The Typoline Series

The graphic forms used in creating typography and calligraphy are the inspiration and departure point for the Typoline Series.

Typography is the design discipline of how language, both verbal and written, are visualized.  A key element of the practice of contemporary typography is to marry the meaning of the communication with the visual expression of that idea through the variety of fonts and how they are applied.
Ballpark estimates put the number of fonts in the world today at 300,000+.  And there are well over 3,200
alphabets/writing systems that apply to different languages!  
The point is, while functional,  humans want, and need, more than 12 point Arial to be able to express
themselves with;  think how basic bold, italic, caps, font size, and now emojiis, are to used to express our
written communiques.

The artistic departure then is to leave the specific words and language behind,  yet retain and explore the expressionist and esthetic qualities of qausi-typographic forms.  I invent and draw shapes that look like they may be letters, words, and sentences, but are not.  Through improvisation and experimentation,  I see how far those forms can be pushed,  abstracted into visuals that say something in a grammar and a language we are not quite able to speak.

The forms are inspired by the typeforms and calligraphy of other languages as well as Western characters.  My compositions reflect that some languages have a different read order including reading from right to left and top to bottom rather than across.

The attitudes of the work and the titling express an increased awarness over the last several years of the
elements of language;  our words, sentences, semantics, and tweets,  and how they are being used in our current social, civil, cultural, and political contexts.  What does this say about ourselves collectively as a culture and a society?
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