Typography Portfolio

kara marie

Art 222typography

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[email protected][208] 819-2747

unit 273 design centrew. dream street

chicago, il.

[email protected][208] 819-2747unit 273 design centrew. dream streetchicago, il.

To the women of Panhellenic Council, I am thrilled that Meghan Ballock has asked me to write her a letter of recommendation for the position of Sigma Rho Chi for the 2013 recruitment term. I see Meghan excelling as a recruitment counselor. She is warm, bright, friendly, outgoing, and the list goes on and on. She has the ability to talk to people and be focused on them throughout the conversation. She is a natural born leader, but in such a way that isn’t dominant or overpowering. She leads with integrity and kindness and the outlook that she is there to serve others and lift them up above herself. I believe this is a necessity to have in the recruitment process. Being a former Rho Chi, I know how hard it is for those women coming through to feel as if they are truly being listened to and heard, rather than just looked over. Meghan has this ability to calm those around her, which makes it easy to open up and have an honest conversation that ends in encouragement. Through this process, women need to know they have someone to rely on who is trustworthy, reliable, and most of all loving. Meghan provides all of this, and what makes her truly unique is that she does all of this with an eagerness and joy. Another important point I want to make is that Meghan won’t just be terrific in the sense that she will capture these women’s hearts that are going through the recruitment process, but she will also have a profound impact on the other Rho Chis and their morale. She truly is a light that brightens any situation she is put into. This is needed, especially when it comes to nights of no sleep and days of emotional heartbreak. Meghan will provide encouragement, comfort, and friendship. An important aspect of being a Sigma Rho Chi is a panhellenic spirit, and Meghan embodies this. It doesn’t matter what chapter you are in, she seeks to create friendships and sisterhood with all of those whom she encounters. I urge you to truly consider this woman, because she has so much to offer to the team. She would be an amazing addition to the Sigma Rho Chi family!

Sincerely,

Kara Marie SiersKara Siers

historicalposter

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OFDEATH

THELETTERFORM

26

25

NATUREOF THE

LETTERFORMMUST BE

MODIFIED AND UPDATED

TYPOGRAPHIC COMMUNICATION IS DISTINGUISHED FROM OTHER FORMS OF VISUAL

COMMUNICATION BY THE PRESENCE OF THE LETTERFORM. ANY INDIVIDUAL 'LETTERFORM' IS

VIEWED AS BEING FIXED AND PERMANENT - AS HAVING A CONSTANT, INDISPUTABLE IDENTITY.

HOWEVER, IN TEMPORAL MEDIA, TYPOGRAPHY IS NOT SUBJECT TO THE RESTRICTIONS OF

PRINT. IN TYPOGRAPHIC ANIMATION AND MOTION GRAPHICS, TYPOGRAPHY CAN ADOPT

'ADDITIONAL EXPRESSIVE QUALITIES, ADDITIONAL LAYERS OF SIGNIFICANCE' [1], AND

ADDITIONAL DIMENSIONS THAT ARE IMPOSSIBLE TO RECREATE IN PRINT. ON SCREEN, A

LETTERFORM CAN BECOME FLUID. IT CAN EVOLVE, FRAGMENT AND CHANGE TO THE EXTENT THAT

ITS ROLE AS 'TYPE' IS IN JEOPARDY.IN RECENT YEARS, HOWEVER, TEMPORAL MEDIA HAVE BEGUN

TO INCLUDE FORMS THAT CANNOT BE SO EASILY DEFINED AS 'TYPE'. SINCE 1983 EDUARDO KAC

HAS BEEN PRODUCING HOLOGRAPHIC POETRY, KNOWN AS 'HOLOPOEMS'[4]. AS VIEWERS MOVE

AROUND THESE POEMS, THEY OBSERVE TYPOGRAPHIC FORMS THAT APPEAR TO MOVE AND

CHANGE OVER TIME. WHAT DISTINGUISHES THIS TYPOGRAPHIC BEHAVIOUR FROM THAT OF

STANDARD KINETIC TYPOGRAPHY IS THAT THE LETTERS DO NOT SIMPLY MOVE, THEY EVOLVE,

'THEREFORE ESCAPING THE CONSTANCY OF MEANING A PRINTED SIGN WOULD HAVE' [5].

SCREEN-BASED MEDIA HAVE SINCE PRESENTED AUDIENCES WITH NUMEROUS EXAMPLES OF

'FLUID' TYPOGRAPHY. IN MOTION GRAPHICS, FILM TITLE SEQUENCES AND ADVERTISING, THERE

IS AN INCREASING NUMBER OF TYPOGRAPHIC ARTEFACTS WHICH DO NOT ONLY DISPLAY

MOTION, BUT ALSO SIGNIFICANT CHANGE IN IDENTITY. ON SCREEN A LETTERFORM CAN

METAMORPHOSE, FRAGMENT OR EXHIBIT OTHER KINDS OF CHANGE THAT ARE FAR MORE

COMPLEX THAN THE SIMPLE CHANGES IN LOCATION OR ROTATION THAT ARE OBSERVED IN

KINETIC TYPOGRAPHY. CRUCIALLY, THESE 'FLUID' LETTERFORMS CAN CHANGE TO

THE EXTENT THAT THEY ARE NO LONGER RECOGNISABLE AS LETTERS.THEY

REMAIN ON THE SCREEN OVER TIME, CONTINUING TO FUNCTION AS 'FORMS', BUT

LOSE THEIR 'LETTER' IDENTITY. THEY MAY EVEN ADOPT ANOTHER VISUAL PROCESS

OF METAMORPHOSIS. OCCASIONALLY, TWO LETTERS LLY PERCEIVED AS DIFFERENT

ARCHITECTURAL OR SCENIC OBJECTS. BAILS OF HAY, PYLONS AND EVEN PARTS OF

AN ALIEN SPACESHIP, ALIGN TO ADOPT A NEW IDENTITY: THAT OF THE NUMBER '4'IN

THESE EXAMPLES THERE IS A SEPARATION OF LETTER AND FORM. A FORM MAY, IN

ONE INSTANCE, PRESENT A LETTER, BUT AT OTHER TIMES ADOPTS ADDITIONAL

IDENTITIES. IN 'BEE'R, THE FORMS FLUCTUATE BETWEEN LEGIBLE LETTER AND

MORE ABSTRACT GLYPH. IN THE CHANNEL 4 IDENTS, FORMS

INITIALLY PRESENT SEPARATE OBJECT IDENTITIES, THEN

CONVERGE TO BECOME PART OF A GREATER WHOLE, PRESENT-

ING A SINGLE, LARGER '4' FORM. IN THESE AND OTHER EXAMPLES OF FLUID

TYPOGRAPHY [8], FORMS DO NOT FUNCTION PURELY AS LETTERS. THE MEAA OF THE

WORD 'LETTERFORM' IS ONLY PARTIALLY OR MOMENTARILY APPLICABLE, AS FLUID

FORMS ARE ONLY FLEETINGLY LETTERS, AND OTHERWISE SOMETHING ELSE. A FORM

MAY PRESENT A LETTER IDENTITY, AND BE PERCEIVED AS A LETTERFORM, BUT THAT

EACH LETTER IS CONSTRUCTED FROM 8 DIFFERENT GEOMETRIC SES.

THE SHAPE-IDENTITIES BECOME LOST IN THE LETTER-IDENTITY AS THEY

ARE REARRANGED OVER TIME, PRESENTING A SINGLE LETTER WITHIN

FLUID TYPOGRAPHY, HOWEVER, AN ARTEFACT MAY PRESENT AN ENTIRE PHRASE OR

PARAGRAPH, NOT THROUGH THE INTRODUCTION OF ADDITIONAL FORMS BUT THROUGH

CHANGE WITHIN A SINGLE FORM. IN HARM VAN DER DORPEL'S 'TYPE ENGIN'E (FIG.2) [9]

theend

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Typography Portfolio

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