Boxing History
I began my research by looking at the history of Boxing and the people who have shaped its legacy. I wanted to establish a foundation for understanding Boxing and how it came to be. Boxing is defined in the Oxford Dictionary (no name, 2021, online) as “The sport or practice of fighting with the fists, especially with padded gloves in a roped square ring according to prescribed rules (the Queensberry Rules).”
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Boxing began in Ancient Greece as an amateur competitive sport, and its first recording was in 668 B.C. Professional Boxing began in England at the start of the 18th century and has gained popularity with the coming of films, radio, and television. (Odd, 1974, p.6) Boxing follows the Queensberry Rules, which are the standard rules of Boxing from 1867 which require the use of “padded gloves, rounds of three minutes, and restrictions on the types of blows allowed.” (Collins Dictionary, no date, online)
The financial side of Boxing has undergone a signification evolution over time from its beginnings, when the Corinthians would sponsor fighters, through the “hungry fighter era”, where boxers would suffer financial hardship, to the electronic age, where fighters receive millions of dollars due to television rights. (Odd, 1974, p.6)
I found it inspiring to read about the boxers below in the book “Boxing: The Great Champions” (1974) by Gilbert Odd but also disappointing as it only uncovered the male boxing champions. It removed any traces of women champions just as they have been removed from the history of Boxing. No books addressed this, and I had to find any information about female boxers on personal blogs or journal articles online.
I found it inspiring to read about these boxers and their motivational speeches, such as Muhamad Ali (Ashley, Ali, 2018, no page) who stated, “I do not count my sit-ups; I only start counting when it starts hurting because they’re the only ones that count.” In a way, it feels like a more significant metaphor for life. Looking at these narratives made me wonder about my narrative for this project; I am interested in hearing about the everyday fighters who join the Bristol Boxing Gym, which I attend or the dance club in St Werburghs.
I believe that joining any gym or club is for fitness and health reasons, but it could also be to fight against something that bothers them. I found it interesting to read about the history of Boxing, as a designer needs to understand the history of something to shape its future.
James Figg
Career: 18th Century
James Figg is known as the first England prize ring champion. He gained popularity because of his friend William Hogarth, who drew up a business card for him that was widely circulated. He is universally recognized as “the father of boxing” as he made boxing popular and established the credibility of boxing as a sport. (Odd, 1974, p.8)
Elizabeth
Wilkinson- Stokes
Career: 18th century
Boxing was known as a male combat sport, but Wilkinson Stokes was the first female boxer with a career from 1722 to 1728. Her name came to be to scare her opponents as it is reminiscent of the name of the murderer Robert Wilkinson. She was a student at James Figgs, School of Arms, and self-defence.(Jennings, Vice, 2016)
Rocky Marciano is an American boxing champion who never lost a fight in his career.
Legends say his career started from an altercation with a large Australian soldier in a Cardiff pub. Despite being only 5ft 10 and weighing 13 stones, his aggressive style and swarming tactics made him a “belligerent destructiveness which had to be seen to be believed”. (Odd, 1974, p.49)
He was the only world heavyweight champion to leave the ring in 1956 unbeaten in his entire career and never to make a comeback with 53 contests under his belt.
Rocky Marciano
Brockton Bomber
Career: 1923-1956
Buttrick won the world's Bantamweight championship in 1957 to Phyllis Kugler, which brought women's boxing to be seen as a legitimate sport. Facing a lot of criticism and sexism from the media, she would respond by saying, "I think all this talk about girls, not boxing, is old-fashioned," and "Girls are not the delicate flowers they used to be". (Tsjeng, 2017, online)
Even after her career ended, she still impacted women's boxing by starting the Women's International Boxing Federation in 1993.
Barbara Buttrick
Career: 1940s-1950s
With a career that lasted 25 years, he could be considered a “complete boxer”. (Odd, 1974, p.99) He was named after a comment by his manager, who answered, “Yes, as sweet as sugar.” (Odd, 1974, p.99) to a comment about his expertise in the ring. At one point in his career, he won 126 fights, losing only 1. Throughout his career, he suffered only 19 defeats in 201 professional fights.
"Sugar"
Ray Robinson
Career: 1940-1965
Muhammad Ali is known for his “Speed, perfect timing, sharp perception and correct punching … plus a dedicated desire for physical perfection.” (Odd, 1974, P.60). With a height of 6ft3 and 15 ½ stone, he named himself the “Greatest” he has become the world heavyweight champion three times. (1964, 1974 and 1978)
"Muhammad Ali"
Cassius Clay
Career: 1960-1981
She was the first female boxer to become licensed as a professional boxer in Nevada in 1976. "When I first got involved in boxing, I never even gave a thought to the sex barriers," (Woman Boxing Archive Network, No date, online) she continued. The thing the women have to do to gain recognition and to get people out to watch is prove that this isn't like wrestling—that this is a real sport and we're real athletes."(Woman Boxing Archive Network, No date, online)
Cathy "Cat" Davis
1976-1981
Known for being among the most significant heavyweights in boxing history, he became the youngest heavyweight world champion in 1986. He lost only six of 58 fights.
Although “he was rewarded for his aggression by older white men, he falls on the scales of morality” (Corry, 2022, Vice), being convicted of rape of a Miss Black America contestant in 1992.
Mike Tyson
1985-2005
Floyd Mayweather Jr
Undefeated in his professional career, he is considered the greatest boxer of his era and the greatest pound-for-pound boxer of his generation. He has a record of 50 wins and no defeats. (Brady, 2017, Online)
1996-2007
2009-2015
Katie Taylor
2016-
She is currently the best female boxer of our generation, having earned the gold medal in the 2012 London Olympics and multiple world championships. (Weiss, 2023, Online)
Tyson Fury
2020-
He his undefeated and has held the Boxing Heavyweight title since 2020.
In the Netflix (2023) series "At Home with the Fury's" he explains that "boxing is the only thing that gives him purpose". He always goes into retirement but falls back into depression "You will end up in a padded room and go crazy". (Fury, Netflix, 2023)
Jas's Dance Class
Jas defines her dance class as being a global dance, so I found it hard to find information regarding these dance classes or their history as it is a broad term. Her dance classes are influenced by Zumba and Latin dances blended. However, they are also reminiscent of her cultural roots, which blend Indian classical dances such as the "Bharatanatyam" and the "Kathak". She told me she also found freedom of movement in the rave culture with Jungle music. Her dance classes are composed of free-flow movements with African Tribal dances. So, I decided to investigate some of the history of these movements to find maybe a narrative for my project. It was also helpful to look at these as it could help me look at the forms of typography used within these cultures.
Jas began her dance journey with Bharatanatyam, a religious dance from Southern India written by the priest Bharata back in Natyashastra.
Eldridge (Britannica, no date) defines it as "Originally a temple dance for women, Bharatanatyam is often used to express Hindu religious stories and devotions. It was not commonly seen on the public stage until the 20th century. Bent legs characterize the dance movements, while feet keep the rhythm. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story."
Harinie Jeevitha, No date
She would also perform the Kathak, a dance originating in Northern India. Performed by both men and women, it is defined as a dance of love that includes "intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It originated from Kathakas, professional storytellers who used a mixture of dance, song, and drama." (Eldrige, Britanica, no date)
Harinie Jeevitha, No date
I do see these cultural influences within her dance classes through the intricate hand gestures and foot movements, which are reminiscent of both Bharatanatyam and Kathak.
I asked her dance partner, Kristel, for more information about the dance classes and where they might originate from, and she told me they had met during a Zumba class. The Cambridge Dictionary (no date, online) defines Zumba as "a brand name for a type of exercise in which you do dance moves and other exercises to Latin American music, usually in a class with other people."
Zumba, giphy
She defines her dance class as being more unstructured and more accessible flowing. Jungle music was her significant influence and prompted her to be able to free flow. Ben Murphy from DJ Mag defines it as "Jungle, though occasionally peppered with funk, reggae and euphoric rave samples, tends to be moody and dark … it is a heads-down sound that revels in hypnotic or sometimes fearful vibes." (University Wire, no page, 2019) It began in the 1990s in London.
Jungle dance, Giphy
She is also influenced by African tribal dances and how they celebrate free-flowing. I wanted to look more in-depth into which dances have influenced her. She said, "It's funny with me and dance; I get inspired by breaking the rules! I see moves meant for a type of music, but my body says why? Why can't I do that to different music? I try. I think Irish dancing to Dnb. African dance to death metal...Asian classic to euro-pop.... don't know why my brain does this."
African Dance, Giphy
As Kristal explained to me, Jas's dance class is a crossover between different cultures; she moves away from the rigidity and structuration of dance movements seen in white dance movements such as ballet and ballroom dancing; by using elements from different cultures, she fosters a sense of community between the participants, as all cultures are represented within her dance experiences.
I found it interesting how improvisation is a keyword that Jas uses before any classes, telling us we can improvise and free flow. Improvisation is defined as "a social activity that cannot readily be scripted, predicted, or compelled into orthodoxy. Improvisation: a vital phenomenon occurring across all forms of artistic practice. Improvisation: a key feature of interpersonal communication and social practice." (MacDonald, 2020, p.2 ) Improvisation is an important tool for shaping a community as it is fully accessible by anyone regardless of training or experience and does not require any expectations. (MacDonald, 2020, p.2)
Speaking with Jas about her musical influences in creating her dance routines helped me uncover how it might foster a sense of community. One way to do this could be to use different musical cultures blended and improvised to "break the rules."
Graphic Means
Briar Levit
2016
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In order to understand graphic design, it is essential to learn about its history. This documentary helps one understand the processes and tools before adobe suites came. It is also an interesting critique of computerisation and the job of graphic designers in modern society.
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It was interesting to listen to graphic design experts talks about what it means to work in the field; clients think that the job can be done overnight, and there is a culture of panic and endless deadlines. Computerization eliminates thinking time for the designer because clients want to see finished jobs before it has even started.
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There has been a loss of transmission of ideas, the brain to the hand, to the fingers, and motor skill to move the hand becomes wrist movements. The layering and complexity of hierarchies have become lost because it has become superficial; the machine is doing the work, and you are doing the commands.(Levit, 2016)
Graphic Means, Movie Poster, Levit, 2016
Based from Graphic Means, Levit 2016
Elizabeth Hallam & Brian V. Street
Cultural Encounters
"Representing
Otherness"
2000
As part of my research for this project I wanted to learn about the ways in which people with multiple ethnicities have been portrayed in the media to find inspiration for my project. The book “Cultural Encounters Representing “Otherness” from Elizabeth Hallam and Brian V Street (2000) explores how people with different backgrounds have been portrayed throughout history in the media, anthropology, cultural history, film, and media studies. I found it interesting as this book explores how perceptions shapes identities through the example of the video “What Do You Think People Think Brazil is?” (1991) by Kogut. The video uses a series of overlaid images of films, magazines and commercials which challenges different conceptions of what people think Brazil is. Hallam and Street (2000, p.72) explain that this “montage cutting juxtaposition of images demonstrates the impossibility of coining a single image of Brazil or a single discourse to represent it.”
The juxtaposition of interviews and the use of motif, icons and symbols which are proper to Brazil such as a “zoom of Copacabana beach, regional dances, mulatas doing the samba, Indians wearing jeans, a swirling bottle of Coca-Cola topped by a blonde Barbie dolls torso and arms dancing to the rhythm of samba drums, devotional popular icons belonging to Catholic and African imagery, the Sugar Loaf as depicted on a postcard, the head of Mickey Mouse on a plastic base, flashes of soccer matches, miners covered in mud working at Serra Pelada, ceramic traditional figures in procession, the map of Brazil” (Hallam, Street, 2000, p.70) forces the viewer to look at the ways in which the other is perceived or conceived in the eyes of others. People in the video are asked “What do you Think people think Brazil is?” which are blended with people’s answers “A Brazilian Woman is…” (Hallam, Street, 2000, p.76) which suggests a criticism of the negative views of Brazilian women as the sensuous, idealised woman lying on the beach as seen on the Brazilian postcards. (Hallam, Street, 2000 p.76)
Kogut’s video also questions “In the peak of the globalisation era, what does it mean to have national roots” (Hallam, Street, 2000, p.73) using ironic equivalencies which pass through the video as people are interviewed “'equivalencies': 'payment for university researcher = 2 plush pyjamas = 1 kg frozen pork meat = 4 pairs of jeans = 1 minimum wage =3 pairs of Pierre Cardin panty hose = 1/2 packet of cigarettes = 100 Cokes =1 picture frame = 1 crystal cup'”. (Hallam, Street, 2000, p.76)
Kogut’s video, using the aesthetic of hybridity allows the representation of the fragmented ways in which a cultural identity is made. I found this to be compelling for my project as I would like to explore the use of typography to bring forward the fragmentation of identities of the subjects within boxing and dance clubs. Using text and overlay of images in a motion, my work could examine the notions of belonging and cultural heritage.
Kogut, 1991
Kogut, 1991
Kogut, 1991
Kogut, 1991
Body & Soul
Notebooks of an
Apprentice Boxer
Loïc Wacquant
2004
Loic Wacquant studied the boxing world and particularly within Chicago’s black ghetto where he spent three years alongside local boxers, both amateur and professional at the rate of three to six sessions per week. For his book, he immersed himself completely into the sport to study the physicality and mentality of the boxers. His book is called “Body and Soul” (2004) which reflects on how a boxer’s mind is in his body who trains to understand the jabs and moves, whose reactions are inculcated in his body and not his mind when he is on the ring. This book was particularly interesting for my project in understanding the importance of community within boxing, exploring its transgressive powers, but also in the way in which it promotes inclusivity.
The Stillman’s gym in New York vignette (Wacquant, 2004, p.14) describes boxing as such: “One heard the sound before one’s eyes acclimatized: the slap-slap of the ropes being skipped, the thud of leather into the big heavy bags that squeaked from their chains as they swung, the raddle of the spend bags, the muffled sounds of gym shoes on the canvas of the ring (there were two rings), the snuffle of the fighters breathing out through their noses, and, every three minutes, the sharp clang of the ring bell. The atmosphere brought to the light a fetid jungle twilight”. This brought forward an interesting aspect for me to listen to certain sounds of the boxing gym and how I could be playful with them through typography, which I had already noticed before this project which I found to be irritating at times.
Through his book, Wacquant (2004, p.14) highlights the importance of boxing as a place of physical training, mental fortitude, and social refuge. He goes into comparing the gym to a school of morality which “fabricates the spirit of discipline, group attachment, respect for others as for self, and autonomy of will that are indispensable to the discipline of this pugilist vocation.” (Wacquant, 2004, P.15) Wacquant (2004, P.15) describes boxing as a “debanalization of everyday life” as it turns the routines of existence into something more meaningful where they enter a universe where “adventure, masculine honour, and prestige intermingle”. (Wacquant 2004, p.15) Wacquant’s definition of boxing, brought on a compelling question for my interviews with the boxers of my club: What does boxing mean to them? I believe that looking at different personal perceptives could reveal the multifaceted purposes of this sport.
Wacquant’s insights in ‘Body and Soul’ (2004), shed light on how boxing can bring on a sense of community and personal identity. The boxing club that Wacquant joined was the “Woodlawn-Yancee Unit of the Boys and Girls Club of Chicago”, which was also known as “The Club That Beats the Streets” which was founded in 1938. Its goal was to fight the marginalization found in urban life by providing an alternative environment away from the crimes, gangs, drugs, and poverty of the streets. (Wacquant, 2004, p.35) Throughout his book, Wacquant (2004, p.26) brought forward the realities of the boxers that had joined the gym, and how boxing was for them a way to escape the cycles of violence in the street of Chicago where they had to fight to “keep their lunch money, their coats, their reputation or simply to walk around the neighbourhood.” Boxing provided them a sense of belonging where the external world did not exist. (Wacquant, 2004, p.26) A lot of professional boxers confess throughout his book that boxing was a way for them to channel their aggression and without boxing they would have turned to a life of crime. Whilst boxing stars including Sonny Liston, Floyd Patterson and Mike Tyson discovered the sport whilst being incarcerated which brings forward the transformative power of boxing. (Wacquant, 2004, p.27) These excerpts were crucial for my research as they highlight the ways in which boxing can bring a sense of purpose, identity, and community to those facing marginalization.
Wacquant (2004, p.35) gave an interesting portrayal of the Woodlawn-Yancee club, which he described as being filled with posters and images of renowned fighters which serve as inspiration for the aspiring boxers attending the gym. These posters were of symbolic value as representations of achievement, aspiration, and identity. Members of the gym would also exchange these posters or bring in new posters to show their commitment to the sport but also their successes, in a way it brought forward their hierarchy within the gym. This brought on a new way for me of looking at the posters within my boxing gym, as I was of course impressed by the imageries but had never thought of the deeper symbolic meaning within them.
As Pierre Bourdieu suggests boxing is "a logic that is performed directly in bodily gymnastics” (Wacquant, 2004, p.58) there is no conscious reflection to the art of boxing, it is only carried out through bodily functions. To understand the art of boxing, one must require direct engagement. (Wacquant, 2004, p.56) Boxing is understood through the reproduction of physical and mental gestures rather than written theorical concepts. (Wacquant, 2004, p.59) In the world of professional boxing, pugilists spend most of their time in the gym rather than facing an opponent. The act of preparing through training is considered a job for them where their bodies are viewed as tools: ‘it’s a job I gotta do’, ‘I got to do my homework’, It’s like having a second job’. (Wacquant, 2004, p.56) Sparring, which serves as practice of boxing with light blows, and mixing the motion of attack and defence, blends the instincts of rationality, instinct, emotion, and calculation which Foucault calls a “multi-sensorial structure”. (Wacquant, 2004, p.84) This concept of multi-sensorial within boxing could also be interesting to portray through typography, by making it a physical object for example. But also, by looking at other ways in which it could engage in other physical perceptions. Within the ring there is an untold principle of “reciprocity” governing the levels of violence as Wacquant (2004, p.84) suggests in the following “the stronger boxer not profit from his superiority, but also that the weaker fighter not take undue advantage of his partner's wilful restraint”. And the coach plays an important role in regulating this consented violence. I found that the ways in which Wacquant explores the sense of physicality, movement, and dynamism to be quite compelling as boxing for me feels like something instinctual, repetitive, and cathartic. I believe that this could be interesting to explore typographically in the ways it could evoke a sense of physicality which could mirror the gestures of a boxer.
Whilst boxing, the pugilist must restrain his emotions by exercising “expressive control” (Wacquant, 2004, p.92) so that is opponent is unaware of the pain that he is causing. To do so, physical actions, mental perceptions and bodily reactions must be trained through mental readiness and physical fitness. (Wacquant, 2004, p.94) “Heroes and cowards feel the same fear. Heroes react to it differently”. (Wacquant, 2004, p.92) The author highlighted the fact that boxing is more about getting hit than hitting and that boxers do not have a superhuman power where they are unable to feel any pain or are sadomasochists. One Italian American boxer even mentioning to him “Nah were human man! Were human, you know, were just like anybody else, our feelings are jus as much as your feelings, we – you can’t just put us outside, you know, (vehemently) were no different than you: were in the same world, were the same world, the same flesh, same blood, same everything.” (Wacquant, 2004, p.94)
Boxing requires fighters to resist their primal reflexes such as curling defensively and instead maintain a regulated manipulation of their bodies where they stay engaged with their opponent. (Wacquant, 2004, p.84) The expressive control that Wacquant suggests inspired me to maybe investigate ways in which I could be playful with typography in translating this concept by maybe controlling certain expressions for example.
Boxing despite being an intensely individual sport, its teaching is only done through the collective learning and shared practices in the gym. Wacquant (2004, p.100) explains that the “Gym is to boxing what the church is to religion” which is a “moral community” which provides a set of shared beliefs and practices which sustains the sport. During a gym training, the coach is assisted by every member of the club. The experienced boxers, provide guidance to beginners and members who come periodically. This support and guidance become a collective responsibility when these newcomers show their dedication, perseverance, and courage on the ring. Each member of the gym has learned from the people above them in the hierarchy of the gym. Through these exchanges, boxers of all levels can share experiences, tactics, and techniques. Even the less skilled boxers serve as a bad example. Wacquant (2004, p.121) calls this a “pugilist collective conscience”.
Loic Wacquant (2004, p.121) mentions in his book that another boxing gym in east Harlem operates through the same scheme which Plummer characterizes with the following analogy "The gym operates as a family, with the older or more veteran kids looking after their smaller, less seasoned or able siblings. Skills are handed down like clothes in a large family. Each kid is but the custodian of the know-how some bigger kid has entrusted to him and is obliged, in turn, to pass it along to the next youngster in line. ".
Reading this book translated well the ways in which boxing operates on a physical and emotional level which I find can be hard to elaborate when it becomes a reflex over time. I found it also interesting as it inspired me to investigate ways in which I could translate it through typography. It also brought forward the ways in which boxing can foster a sense of community within its members which is something I would want to investigate for my project. I found it also important to look at the history of boxing through this book to understand it’s culture.
Wacquant Boxing,
From Body & Soul 2004
Loic Wacquant
Wacquant,
From Body & Soul 2004
Loic Wacquant
Wacquant training,
From Body & Soul 2004
Loic Wacquant
Wacquant Boxing Weight In,
From Body & Soul 2004
Loic Wacquant
Wacquant Trainer DeeDee,
From Body & Soul 2004
Loic Wacquant
Wacquant Boxing
From Body & Soul 2004
Loic Wacquant
Wacquant's Trainer DeeDee
From Body & Soul 2004
Loic Wacquant
Wacquant Training session
From Body & Soul 2004
Loic Wacquant
Boxing Event,
From Body & Soul 2004
Loic Wacquant
Wacquant Boxing
From Body & Soul 2004
Loic Wacquant
Mia Cinelli
2024
Giving Type Meaning
Boxing and dancing are dynamic sports which imply movement, and for this project, I want to explore how typography could convey its meaning. I found that it could be challenging to explore these aspects as typography is not something I am precisely comfortable using. I wanted to understand the psychology behind how viewers approach specific typographical designs and understand their meaning. The book giving type meaning was insightful for my research as it helped me understand how typography affects our thoughts and feelings but, more specifically, how we perceive movement and sounds through typography.
Cinelli (2024, p.42) discusses the Gestalt theory, which is "concerned with how we perceive forms and their relationship to each other – as informed by their visual contexts and the predictable ways in which our brain draws these conclusions."
It taught me that several principles influence our perception: Proximity, Continuity, closure, and similarity. These are essential points to consider when creating a typographic design as they allow us to represent ideas, relationships and meaning, which the viewer's interpretation will guide.
Cinelli (2024, p.43) also questions if the kinetic type must move and discusses that it can be seen under two categories, "actual and implied". When implied, it is not animated but can be seen as such because of Gestalt theory, which "creates semblance or references to movement with static images" (Cinelli, 2024, p.43). It is their form and placement that bring forward the idea. The kinetic type relies on metaphors of movement to carry meaning. Cinelli (2024, p.44) suggests that these metaphors can be seen as: "Rapid manoeuvres, deliberate trickling, or slow crawls denote unique pacing's and evoke different responses physically and emotionally."
Expressive type (emotive lettering, which is usually not only affiliated with dynamic placements But can also be subtle) relies on the arrangement of words to move metaphorically, relying on Gestalt theory. Indeed, "Splitting, spreading, shearing, scaling, layering, reversing, jumbling, scrambling, shrinking, and even—on rare occasions— stretching individual words can create meaning by associating socially recognizable scenarios or events with similar visual representations." (Cinelli, 2024, P.47) Cinelli brings forward the examples of Hansje Van Halem's work for gallery block C in Groningen, Netherlands. The typography in her designs expands and stretches in every direction, implying movement bringing forward a "certain exhilaration and anticipation for the gallery's event." (Cinelli, 2024, p.46)
In conclusion, typography can imply movement but does not explicitly need to move.
In her book, she discusses how specific shapes can suggest certain sounds; for example, some sounds may appear sharp and jagged, while others may appear rounded. For example, Kiki appears sharp and Jagged, whilst Bouba appears rounded. (Cinelli, 2024, p.51)
Shape, sound, speed, and characters are essential in the length they will be read. Dashes bring a sense of urgency, while hyphens bring a momentary pause. (Cinelli, 2024, p.53) Cinelli (2024, p.53) explains that typography can imply sound by metaphorically representing speed, volume, and shouting. Indeed, extensive, bold texts give the impression of shouting, whilst direction and closeness of letters can imply speed, and volume can be seen through the sizing of the letters and directions. Onomatopee is a book by Broos Stoffels and Lukas Verstraete that phonetically represents sounds using typography and illustrations. Cinelli suggests that the choice of size and placement in the artworks represent accurately "volume, speed, pitch and space whilst the illustration gives context to where, when and from these sounds are produced and encountered." (Cinelli, 2024, p.53)
This book was interesting for me to read, as I am questioning for my project if a typographical design relating to boxing and dancing needs to move to convey the sense of the sport. I will be experimenting with both for this project. However, it showed me that metaphors are essential to typography and can imply dynamism and movement without specifically moving. By experimenting with the Gestalt theory, I might give this project a more profound meaning as it could bring forward hidden layers of meaning through my designs. Looking at Broos Stoffels and Lukas Verstraete's collaborative work inspired me to create designs that could link illustrations and typography together without overpowering the other.
Hansje Van Halem, Gallerie Block C
Hansje Van Halem, Gallerie Block C
Hansje Van Halem, Gallerie Block C
Hansje Van Halem, Gallerie Block C
Stoffels, Verstraete
Onomatopee 2021
Stoffels, Verstraete
Onomatopee 2021
Stoffels, Verstraete
Onomatopee 2021
Ellen Lupton
Thinking With Type
Thinking with Type, Lupton 2004
The book "Thinking with Type: A Critical Guide for Designers, writers, editors and Students" by Ellen Lupton was also helpful for my research as it taught me that "Combining typefaces is like making a salad." (Lupton, 2014, p.54). It should blend different elements such as textures, colours, and styles. However, it is also essential that these colours are harmonious and enhance the communicative aspect of the designs by considering the hierarchy, balance, and communication rather than a "mushy transition". (Lupton, 2014, p.54)
It also taught me that the animated type fonts I create could be considered ornamental when transforming into different moving patterns.
By following Ellen Lupton's ideas, I tested them, and the animated type blended well together, even if they did not have the same typeface. Indeed, not all "typographic elements represent language" (Lupton, 2014, p.60). So, my work for this project is fully graphic design-based rather than illustrative.
In a way, my work also follows Roland Barthes's theory (Lupton, 2014, Barthes, 1977, p.92) from his essay "From Work to Text", in which he describes work as being perfect and complete for printing whilst text can be more open-ended. I believe that my practice connects to his text as I am exploring how text can have multiple interpretations: the text represents what the person has told me during the interview, "It encourages me to be there for a sister", whilst also having the exact movements of dancing or for the boxing animation "It enables me to see what people are willing to struggle for" whilst having the same movement or metaphor reminiscent of boxing. In a way, my project goes beyond a simple text representation.
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She also taught me the distinctions between typefaces and fonts. Indeed, Lupton suggests, "A typeface is the design of the letterforms; a font is the delivery mechanism." (Lupton, 2014, p.81). So, the typeface is the overall appearance of the letter, and the font is the complete set of size and style of the typeface. So, I have created 312 distinct typefaces instead of fonts as they are all different. This might seem logical to a graphic designer, but I was glad to have found this information.
After Jas explained to me how we communicate with each other within the dancing class without “Speaking”. I wanted to delve deeper into this concept as I realized this was also why the dancing and boxing clubs bring a sense of belonging, as people do not speak during these classes. I first wanted to read more about the concept of space, and I found that For Lefebvre, the concept of space has a much deeper meaning than a geometrical one. (Lefebvre, 1991, p.I) However, only if there are humans within these spaces, “Space considered in isolation is an empty abstraction; likewise, energy and time.” (Lefebvre, 1991, P.12) He suggests that space has a role in shaping society because of its social activities. (Lefebvre, 1991, p.11) Indeed, for Lefbvre, spaces are places occupied by social practices which share “sensory phenomena, including products of the imagination such as projects and projections, symbols and utopias.” (Lefebvre, 1991, P.12) Spaces are shared by symbolic meanings, for example, the boxing gym is filled with posters of boxing events which represent the true competitive nature of the gym but also the shared wanting for improvement. The dancing club in Werburghs does not have any decorative elements that could represent these symbols, except for one that genuinely emphasizes this idea of sisterhood, which is the blankets laid out on the floor for cooling down after the session. I found it interesting that Lefbvre made me realize how these spaces also foster a sense of community even without the language.
Space is a way of communicating ideas, codes, and values by the members who join these gyms. The classes leave little space for talking due to how enduring it can be but also to focus and as a sign of respect for the instructor. So, how can people communicate within these spaces in other ways? For Allard-Kropp (2024, 2.1.1), communication is done linguistically and physically. Indeed, we use “body language, eye contact, gestures, posture, and facial expressions to communicate with one another.” Kinesics are “Body movements and gestures serve as a means of nonverbal communication” For Ray Birdwhistell, any movement of the body has a meaning. (Allard-Kropp, 2.1.3) However, non-verbal messages are bound by culture, and they are learned. (Allard-Kropp, 2.1.1) Within the boxing gym, smiles are shared; when two people are training together on the punching bag, and the bells ring indicating that the 3-minute session is over, they give each other a fist pump to congratulate themselves. When the boxing class is over, all the members put their hands on one another and lift them up, even if some might not have spoken during class. For the dancing class, non-verbal communication is done through smiles, glances, and sharing a dance.
I found these concepts interesting and wanted to incorporate them into my project by playing with the idea of “kinesics,” which is a nonverbal way to replace a message (Allard-Kropp, 2024, 2.1.1). I played with these ideas by creating typefaces which bring forward this idea of non-verbal communication. I also want the animated typefaces to represent symbolically the atmosphere between the boxing and dancing club.
