For this assignment students write their own brief. They are encouraged to create a typeface. Tutor: Jason Grant
Aaron and Luke explain: “After research into the supporting visual language that was developing alongside the Occupy Wall Street movement, it was clear there was a great lack of cohesion and quality in the visual messages being communicated. A monospaced display typeface was developed as an offering towards a visual common ground for the occupiers.
“The movement’s diversity is of course one of it’s central strengths and characteristics, so the typeface is not intended as a kind of brand homogenisation, rather a visual equivalent of the unifying verbal devices used by the occupier’s, such as their very nomenclature (Occupy New York, Occupy Brisbane etc) and slogans like ‘we are the 99%’.
“Selected type specimens were overprinted on copies of the stridently conservative, News Corp. owned paper, The Australian. The newspaper effectively became ‘occupied’ with the existing design adopting critical new meanings. The overprinted type specimens were pasted up in public spaces. These specimens contained quotes sourced from Occupy Wall Street protest signs found in various occupations around the world.”
Monospaced or fixed width letterforms, created as they were in the analogue era to enable a predictable distance before the impression of the next letter, are technically redundant. The efficiencies of digitisation means typefaces with proportional spacing now rule. However the aesthetic virtue of the monospaced typeface perseveres. The inversion of typographic hierarchy whereby a monospaced body font ‘occupies’ the role of a display face is also a metaphor for the movement’s political aims. The relatively generic letterforms allow the parasitical subversion of found propaganda with carefully considered overprinting.