Generally, art os considered to be this highly polished artefact with great aesthetic quality. This is not. At an initial glance the messy typography is almost unspecial and oppressive, however when the eyes relax it's almost like optical illusions are created within the negative space and rivers within the typography, creating outlines of illustrations resembling scenes of the possible lovers, discussed loosely within the content. The illustratively fluid style is more related to artistic disciplines than strict typographically- the rules of legibility are thrown out of the window, with words deconstructed and broken down to best fit/fill the space, rather than give a meaning in their verbal communication. This reminds me of David Carson's WingDings editorial, saying how it was total crap so there was no point in reading it, but it was there anyway, and the overpowering use of letter form. The quality of the handwriting is manic yet clearly legible still, deconstructing there preset rules in a humble way. How Wayne uses negative space and uses simple hand rendered capital type, black on white, is a tool of visual communication (and illusion), which is great inspiration to me.
Wynne has influenced my personal style enormously, especially with his hand rendered aesthetic as a quick way of communicating what the artist wants to say. His way of constructing type has influenced works such as Paris/Madrid/Tokyo, as well other aspects of personal work throughout the year. His quality is very DIY, almost punk in its tactility and resilience to human contact and culture, not trying to be fancy or stand for something it is not. If I was more on the ball I would have tried to arrange an interview with Wynne
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| Two people holding hands/raising arms, with chalices and a love heart in between them. Busy rectangular composition with the typography complying to the needs of the illustration, making it a tool of illustrative purposes juxtaposing its regular intentions acting as legible copy, providing the viewer with information- now it has been reappropriated to confuse the viewer, not sticking to one line, a technique I want to try myself. |
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| Ambiguous with form and guttering, yet using typographic rotation to act as a tool of communication and confusion for the audience |
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| People with signs // Child like countryside out of typography, with the run conveyed with Rays, as well as rolling hills and small illustrative aspects of a fence- combining pictures and words in a way |
Related research:
Paula Scherr MAPS and record covers etc
Hand Job Book exploring quirky hand rendered typography
The Happy News & Illustrator Emily Coxhead
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