STATEMENTS ON TYPE
LAWRENCE WEINER INTERVIEWED BY HENDRIKE NAGEL & TINO GRASS,
NEW YORK CITY 2011
What impact and sense does type has for the society? In everyday life most of the time
type only carries information, does it have a different function in your approach of work?
WHAT IF A TYPEFONT IS JUST IN FACT THE CLOTHING ONE SHOWS TO PUT ON
IN ORDER TO STAND UP WITHIN THE SOCIETY & PRESENT WHATSOEVER IT IS ONE
HAS TO SAY
In visual communication there are applications, specific typefaces. You put different
demands on a type which has to work as an orientation system, than the one which you
use for the book or website. Do you have a specific or a specifically developed typeface for your work and what kind of requirements does it have to satisfy? Some works like the one
in Münster are working with a very different type than most of your other works. From what does that depend on?
THERE ARE TIMES WHEN THE MEANS (POSSIBILITIES) OF A CERTAIN MATERIAL DEMAND AN ADAPTATION OF AN ESSENTIAL SENSE OF TYPEFONT
MÜNSTER WAS ONE OF THOSE TIMES WHEN THE WATER OR LASER CUTTING & WHERE IT WOULD BE PLACED WITHIN THE CITY DETERMINED THE TYPEFONT
ONE TRIES THEN TO FIND AN ADAPTATION THAT DOES NOT GO AGAINST A SENSE
In your work you predominantly operate with capital letters, is this a visual decision or
do you use it as an additional linguistic aspect?
IN ENGLISH THE USE OF CAPITAL LETTERS IS A VISUAL DECISION BUT AS THE WORK IS DESIGNED TO BE TRANSLATED FROM ONE LANGUAGE TO ANOTHER THE USE OF CAPITALS REMOVES THE HIERARCHY WITHIN A LINGUISTIC STRUCTURE BETWEEN NOUNS & VERBS
THESE LANGUAGES WERE DEVELOPED BEFORE THERE WAS AN AWARENESS THAT
AN ACTION IS MOST LIKELY AN OBJECT
IT IS ALSO EASIER TO READ
How important is it for you that your work is easily readable? I think readability effects
on what the viewer perceives at first, the message / information or the visual composition.
Do you have any views on expectations or preferences for this behavior?
OBVIOUSLY IT IS IMPORTANT TO BE LEGIBLE
In the context of your work to which extent do you deal with regulations of typography?
NOT BEING A DESIGNER & BEING AN ARTIST THAT HAS TO USE THESE MATERIALS
IN ORDER TO PRESENT THEIR WORK BY THE TIME I REALIZED I MIGHT BE BREAKING RULES OF TYPOGRAPHY WHAT I HAD DONE HAD ALREADY ENTERED INTO THE CONVERSATION
IT IS THE CONTENT OF MY WORK WITH WHICH I HOPE TO BREAK PRECONCEIVED PATTERNS OF RELATIONSHIPS OF HUMAN BEINGS TO OBJECTS & OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS
There are language works which you have presented in different ways at different locations. How far does your work depend on time and space? The change of context can have a strong effect on the perception of message.
ALL CONTEXTS ARE DIFFERENT FROM ALL OTHERS
IF THE SHOE FITS WEAR IT
Experiences and associations people can influence the way of the perception of language.
To what extent does the cultural aspect of language affect on you and your work?
IT IS THE SAME AS THE PREVIOUS QUESTION & ANSWER
THE WORK CARRIES WITH IT NO METAPHOR
THE PUBLIC BRINGS THEIR NEEDS & DESIRES TO CREATE A METAPHOR & I HAVE
NO DETERMINATION OF WHAT THEIR PAST EXPERIENCE IS NOR DO I HAVE A DETERMINATION OF WHAT THEIR FUTURE EXPERIENCE SHALL BE OTHER THAN THAT IT INCORPORATES A SENSE OF DIGNITY FOR THE MATERIALS REFERRED TO
How does the creative process of your work looks like? Do you start with an idea or do
you find the visual compositions of your text and the materials you use to exhibit in the environment?
THE SO CALLED PRESENTATION OF THE WORK HAS VERY LITTLE TO DO WITH THE SCULPTURAL FORMULATION OF THE WORK ITSELF
LETS LEAVE IT AT THE WORK ENTERS INTO THE STREAM OF LIFE & THAT STREAM
IS NEVER THE SAME AT ANY POINT
What do you think is the future of type?
OTHER THAN THE ACADEMIC DILEMMA OF WHAT TO CALL WHAT ONE IS TRYING
TO TEACH THREE DOTS A STROPHE A LETTER OR ANY OTHER MARKING IN FACT REQUIRES A FORM OF TYPE TO BE REPRESENTED
THE CONTENT OF WHAT IS PRESENTED DOES NOT CHANGE WHEN IT ADAPTS TO DIGITAL GRAFFITI ETC.
THE FUTURE OF TYPE WILL MOST LIKELY INCORPORATE SOME FORM OF READABILITY