Graphics Reference
In-Depth Information
TYPOGRAPHIC DESIGN PROCESS: CASE STUDY
Exploring typographic transformation
Ernest Bernhardi engaged in a series of free typographic experiments
with the intent of broadening his understanding of typographic syntax
and exploring new forms of typographic expression. For this project,
he thought of typography not as an end or a result but rather as part
of a continuous, transformative process shared by other forms of
expression: automatic writing/drawing, collage, and photography.
To carve out a focused span of time for intense investigation,
Bernhardi isolated himself in his work space for a period of several
months. He states, “I purposely shut myself off from the outside in an
effort to enter fractions of bliss, and to lead my thoughts effortlessly
into a state of peace and humility. The process, the activity of graphic
design, became my sanctuary.”
Seldom sitting, Bernhardi worked on his feet. He explains,
“standing forces me out of the comfortable chair—the chair
where slouching and chin-resting-on-the-hand occurs. These
seemingly irrelevant and harmless behaviors mark the beginning
of disengagement in the design process.” Over time, his dance-like
movements formed patterns of behavior resembling a performance.
Bernhardi's minimal studio, located in a small attic space,
was primarily analog in scope. It was equipped with paper, a copy
machine, traditional tools and supplies, and two studio lights. He also
used digital tools: a computer, digital camera, printer, and scanner.
He utilized these conventional tools and materials as a brazen
nonconformist.
He began, without predetermined expectations or intentions, a
process of automatic writing and sketching. Responding to visual and
verbal stimuli, he sought to master the art of response rather than the
art of planning, for response suggests process, and planning suggests
product. This exercise encouraged mental and physical agility, and
response through action and improvisation (Figs. 12-22 to 12-25 ).
These highly focused yet unconscious notations then served as
typographic material for new explorations in typographic form and
structure (Fig. 12-26 ).
12-22 A kinetic notation reveals the process of
thought transformed into visible language.
12-23
 
 
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