Thursday, October 8, 2009
Typographic Exploration in HANGUL.
We begin at the beginning. We begin at the beginning accompanying the enigmatic spirals of the "colorful" Korean typography.
Specifically, we begin at the introduction welcoming us into the world of "Hangul".
According to the short introduction, "Hangul" is the work of two Korean designers: Hyunju Lee and Phil Choo. Their exhibit and manipulation of traditional Korean script attempts to "[offer] a contemporary glimpse into Korean life and culture."
The exhibit emphasizes the integration of a written language and physical and mental imagery. For many people viewing their work, all that can be seen is shape. It is the same with any foreigner to a language. “Hangul” strikes me at a personal level, however, because I am a Korean-American. Images don’t immediately jump out at me, words do. I don’t often use/read/write etc. Korean, but it is simply instinctual for me to read rather than simply admire when looking at their work.
“Ileona (Stand Up)” by Choo is an excellent example of the integration of imagery and words. On one hand, it is simply script. For foreigners, simply shapes and characters only assumed to be words because of the familiar prose-format they are arranged in. For Korean readers, they are lyrics laying quite inconspicuously upon the white canvas. Choo, however, takes his work from design to good design by personifying the characters. The words become powerful, leading by example and “standing up” themselves. And thus, Choo reiterates his “glimpse into Korean life and culture.” Or simply even, “life and culture”. Choo makes the characters and language people, and his work and composition becomes the society. The personification of the words in this piece in particular becomes a motivation. Not a motivation for text to jump up and dance around pages, but a motivation for the viewer himself.
For if words can do it, so can we.
11:59 AM by jamie.