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21h54 Thanks to everyone who contributed. |
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21h51 CLOSING RECEPTION
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18h28 GROTESK PIKSEL: More explanation I produced an updated (and full-version) copy of Grotesk Piksel yesterday. All letters, numbers, and select punctuation. Here's a little more on the justification for the typeface: Pixel-esque fonts are nothing new, but I went forward with the project as an experiment in dialogic/circular working methodologies. When I began designing the exhibition space and accompanying graphics, I used Grotesque MT to accompany the Dialogue logo and sign. When I designed this site, I wanted to reduce the forms to 2-color bitmap (snatching the forms in a way that allowed for variations in each repeated letter) for stylistic purposes, but also just to have sharp edges and to work well with the photo background. The next step was to print some of the collateral (exhibition cards, tabloid prints of my thesis article), and rather than step back to smooth vector graphics, I just scaled up the bitmapped text and spit them out on a black and white laser printer. When the show got under way, I decided to pull the bitmapped text back into Illustrator, converting the forms to vectors. The last step, of course, was to reproduce these forms with font creation software, reintroducing the type into the world of legitimized fonts. The forms had come full circle, with each medium leaving its mark on them. It was just one more application of principles of dialogue. As a side note, the spelling of the font's name was originally 'Grotesque Pixel.' However, neither 'U' nor 'X' were available in the demo version, so I modified the spelling to accomodate this limitation. This sort of responsiveness in design practice is rather simplistic, but it represents an approach that can have much larger implications. |
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17h40 This came about a product of a conversation where
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15h37 Explanation for the photo booth shots of my camera: This whole exhibit has become mind-numbingly self-referential. A good portion of my time is spent documenting, with the intent not only to expand my audience online, but to legitimize my experience. To express the circularity (and humor) of this aspect of the project, I set my iSight to capture and project images of my camera, which was pointed back at the exhibit. I then did a screen grab to post online. So I documented me documenting me documenting me documenting me. Along those same lines, I get a lot of people who only stop long enough to ask what I'm doing. I give them a brief overview, and before I can engage them in a real conversation, they leave. I spend enough time catering to these people that when they ask what I'm doing, I'm tempted (and sometimes give into the temptation) to say, "I'm explaining to people what I'm doing." I'd be lying to say that I'm doing much else sometimes. |
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15h07 Sorry, Andrew, no Quicktime. These photos will have to do.
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14h44 From Regan:
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14h30
Explanation to follow (when I have time to break away from the verbal dialogue). |
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10h07
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07h57 As a symbolic gesture, I haven't shaved for the duration of the show. It would be more impactful if I could actually grow a beard. |
