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 | | Exclusive Interview |
Page 2 of 2 But surely, you have to at least be aware of typographical fashion. Even if you choose to ignore it? Andy responded: "Yes, but we try make ourselves selectively ignorant. Personally I'm more inspired by the aesthetic of the Old Kent Road." Christian took up the point: "We were invited to this lecture in Belgium and, during the lecture, we didn't even show any of our typefaces. In fact, for us, the whole thing becomes really interesting when we try to conceptualise typefaces and they don't manifest themselves in letterforms." So what is the point of this, all these ideas; typefaces without letterforms, anti-abbreviation faces? Andy explained: "We'd like to formalise our ideas about design into a more coherent philosophy and search out people who are interested in similar debates. Producing typefaces seemed a good way to put these debates out there. We're not just saying: 'this is a good typeface - use it.' It's more about getting people to come back and tell us what they like and don't like." I asked about the purpose of the debate. Andy thought for a while and then responded: "I suppose, we're looking for a system... some kind of agreed structure." Christian again took up the theme: "Our work is moving into a more conceptual area - based on what you might call 'coding systems'. The NCP car park is a good example. You see all these signs on the walls and the floor saying: 'Go in here. Stop here. Park the car there.' These symbols are very carefully constructed in the same way that we construct words and operate in a similar way to our everyday language." But surely the difference is that every situation demands a new approach from the coding system. "Exactly, yes. These symbols would have to work within a certain context but they wouldn't work in any other context." So how could you adapt such a system to meet each new requirement, or is that the point; just to keep developing it for every time you do something new? Andy agreed: "Yes, we've already realised through working with these ideas that we couldn't just sit down and create some sort of linear philosophy. I think a good analogy would be with a default system such as you see on Quark Xpress. We want the technology to create the starting point and then our challenge is to work out to what degree our intervention should aesthetically override that." So you're trying to find your limits. "Yes." Most of the design work Christian and Andy have done so far has been for cultural institutions and organisations such as the ICA, Art Angel, The Architectural Association, Black Dog Publishing and the Booth-Clibborn Editions, so they're used to dealing with very design-literate clients. Andy agreed: "The elitists yes. I suppose it's easy to get sucked into that 'high end' nonsense, but at least we get more freedom on the projects we do." Christian illustrated this further: "Like, for instance, when we worked on a catalogue and poster for Angela Bulloch Her work is about putting things outside their traditional context so we chose the 'Carplates' typeface which, as far as I can see, was only ever used on English license plates. We reflected this theme of her work by using a font that was taken out of context. Of course we liked the typeface too, but the main reason for convincing her to use it was that we felt that conceptually it went along with her work." I suggested that this gives them more freedom to bring more of what they do that is worthwhile into their work and Christian agreed, though he also admitted that he is quite happy to discuss these things from the client's point of view too So, great typefaces, a growing list of satisfied clients and a typographical debate of their own into the bargain! Check out Acme Fonts for yourself. Apart from anything else, Andy assured me that, as a special limited offer, they were giving away a free Disney 'Hercules' figurine with every purchase. Who could resist? | | |
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