EXPRESSION TYPOGRAPHY
.
FROM IDEOGRAMS THROUGHOUT CHARACTERS AND ALPHABET.
AND BACK TO IDEOGRAMS

SIAMO CIRCONDATI DA SIMBOLI
Potremmo dire che la forma più autentica della realtà percepita sia, paradossalmente, una complessa rete di codici e di simboli senza i quali ci sentiremo persi. I caratteri lo sono in maniera speciale per la fondamentale importanza che assumono nel dare forma alla comunicazione e alla lingua. I caratteri sono il risultato sintetico di simboli e i simboli sono la traduzione grafica di cose, animali, emozioni. Il corpo umano e le sue espressioni sono stati il riferimento primo di questa evoluzione. Di questa arte.
Nel lungo viaggio che parte dall’osservazione del mondo e dalla sua traduzione in disegni e segni, si attraversano innumerevoli fasi per arrivare alla creazione di sistemi di ideogrammi, di scrittura alfabetica, fino ai caratteri incisi per la stampa e la visione digitale della scrittura.
Dall’ispirazione dell’ideogramma, al disegno del carattere creato da eccelsi incisori e disegnatori come nel caso del Didot e dell’Helvetica,
questo è il viaggio della civiltà.
Questa ricerca non dimentica la bellezza della forma di questi due font sopra citati. Anzi, la usa per tentare un viaggio a ritroso e recuperare il collegamento all’emozione originaria che ha ispirato la creazione del sistema di ideogrammi.
Un viaggio immaginario. Un viaggio senz’altro non privo di umorismo e di amore per il disegno dei caratteri tipografici.
WE ARE SURROUNDED BY SYMBOLS
Paradoxically, we could claim that the most authentic form of perceived reality is a complex net of codes and symbols. Without it we would feel lost. Characters are fundamentally important in giving shape to communication and language. Characters are the synthetic result of symbols and symbols are the graphic translation of objects, animals, emotions. Human body and his expressions have been the main reference of this evolution. Of this art. Along the trip starting from the observation of the world and its translation in drawings and sings, we go through countless steps. Ideograms systems, alphabetical writings… until characters for the print and their digital use.
From the inspiration of ideograms to the character’s drawing produced by excellent engravers such as the case of Didot and Helvetica.
This is the civilization trip.
This research doesn’t forget the beauty of these two classical fonts. On the contrary, it uses it in the attempt of a backword path to get back to the original emotion that inspired the ideograms shaping.
An imaginary trip. A trip with no lack of sense of humor and love for typography.
The translation of the displayed characters (few of many) is due to a mix of hints. One must consider the main root based on the english language, such as C for communication that gives the shape to the ideogram of TALK, COMMUNICATE, SPEAK.
But also a sort of basic common traditional sense can help to decode the vertically flipped V as ROOF, BUILDING, HOUSE. Plus, the most important point is the effort to go back to the human expressions in order to understand the connection between character and emotion in each graphic, or typographic, solution. We hope that such work of comparison, translation, evocation will bring the reader throughout the sense of beauty of the classical fonts we mentioned already, Didot and Helvetica, and forgive us some oddities or jokes.
Our love for typoghraphy requires a good sense of humor.

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EXPRESSION TYPOGRAPHY   >   EXHIBITION BOOK

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