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The emotional typography. Typography and Education (Academic Research/Presentations) / Experiments and Explorations in Education of Typography

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Typography and typographic experiments in socially engaged posters as an example of the works of graphic artists, and students associated with the Laboratory of Social Propaganda , led by prof. Jacek Staniszewski. Laboratory of Social Propaganda is a studio dedicated to designing posters and communication which is engaged in hot topics of modern times. In the laboratory as well as around, designers create works on the socially important topics, often touching and sensitive. Freedom of expression, the accuracy of the visual message, even shocking – theses words characterize works designed in the studio. All those works have a lot of emotional power in order to increase the sensitivity of the viewer on the street. They try to catch his attention in the environment of overabundant stimulation. Typography used for posters is often their ultimate signature, kind of the finis coronat opus. Typography raises the emotions of the whole picture, it is often the dominant, but what is most important, it is a coherent whole.
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Typography and Education
Articule will be presented on Typoday 2016
http://www.typoday.in
Author: PhD candidate Jarek Bujny
Academy of Fine Art in Gdańsk, Poland
Wydział Graki
Targ Węglowy 6, 80-836 Gdańsk, Poland
Personal Address: Jarek Bujny, ul. Mysliwska 4E/12,
81-572 Gdynia, Poland
email: bujny@bujny.com
Category of submission: Academic / PhD Student
Title of the paper:
The emotional typography
Typography and Education (Academic Research/Presentations) / Experiments and
Explorations in Education of Typography
Abstract of the paper:
Typography and typographic experiments in socially engaged posters as an example of
the works of graphic artists, and students associated with the Laboratory of Social Propa-
ganda, led by prof. Jacek Staniszewski.
Laboratory of Social Propaganda is a studio dedicated to designing posters and commu-
nication which is engaged in hot topics of modern times. In the laboratory as well as
around, designers create works on the socially important topics, often touching and sen-
sitive. Freedom of expression, the accuracy of the visual message, even shocking – theses
words characterize works designed in the studio.
All those works have a lot of emotional power in order to increase the sensitivity of the
viewer on the street. They try to catch his attention in the environment of overabundant
stimulation. Typography used for posters is often their ultimate signature, kind of the
nis coronat opus. Typography raises the emotions of the whole picture, it is often the
dominant, but what is most important, it is a coherent whole.
Keywords:
typography, poster, Polish poster school, emotions, hand lettering, experimental typogra-
phy, communication,
Introduction:
Typography and typographic experiments in socially engaged posters as an example of
the works of graphic artists, and students associated with the Laboratory of Social Propa-
ganda, led by prof. Jacek Staniszewski.
Laboratory of Social Propaganda is a studio dedicated to designing posters and commu-
nication which is engaged in hot topics of modern times. In the laboratory as well as
around, designers create works on the socially important topics, often touching and sen-
sitive. Freedom of expression, the accuracy of the visual message, even shocking – theses
words characterize works designed in the studio.
All those works have a lot of emotional power in order to increase the sensitivity of the
viewer on the street. They try to catch his attention in the environment of overabundant
stimulation. Typography used for posters is often their ultimate signature, kind of the
nis coronat opus. Typography raises the emotions of the whole picture, it is often the
dominant, but what is most important, it is a coherent whole.
We appreciate hand-painted text over the brush or pencil, easy but with very emotional
line. We also like experimenting with different media to produce text, from hand-pain-
ted letters with the help of the computer tools, by the destruction of existing computer
fonts through the using of well-chosen type.
We believe that an important element of the work, having deciding inuence on the
viewer, is to arouse emotions in her or him. Our posters are tested in true reality - the
streets of our native city or exhibitions in other places. This is also the true in case of
street exhibition, and presented posters about freedom and peace in the Ukraine - coun-
try during the civil war.
The workshop included the following
subjects: Cross culture /Deep-pression /
Solidarity with Ukraine / free Tibet / and
more.
Laboratory of Social Propaganda is one of
the laboratories in Graphics Department
at the Academy of Fine Arts in Gdansk is
led by prof Jacek Staniszewski, assistant -
Edyta Majewska, in 2014/2015 the se-
cond assistant was a PhD candidate Jarek
Bujny.
Poster 1
Theme: I love Poland
Author: Jacek Staniszewski
Slogan poster is spray painted, which gives
the association with freedom and creativi-
ty. At the same time the text was reduced
to the minimum, and it returned to its
roots as a sign.
Introduction
The image and words as a coherent message
The works created in the Laboratory of Social Propaganda and around focus on the po-
ster. Because the creation of the poster is the eld where the most important problems
faced by the graphic designers on their professional path concentrate:
- How to visualize the problem
- How to create an idea and solution of the problem
- Which medium should be used; photography, drawing, illustration,
- How to use properly typography in combination with image
- How to compose the whole picture
- What color should dominate, and more...
Creating the poster is an intellectual challenge: How the author is supposed to include
the problem and the answer in one and only one image. His (or her) own response is mar-
ked by personal point of view and vision of the problem. You have to create an intere-
sting and understandable answers to ALL who will see this picture. Or at least to those,
whom we are planning to reach. The picture should be understandable to persons coming
from many nations and many cultural backgrounds.
It turns out that this is not easy at all. The poster is also a great starting point for many
other communications media. Poster is a kind of key-visual, point of departure. The idea
conveyed by posters can be the basis for creation of the entire campaign – websites,
advertising, comics, short lms, animations and others.
A good idea can be transferred to virtually any medium and expanded . Therefore, in my
opinion, is so important to learn the process of creating the poster well.
We relate to the Polish poster school which ourished in the 60s of the last century in op-
position to the style prevailing in Western Europe. In the end of XX century communism
in Poland collapsed.
Now, after a quarter of a century of delights over the capitalism as a system, we begin
to see the dark side. So this is the reason why in the Laboratory students work mostly
with social problems. Students after graduation will fall into the rigor of the work aimed
at raising prot – in companies or corporations. But there is a chance to keep a spirit of
idealism, the soul of an artist and critical eye.
The subject of this article is emotional typography. Therefore I will concentrate on those
aspects of the problem and try to explain how to troubleshoot typography in posters
socially involved.
1. Caption
The first type of typography is the typography as a simple caption. Most of the com-
munication is contained in the image.
Typography in such a situation gives context link to the image in the poster, contrasts the image
and enriches it meaning. This type of typography should not prevail or spoil the picture, so usu-
ally the author choses the simple, popular typeface in black, most often non-invasive. The idea
is that the viewer rst looks at the picture and after that reads the caption. Therefore it must
be set in a place to be read AFTER the perception of the image. The viewer rst sees the visual
message and then can read the caption, which gives him additional, surprising sense of the who-
le. In this case, the emotions are formed at the interface between the image and typography.
Poster 1. In this case, the embodiment of typography was apparently easy, since we
can use a computer typography. But finding the right place, the right balance of size,
color matching poses problems for inexperienced designers.
The most interesting thing is that experienced designers completely forget to reflect
on these issues. They solve them intuitive. This is why it is so important to teach
those issues to the students. They should solve these problems with full awareness of
their importance for the subsequent perception of the whole message.
Poster 1
Theme: Stop sexual violence
Author: Weronika Lipniewska
This poster without caption could show the
effects of playing a child with plasticine. But
the caption gives the image context. It makes
the poster very powerful, even shocking.
Then instead of plasticine we see minced
female body. Moreover, there is no repres-
sion of the subject from the mind of viewer.
This is what happens when somebody will see
images too shocking, too scary. Here we have
a play of connotations. This visual suspense
causes emotional perception and understan-
ding of the meaning.
2. Typography as com-
plement
Another type is the typography play-
ing a role in the picture. Not only it
completes the picture but has a role to
play. It is the main thing we focus on.
This time nding a place for the text
requires more attention, because it is
no longer a signature. Now typography
is much more important element and
the creator should nd the appropriate
place for it, often in the center of the
layout. Likewise, the form does not
have to be limited to computer fonts.
Poster 2
Theme: FREE DOOM
Author: Joanna Patan
Eyes focus on the caption. For typogra-
phy author used a simple font, basic
computer font which is the main facto.
But not only one. The eye focuses on it.
In this way freedom becomes enslaved.
Poster 3
Theme: Freedom for Tibet
Student work, Academy of Fine Art in
Gdańsk, Poland
Hand cut caption may resemble chains,
the gravitates down the image. The
caption itself is soiled, not fully stam-
ped. The shape of the font looks like
it was hastily cut, which gives it the
appropriate style. Despite this impres-
sion of haste and brutality the size of
the letters is perfectly matched.
3 Typography as the element of the picture
The caption can also weave in the whole picture, then become one of the graphic ele-
ments. Then it begins to fulfill several functions - a caption to the image itself, and
simultaneously an element of this picture, often inextricably connected with it. Its
color and shape should be selected so that you could feel that it is part of the picture.
Remember to maintain its readability. This aspect often escapes designers, therefore
reducing effectiveness of the whole picture.
Poster 4
Theme: Cross culture
Student work, Academy of Fine Art in
Gdańsk, Poland
The author risked and contained in the
image two (or even three) anecdotes.
Surprisingly she did it with good effect
– slight, witty and very friendly. She
has placed the caption well, gave it the
appropriate positive color, lots of light
between letters makes reading easier.
Everything is beautifully mixed toge-
ther. A message remains positive.
4. Typography as a do-
minant
The typography that dominates, still be-
ing the caption/slogan, becomes homo-
geneous visual mark. Artists let letters
enter into the realm of the image. Text
lls the picture as the message and be-
comes an image, a visual sign. In these
works the letter returns to the original
function, their ancient roots when it
rst was a sign, a symbol. Letters inclu-
de visual content and still communicate.
They carry additional signicance by
its shape, composition, color, mood. In
these works authors oppose the stan-
dardization, yes they retain readability,
simultanously trying to break free from
the typical standardized typeface.
Poster 6
Theme: Deep pression,
Author: Ania Iliszko
Typography is a dominant. The message
of the poster is conveyed through inter-
ference of the graphic and the caption.
The letters are artistic expression, the
shape is carefully worked out by the
author in order to appropriately excite
the spectator. Here everything matters:
colors, shapes, raw printed colours. The
caption becomes an autonomous form of
the expression.
Poster 5
Theme: Human?
Author: Jarek Bujny
The image is an integral whole with the
words and concludes it. Hand-written
slogan uses different font styles and is
the part of the graphic image. There
is one more feature: the graphics and
text cross together, becoming the be-
autiful composition. The cross structure
focuses the eye in its center on the
letter M. The composition becomes the
consistent message.
5. Personal Typography
Every typography made out of the computer is stripped from machinery perfection. Font
made manually gains the human element. It becomes more familiar, on a human scale.
Such a font also gains uniqueness, just as every person is unique and yet similar to the
others. Computer fonts are smooth and repeatable as the product without unique cha-
racter. Author can give letters a proper character, aggressiveness or privacy. The caption
can contain any qualities; it can be sad or rebellious. That is the exploration and dening
emotions in typography.
But why are we provoking emotions in the pictures?
Inducing emotions in the viewer is associated with remembering images. The more we
move the viewer the more he or she remembers our message. Then there is a chance
that the image will appear to the person every time s/he closes the eyelids. Just like
humming a tune that someone heard a week ago and still remembers it.
Poster 7
Theme: To be / Tibet
Author: Krzysztof Głażewski
Poster based on the typographic play on
meanings. Meanings are differentiated
by color and size of letters. The shape of
the letters gives the image of emotions.
Conclusions
In my essay, I tried to show how to trigger emotions in the image by typography. Visual
messages which I presented on important social issues always evoke some emotions. Many
viewers may not agree with the messages that artists communicate in their work. Therefo-
re, it is certain that some emotions are triggered, and where is the emotion, there is also a
chance to prompt discussions which can make amends. As the subject of emotions in typo-
graphy is not well represented in the literature, you could say that the my essay provides a
unique perspective.
It seems that in the twentieth century typography was? stripped from the emotional and
personal character. so it’s value has been marginalized.
Poster 7
Theme: UKRAINE
Author: Eugenia Tynna
Note how wisely the designer used
the subtitle in the form of signatures.
These are the names of people killed
during street protests in Kiev in 2014.
The form of signatures gives us the
emotions that come from real people.
A signature is a personal emanation of
man. If the autor tried to use a compu-
ter typography here, the effect would
be too dehumanized.
But all of these treatments have a single primary purpose; to interest the passer-by, hook
him and to convince him to the author’s point of view.
Posters work when they go out into the street and communicate. That is why the works
of designers - members of the Laboratory are functioning in urban space. That’s what
happened when designers involved in the study spoke after the dramatic events in Ukra-
ine in 2014. President Yanukovych tried to brutally suppress the democratic changes in
Ukraine. In a gesture of solidarity, Laboratory prepared an exhibition of posters „Shout
for Ukraine”, which appeared in Kiev and supported the residents.
Jarek Bujny
Photography by Grzegorz Kuleta
Subject: The exhibition of posters
„Shout for Ukraine” in Kiev on the Ma-
idan, March 2014.
In the foreground; students’ posters,
in the background: burnt buildings.
Authors:
Piotr Paluch, Ola Miętus, Jacek Sta-
niszewski, Eugenia Tynna, Krzysztof
Głażewski and others. ASP Gdańsk
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