A Return To
Rigorous Type Setting
I’ve always been able to tackle our workshop projects with my ipad and adobe products for ipad, so, I did not bring my laptop with me to Summer residency. Unfortunately CC does not have INDD for iPad, which made following Ramon’s typography workshop impossible. I decided to spend the workshop time helping out my cohort members who were freaking out, and writing keyboard commands on the whiteboard.
I got Ramon’s address so I could mail him the print out we were expected to create during his workshop, and finished the assignment at home. This allowed me to lean back into some rigorous type-setting and experiment with how my thesis book might take form. I’ve been in love with this typeface Mixta for a hot minute. The design draws inspiration from the Spanish word for 'mixed,' a term often used to describe the diverse racial and ethnic heritage of many Mexican people. Mixta elegantly combines wedge serifs with slab elements, balancing thick and thin strokes. However, prolonged exposure to the ‘book’ weight at a reasonable body copy size illustrates its shortcomings. The page sparkle created by the contrasting elements makes it less comfortable to read, especially when compared to the workhorse Caslon typeface.
In publishing, Caslon is the standard for legibility and has been my go-to for many commercial projects, but for my book project, I want to use a typeface designed by a Latiné designer.
Imago DEIsign
Social Shipping
I’ve been expanding the visual world of the content that is coming from my Imago DEIsign work and filtering into social work connected to “learning to teach.” I’ve been inspired by the aesthetics of the k-12 classroom as defined by teachers (like my mom) who spent their hard earned money and time decorating their classroom spaces with colorful papers, cork-board trim, and reward stickers—in order to bring joy to the learning experience.
I’ve started to use illustrations in my social graphics, and even added a little “mousekot” to the mix. It’s been nice to make graphics that are culturally rooted the working class public school landscape. I believe it helps lighten the heavyness of the subjects, and also makes the “faculty lounge” less intimidating and approachable.
It’s giving “I’m not a snobby academic looking to feed my ego by isolating you with my intellect.” :P
The Social Shipping of Imago DEIsign research subjects and ideas are ongoing. I have had a few instances of people moving from the IG feed content to the long-form Substack articles, and have received positive encouraging and positive feedback. Eleven people have RSVP’ed for the Zoom Faculty Lounge on October 4th from 9-10:30AM.
The session formula will be 1) quick intro 2) Guided question/conversation based on survey feedback 3) open question/resource-seeking session
The November agenda as decided by the group is:
Advisory Boards as a tool for building consensus
Public Shaming as a tool for convincing orgs to do the right thing
Start a Revolution
Altars/ Ofrenda
Social Shipping
I began sharing my Altar/Ofrenda work as a tiled image on Instagram, using the format to post excerpts from the narrative essays, inspiration, and research that inform its creation. While this process is enjoyable, therapeutic, and liberating, it is also deeply personal, making the decision to share it publicly a vulnerable one—something I have intentionally avoided for at least five years for various reasons.
When I feel Chicken, I go back to a couple of touch points:
1) This is the kind of work I’ve needed to see at various stages in my life when I was struggling with a situation connected to various points of identity—and felt totally lonely in the journey to “figure it out.”
2) Seth Godin’s writing on the concept of generosity vs. hoarding of creative work; While it can seem prescriptive, what I have chosen to take away is that sharing can be beneficial without being self-sacrificing, or giving everything away. I’m mindful of striking a balance between those ideas.
3) Natalia Ilyin’s question during critique: What does sharing this work do? My answer was “I’m sending the boat back.” This was an answer I got from Gabriel Union’s memoir You got anything stronger?
Generosity of Context
One thing I kept noticing at the Mickalene Thomas show, and the Jaime Muñoz show was their generous offering of context. In “All About Love” Mickalene creates several stopping points for the viewer to absorb the contexts that are driving the work. In various places throughout the exhibition, we are offered to stop and go deeper. We find totems of books stacked next to paintings, in one room we are offered a great soundscape, and cozy armchairs, with side tables nestled close with books you can pick up and read.
In “Truth Is A Moving Target” Jaime Muñoz offers a glass case full of process materials, and a projection room where he splices in video images that connect source ideas for his paintings, as he talks about his lived experiences and the references he is making in his work. He acknowledges that 1) not everyone is going to understand the symbolism of the Toyota work truck in the same way he does and 2) those who do get it are going to immediately understand what he is saying, connect to it, and feel seen in the reflection of his shared history.
I've been working to find the right balance in how much context to provide in my work. From the start, I knew this project would include both text and image, but there is a challenge in determining what information is essential for the audience to connect, or understand, as well as how to deliver contextual understanding in a way that complements the spirit of the texts and images. This work is being made for an audience that is interested in learning about and invested in connecting to intersectional experiences. Much of the work is ESPECIALLY made for a Latiné/ Chicanx audience. I want to avoid over-explaining all of the references to the ”knowers,” a move that could signal an unintended invitation for outsiders to co-opt the experience. At the same time, I recognize elements I wouldn’t have understood in my younger years but would have loved to discover.
In this experiment, I am providing context by creating a set of"Lotería"-style oracle cards. This allows someone unfamiliar with the symbolism embedded in the altars to gain insight, while those who are familiar are invited to reflect on how their understanding of these objects can be incorporated into a self-reflective practice.
The Flower World
The Flower World is a metaphysical and symbolic concept within Aztec cosmology, representing a spiritual realm of beauty and abundance, it is the home of the gods and
a place for divine connection. The Nahuatl people sought to capture the spiritual wisdom of the gods through offerings of poetry and dance.
Reflection
This card invites you to connect with the spirit realm through the power of creativity. Let your offering be one of generous, uninhibited self-expression. What form of beauty can you bring into existence today?
Oración de Soltera
This oracle card features the Lovers Veladora, a candle used in prayer to invoke the affections of another. Traditionally, the name of the beloved is inscribed before lighting. In this image, the candle remains unlit and uninscribed, signaling an opportunity to seek love from the self first.
Reflection
This moment invites you to remember that, whether or not you seek the love of another, you must first be your own greatest lover. Turn inward and explore the desires that await your attention. What is longing to be fulfilled within yourself?
