In true-crime books and tv shows, there’s always the point where somebody calls the handwriting profiler to do a behavioral analysis on some unknown criminal’s signature or a quick note left on a scrap of paper. Who is this person and what does their haphazard crossing of t’s and slanted letter o’s say about them? Artist Annie Vought is also fascinated by handwriting in connection to identity but in a more emotional and artistic sense.
Working with pieces of paper, the Oakland-based artist cuts sentence after sentence from large sheets of paper turning personal letters into physical objects. Sometimes the pieces are legible, meant to be read letter for letter, while others a chaotic tangle of typography, meant to covey more of a feeling than a message. She shares in an interview with the Art Museum of Sonoma County:
In the penmanship, word choice, and spelling the author is revealed in spite of him/herself. A letter is physical confirmation of who we were at the moment it was written, or all we have left of a person or a period of time. I also think a lot about the relationship between the public and the private, or more specifically about how the private side of ourselves can be made public. I want to be respectful of people, but I recognize that I’m actively exposing them through their written communications. But in the exposure is a vulnerability we all share. I’m interested in human relationships, overall— the ones we have with ourselves and others.
Of particular note in Vought’s work over the last few years is a mammoth piece titled “Gosh I’ve been here before,” a 41″ x 53″ cut paper sculpture of words and patterns that spirals like the rings of a tree. You can explore it up close and inquire about it over on Artspace. You can see a bit more of her work on Instagram and through Jack Fischer Gallery.
Artist Mathieu Tremblin recently took to the streets of France on a rather quixotic mission to improve the legibility of ugly graffiti. Mimicking the scale, color, and layering of each tag, Tremblin created his own replica in a perfectly crisp font. It’s hard to say if either version is more aesthetically pleasing, but he definitely gets an ‘A’ for effort. (via Design You Trust, thnx Nikki!)
For a recent promotional campaign, German creative firm Deepblue Networks collaborated with illustrator and graphic designer Florian Schommer of Kjosk Collective to create a series of animated buildings using the letters of their logo. The 8 illustrations turn each letter of the logo into a multi-story building and imagines the staff working inside. You can see the full presentation here. Creative direction by Burkhard Müller. (via Behance)
Turkish graphic designer and electrical engineer Tolga Girgin continues to experiment with calligraphy that seems to jump off the page. Girgin uses shading, shadows, and different forms of perspective to create three-dimensional letters that float, stand, drip, and slant. You can see more on Instagram and over on Behance. (via Lustik)
With a strong background in fine art, graphic design, interior design, and typography, Rome-based Tommaso Guerra is a good person to call if you need, well, anything. One of his greatest talents is lettering with chalk. Guerra has been commissioned to draw impeccable signs for restaurants and business around the world, as well as public pieces like this decorative ampersand right on the sidewalk. (via Betype)
Residents of a neighborhood in Baltimore now have the most obvious place to wait for a bus ever designed. The ingenious stop is comprised of three 14′ typographic sculptures that literally spell out the word “BUS” while functioning as benches and a novel leisure space. The bus stop was unveiled last month by artist collective mmmm…, a creative collaboration between Emilio Alarcón, Alberto Alarcón, Ciro Márquez, and Eva Salmerón, who have been designing public spaces in Madrid since 1998. This is their second project in the United States. Via the collective’s website:
BUS is made with wood and steel, materials that are typically used to build urban furniture. The three letters of BUS are big enough to accommodate two to four people each and protect them from rain, sun, wind, and inclement weather. They allow people to assume different postures of sitting or standing while waiting for the bus. The S allows people to lie back while they wait, and the B provides shelter.
The BUS project was developed in conjunction with SPAIN arts & culture, Creative Alliance, and is part of TRANSIT, a creative placemaking initiative between Europe and Baltimore. You can see much more, here. (via Escape Kit)