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Magneto / June 2008
Typography: Catherine Griffiths
Magneto continues its monthly profile of
prominent Wellington artists with Catherine Griffiths. Our most beloved
NZ typographer speaks of her greatest achievement, the Writers’ Walk
and her plans for TypeSHED11, a typography symposium.
Describe typography for someone who has no idea.
My definition, broadly speaking: typography is about working with the
letterform and the written word to produce a meaning, a mood, a feeling.
Favourite font and why?
No real favourite, but for some time I have been a user of Courier, the
vernacular of typefaces. Courier is a hard worker, and I find it suits
my temperament at the moment. It suits where I am in this busy world
of new typefaces. That is, for my output – email, letters, the html
default typeface for TypeSHED11 ... even an artist book I designed
for my husband and photographer, Bruce Connew, entitled I
Saw You,
a series of 52 photographs around the theme of surveillance. Courier
worked so well for that body of work. I love Verlag, a Hoefler & Frere-Jones
designed typeface – it’s refreshing for someone like me who is a user
of the expertly crafted classics, and Gill Sans is one that has featured
over time in my work. Verlag is quite exquisite, and I’m currently
experimenting with it for an identity refresh. Exciting. Years ago,
when Victoria University was a client, I exploited Palatino (especially
the Light weight) while under the influence of Herman Zapf who designed
Palatino over 60 years ago (he designed Optima, which also appears
in my work). Another typeface I used (and loved crafting – like most,
it requires careful handling) to death was Bell Gothic for Creative
New Zealand. I haven’t used it since those days. Bell Gothic was designed
by CH Griffith in 1938 (privately, I enjoyed this silly connection
– my initials being the same) as the original AT&T telephone directory
typeface. I love the Grotesques, the blacks, the weighty ones.
Computers. Hate or love? Why?
Love the tool, dislike the lack of physical movement associated with
it.
How important is the teaching/lecturing aspect of your career?
Teaching and lecturing is a critical part of my development – I wouldn’t
have reached Arctic Alaska or be in the midst of organising a typography
symposium if it weren’t for the lectures and contacts I’ve made while
moving about the world, engaging with students, teachers, designers,
artists ... mixing up the disciplines as I go.
Has working overseas given you an edge as a designer in Wellington?
It’s hard to say in the context of now, but at the time, when I
returned from working in London, I was definitely a more attractive design
proposition. The overseas journeys that Bruce and I have made in recent
years have certainly added another layer to what I am able to offer.
An edge – I just sit on the outskirts really. I’m not afraid
to follow my instincts.
If you had to be permanently located somewhere, where would it be and
why?
Now there’s a question – at the moment, on our canal boat berthed in
Paris is about all I can imagine.
What has the Writers
Walk added to the Wellington waterfront?
A conversation in the landscape. Something to touch, engage with, argue
about. Stare at. Love, hate, love. The Wellington Writers’ Walk is known
about the world, now.
If you could change one thing about the Writers’ Walk, what would it
be?
I wouldn’t want to change anything – there are 15 of these beasts, they’re
beautiful, and they’re there. To stay.
How do you feel about your concepts for the Waitangi Park wind garden
not being realised?
Frustrated, initially ... and once the ’mute’ panels were installed (they’re
the perforated sheets that are in place now), I felt really disappointed.
But I’m more relaxed now, though I would love them to revive the project
with a certain fervour and vitality for the original vision – where there’s
room for me to really develop the idea.
With corporate work, how do find the balance between the client’s wants
and your own aspirations?
I’m more of a realist, now that I’m older, but in saying that, I’m more
free in my approach – I’m able to go in with my own energy for an idea,
and take the client on a journey – most stay on board, and we generally
travel together really well. My way of working is to make it a worthwhile
experience for the client, and me, by using my intuition, sharing my
thinking, and giving the client something that goes beyond expectation.
I’m lucky really, because I’m in a position where I can choose to work
with people who want what I bring to the project, and who want to work
in a positive way, where there is mutual respect and trust – vital ingredients
for a successful collaboration.
What is your attitude towards corporate work?
I have spent over 20 years working in visual communication design for
the corporate world, and it’s an income, finally. Each project, no
matter how small, how large, has its place, and deserves attention.
I’m quite selective – I try to work with decision and vision makers
– where the ideas stay intact, the energy is fresh, and you can have
a constructive conversation about content and approach, where the idea
only strengthens.
How do you feel about self-funding your projects?
Self-funding is something Bruce and I accept as part of making work -
if only to have our ideas expressed the way we see fit. We have our
share of funding applications rejected, but some successes too – the
thing is to get on and do the projects, make the work and find ways
to complete them. Over the years, we have invested our personal money
heavily in journeys that we regard as vital to our own professional
and artistic development. The rewards do come – the Alaska Design Forum
invited me to speak in Alaska and they covered my expenses along with
a very nice fee. War Photo Limited Gallery in Dubrovnik, Croatia is
currently showing 40 of Bruce’s photographs from On
the way to an ambush – an idea that the gallery proposed and paid for, including the artist’s
travel expenses to be there to sign prints. Incredible and hugely respectful.
What piece of work are you most proud of and why?
At the moment, I love Stopover – a book about migration by Bruce Connew.
I love it as a complete object of beauty, filled with meaning. Oh ok
– and the Wellington Writers’ Walk. It’s a project that occurred with
its creative vision intact – the words of these writers live on, outside
the pages of a book.
In your opinion, what is the worst example of typography in Wellington
at the moment?
Somewhere, and I can see it, is a logo on a building, where the letterspacing
is shocking ... oh no, that was in Anchorage, Alaska. Wellington ...
well, I’m perhaps too polite to say, but, believe me, in and out of the
occasional gem or brief rush of good typography (exhilarating when it
happens), we are served up an awful lot of dull, unimaginative and lazy
typography, not to mention design. TypeSHED11, the typography symposium
I am working on, is designed to expose those talents, activate a dialogue,
pose a challenge.
Given your appreciation for the written word, what is your favourite
poem/verse?
To name one ... Laurie Anderson’s Excellent Birds
Flying Birds.. Watch them fly. There they go.
Falling snow. Excellent snow. Here it comes. Watch it fall.
Long words. Excellent words. I can hear them now.
This is the picture.
I’m sitting by the window. Watching the snow fall. I’m
looking out.
And I’m moving. Turning in time. Jump up!
And I can land on my feet. Look out! This is the picture.
TypeSHED11, what is it?
TypeSHED11 is an exclusive, five-day international typography symposium
to be held in Wellington, New Zealand, 11-15 February 2009. TypeSHED11
will explore the notions and the voices of typography across the disciplines
of graphic design and advertising, photography, film, literature, architecture,
music and the visual arts. A full programme of lectures, workshops,
exhibitions and experimental installations will create a valuable environment
for social and intellectual exchange with passionate typographers and
designers from about the world – Europe, the Americas, Asia, Pacific,
Australia and New Zealand. The capital city of Wellington, New Zealand
will provide a fresh and invigorating venue for its first-ever meeting
of creative minds where typography is the fundamental that underpins
this five-day symposium.
A major project out of my studio, TypeSHED11 is a creative initiative with Simone Wolf, Typevents Italy – already, it has gathered much enthusiasm across New Zealand and the international typography and design community. We have gradually built the structure – the framework – gathering in support and energy from people who are passionate about the idea, and who want to see it happen at a level that is international and uncompromising. With the help of talented local designers and artists, we are building an archive of typographic content that will be part of TypeSHED11’s organic formation over the year ahead, creating a much-needed and vital dialogue among New Zealand designers, typographers and artists – mixing the disciplines – between professionals, academics and students.
We are busy seeking sponsors who view TypeSHED11 as a compelling proposal
and a challenge. TypeSHED11 will position New Zealand typography and
design at an international level. New Zealand, thus, will gain, immeasurably,
further recognition as a serious global participant in the creative industries.
What are your plans for the rest of 2008?
These are quite secret. But they do include preparing TypeSHED11. And
they do include a period of time in Paris working on our own projects.
What’s the best piece of advice you can give a student studying typography?
Space. Feel, observe the space – positive, negative. Find the meaning.
Be patient and passionate.
END
++ Those requiring information about sponsorship of TypeSHED11 can email us at sponsor@typeshed11.co.nz ++
Proudly sponsored (thus far) by
silver
College of Creative Arts, Massey University
sponsor-a-speaker
FontLab
Strategy Design and Advertising
bronze
Experimenta
Wellington City Council
base
City Gallery Wellington
Gordon Harris – The Art and Graphic Store
The Church
media
ProDesign
website
Springload
with the support of
Designers Institute of New Zealand
Visit www.typeshed11.co.nz
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