding of

typography’s place in her art.

(www.pbs.org ) “Much of her

text questions the viewer about

feminism, classicism,

consumerism, and individual

22Fig. 10. Belief + Doubt (2012)

TYPE IN ART - Flat installationsAPTER 2

http://www.pbs.org/http://www.pbs.org/


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autonomy and desire, although her black-and-white images are culled from the

mainstream magazines that sell the very ideas she is disputing.” ( www.pbs.org )

Kruger’s work is intimidating in its disregard for the conventions of art as a framed

canvas on a wall; she has managed to pave the way for typographic artworks toourish in virtually every environment. (Heller and Ili # , 2013, Pg. 178)

The question arises over what differentiates Kruger’s practise to that of designers, as

at least on a supercial level she is utilising typography, space and image to promote

a set of ideals, much like a designer would. Kruger explains why she doesn't see

herself as a designer in an Interview in 2013;

BOLLEN: But you've been such an inuential artist on design. You're almost a

designer's artist of sorts. You've revolutionised graphic design.

KRUGER: I think that designers have an incredibly broad creative repertoire.

They solve. They create images of perfection for any number of clients. I

could never do that. I'm my client. That's the difference between an artist and

a designer; it's a client relationship. And so, to me, it's not a hierarchical order;

it's not like artists are better than designers, but it is a particular

instrumentality, which makes for a difference. (Bollen, website, 2013)

We can see from Figures 10, 11

and 12, that Kruger’s art often

only uses typography; with the

message being the point of

artistic focus. For example, in

her installations ‘Belief + Doubt’

in Washington, ‘Whitney on Site’

in New York and ‘Circus’ in

Germany. “Visitors will walk upon

her words, be surrounded by

walls of her words, ride on

escalators covered with her words” (Rosenbaum, website, 2012).

23

Fig. 11. Circus (2010)

http://www.pbs.org/http://www.pbs.org/


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Perhaps the intention of Barbara Kruger’s type installations (aside from their clear

messages about society), is to get people to engage with public lettering more.

In an increasingly digital world, virtual words are becoming weightless, the more

words wash over us, the less we understand them, Barbara Kruger rematerialiseswords, so that we can read them closely, deeply (Rosenbaum, website, 2012).

Although Kruger has produced many successful public artworks, she distances

herself from this denition:

I should say that I feel uncomfortable with the term public art, because I’m not

sure what it means. If it means what I think it does, then I don't do it. I’m not

crazy about categories. I’m an artist who works with pictures and words.

Sometimes that stuff ends up in different kinds of sites and contexts which

determine what it means and looks like. (Kruger, 1997, quoted in: Saccani,

2013, p. 254)

From this we can see that

Kruger believes her work with

type is just a material, like her

imagery or colour use. It also

shows us that the placement

of her artworks, whether in a

gallery or on the street should

not redene the work as

something else, like public

lettering; Kruger strongly

believes her work is still art

wherever it’s placed. These views are interesting, as it

shows that the artist is more concerned with the meaning that her words incite in

relation to each environment, rather than the typographic arrangement being viewed

as particularly artistic. Kruger's installations are an example of Daniel McGhee’s

explanation; Lots of artists use language and the spoken word in their art, so

typography can be considered the physical embodiment of this (McGhee, email,

2015).

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Fig. 12. Whitney On Site (2010)


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In a completely different example that does rely on typographic arrangement over

meaning; Stanislaw Drozdz’s 1977 installation in Poland [see Fig. 13] shows how

letters can be introduced as a metaphor for something else, in this case a y itting

around and landing in different places. Drozdz saw letters dislocated in space yetuniform in composition. (Heller and Ili # , 2013, Pg. 204) This kind of artwork is called

‘Concrete poetry’, pioneered by Drozdz himself, it emerged as an artistic genre in

1953; concrete poets create poems in the shape of visual compositions formed with

arrangements of letters and typographic signs that do not follow any semantic or

syntactic relations (Monod-Gayraud, website, 2014). “The increased interest from the

art world in the possibilities of words in art continues the traditions of concrete poetry

which have ourished since the 1960’s” (Baines and Dixon, 2003, p.101).

A more contemporary example of this concrete poetry can be seen from designer J

Mayer H, who created an installation for the Berlinischen Galerie’s ten-meter high

entrance area in 2012 [see Fig 14] (Heller and Ili # , 2013, p.192). Data security

patterns are printed on the oor and walls, creating a ickering effect that transforms

the space into a playful scenario with interconnected forms and structures. (H Mayer,

website, 2011).

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Fig. 13. Between (1977)


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We can see from studying these

two concrete poetry examples in

contrast to Kruger’s lettering that

words with one meaning, singleletters without, and even phrases

with a whole host of meanings

can all be perceived as art if the

artist visually engages the

audience in an innovative manner

that differentiates the typography from everyday commercial and public lettering.

“Can a typeface, or even a single character from a typeface be considered art? I

think here you start getting in to the territory of ‘where is the line between what is art

and what is design?’ – [There is] no straightforward answer to this” (McGhee, email,

2015)

A different viewpoint on this matter, and in argument with Heller and McGhee, was

by Elaine Tribley. She is a local artist specialising in environmental installations and

signage, and had interesting thoughts in response to this question: To what extent do

you believe type (on its own) can be viewed as a piece of artwork? Her response

was:

Fully, the impact of just one word can be enormous, the important thing is how

the artwork is executed, take for example Yoko Ono's recent installation at the

Folkstone Triennial last year, just two words black on white 'Earth Peace' but

printed on a huge billboard poster on a site amongst the back roads of the

town. So easy to walk past the message becomes almost subliminal lodging

into your subconscious, it works because it's both very much like an

advertisement but also very much not - there's nothing to buy here but there's

everything to lose, that's an artwork. (Tribley, email, 2015)

However, even though works like this are essentially art, and theoretically any letter

or word can be used as an artistic tool, some audiences may not be able to see past

the simple reading or presentation. “Since type and lettering are quotidian and linked

26

Fig. 14. Rapport (2011 )


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to commerce, it is often difcult to understand the artistic merits of artworks that are

entirely driven or composed of type and typography” (Heller and Ili # , 2013 pg. 178)

It may seem obvious in an art gallery when an installation is supposed to inspire and

provide thought provoking concepts, but Yoko Ono’s example [Fig 15] demonstratesthe opposite of that. “I'm very much interested in the idea that you can use text and

known visual mediums to pass on a message which won't reach everyone that sees

it, many people will walk past and not recognise what they're seeing is not quite right

- as will they when they walk past the Yoko Ono piece.” (Tribley, email, 2015)

27

Fig. 15. Earth Peace (2014)


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It comes into question whether the particular methods involved with type installations

can aid the general recognition of a piece of art. For example sculptural typographic

installations inhabit a more dynamic space, where people live and life ows(Saccani, 2013, p.19). “Many outdoor typographic experiences revolve around

perceptual dislocation derived from planting large letters, words or statements in

unlikely environments” (Heller and Ili # , 2013, p.14).

“The leading paragon of typographic

sculptural monumentality is and always

will be Robert Indiana’s 1964‘LOVE’ [Fig .16] (Heller and Ili # , 2013, p.

179) The composition consists of four

letters making up the word in a square

eld, with the ‘o’ tilted at a 45 degree

angle (Saccani, 2013, p.152). There is a

debate over the classication of this work

being art, and its interpretation ofmeaning demonstrates how sometimes

linguistic words being used as art can

confuse; “Full of erotic, religious,

autobiographical, and political

underpinnings—especially when it was co-opted as an emblem of 1960s idealism—

LOVE is both accessible and complex in meaning” (Wye, 2004, website) However,

some feel the ambiguity of meaning led to an unsuccessful artwork, “LOVE was fullof deep personal meaning, but Indiana's intentions were lost on both fans and

critics.” (Wilde, online article, 2010) ‘Love’ became so popular as an affectionate

logo, that parodies and false copies soon ooded the market, and what was

assumed to be a huge nancial success for Indiana was instead a drain on his

artistic career; “Many art collectors and critics dismissed him as a sell-out, and some

major museums stopped collecting his work altogether.” (Wilde, online article, 2010)

28

Fig. 16. LOVE (2006)

TYPE IN ART - Sculptural 3D installationsAPTER 2


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Most will be familiar with this work, but few the artist behind it; Indiana’s ‘Love’ is

probably the most popular, misunderstood, typographic sculpture in the world.

Taking this approach atconverting a single word into a

typographic sculpture, other

artists have adopted this

technique but added a further

depth that ‘Love’ was missing. For

example, Laura Kimpton’s ‘Ego’ in

Nevada, where the sculpture was

set on re for an annual

celebration. [Fig. 17] (Heller and

Ili# , 2013, p. 191) The installation

was sculpted out of wood and framed with plaster cast pans,

trophies, and religious relics to represent ego, which would then be

burnt down to see what remains; “The thinking was that not all of the artefacts would

burn, and there would be tokens to take home from the playa when the embers

cooled” (Heller and Ili # , 2013, p. 191). This well considered artistic intention

combined with thought provoking showmanship is possibly what makes the

environmental typography in this case, into a piece of ne art.

A contrasting single word sculptural installation, encouraging interaction rather than

consideration of meaning, is Studio Vollaerszwart’s ‘Evergreen’ [see Fig. 18]. The

‘public art’ piece was commissioned by Thij College in Oldenzaal (NL) to be an

engaging space for secondary school children to relax and socialise in (Studio

Vollaerswart, website, 2009). Oversized letters, spelling out the name of the project,

form a 20-metre circle covered in articial grass, and provide an outdoor seating

area solution for students (Heller and Ili # , 2013, p. 61). This unusual manner of

engaging with physical letters is refreshing and can remind us that letters in our

environment can be playful and not just an onslaught of mixed messages. Simply

put, works like this can ‘visually enrich our experience of letterforms and the

environment’ (Baines and Dixon, 2003, p. 103).

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Fig. 17. Ego (2012)


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Remaining with the theme of sculptural works, but comparing examples that don’t

pragmatically spell out a word or phrase (similar to the aforementioned concrete

poetry examples), Joan Brossa’s rst urban visual poem [Fig. 19] is completely

different to the examples I have looked at so far.

The walk-though Transitable Visual Poem consists of a path divided into three

parts, marking the stages of life; birth, life with all its events and pauses, and

death. — It is impossible to see the three stages of the poem all at the same

time; they can only be discovered by visiting them one by one. (Saccani,

2013, p. 64)

‘Birth’ is a sans serif 12m high letterA, ‘The road: pauses and

intonations’ are represented by

punctuation marks lying at random

intervals throughout the sloped

park, and ‘Finale’ is the broken

remains of another letter A. (Baines

and Dixon, 2003, p. 157). Part ofthe success of this piece is the

30

Fig. 18. Evergreen (2009)

Fig. 19. Walkable visual poem in threephases (2008)


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interaction and discovery of meaning; it demands the viewers participation as you

have to walk through it to understand it fully (Baines and Dixon, 2003, p. 157). Due

to the location of this work, it’s not seen by the masses of tourists who ock to the

Catalan capital, but the peacefulness of the place enhances its strong poetic impact,which in turn make it incredibly memorable (Saccani, 2013, p. 64).

An alternative approach at

making a typographic

sculpture be recognised as art

is to distort the use of letters to

form another shape other than

a word. For example, Jaume

Plensa’s ‘Nomad’; a 27-foot

hollow human form, made up

of a latticework of steel letters

[Fig. 20] (Heller and Ili # , 2013,

p.223). His similar public

works are frequently displayed

in urban environments as

Plensa nds public spaces

interesting locations for art; he

mentions in an interview that

“In public spaces a kind of

direct relationship between

people, who have not sought it,

and the artists comes to life” (Sansone, online article, 2010).

This kind of environmental typography ts the description of Phil Baines’ ‘lettering to

enliven’; “The lettering does not have to full a utilitarian role but can simply exist as

art and contribute to the quality of a space” (Baines and Dixon, 2003, p.101).

Plensa suggests that language, spoken or written, goes beyond providing a

simple mission of communication, but can also be assimilated into a sort of

envelope, which covers the matter and energy that forms our being, he says;

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Fig. 20. Nomad (2012)


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“Such bricks, letters have the potential to construct, they enable us to

construct a thought” (DeMoney, website, 2007).

This concept of language going beyond its pragmatic purpose is very poetic, and itshows in his work that Plensa can really express himself through his unique

manipulation of type. “My parents were people surrounded by books, always

reading, so I really grew up with the image of text, and I use it a lot in my

work.” (Jaume Plensa Interview, video, 2011) It could be argued that because this

kind of work contains no lexical meaning, and only incorporates single letterforms; its

more easily accepted as art because its not using such an everyday tool in the

expected way.

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This chapter looks into examples that aren't strictly classied as art, but also serve

another purpose other than to visually communicate a message. This section

focuses on three dimensional installations, how type is used on/in buildings and

sculptures for more than a simple communicative purpose.

R & R Studios created such an example in 1996, simply called ‘M’; a concrete

structure that stands on its own, but also serves as the entrance to the Riverwalk

Station, Miami [see Fig. 21] (Saccani, 2013, p.234). “The aim of the project is to

come to grips with the concept of art in public spaces from the point of view of

architecture, seen as the most public of art forms” (Saccani, 2013, p.234). This

installation was designed to create a new symbol for the station, and more generally,the whole city of Miami, so it’s understandable why the designers chose to work in

such a large format;

When three-dimensional typography is rendered large, its architectonic impact

is even more impressive— and physically much more enduring— than

temporary scrims, banners or posters afxed to similar platforms (Heller and

Ili ! , 2013, p.128).

33

Fig. 21. M (1996)

TYPE AS MORE - ArchitecturalAPTER 3


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In this piece in particular, it is easy to identify parallels between architects work, and

ne artists, as both manipulate scale, colour, material and placement to enliven an

environment in a particular way. Possibly the only difference would be that R&R were

working to meet a client brief.

Architectural typography is rarely anything other than physical attachments of type to

a structure, but there are innovative examples arising where the buildings are

constructed almost entirely out of letterforms and words. The Marion Cultural Centre,

South Australia [Fig 22] is such an example, completed by the architect group Ashton

Raggatt McDougall in collaboration with Phillips Pilkington Architects (PP + ARM).

Drawing inspiration from nineteenth-century architectural lettering, where words were

displayed on the main facade to give importance to public buildings, the word

‘Marion’ is integrated into the architecture and surrounding environment (Saccani,

2013, p.36). This example is interesting because the shapes of M , A and R are fully

integrated within the architecture of the building, a fragment of the letter A for

example, cuts through the entire construction, determining the internal spaces of the

centre (Saccani, 2013, p.36). Phil Baines believes this inuence of type on

architecture is a negative development; “Type has come to dominate. And where

strong architectural traditions once fed typeforms, the inuence is now the other way

around - to the detriment of the practise”, but in this example it’s hard to be negative

about its unconventional typographic labelling, which has led to a much loved

community area and landmark. (Baines and Dixon, 2003, p.100)

34

Fig. 22. The Marion Cultural Centre(2001)


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Letters and words are something that both visually challenged and visually

savvy clients can understand. And this is at least one reason for architectural

typography’s growing popularity in some surprising venues — (Heller and Ili ! ,

2013, p.129)

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Memorials are a form of environmental typography, but as well as communicating the

fact behind a series of deaths, they also promote emotional and reective

engagement, much like a work of art could.

In these memorial records of war and atrocity the great power in the simple

expression of an individual name is perhaps felt only by those who have lost

loved ones, but the power of the expression of names or numbers en masse

is intense and further testimony to the resonance words can have in our

environment. (Baines and Dixon, 2003, p.102)

Similar lettering that was once used to declare a victor in war, is now being used in a

less partial spirit, mourning the equal loss of hundreds of thousands of individuals

(Baines and Dixon, 2003, p.102).

An example of this kind of lettering, is the

Holocaust Memorial in Boston, 1999 [Fig. 23].

The project was initiated by a group of

Holocaust survivors living in Boston, sponsored by over 3,000 individuals and

companies, and designed by architect Stanley Saitowitz (The New England

Holocaust Memorial, website, no date). The memorial records the identication

numbers of inmates etched into glass walls (Baines and Dixon, 2003, p.170).

36

Fig. 23. The New England Holocaust Memorial(No date)

TYPE AS MORE - MemorialsAPTER 3


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The Memorial is designed around six luminous glass towers, each reaching

54 feet high, and each lit internally from top to bottom. The number six has

many meanings here: the millions of Jews killed in the Holocaust; the names

of the six main death camps; a row of memorial candles; and the six years,1939-1945 (The New England Holocaust Memorial, website, no date).

The memorial not only communicates the factual information about the historic

event, but the site offers a unique opportunity for reection on the meaning of

oppression – and freedom – and on the importance of a society’s respect for human

rights (The New England Holocaust Memorial, website, no date). What is moving

about this piece, is not the physical execution, but the simple act of recording, in this

case by numbers not names, of the millions of lives taken:— “It serves to remind us

again of the resonance that text alone can achieve” (Baines and Dixon, 2003, p.170)

Another memorial that utilises the quantity of lives lost is The Monument to the

Victims, by Studio SIC and Buj + Colon, 2007 [see Fig. 24]. The monument

commemorates the 191 victims of the terrorist bombings of March 11, 2004 in Madrid

(Saccani, 2013, p. 110). The 36 ft glass cylinder has thousands of messages of

condolence made in the days after the attacks inscribed on the inside of the tower

37

Fig. 24. Monumento Victimas (2014)


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(BBC News, 2007, online article). “Located in front of the Atocha railway station, the

scene of one of the attacks, the monument was presented with the motto ‘Light

dedicates a moment of the day to every missing person’. (Saccani, 2013, p.110).

Visitors can read these messages from a space below the dome, and also thenames of the victims on the entrance wall (Saccani, 2013, p.110-111).

This memorial was not simply a way to honour the dead; the design of the sculpture

was “the expression and the sense of Spanish society after the attacks”, — Gil-

Fournier, as well as an attempt to convey the “immateriality” of those feelings and

“make them eternal” (Heller and Ili # , 2013, p.104). In many ways, examples like this

are works of ‘public art’, even though it was not the intent; as Steven Heller phrases

it ‘art is a consequence, not a goal’ (Heller and Ili # , 2013, p.129).

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Another interesting area on this concept of type being used as more than a

message, is in the many examples of commercial lettering. Understandably,

commercial lettering was bound to mimic this essence of ne art eventually, as theirmessage must ‘read against and in contrast to the product signs with which it

competes for attention’ (Drucker, 2001, p.). But do these explorations into the subtle

methods of advertising cloud our appreciation of typographic installations?

One such example is BMW’s 2010 Light wall ‘Reection’ in Hamburg Airport [Fig.

25]. The project, by Serviceplan, was to develop an idea for the BMW M3 Coupé

billboard; their concept was all about ‘exceeding limits’, and their billboard designexceeded the physical limits in the space provided (D&AD, website, 2011). The

reection of the billboard on the oor doubled their media space, and doubled the

attention for free (Heller and Ili # , 2013, p.121). This shows how manipulating

typography for different environments, while using surprising techniques, can

generate a lot more attention for advertising campaigns. Although examples like this

may be visually engaging and clever, it still has a commercial message inside, urging

us to buy from a company; the visual rhetoric of advertising has a much greatereffect than the subtler means of persuasion available within the rhetorics of ne arts

(Drucker, 1998).

39Fig. 25. BMW LightWall (2010)

TYPE AS MORE - CommercialAPTER 3


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Perhaps a more subtle example of advertising within an environmental typographic

work is Campbell’s ‘Help Hunger Disappear’, 2008; created to raise awareness of

food banks, the display was interactive in that participants literally made the sign

disappear by removing cans of soup [see Fig. 26] (Heller and Ili # , 2013, p.53). “The

Campbell’s team spelled out the word ‘hunger’ with 12,000 cans of tomato soup,

then participants were invited to give the tins to the needy, via a nearby Canadian

Association of Food Banks truck” (Maddever, website, 2008). This installation has a

noble concept, however it is clearly a form of advertising as ‘consumers were also

given vouchers which call for Campbell to donate a can of soup to food banks in

return for each purchase of a Campbell’s product’, this is manipulating the audiences

drive to ‘do good’ whilst spending money in store (Maddever, website, 2008)

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Fig. 26. Campbells soup: Hunger installation (2007)


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Following on from this investigation into the various production methods and effects

of physical typography, it seemed necessary to broadly mention the parallel practise

of digital installations. I only touch on this topic as the nature of the area is toodiverse to ever be adequately represented; however the brief exploration highlights

important relationships between digital and physical type.

The rise in digital type design has made it easier for anyone with access to the

creative tools necessary to work with fonts; “Digital type design has opened up a

specialist craft to anyone who wants to give it a go.” (Dennis, 2012, article) This

means that producing large installations comprised of type, has become easier thanever before. Paula Scher mentioned; “Computers are an amazing tool for

environmental graphics, as it lets you visualise space accurately” (Scher,

Presentation talk, 2015).

Examples so far have been chosen for their three dimensionality, and physical

presence in an environment. Digital installations in some cases

are just as tangible as physical lettering, for example JuliusPopp’s ‘Bit.Fall’ [Fig

27]. The artist

invented a device

that controls falling

streams of water to

create temporary

words and images;programmed to scan

the internet and pull

out popular phrases

(Heller and Ili # ,

2013, p. 187). The

words are not

permanent, but

nevertheless have a

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Fig. 27. bit.fall (2002)

DIGITAL TYPE - InstallationsAPTER 4


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physical quality that is only made more fascinating due to the process; “The viewer is

able to experience digital processes sensually, as an analog sculptural

installation.” ( www.goethe.de )

Jim Sanborn is another artist that uses digital technologies alongside typography.‘A Comma A’, was commissioned for the M.D. Anderson Library, University of

Houston, Texas in 2004 [Fig. 28] (Heller and Ili # , 2013, p. 224).

The lettering in this work arguably has a more physical nature than that of Popp’s

processed words, but uses technology to create a more impactful ambience at night;

Made mostly of copper and bronze, the sculpture is comprised of snippets of

poems, novels and prose from languages from all over the world. At night, a

built-in projector will shine light through the sculpture, reecting the text onto

the library’s exterior walls. (Vasquez, 2004, online article).

This demonstrates how digital installations can manipulate the audiences’

perception; as the viewer has to read letters in their environment that aren’t

physically there, but have every appearance of being. “ The light-emitted words are

thrown every which way, attaching themselves to the ground and buildings like an

infestation of abecedary insects” (Heller and Ilic, 2013, p.180)

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Fig. 28. A Comma, A, (2004)

http://www.goethe.de/http://www.goethe.de/


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Until the 20th century, virtually all processes of creating lettering were static - the

calligrapher’s pen, the letter-cutter’s chisel and the printer’s impression all left an

indelible mark on vellum, stone or paper. (Haslam, 2011, p.224) “The invention of

lm, the cinematic camera and television liberated lettering, enabling it to moveacross the screen.” (Haslam, 2011, p.224)

LUST studio in the Netherlands has an excellent example of this kind of digital

installation, although used in a gallery environment rather than an outdoor space.

Part of the exhibition Type/Dynamics in Amsterdam, the installation represents thecontinuous stream of information readily accessible to us, with oor to ceiling data

morphing into words, letters and sentences that transform into larger typographical

formations as time goes on [see Fig. 29]. (Fulleylove, online article, 2015) This use

of digital technologies creates a sense of movement that is gaining popularity in the

design industry; “Time-based typography is no longer a novelty with a limited

application in lm title sequences, it has matured into a discipline.” (Woolman, 2005,

p.6)

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Fig. 29. Type/Dynamics (2013)


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The three digital examples above should be considered works of art due to their

consideration of form, material and process, in conjunction with overall meaning and

symbolism from their chosen typography.

Throughout history, technology has provided artists with new tools for

expression. Today, these two seemingly distinct disciplines are interlinked

more than ever, with technology being a fundamental force in the

development and evolution of art. (Gever, online article, 2012)

However, digital production also means typographic installations can be created

quickly, and by anyone with an inclination to, “A huge concern is that, as a result of

so many new tools and techniques, we may lose our sense and ability to evaluate

what is great art”. (Gever, online article, 2012)

To which one could argue, did we ever have an ability to evaluate great art?

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In researching each physical installation example, it was hard not to question the

future of it all; will screens and digital technology replace physical lettering?

From the professionals spoken to about this, there were mixed opinions on whether

or not the future would solely become digital signage.

Johanna Drucker, (art critic and scholar), seemed in favour of the opinion that digital

signs were the future, although saddened by this belief:

Sadly, I do think we are going the way of digital signs. I hate the light from them

and nd them unaesthetic and soulless. The pure pleasure of making letterforms

made me think about how dreadful the digital signs are. (Drucker, email, 2015)

On the other hand, Daniel McGhee and Luke James (both specialised creatives in

this area), seemed open to the idea that physical typography has a place beside

digital displays; that the two have the capability to co-exist in our future:

I disagree that the future will be only digital – it has to be both. As long as

buildings and public spaces are made of stone, brick, steel, wood, etc, then Ithink public lettering will also exist in the physical world, using these same

materials. (McGhee, email, 2015)

I believe there is the scope for the two to co-exist. Digital screens are exible and

have the potential to convey numerous messages where as physical signage is

suited to more permanent opportunities. In all aspects of art and design the

question is often posed about new technologies and whether they will push outmore traditional approaches - this rarely happens and the two often nd their own

space within their particular eld. (James, email, 2015)

It would be comforting to think that physical work is a necessity; “Even with advances

in delivery and display technology, we are still humans with the same sensory inputs:

sight, sound, touch, smell, taste.” (Woolman, 2005, p.7) The constant supply of

digital text in our lives requires us to adapt to new conditions, although the basic

principle of how we read still remains the same. (Woolman, 2005, p.7)

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DIGITAL TYPE - The futureAPTER 4


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While the questionable future of this practise may be hard to conclusively predict,

many other conclusions can be drawn from my exploration.

One of the main observations from studying this topic was the clarication of the

difference between lettering and type; as I had been unconsciously categorising

them as the same thing. Baines and Dixon offered an intriguing explanation that

stayed with me throughout the working of this dissertation;

Type is an industrial product capable of duplication and automation, while

lettering is a one-off, created for a specic purpose and capable ofresponding to the demands of scale, material and surroundings in quite a

different way. —Baines and Dixon (quoted in Saccani, 2013, p.23)

This can explain the wide differences between projects; each installation is utterly

unique because they are all responding to completely different environments and

purposes, with producers varying in creative backgrounds.

The answer to my lead question is yes and no.

Environmental typography can be considered as artwork for many reasons. For

example, it could be due to the use of language (Barbara Kruger), it could be due to

a placement in a gallery (Drozdz), the reactions from audiences (Why Not Associates

and Bread Collective), the physical journey (Joan Brossa), the popularity (Robert

Indiana), the scale or physicality (R&R, Juan Plensa) or even just the way the creator

has made it different to other messages in our environment.

On the other hand, my exploration also shows how some typographic installations

are hard to view as artwork, even though they may share similarities to ne art

installations. I have found that method alone cannot create an artwork; Michael

Harvey’s inscriptions are beautiful, but the content only labels a physical space. I

have learnt that too much emotional meaning can often keep a work from being seen

as art; for example The New England Holocaust Memorial. In addition, it seems that

physical scale on its own and impressive displays of type struggle to be categorised

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CONCLUSION


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Appendix 1:

Tribley, Elaine (2015) Public environmental artist, email to Rhianna Davies, 17th July

1.) I recently walked past your Witham bridge project, and was curious at the method

of how you created the letter indents; how did you create this piece, and do you often

experiment with permanent materials like this?

The lettering is created by shot blasting the concrete, it's a fairly dangerous process

where micro plastic balls are red through a nozzle/gun so needs an experienced

person in full protective gear. For this job Lazenby in Yeovil undertook the blasting on

site and the parapets were then transporting to site and installed by the constructioncompany.

The majority of my work is within public art so materials need to be permanent, this

particular bridge has a life of over 100 years.

2.) How do you go about choosing a typeface for your installations?

I try where possible to include the choice within the history and context of the work.

The Witham text and typeface background is as follows:Horace Walpole the 4th Earl of Orford (24 September 1717 – 2 March 1797), was an

English art historian, man of letters, antiquarian and politician. He is now largely

remembered for Strawberry Hill, the home he built in Twickenham, and for coining

the word ‘Serendipity’. In 1749 he wrote ‘what pleases me most in my travels was Dr.

Sayer’s parsonage at Witham ... one of the most charming villas in England. ‘There

are sweet meadows falling down a hill, and rising again on t’other side of the prettiest

winding stream you ever saw.’ To further echo the words of Walpole the text owswith them and the suggested river, and is set in a typeface of the same era, Caslon.

The typeface Caslon was designed by English gunsmith and typeface designer,

William Caslon I (1692–1766) in 1722. It is cited as the rst original typeface of

English origin. The Caslon types were distributed throughout the British Empire,

including British North America. Caslon’s types were immediately successful and

used in many historic documents, including the US Declaration of Independence.

After William Caslon I’s death, the use of his types diminished, but saw a revival

between 1840–80 as a part of the British Arts & Crafts Movement. The Caslon

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APPENDICES


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design is still widely used today. For many years a common rule of thumb of printers

and typesetters was “when in doubt, use Caslon,” particularly if no typeface was

specied. Several revivals of Caslon do not include a bold weight. This is because it

was unusual practice to use bold weights in typesetting during the 18th century, andCaslon never designed one.

3.) You have studied as a ne artist, yet use typography in your work much like a

graphic designer would; why and how do you manage this?

I have always had an interest in graphic design and studied the subject before ne

art, although not at degree level. I've been through periods of trying to be a little

more organic (messy) within my work but always return back to a more graphic

approach, I would say my art practice very much operates on the line between ne

art and graphic design.

Typography naturally falls into this. I struggled with medium when rst studying ne

art and found myself returning to the 'safety' of text when producing work, this has

continued throughout my career with some major exhibiting work and public artwork

being text based.

4.) To what extent do you believe type (on its own) can be viewed as a piece of

artwork?

Fully, the impact of just one word can be enormous, the important thing is how the

artwork is executed, take for example Yoko Ono's recent installation at the Folkstone

Triennial last year, just two words black on white 'Earth Peace' but printed on a huge

billboard poster on a site amongst the back roads of the town. So easy to walk past

the message becomes almost subliminal lodging into your subconscious, it works

because it's both very much like an advertisement but also very much not - there's

nothing to buy here but there's everything to lose, that's an artwork.

5.) In your opinion, what differentiates an innovative public lettering sign from a ne

art installation that uses type?

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See above! when utilising text for an artwork the consideration always still remains

with the context not the sale or the direction, but it can be fun to play around with

these ideas. Enchanted Wood is a piece of work I created for an exhibition back in

2008 where the brown tourist sign was used with the words 'enchanted wood' butthey directed people through the gardens of the exhibition grounds to the busy A

road which dissected the land and an area about to be developed where the woods

once stood, instead of the wood you come to a dead end with a large yellow road

sign saying 'enchanted wood closed' and no entry sign and trafc cones. $ All of these

signs were ones we see everyday but there was now a context to the message. I'm

very much interested in the idea that you can use text and known visual mediums to

pass on a message which won't reach everyone that sees it, many people will walk

past and not recognise what they're seeing is not quite right - as will they when they

walk past the Yoko Ono piece.

Appendix 2:

Drucker, Johanna (2015) Author/ art critic, email to Rhianna Davies, 1st October

Have you ever read my piece, "Signs of Life, Spaces of Art"? It might be helpful to

you. I do not have a copy on my computer, so can't send it. Also "Language in the

Landscape"?

1. In your opinion, do you believe that type on its own can be considered as art?

Can you explain why you think this?

I'm not sure type by itself can carry enough conceptual weight to be art. For

something to move from craft to art it needs to be able to bear within it some ideas,

expression, imagination, or critical reection. Type can be part of a work and its

graphical and visual properties can be used as part of the material codes of a work,

but simply by itself? I'm not sure. Usually when a work is typographic and a work of

art at the same time, the words it is expressing are an integral part of its meaning

and message.

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2. Some individuals I have spoken to believe the future of environmental typography

and public lettering is going to be digital. (Screens instead of physical sings). To what

extent do you agree?

Sadly, I do think we are going the way of digital signs. I hate the light from them and

nd them unaesthetic and soulless. But that is just me. I was sitting and painting an

illuminated letter yesterday as a gift for someone and thinking about what a pleasure

it was and how perhaps in some future phase of my life I will just sit and paint in that

way and give the letters to whoever wants them. Not now, of course, too busy, but

the pure pleasure of making letterforms made me think about how dreadful the digital

signs are.

Appendix 3:

Scher, Paula (2015) Graphic Artist, Presentation talk at Pentagram with Rhianna

Davies present, 15th April (I transcribed a few select phrases from Scher’s talk)

“3D space exploration was something I had never done before, It was about doing

something that wasn't expected of me.”

“Environmental graphics was a relatively new area in the 90’s, before that everybody

was still creating at 2D graphics and sticking it on the wall”

“was yet another way of rebelling against conformism”

“It started by being commissioned to design the outdoor posters for a theatre, and

then being hired by 3 theatres at once because they thought I was a theatre

designer. That gave me the opportunity to explore more architectural work, and the

scale of my typography applied to a building.”

“Computers are an amazing tool for environmental graphics, as it lets you visualise

space accurately”

“My early environmental work was about making something physical, as my stuff at

Pentagram was increasingly more digital. So I thought, I wonder what happens when

I put my paintings in a 3-dimensional space and get people looking at them that way”

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“space exploration and environmental graphics is now just another form I use to

express myself, much of the content is still the same, but presenting it in a different

way”

“drawn to the scale of environmental graphics because it was exciting, a differentway of working”

“architects have the skills available to produce environmental graphics thats often

better than what you can do, because they’re better at visualising space than

designers”

Appendix 4:

McGhee, Daniel (2015) Designer at Why Not Associates, email to Rhianna Davies,

13th October

1. In your opinion, do you believe that type on its own can be considered as art?

- Can you explain why you think this?

Short answer… yes, I think it can.

But I suppose your question is open to interpretation. $What does ‘type on its own’

mean? $

More questions/thoughts come to mind...

• Lots of artists use typography in their art – so does this mean that typography can

be considered another medium like paint, or granite? Yes, I think so.

• Lots of artists use language and the spoken word in their art – so could typography

be considered the physical embidiment of this? Again – yes, I think so.

• Can a typeface, or even a single character from a typeface be considered art? I

think here you start getting in to the territory of ‘where is the line between what is art

and what is design?’ – no straightforward answer to this. $Although one of the

examples Jake and I showed you the other day – the project by Emil Kozole $http://

emilkozole.com/Project-Seen $ – is, I think, a typeface which ticks the box of also

being ‘art’.

2. Some individuals I have spoken to believe the future of environmental typography

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http://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seenhttp://emilkozole.com/Project-Seen


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and public lettering is going to be digital. (Screens instead of physical sings). To what

extent do you agree?

Short answer…i disagree that the future will be only digital – it has to be both.To expand a bit:

As long as buildings and public spaces are made of stone, brick, steel, wood, etc,

then I think public lettering will also exist in the physical world… using these same

materials.

A physical installation of typography (or an

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