Typographic; Animated; Informativeby Yuval Saar | 02.03.15
Three graduates of the Visual Communication Department at Bezalel – Yotam Hadar, Yoav Peri, and Idan Vaknin – were awarded the typography excellence certificates of New York’s Type Directors Club, the most important competition in the word of typography. The piece by Hadar, a 2006 graduate, was completed while pursuing an MFA in graphic design at the Yale University School of Art.
The works by Vaknin and Perri, graduates of the Bezalel department from last year, were created in the framework of the course “Lettering and Digital Typography”, instructed by the head of the department Professor Adi Stern. The works will be presented in the annual TDC magazine, at the award winning pieces exhibition (TDC61) in New York, and later on at seven other exhibitions around the world.
Hadar’s video piece is a minute long, screened in a loop. It acts as an animated poster that was created for a screening event and closing discussion for the course ‘Moving Image Methods’, that took place as part of his studies at Yale. The piece is part of a body of work that examines the relationships between different formats and types of media, as it looks in to the basic elements from which they are constructed.
“When I started planning of the project, I was interested in the structural relationship between video footage and the image that is created when you lay out the frames that form the video”, explains Hadar. “I thought it would be interesting to create a work situation in which the laying out of the frames becomes more important than the actual video they form, essentially working on the frame layout and seeing the video itself as a byproduct. In a surprising coincidence, at the time I had attended a lecture on the piece ‘Flicker Films’ by the artist Paul Shartis, who deals with similar issues”.
“I wanted the final image of the spread out frames to be typographic-informative; I spent a lot of time calculating the effective integration of the time of the video, the number of frames per second, the arrangement of the grid that would present the spread out frames and the speed in which things needed to happen on the screen. Ultimately, I managed to find an elegant solution to this set of problems, but all of the experimenting and calculating lead me to create a new project that would examine the components that I found interesting in a different way”.
“That’s why I decided to create a sort of screened, minute-long, collage comprised of 50 video segments. When all of the video pieces play simultaneously and intertwine into a single format – it creates a scene of large scale construction of typographic positioning. I designed the sqech for the general composition on a computer, having it serve as the reference for the construction of the 50 smaller scenes.
“Then I put those scenes together intuitively, so as to open up opportunities for imperfections and improvisation. The central typographic image is made out of a large piece of zebra patterned fabric (the cheapest I could find on ebay), while the small details are organized on pieces of paper, on which I printed the alphabet (in a font that I had concurrently designed). The entire positioning process was done on the same wall on which the video was ultimately screened.”
Another version of this post was originally published in Hebrew on http://byfar.co.il and translated by Yuval Regev.