typ gr ph c : set in Panopticon, MuirMcNeil / one of the two studios

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#3.
FRIDAY the 13TH
with Catherine Griffiths & Warren Olds (NZ)
13.06.2014

CG / Chloe Geoghegan / director, Blue Oyster Art Project Space
EE / Emma Eagle / designer, Mr Bigglesworthy
JG / Jess Gommers / designer, Designworks
JJ / Julie Jeon / designer, TradeMe
MP / Michael Pester / designer, Dowse Art Museum
KL / Kristin Leitch / designer, Cognitive Education Centre
SK / Sean Kerr / artist, senior lecturer, Elam, University of Auckland

This one-day workshop with Catherine Griffiths
and Warren Olds (graphic designer, publisher,
occasional artist) will investigate horror,
complexity, isolation and punctuation.
From multiple starting points participants
will collage contexts to construct a
non-letter alphabet from printed matter
(text and image). Bring tools for cutting:
scissors, knives, axes, chainsaws ...

There will be a physical
outcome, the details
of which will be defined
closer to, and during
the workshop

bring: laptop, notebook,
drawing instruments,
tools for cutting (scissors,
knives), graph paper and
other materials will be
supplied

................

assistant & photographer:
Amy Yalland

paper: donated by
BJ Ball Papers

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FRIDAY the 13TH / from city dawn departure, to forest dusk end / photographs: Warren Olds

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typ gr ph c projected, left; a MuirMcNeil poster displaying Panopticon in fluoro, right

Setting out our Ouija board: Paul Vermeulen’s The Untamed Mind reader (from ‘1 Boek 2 — Architecten de Vylder Vinck Taillieu’, 2011); György Ligeti, Requiem (horror); a whistle; Arctic Walk, CG (isolation) ........

Folded poster for the 1999 Adrian Frutiger exhibition, Read Me; Peter Saville’s poster for Commercial Type’s Graphik (centre); limited ed. print made 2010, from Falsework, 2007, Paul Cullen (right)

Around the table setting at FRIDAY the 13TH, with Warren Olds

Proposition: use The World of Interiors to investigate the form of horror: select, crop, move, zoom, fill, erase, draw. Make a set of punctuation on paper.

CG discussing the ‘photages’ of Albrecht Ade (complexity), and a Berlitz School poster (punctuation) ........

Kristin Leitch and Sean Kerr (still image from Paul Elliman’s Voices Falling Thu the Air, projected, from Elliman’s talk, TypeSHED11, 2009)

Ouija board moves to the wall. Hanging the day’s reference points. Close up: folded section from an issue of the 80s magazine, Manipulator, to the right.

L—R: Wolfgang Weingart (My Way to Typography; Bruce Connew (I MUST BEHAVE); type specimen for Madison, published by D.Stempel AG, 1967; Chloe Geoghegan; a Milan Kundera line-up; 8vo, On the outside; letter B

L—R: Sean Kerr (The World of Interiors); Sigmar Polke; Panopticon; lamp; New Graphic Design (Fiell); I MUST BEHAVE; Dennis Glover (Dancing to My Tune); Julie Jeon (The World of Interiors); READ ME

A Connew-esque lunch in the house: L—R: Julie Jeon, Emma Eagle, Sean Kerr, Michael Pester, Amy Yalland, Kristin Leitch, Warren Olds, Chloe Geoghegan, Jess Gommers

typ gr ph c ........ #3 ........ FRIDAY the 13TH / singles for a panorama

After lunch re-group and discussion

Kristin Leitch and Chloe Geoghegan

Jess Gommers, Michael Pester, CG and Warren Olds

(that lamp again); type specimen for Madison; Chester Jenkins’ For Like Ever peering out behind a Louis Valtat postcard; workings on black by Julie Jeon; READ ME; 8vo, On the outside; When the Wind Blows, Frank Sargeson.

Eye No. 5, Vol 2, 1991

Chloe Geoghegan, Emma Eagle, Michael Pester: the chaos of thought and making

In the studio of Bruce Connew with Gunter Grass, a Granta line-up, and Chloe Geoghegan

typ gr ph c ........ 2014 ........ #3 / photographs: Amy Yalland

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several of numerous studies, made by Emma Eagle

one of seven works, exploring horror and punctuation, made by Julie Jeon

Sean Kerr’s reworking of The World of Interiors magazine: “I especially enjoyed the focus around punctuation and having to think hard about what is a ‘typographic gesture’. I also enjoyed the conversation around ‘the jester’ and seeing what everyone made.”

a system of code analysing levels of suspense and shock, made by Michael Pester

‘Provisional Conclusion’, Chloe Geoghegan

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Table setting and string-line on the wall of Bruce Connew’s studio, alongside Curves and Contrasts, The Camera Art of Robert Steele (by The International Office for the NZ Film Archive)

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back to top ^

typ gr ph c ........ 2014 ........ #3 / photograph: Amy Yalland

see the workshops:

#1.
A TYPE OF IMPROVISATION
with Catherine Griffiths
& Leonardo Sonnoli (ITALY)

..................................

#2.
STENCIL/STENCILLED
with Catherine Griffiths
& Paul Barnes (UK)

..................................

#3.
FRIDAY the 13TH
with Catherine Griffiths
& Warren Olds (NZ)

..................................

#4.
»work out work«
with Catherine Griffiths
& Tino Graß (GERMANY)

..................................

#5.
SPEECH PRACTICE
with Catherine Griffiths
& David Bennewith / Sandra
Kassenaar (NZ/NETHERLANDS)

..................................

#6.
Format Limited
with Catherine Griffiths
& Hamish Muir (UK)

..................................

APPLICATION

Application is by invitation,
recommendation, or submission
of a portfolio. You may also
register your interest.

To make a recommendation please
email with details, workshop
number and title in the
subject line.

To apply by submission of a
portfolio, please email your
details, and website/portfolio,
with the workshop number/title
in the subject line.

To register your interest in
the typ gr ph c workshop series
join the list: include name,
discipline, and country.

Within the week after the
application deadline, you will
receive a confirmation email
of acceptance.

To complete registration as a
participant, you are required to
pay the registration fee by the
due date.

Eight (8) places only are
available for each workshop.

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CONTACT

Catherine Griffiths

Studio Catherine Griffiths
Karekare, Auckland
New Zealand

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STAY IN TOUCH

Join the typ gr ph c list
include name, discipline,
and country

Follow on Twitter
@typ_gr_ph_c

................

Studio Catherine
Griffiths and
typ gr ph c
acknowledge the
encouragement of
Shabnam Shiwan to
begin the series,
seven years on
from TypeSHED11.

A note on the
visual language
of typ gr ph c:
The right-angled
trapezoid and
two circles are
informed by the
floor plan of the
two studios, and
the plywood
remnants from
building. The
circles together
form the figure
8; the holes
match the number
of consonsants;
which in turn,
sets the number
of participants,
four in each
studio space.

typ gr ph c
has to date,
employed Dala
Floda Fat Italic,
by Paul Barnes,
Commercial Type;
Founders Gotesk
Mono Light and
Bold, by Kris
Sowersby, Klim
Type Foundry;
Panopticon A and
C 010 Perimeter,
and TwoPoint by
MuirMcNeil; and
now Unica, via
Hamish Muir.

typ gr ph c lly
yours,

/ CG

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#4.
»work out work«
with Catherine Griffiths
& Tino Graß (GERMANY)

..................................

#5.
SPEECH PRACTICE
with Catherine Griffiths
& David Bennewith / Sandra Kassenaar (NZ/NETHERLANDS)

..................................

#6.
Format Limited
with Catherine Griffiths
& Hamish Muir (UK)

..................................

follow @typ_gr_ph_c on Twitter