The Chart
theory
_________________________________________________________________
Foreword
Typography is everywhere. In fact, everything is everywhere. All you have to do is pay attention. Imagination is boundless. However, there are some rules that apply in the infinite space. Once we attach the incessantly upgrading semantics to art theory, we can quickly recognize a face or a letter in a wall stain. The context and visual education, stemming from pictograms, silhouettes and basic shapes, both continue a never-ending story of the visual. One must not forget about the importance of cultural history and location. If we cannot see anything in the stain, it does not mean the same applies for someone from a different environment.
When it comes to type, we are faced with an additional challenge, for it is never only about the visual knowledge, but also the knowledge on meaning and contents. I address type analysis, which I transform into shapes and back to letters. I have constructed a unique categorization system, for which I cannot claim to be universal. However, it does in fact make a great tool when exploring for ideas, because it saves time. I take on basic parts of the letter as well as the entire form; I add style or context, sometimes effects. This is of course display typography; it can be easily recognized from the expressive medium, but prior to that an expressive ego is sought for: the question of resolving the form.
The Chart
In search of homogeneity and control over my work, I have developed a unique categorization of brainstorming and even creation of letters and type. Display typography is divided and limited into a more detailed categorization that in fact excludes the possibility of experimenting, for it in most cases stems from medium properties. If we add a semantic side to it, we can quickly establish that anything can be a letter.
Effect-based style can also be a starting point; moreso than simply adding on a pre-existing form. An idea can have its outset in a form-defining effect. Both categories – form and style with effects – are forever renewable sources, owing to semantics and new media forms or people who upgrade and experiment with them.
Taking dimension only through realization, an idea exists in the semantic and imaginary form.
This chart primarily seeks to present the raw basic form; not the historical, but rather the semantic and starting roles. The rules apply for all dimensions; however, when expanding into the next one, they do not attempt to adopted the characteristics of the newly added dimension, but rather stay faithful to the starting one – namely the second dimension.
Letters, presented below, are categorized according to their form value. They only deal with form, dismissing the semantic role of serifs. This is substituted with the terminal of the letter. The same category includes sans and rounded. Consequentially, it enables a search for new solutions.
/2008/
