This character set used information from topographic maps as its basis, creating a selection of glyphs that are effectively a second generation interpretation of the natural world. Using maps from Samoa, letters were traced following contours, terrain, vegetation variation and man made structures, such as roads, fences and buildings.
While the process that was used to create the letters and numerals is important, a larger factor was the act of finding and distinguishing typography from a graphic representation of data. This interpretation is a key part of reading and legibility, which both rely heavily on cultural heritage and upbringing. To quote Zuzana
Licko: "You read best what you read most." If we accept that this statement applies to legibility, we must also accept that it applies to type design, in its many and varied forms. The act of finding and creating these typographic forms is strongly influenced by their creator's background—it can be assumed that if anyone else were to attempt to create a similar character set the result would be entirely different. This could be said of almost any typeface, but is especially the case with incidental typography.
Given that this act of finding is central to the glyphs, I crafted a book that would attempt to recreate the split second of realisation that comes with finding a new form within nature. To this end, I cut the letter-forms out of paper, french folded each sheet and bound them into a book. This creates a multi layered, textural effect that makes it, at least initially, difficult to distinguish the form from the background noise. In addition, I provided the reader with the rough latitude and longitude coordinates of each form with the hope that the reader would be able to view the landscape from which the glyphs are drawn.
This character set used information from topographic maps as its basis, creating a selection of glyphs that are effectively a second generation interpretation of the natural world. Using maps from Samoa, letters were traced following contours, terrain, vegetation variation and man made structures, such as roads, fences and buildings.
While the process that was used to create the letters and numerals is important, a larger factor was the act of finding and distinguishing typography from a graphic representation of data. This interpretation is a key part of reading and legibility, which both rely heavily on cultural heritage and upbringing. To quote Zuzana Licko: "You read best what you read most." If we accept that this statement applies to legibility, we must also accept that it applies to type design, in its many and varied forms. The act of finding and creating these typographic forms is strongly influenced by their creator's background—it can be assumed that if anyone else were to attempt to create a similar character set the result would be entirely different. This could be said of almost any typeface, but is especially the case with incidental typography.
Given that this act of finding is central to the glyphs, I crafted a book that would attempt to recreate the split second of realisation that comes with finding a new form within nature. To this end, I cut the letter-forms out of paper, french folded each sheet and bound them into a book. This creates a multi layered, textural effect that makes it, at least initially, difficult to distinguish the form from the background noise. In addition, I provided the reader with the rough latitude and longitude coordinates of each form with the hope that the reader would be able to view the landscape from which the glyphs are drawn.
