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Obiter Italic type specimen poster, 841 × 1189 mm.
A typographic representation of selected Graffiti Writers in Paris, many of whom flex styles that speak highly in skill, prolificacy and straightforwardness.
The specimen as poster-form, in relation to ornating space, demonstrates by display — the elequent behaviour Obiter Italic has to offer.
Developed by David Millhouse in 2014 for BETC advertising agency in Paris for the publication Graffiti Général, the origins of Obiter go further back in reference to graffiti subcultures by studying the non-act of desistence, freedom of speech and advancement.
Understanding typography relies on experience in finding clarity, to remain decisive as well as to seek for connectionism. A language area, silent, yet standing for recognition.
Question the irrelevant. Intuition and abandonment.
An offering of usage, freedom and dominance are subject to progressive notions in communication. Together, each echo corresponds to a substance upon which the user directs, aiming for which only he/she at present can consciously choose. A society built up of individual characters, where combinations correspond — reactions proceed, development takes shape.
Associative individuals flavour the readers perception, due to connotations of previous influences on the individual. A symbolic story lies behind each glyph. This type of recognition tactic allows configurations to form by means of collision, a rather violent use of language structuring. Words develop not from an individual letter but by combining letters. Needless to say that the word A is a perfect example of self meaning, both a letter and a word. The same goes for I. Both examples highlight present problems of egoism.
Are we losing our pride in composition and expecting others to form for us? The idea of associating our word usage with our neighbour permits us to hold explorative conversation, to develop an equal understanding. Our vocabulary has become inarticulate. The use of filler, nonsensical words in sentence building only forces the listener/reader to invent their own dialogue on the matter, and to undergo self satisfaction. Directed from, yet returned. Of what the conversation opener illudes to the present — a case of questioning knowledge but hiding the question mark(?)
We must take responsibility for what we communicate, and we must speak and write, openly.
The bespoke typefaces for LOOPUYT started their development from two styles simultaneously — a horizontal and a vertical version. Inspired by the cormorant sea bird, in flight and in statue, labour trade and union stance.
Dry Gin and Tonic Water producers P. Loopuyt and Co Distillers, in the Netherlands commissioned an entire custom-construct for the identity of the brand, which has since flourished into a continuum, bringing addictional visionary compositions into realisation.
The Latin term ‘Obiter dictum’ is a phrase used in courtrooms as a timeless shift, a tangential statement independent of two conflicting oppositions, to broaden and order further analysis in understanding.
The geometric style of Obiter's san-serif character questions the conventional by example of rebellious points in statue illustrated in some glyphs. The elongated ascenders and descenders of Obiter are unrestricted in length and occasionally assisted with curved spurs and sheared terminals. Result in use for writing with Obiter gives evidence by composure and permanence.
Domination, desistance and recovery. Everything is open to suggestion, Obiter is powerless yet persuasive. Its Stoic attitude aims to appeal between legible and illegible without comparison.
After acquiring Obiter Regular, advertising agency BETC commissioned Obiter Italic. Both styles were used exclusively for the total text of the publication Graffiti Général. The book records the raw graffiti-covered derelict state of Les Magasins Généraux — a 20,000sqm landmark industrial building in the Pantin suburb of Paris. BETC restored this building to house their company.
Both styles are now available for licensing.
Spread from Graffiti Général. Designed by Change is good. Published by Éditions Carré. Typeface: Obiter
Capturing a spirit of inclusivity through validation of art or design regardless of critique, CURRENCY aims to levitate theory, poetry and literature beyond journalism to augment discussion.
CURRENCY refers to a diverse range of imagery surrounding pop, neo-digital and cultural debris, it invites sophisticated conversation. The magazine channels a conscious non-conformity, to explore and challenge the constraints of formal publishing, positioning itself between main-stream printed-matter and luxury object.
Founder, art-director and editor-at-large for CURRENCY is Sico Carlier. The upcoming issue CURRENCY 5 will be typeset in bespoke fonts by David Millhouse.
From issue 1 onwards CURRENCY has been sold at locations such as Colette and Palais de Tokyo in Paris, ICA and Magma in London, MoCA Los Angeles, MoMA and St. Mark’s Bookshop in New York City. http://currency.sicocarlier.com
A stationary idea of the incomplete where beginnings cease to question finality. Solit is a type family of five styles which classify as body fonts.
In 2011 David Millhouse shot a series of analogue photographs depicting unfinished constructions of dwellings situated on the Greek island of Tilos. The ideas behind the Solit typeface developed from these images, starting with the design of Greek glyphs.
Solit's tall, slender framework calculates its dimension and is balanced on accurate clarity for readability. Similarities to the architectural steel grids of the Tilos builds and inspired by the ingredients the island has to offer; grey volcanic pumice, sun blasted purity, thyme and silence all express a near gesture that Solit transcribes as texture — text covering page.
A collaborative work by David Millhouse and artist Sico Carlier elaborating on the possibilities of the typeface Solit. By experimenting with page scanning, speed reading and numerical sequences they question word superiority effects with cognitive psychology. They hereby address the growing underlying reticence in the so-called information-culture that surrounds us, towards reading full volumes, and from A to Z.
The work in question; Sentier des Pensards (2013) is a graphic evocation conceived by processing the inherited library of a Dutch poet, the late Leyn Leynse. The work intertwines 200 individually numbered book titles selected from the mass of volumes found in his archives in Paris. The overall editing process aims to question or disrupt the hierarchical qualities of headings and titles.
For Poetry International Rotterdam the film was presented in an exhibition situation at Gallery Frank Taal. This revealed in greater detail the dynamics and functionality of the typeface, by experimenting with rhythm in reading. The effect resulted in discourse around the cognitive psychological processes in hierarchical letter recognition. What stands out in the use of Solit for the film-work are the horizontal shapes in the letters, the combination, as if the pattern creates a language composition similar to that of Morse code. Each title is numbered which brings a connection with binary to the apparent; each number begins with either a one or a zero and is systematically pitch-class set with an undertone.
A collaborative work by David Millhouse and artist Sico Carlier.