Vernacular Typography

David Osbaldestin delivered a useful and interesting presentation that explored into his hero So Me. I was already familiar with So me's work as he has been a huge influence on work I have previously created. Therefore it was extremely interesting to learn new things about So me that I did not know and consider before. I learnt and developed a deeper understanding into the history behind the work.

Many distinguish fine art and graphic communication as two seperate forms of practice. Fine art was and can still be seen as a high class, formal subject in comparison to graphic communication. David went into discussion in how he believes the two subjects can sit together and be respected equally.
Pop art represents the direct relationships between fine art and commercial work. Using Richard Hamilton as an example, pop artists had used the same principles as we do in graphic communication such as the same tools to make use of composition, hierarchy and layout. We were also shown work by Mark Titchner who had created a propaganda poster that originally produced for fine art practice could be viewed as a piece of advertising. The piece 'if you can dream it, you must do it' delivers bold graphic language in the form of a brand slogan which also can be seen as a interesting piece of typography.

                                    


He followed on to talk about his hero, making a relevant connection to how the two practices integrate and how his hero makes use of this. I took note of how he researched into past artists and art movements to show the understanding of his influences work and how he believed two subjects, fine art and graphic communication, can be performed as one.
His hero was discovered from the passion for the music by Ed Banger Records. They wanted to create a fresh new look, therefore invited graphic designer, So me to become the art director of Ed Banger Records, to  help create and deliver a strong product, service and company. This led David to the discovery of So me's work.

So me makes use of the term and practice vernacular typography, hand rendering his type in a style that can be recognised as So me. Vernacular is an everyday type which commonly has no set structure, because of its loose, natural, hand rendered form. Vernacular can also be seen as street art.
So me's type has strong character and using vernacular style allows them to be imaginative in their ideas. Every time a piece of vernacular typography attempts to be recreated, it will appear slightly different and you can see this process develop through So me's designs.

So me is extremely quick at shooting out ideas and producing new work. He has so many ideas from the adaptation of one piece. He will continue to develop a piece of his work which will help shift the idea to give it a new meaning.

At the moment, I am currently in the 3 three week changeover to 'Semiotics'. David talked about the semiotics behind some of So me's pieces, which helped me learn more about the importance of semiotics considered in a design. Take a piece from So Me's work, 'Mr Flash branding' as an example. It semiotic-ally works with the idea of an american identity. It contains several images to build a symbolic piece. The stars and colours red, white and blue can relate to the American Flag.
So me's vernacular type replicates the idea of prison tattoos. The image also suggests a relation to music from the choice of words, for example 'instrumental' and the position of hand that is similar to holding a guitar chord.

                          



For my semiotics project I have considered the choice of images and words I use. I have also developed David's understanding of how fine art and graphic communication can combine.

FINE ART IN RVJ FOR SEMIOTICS put image in here