In this project I used Frida Kahlo’s poetry in Spanish as my main type, which contrasts in scale with the English type on the right. The censorship obscures parts of her poems, which makes both the Spanish and English texts change into a new poem and the new express the meaning in a different way. Typography grows and shrinks, and changes between 2 typefaces, just the way the language changes between left and right.

In this project we were asked to imagine and design a collaborative reading space in which 4 people share the experience of reading a text together, occupying the same physical space. Though this project is ostensibly about typography and reading, it is also not about reading. More precisely, this project uses received conventions around reading as a lens to examine sharing and cooperation. In my collaborative reading space I explored the ways in which dancers “read” a choreography. For my typographic structure, I created a video in which I used type as a way to teach the dancers. The outcome of the video concepts have created awareness on how much a dancer relies on instinct rather than visual cues, from a screen or a recording. It also examines the way dancers interpret words into actions, and how the same written movement is performed differently by the 4 dancers. The same dancers repeated the choreography multiple times, and the more times it was performed the better at “reading it” they became; which led me to question if they were reading the words on the screen or cooperating and following each other.

For my typeface I chose Rader, by the Pangram Pangram foundry, and my topic is unusual idioms. The booklet delves into Rader’s history, formal qualities, and unique characteristics, all while using idiomatic expressions as a lens through which to explore its design.