{"id":2616,"date":"2011-06-13T23:23:03","date_gmt":"2011-06-14T04:23:03","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=2616"},"modified":"2014-12-14T20:16:31","modified_gmt":"2014-12-15T01:16:31","slug":"urban-typography","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2011\/06\/13\/urban-typography\/","title":{"rendered":"Urban Typography"},"content":{"rendered":"

 <\/p>\n

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Unsh, 2006, photo by Fred Hatt<\/p><\/div>\n

Language is meant to flow like water.\u00a0 It conveys meaning through cadence and syntax, tone and undertone.\u00a0 It is the river in which our minds swim and spawn and take the bait.\u00a0 Fragment and blow it up and find the weirdness in it, as you would find the odd creatures in a drop of river water seen under a microscope.<\/p>\n

\"\"<\/a>

Ampersand, 2005, photo by Fred Hatt<\/p><\/div>\n

The English language is littered with mismatched characters and syllables and ideas, a jumbled rummage sale.<\/p>\n

\"\"<\/a>

Hair, 2007, photo by Fred Hatt<\/p><\/div>\n

Words on signs aren’t just signifiers, they’re physical objects that poke out, catch the light, rust, run in the rain.<\/p>\n

\"\"<\/a>

Tunod Niwt, 2006, photo by Fred Hatt<\/p><\/div>\n

Alphanumeric characters are wrought of our fundamental elements of form.\u00a0 They become abstracted by accident, or by design.<\/p>\n

\"\"<\/a>

Peace, 2004, photo by Fred Hatt<\/p><\/div>\n

All these pictures are from New York.\u00a0 The city’s characteristic graphic mode is uppercase bold, and as long as a sign communicates no one has time to polish the raggedy edges.<\/p>\n

\"\"<\/a>

Iquo, 2006, photo by Fred Hatt<\/p><\/div>\n

Heavy fonts in all caps speak with chesty syncopation.<\/p>\n

\"\"<\/a>

Clear, 2003, photo by Fred Hatt<\/p><\/div>\n

Script fonts sing.\u00a0 Big and bold script fonts are Broadway belters, pitching the tune to the cheap seats.<\/p>\n

\"\"<\/a>

Grace, 2005, photo by Fred Hatt<\/p><\/div>\n

“Mosaic” is thought to be from the same root as “museum” and “muse”, but spelled the same way the word also means “having to do with Moses”, the Hebrew liberator and lawgiver.\u00a0 Words in mosaic form look old and authoritative, even when they’re new.<\/p>\n

\"\"<\/a>

OthS, 2006, photo by Fred Hatt<\/p><\/div>\n

Words as signs cast shadows and coexist with all the manifestations of Nature.<\/p>\n

\"\"<\/a>

Shops, 2006, photo by Fred Hatt<\/p><\/div>\n

Big words are styled to give aesthetic force to what they signify, to convey qualities like whimsy, modernity, or sobriety.<\/p>\n

\"\"<\/a>

Authority, 2005, photo by Fred Hatt<\/p><\/div>\n

Many big signs these days are overly familiar corporate branding and generic marketing, but you still see a lot of high-spirited 20th century design.<\/p>\n

\"\"<\/a>

S Broiled S, 2004, photo by Fred Hatt<\/p><\/div>\n

Like the babble of voices in a crowd, words on display can get lost in the layers and dissolve into multicolored noise.<\/p>\n

\"\"<\/a>

Og & Cat Fo, 2010, photo by Fred Hatt<\/p><\/div>\n

Sometimes I see hidden messages in segments of words.<\/p>\n

\"\"<\/a>

Land Rot, 2005, photo by Fred Hatt<\/p><\/div>\n

Some words shake their booties like shameless drunks.<\/p>\n

\"\"<\/a>

Rub Righteous, 2007, photo by Fred Hatt<\/p><\/div>\n

Others proudly proclaim their dullness and conformity.<\/p>\n

\"\"<\/a>

Building Mart, 2004, photo by Fred Hatt<\/p><\/div>\n

Basking on glass, a word is projected on the underlying soft fabric.<\/p>\n

\"\"<\/a>

Stones, 2006, photo by Fred Hatt<\/p><\/div>\n

Choose me!\u00a0 I am exotic in a fun and happy way.<\/p>\n

\"\"<\/a>

Opt, 2006, photo by Fred Hatt<\/p><\/div>\n

I dare to be illegible but dashing, an arabesque in gridland.<\/p>\n

\"\"<\/a>

Villency, 2005, photo by Fred Hatt<\/p><\/div>\n

We have everything you could want, and all of it is all lit up.<\/p>\n

\"\"<\/a>

Neon Menu, 2004, photo by Fred Hatt<\/p><\/div>\n

In all the jumble and agita of the hard world, we offer you light and color and atmosphere.<\/p>\n

\"\"<\/a>

Light, 2010, photo by Fred Hatt<\/p><\/div>\n

Curvy swooping lines that sell a fantasy of elegant luxury contrast or merge with the jagged overlay of winter survivors.<\/p>\n

\"\"<\/a>

Trump Palace, 2009, photo by Fred Hatt<\/p><\/div>\n

Rustic and quirky means wholesome and real.<\/p>\n

\"\"<\/a>

Organic, 2010, photo by Fred Hatt<\/p><\/div>\n

That’s in contrast to the traditional corporate style, respectable intimidation.<\/p>\n

\"\"<\/a>

Time War, 2010, photo by Fred Hatt<\/p><\/div>\n

Neon words are spelled with bent tubes of glass holding luminous gas, little labyrinths of light.<\/p>\n

\"\"<\/a>

Monum, 2006, photo by Fred Hatt<\/p><\/div>\n

Stone words are the traditions that stand through the centuries, defying the ephemeral.<\/p>\n

\"\"<\/a>

Crucified Again, 2005, photo by Fred Hatt<\/p><\/div>\n

Shiny metal is the dazzle of the technological era.<\/p>\n

\"\"<\/a>

All, 2004, photo by Fred Hatt<\/p><\/div>\n

A word can be like a vine, florid and tentacular.<\/p>\n

\"\"<\/a>

Primary, 2006, photo by Fred Hatt<\/p><\/div>\n

Another word embodies the neatness and assertive simplicity of the modern style, even amid a jungle of decor.<\/p>\n

\"\"<\/a>

Optic, 2006, photo by Fred Hatt<\/p><\/div>\n

Fun can be manufactured on an industrial scale.<\/p>\n

\"\"<\/a>

Thrills Whee, 2009, photo by Fred Hatt<\/p><\/div>\n

Silliness and idiosyncracy can be picked up in a shop.<\/p>\n

\"\"<\/a>

Parties, 2001, by Fred Hatt<\/p><\/div>\n

We can make you think of the most intimate sensory experiences while you navigate the canyon of towers.<\/p>\n

\"\"<\/a>

Smell, 2001, photo by Fred Hatt<\/p><\/div>\n

When you come to a corner, hang a 90 and keep on trucking.<\/p>\n

\"\"<\/a>

Groc Ery, 2010, photo by Fred Hatt<\/p><\/div>\n

Pop art is all about abstracting icons and remixing ideas in the field of commerce.<\/p>\n

\"\"<\/a>

Vote, 2004, photo by Fred Hatt<\/p><\/div>\n

It takes some patina to fulfill the classical style.<\/p>\n

\"\"<\/a>

Hand, 2005, photo by Fred Hatt<\/p><\/div>\n

When the power is turned off, the word means its opposite.<\/p>\n

\"\"<\/a>

Open, 2005, photo by Fred Hatt<\/p><\/div>\n

Letters condensed to be readable from one angle look like broken stairsteps when seen from another angle.<\/p>\n

\"\"<\/a>

School, 2005, photo by Fred Hatt<\/p><\/div>\n

In our time we are not ashamed of our desires.\u00a0 They are the meaning of our lives!<\/p>\n

\"\"<\/a>

Urge, 2007, photo by Fred Hatt<\/p><\/div>\n

It is all about getting and getting more and more.<\/p>\n

\"\"<\/a>

Receiving, 2007, photo by Fred Hatt<\/p><\/div>\n

Even when it is all eroding out from under us, we shall consume.<\/p>\n

\"\"<\/a>

Fresh Donuts, 2010, photo by Fred Hatt<\/p><\/div>\n

The only alternative to satiating our desires is lashing out in our anger!<\/p>\n

\"\"<\/a>

Rage, 2003, photo by Fred Hatt<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

  Language is meant to flow like water.\u00a0 It conveys meaning through cadence and syntax, tone and undertone.\u00a0 It is the river in which our minds swim and spawn and take the bait.\u00a0 Fragment and blow it up and find the weirdness in it, as you would find the odd creatures in a drop of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[192],"tags":[273,82,70,28,48,27],"class_list":["post-2616","post","type-post","status-publish","format-standard","hentry","category-photography-signs-and-displays","tag-design","tag-nyc","tag-signs","tag-snapshots","tag-symbols","tag-urban-landscape"],"yoast_head":"\nUrban Typography - 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