Archive for February, 2009

Mightier

26Feb09

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Caligraft

26Feb09

“The main idea behind this work is to explore a new dimension of textual representation. I try to consider the different possibilities of glyph, words and text representation and distribution in space and time. This is motivated by the large amount of abstract generative work created with the apparition of computing. Thus I try to […]


Rubik Maker

25Feb09

This Shockwave application, programmed by Jürg Lehni, was initially developed as a design tool for generating a set of fonts based on the legendary Rubik Cube. The application allows users to pick and play with a set of 27 cubes, to modify them within certain parameters, and to export the result as vector data, which […]


Nicolai is a modular font, commissioned as an art project for the exhibition Museutopia in the Karl Ernst Osthaus-Museum, Germany. Stylistically reminiscent of typographic experiments from the de Stijl movement, the Nicolai font composes letters by using blocks of 3 colors. The colors can be specified by the user using a Shockwave application which outputs EPS. […]


Responsive type

25Feb09

Responsive Type is a computational typography study. The user types text in an applet, which renders the shapes and strokes of the type in realtime, allowing animation and modular typography. Created in Processing, the applet currently only has one typographic style. Work is underway to open up the source and allow users to add more […]


Parts of a character is a public interactive art project. All letterforms are composed of 21 distinct parts. Most commonly these parts combine to form the characters of our alphabet. Type is Art allows for experimentation of forms beyond this typical character set. The project is really cool. It is super interactive and you can make something […]


Border designs

25Feb09

“Faber also commissioned the super talented Canadian typographer Marian Bantjes to create four designs used as templates for the desired look & feel of the borders styles of each of the different genres offered by the imprint. Each of her design routes then needed to be abstracted, decomposed/split into smaller elements & shapes, parametrized and generally reverse engineered conceptually. […]