Research Catalogue

an international database for artistic research

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  And _ Blinkbonny Avenue and strangeness of everyday life (2024) author(s): Niina Marjatta Turtola published in: Research Catalogue
  This is a research project into building an artist book that uses typographic devices and page layout in construction a multilayered narrative. Everyday life and actual events are part of of the narrative backbone and this is mostly photographic material. Another layer consists on dialogues (verbal, email, etc) between 2015- and ongoing between the two researchers involved in the project. This is language-based written material. Third layer is the thematic context in building the actual book which happens in the academic presentations, performances and knowledge disseminations.
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  Cubos (2023) author(s): Marta Silva published in: Research Catalogue
  Cubos is a unique and modern font that combines elements of both Grotesque and Geometric sans serif typefaces. The result is a font that is both quirky and bold. The font features strong, straight lines combined with curves that give it a friendly feel. Cubos is an impactful font created as a response to the first brief of the Type Design subject of the Masters In Graphic Design and Editorial Projects of the University of Fine Arts of Porto.
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  En egen trykkpresse (2020) author(s): Ane Thon Knutsen published in: VIS - Nordic Journal for Artistic Research
  A Printing Press of One’s Own (En egen trykkpresse) is a practical examination of the relationship between art and technique, hand and spirit, thought and printing ink. The project came out of an interest in the printed medium in a digital age. Book printing has been the dominant technology for setting and mass reproducing of the printed word from when Gutenberg popularized the technique in the 1450s, and until well into the 20th century. Thon Knutsen set out to search for a professional position which allowed her to combine an artistic approach to typography and graphic form with her technical insight and historical knowledge of book printing. She found Virginia Woolf. The canonised modernist author and the feminist icon worked in parallel with both her writing as artistic practice and as typesetter and printer in her own private printing press. Through in-depth close reading of Woolf's authorship, seen through the first-hand experience as typesetter and printer, Thon Knutsen has found new ways to read Woolf, and a direction for her own artistic and research-based practice. Thon Knutsen has recreated the short story that Woolf printed in her debut, The Mark on the Wall, in its whole, but with a new aesthetic appearance. She has done this with a method that Thon Knutsen claims must have been used by Woolf; the thought and the writing must have been influenced by the experience of setting and printing as a pendulum between the spirit that writes and the hand that sets.
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• Crux of the Matter (last edited: 2024) author(s): Dora Isleifsdottir, Åse Huus This exposition is in progress and its share status is: visible to all.
  Crux of the Matter is an Artistic research endeavour in the making. It is (being) metadesigned through synergies and relationships created between three forums and publication platforms: PS Exploratory, Ymt, and Message. The Crux fora creates a cyclical and sustainable flow 
of ideas, material, and foci for a synergetic iterative approach to find out how the artistic and empirical in Visual communication can coalesce to inspire professional, artistic, 
and social agency through Editorial design. Crux is a flow of creative discourse through creative conversation and manifestations thereof.
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  PS: What is a letter? (last edited: 2023) author(s): Dora Isleifsdottir, Åse Huus, Victoria Squire This exposition is in progress and its share status is: visible to all.
  PS: What is a letter? is an artistic research project in progress by Dóra Ísleifsdóttir, Åse Huus, and Victoria Squire.
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• On the origin of patterning in movable Latin type : Renaissance standardisation, systematisation, and unitisation of textura and roman type (last edited: 2023) author(s): Frank Blokland connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This PhD-research by Frank Blokland is conducted to test the hypothesis that Gutenberg and consorts developed a standardised and even unitised system for the production of textura type, and that this system was extrapolated for the production of roman type in Renaissance Italy. For roman type, Humanistic handwriting was moulded into a prefixed standardised system already developed for the production of gothic type. This was possible because there is an intrinsic morphological relationship between the structures of the written textura quadrata and the Humanistic minuscule. Renaissance typographic patterning was in part determined by prerequisites for the production of type. The typographic conventions are not purely the result of optical preferences predating the invention of movable type but are also the result of the standardisation of characters in the Renaissance type production. By mapping the underlying harmonic and rhythmic aspects, we gain more insight into what exactly the creative process in type design comprises, and what its constraints are. Furthermore, it makes the parameterisation of digital type-design processes possible.
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• Alverata, hedendaagse Europese letters met wortels in de middeleeuwen (last edited: 2023) author(s): Gerard Unger connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This research of Gerard Unger is only available in Dutch. De kern hiervan is een letterontwerp, gebaseerd op de combinatie van een middeleeuws en een hedendaags concept. Het middeleeuwse deel betreft de elfde en de twaalfde eeuw, de romaanse periode, en in het bijzonder de epigrafie van die tijd: romaanse kapitalen in inscripties. Deze kapitalen werden gedurende tweehonderd jaar in een groot deel van Europa toegepast. Hiernaast zijn velerlei typografische en culturele ontwikkelingen in de twintigste en de eenentwintigste eeuw de bron voor het nieuwe letterontwerp. De Alverata toont enkele middeleeuwse kenmerken die wonderwel met de modernste typografische software en voor hedendaags gebruik is toe te passen. Bovendien kan de Alverata het uitgangspunt zijn voor vernieuwend leesbaarheidsonderzoek.
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• Typeface design for visually impaired children (last edited: 2023) author(s): Ann Bessemans connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Due to the low quality level of visual input they receive in the form of printed text, beginning visually impaired readers are at a disadvantage in comparison to their peers. In the past, typography has often been looked upon as a useful instrument to improve the legibility of the printed reading material that is being offered to children with low vision. However, the legiblity research efforts that were at the base of this conception were not always of good quality. In cognitive science for example, many efforts were made that were methodologically correct, yet the test material (the used typefaces) had little to do with reality. Many typefaces that were supposed to improve legibility were also suggested by typographers themselves, but the reasoning behind them was hardly ever sufficiently methodologically supported. Moreover, most legibility research focused on people with low vision in general, ignoring the fac t that visually impaired children constitute a very particular group with specific issues. This doctoral research project by in design, by Ann Bessemans, seeks to shed a light on legibility in the context of visually impaired beginning readers. Starting from these findings and from a legibility research a first step is given to design a typeface that will be able to provide support for the target group of visually impaired children in the first stages of the reading process.
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  Quiet Observations (last edited: 2019) author(s): Åse Huus This exposition is in progress and its share status is: visible to all.
  By looking closer, the normal and ordinary can become something else, something extraordinary, if we pay attention or exercise attention. And, by exercising attention we can get into the ordinary´s simple, but equally complex scope, but then – with a distance – something we no longer stand in the middle of. The artistic research project «Quiet observations» is about reflections related to wonder, relation and proximity. The project has evolved into a research project from a pre-project where the starting point was to research the concept of ambiguity. As I see it, the nature of everyday life and everyday surroundings are elusive and ambiguous, and by its inherent complexity, a source of wonder. In ambiguity, we can find an indefinite space, a space for speculation and imagination. In this perspective, ambiguity provides a space for creative receptivity, to actively consider multiple interpretations of meaning and reconsider preconceptions. Dedicated observations can provide proximity to everyday surroundings which make them no longer seem obvious, but rather manifests themselves as source of wonder, abstraction, imagination and daydreaming. The project has two parallel areas of interest; the field specific perspective is defined as research through editorial design beyond media, and the other perspective is based on educational interest in the design process itself. Editorial design in this context is understood as the framework and the architecture of how a given content is read and interpreted.
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