spreads from the journal, Strips Club, 2014

typ gr ph c ........

 

 

Up until late last year, typ gr ph c ........ was a fiction, a figment, an illusion. Later, it would push on as the notion began to sniff existence, but it was still a sort of fiction. It became material only at the moment it went public. Within ten days, eight people had registered for #1.

Each workshop in the series is a fiction that steadily morphs until it completes. Then the next one begins, another fiction to materialise. These workshops are not unlike the cacophony of cicadas outside my studio window. After years underground, they emerge, mate and die within two to four weeks. Except typ gr ph c ........ doesn't die, it's recorded both as memory and ink on paper — the participants remain a part of its ongoing reality.

typ gr ph c ........ is intended as occasional and experimental, in the forest at our two studios — a weird mix of public and private, of space and spaces, metaphysical and physical.

Off the record, I remind myself that the space of typ gr ph c ........ is "experimental, avant-garde, and outside the institutions". On the record, the scene is set, and the participants perform — the evidence is in the experience, what each wanders away with — in mind and practice.

The participants at typ gr ph c ........ #1 ........ A Type of Improvisation included several practitioners in graphic design and advertising, the curator of a project and research space, an academic (Head of Design) emerging from maternity leave, and a notable contemporary music composer and university professor, who trained in graphic design in the 70s.

The day kicked off with strong coffee and Granny Smith apple doughnuts served up by photographer Bruce Connew (who'd given over his studio, and taken on the role of chef du jour) to rally everyone from the winding, narrow, tunnelling forest drive. This had everyone take a breath, meet and chat. After an introduction to the day's intentions, we headed straight onto Skype with Italian designer Leonardo Sonnoli (late evening for him), who appeared on the large screen, 1:1 scale, with his work projected onto the wall above. It was as if he were here in the studio with the group — his thought and design process compelling and inspiring.

The day was intense and full. Everything worked — the spaces and connections, the forest and isolation (cicadas still underground at this stage) — but the group worked in earnest. Organic apples, chocolate and water kept minds fresh, a lunch of bread, salmon and salad allowed other conversations to occur, and the day finished with water, good wine, beer and snacks, with the last to drive away at 8pm, before we headed, impromptu, over to the neighbours for a light dinner and conversation. I cannot debrief objectively, as you have asked, Cameron, it is my point-of-view, but emails and conversations since, have been more than enough to suggest typ gr ph c ........ is on track.

As I write, post-workshop, and in the lead-up to #2 with Paul Barnes, Masayoshi Kodaira sent a note. Right now, he is responding with a critique of the posters from typ gr ph c ........ #1 from NY attending the exhibition, Tokyo Graphic Passport in NY, in which he is represented.

Very soon, the participants from #1 will reconvene at s/f, to view the printed posters, discuss over tea the critiques from Leonardo and Masayoshi, then wander away knowing the work they made in that single day is not end game, but an improvisation, a pivotal first in what will be an ongoing collation of outcomes for typ gr ph c ........ — for the record — and, most importantly, they extended themselves, however fictional or otherwise.

CG
12.03.14
NZ

 

 

Catherine Griffiths / for Strips Club, issue #1, 2014

/ photographs: Catherine Griffiths


 

04 writing & critique


Porto Design Summer School
Fifth edition, 3–15 July 2017, Porto, Portugal
July 2017

Notes from ‘Designing the perfect photobook’
A short t
alk as part of a panel discussion, PhotobookNZ
March 2016

A meditation
Sir Ian Athfield, 1940 — 2015
by Catherine Griffiths
Architectural Centre, NZ
April 2015

A Playlist : CG >> CG
by Catherine Griffiths
DPAG Late Breakfast Show, NZ, Aug 2014

Body, Mind, Somehow: The Text Art of Catherine Griffiths
by Gregory O’Brien
Art New Zealand #150, NZ, 2014

Nothing in Mind
by Chloe Geoghegan
typ gr ph c, Aug 2014

typ gr ph c in Strips Club
by Catherine Griffiths
Strips Club journal, Mar 2014

In the Neighbourhood
by Catherine Griffiths
Desktop #294, Australia, 2013

Interview by Heath Killen
Desktop #294, Australia, 2013

FF ThreeSix
by Catherine Griffiths
Typographica, Mar 2013

A note on the D-card
by Catherine Griffiths
Apr 2013

Shes Got Legs
by Lee Suckling
Urbis, NZ, Jan 2013

Truly, No Idea
by Catherine Griffiths
for Flash Forward, Desktop, Australia, Nov 2012

Look for the purple lining
by Catherine Griffiths
Eye Blog, UK, Mar 2012

Q&A TBI
The Big Idea, NZ, Jun 2011

Shots in the air
by Catherine Griffiths
Eye Blog, UK, Jan 2011

John & Eye
by Catherine Griffiths
ProDesign 110, NZ, Jan 2011

Quite a Blast
by Catherine Griffiths
ProDesign, NZ, Jan 2011

Inner-City Modality
by Mercedes Vicente
ProDesign, NZ, Aug 2010

Beautiful World of Typography
by Catherine Griffiths
excerpt from a talk, Govett-Brewster Gallery, NZ, Jun 2009

For the record
by Catherine Griffiths
Introduction to TypeSHED11, NZ, Feb 2009

Locating Our Feet
by Catherine Griffiths
Threaded, NZ, Oct 2008

Notes on Feijoa
by Catherine Griffiths
ProDesign, NZ, Apr 2007

Life in Italics
by Helen Walters
Print, New York, Sep-Oct 2006

Writing by Types
by Justine Clark
Artichoke, Australia, Apr 2003

 


typ gr ph c in Strips Club



Featured in the inaugural issue of Strips Club, a New Zealand Graphic Design journal, Catherine Griffiths describes what started out as a fiction ...


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typ gr ph c
Strips Club journal


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