The Typographer / The Musician
The Designer / The Composer
:: politician / compositian / imposition
As Roundhouse is both an audio and visual studio, it is our errant quest to better understand that which is heartily good to both. Yet to seek a response to the perplex : what is ‘good’ music – what is ‘good’ typography – is risky indeed. But are there commonalities enough to consider them two sides of the same coin?
Typography : In/consciously noticeable. Communication in visual space
Music : In/consciously noticeable. Communication in acoustic space
Music in simple terms is a sound-form with characters of pitch, rhythm, texture. Harmony is the structure of tone. Amplitude; a measure of tone in space. Melody; the interrelationships of tone in time.
A tone is easily compared to a pixel (or dot point) as a basic element
Typography is the letter formed by design, where meaning is modulated upon a many pixelled page. Weight, texture, the point in space – these are some elements that give formal character to typographical shape. The rhythm of the written word is accordingly revealed. In this visualization of language, aesthetic style is the harmonious resolution of letterform and concepts of structure are always pattern based. Silence (or lack of pixel) is the whitespace upon the page itself.
The same coin?
Structure and texture, harmony and space. Rhythm in Rockwell. Pixel pitch perfect
It is exciting to consider a close alignment between typography and music design. When two sides of the same coin are the essential similarities, similarity is itself a freedom (of design)
A movement toward expression is the common thread. Relations exist between tone and letter as we confront the silent whitespace. And it is here that a simple recontextualization brings freshness in terms, where graphical/ musical form and function are explored concurrently in terms of eachother. Typography w/ reverb, sound w/ serif.
Aspiring, always aspiring: to bring the ‘art of the muses’ into our worklife
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