Points of Reference: posters, typefaces, Lake Merritt

The artists behind Shotgun Review are doing some really interesting individual and collaborative projects.

I’m SUPER digging the two projects on Joseph del Pesco‘s site right now.

pile of artist's funding posters
State of the Arts, The Present Group & Horwinski Press, December 2008.
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Beautiful posters influenced by wood type and mixed-fountain printing, demanding better working conditions for artists. What’s not to like?

Black Market Type & Print Shop
Joseph del Pesco, Black Market Type & Print Shop, Articule, Montréal, June 2008
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Artist’s typefaces—I love it! It’s a great coincidence, because after working on hand-lettering during the Breathe Residency, and reading Ellen Lupton’s Thinking with Type recently, I decided I’d like to design a typeface. It’ll probably be a display face, exuberant and expressive at the risk of legibility. But I figure it’ll be an art project, not a design project; I know enough to leave the development of extensive type families to the pros.

There are so many crappy fonts in the world already, why bring another one into existence? Well, the fact is, even typographic design can be a little subjective; Blackletter was considered very legible in the early 20th century among Germans and inscrutable in other parts of the world. And history, as well as Lupton’s book, is filled with other examples of typefaces that were reviled in their time. For example, Baskerville, a typeface that many modern eyes would consider just another serif roman font, rather boring and not particularly distinctive, was reviled for

Blinding the Readers in the Nation; for the strokes of your letters being too thin and narrow, hurt the Eye.

–as quoted in Ellen Lupton’s Thinking with Type

Scott Oliver's Once Upon A Time, Happily Ever After, audio tour of Lake Merritt, Oakland, CA

Scott Oliver's Once Upon A Time, Happily Ever After, audio tour of Lake Merritt, Oakland, CA

I’ve always liked Scott Oliver‘s material investigations/post-conceptual modifications of everyday objects, and his next project—an audio tour of Oakland’s Lake Merritt—totally floats my boat for two reasons.

A. I love Lake Merritt, it’s one of the few things that keep my regard for living in Oakland really high.

It’s a nice open space in the middle of the tree-starved flatlands, and while it’s not the most natural of places, it plays an important role larger ecosystems. Lake Merritt is not a “man-made lake,” but an estuary, which is why it’s a unique habitat for migratory birds.

It’s also a nice public space used by a cool cross-section of residents: runners, walkers, people who put on jogging suits to get coffee at Peet’s, guys hanging out in their cars all day, serious athletes running the stairs, office workers and families from all walks of life.

B. Oliver’s working with some really bright collaborators, and bringing onboard a lot of local arts organizations. Any local histories can be tricky, but Oliver’s got the right approach.

Oliver’s got a matching grant, so he needs to raise matching funds in the form of donations from individuals. Matching grants are challenges in any situation, but I don’t envy his position in this economy.

Once Upon A Time, Happily Ever After: An Audio Walking Tour of Lake Merritt will offer an immersive audio experience to listeners—using a mixture of ambient field recordings, interviews, music and narration to weave an idiosyncratic but approachable narrative that will guide listeners through the various natural and artificial elements that surround Lake Merritt. With an emphasis on local history, cultural diversity, urban ecology, and the power of imagination, Once Upon A Time, Happily Ever After will explore the invisible that surrounds the visible—the stories and forces that shape the lake and our perceptions of it. Once Upon A Time, Happily Ever After will be free to the public and widely accessible to Lake Merritt visitors through both on-site and remote locations.

To support the audio tour of Lake Merritt, email Scott Oliver at: knot (at) sbcglobal . net.


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