Ruslan Khasanov (2012) Lumen type: experimental typography.
"From sketch to final creation for his Biotypography project, Oded [Ezer] wanted to create live, almost cinematic situations where these typo creatures 'act' and 'behave.' He says the most difficult part of the project was the issue of balance - where to draw the line between the insect and the letters.
Biotypography - typo art project depicting manipulated Hebrew and Latin 'Typo creatures.'
'When I saw an ant on the floor of my studio, I started to imagine what would happen if this was a creature half ant and half letter. Wouldn't it be wonderful if nature had invented letters? And then maybe different letter-ants could gather, create words and communicate with us!?'
'I could manufacture a medium wherein typography could develop and evolve into something completely different.'"
"We are a culture that increasingly questions consumption and advertising, which are at the heart of industrial and graphic design disciplines. We rely on a dynamic and constantly evolving technological platform that touches all aspects of life. There is an increased demand for service-based jobs as our country re-evaluates economic sustainability. People are demanding quality, reflective and meaningful experiences in their world.
Yet design education, as a whole, hasn't embraced these challenges and opportunities.
To be direct and explicit, educators who have taught the same foundation studies courses for years will need to dramatically revamp their courses or face irrelevance. Educators who have repeated the same kerning and hand-drawn letterform exercises will find themselves teaching at a school that simply isn't focused on typography anymore - and tenure notwithstanding, these individuals will find themselves without a role. Educators who are unwilling to retrain themselves will be replaced.
If you are one of these educators, or you work at one of these programs, you may acknowledge these necessary shifts, but find personal action to be difficult. It is difficult. And it's difficult because the shift is large, fundamental and of critical importance. You'll need to read, and take courses, and attend new conferences; you'll need to re-build yourself and your expertise in a new light. You'll go from knowing all of the answers to not even knowing the problems.
But it's no longer a matter of choice. Because if you aren't able to find a new opportunity, a new specialty, and embrace the topics described above, you may soon find yourself alone or replaced. Our subject matter is too important, and our role too fundamental, to leave to the traditions of even great educational movements like the Bauhaus. The subject of design is the humanization of technology, and as long as technological advancements continue, so the pragmatic and day-to-day jobs of designers will continue to morph. And so must design education continue to evolve."
(Jon Kolko, 2010)
Jon Kolko (2010). 'Remapping The Curriculum', AIGA | the professional association for design
AIGA Design Educators Conference "New Contexts/New Practices", October 8-10, 2010, at North Carolina State University in Raleigh