Meet the artist, Alida Rosie Sayer
Not only is this designer experimenting across the gamut with creating a very tactile approach to typography, but she has carefully cut out each of the numerous layers to also enhance the overall experience of interacting with her artwork. This is so you can touch it, watch it move, distort, undulate, manipulate – right before your eyes. It really is quite genius how well this whole series turned out.
This was just one piece of the whole series I chose to feature – mainly because I loved seeing the movement and distortion in the typographic forms I’m so used to using every day – in my own graphic design work. Only, this piece specifically was made using a ton of suspended layers of hand-cut letterpress prints onto cartridge paper. You got that right… every piece was cut out and constructed by hand.
In my world, I work on a computer, producing work digitally for my clients. There’s no time to experiment outside of that realm. Time is of the essence, and in our industry and in a lot of places, it’s not really about the ideas you can produce, but rather the ideas you can produce in the time that’s been allotted that determines the creative conceit. I get so excited and inspired to take a peek and find an artist like Alida – just to marvel at great design ideas that have absolutely NOTHING to do with a computer or a deadline. THAT is where good ideas originate. Nicely done, Alida!
Based in London, Alida Rosie Sayer has crossed the fields of all types of design including: graphic design, 3D design & animation, sculptural installation and illustration using both hand-crafted and digital processes. This series was made using many suspended layers of hand-cut letterpress prints onto cartridge paper. Sayer creates three-dimensional typographic forms in this series entitled There is no why using quotes from Kurt Vonnegut’s Slaughterhouse Five. The short film featured above was made at Marsden Woo Gallery, London, July 2010.