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g r i Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture. Rhythmical Structures of Typography and Architecture.

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Rhythmical Structures of Typography and Architecture.

Instructor: Olga Mezhibovskaya

2018

Architecture by: Andreescu & Gaivoronschi Stefano Boeri Dias Architecture Praxis d’Architecture Yang Shi, Shogun L Fran Silvestre, Mª José Sáez

A wonderful fact to reflect upon, that every human creature is constituted to secret; that every room in every one of them encloses its own secret; that

be that profound secret and mystery to every other. A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own every beating heart in the hundred of thousands of breasts there.

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es type design and typography allow an experimental approach at all? The alphabet is by its very ture dependent on and defined by conventions. Type design is not bound by convention is like a private guage: both lack the ability to communicate. Yet it is precisely the constraints of the alphabet which pire many designers. A recent example is the work of Thomas Huot-Marchand, a French postgraduate dent of type-design who investigates the limits of legibility while physically reducing the basic forms the alphabet. Minuscule is his project of size-specific typography. While the letters for regular reading es are very close to the conventional book typefaces, each step down in size results in simplification the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction the alphabet, free of all the details and ptical corrections which are usual for fonts designed for ding. Huot-Marchand’s project builds upon the work of French ophthamologist Loius Emile Javal, o published similar research at the beginning of the 20th century. The practical contribution of both jects is limited, since the reading process is still guided by the physical limitations of the human , however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment ich was formulated by Michael Worthington, a British designer and educator based in the USA: ‘True perimentation means to take risks.’ If taken literally, such a statement is of little value: immediately would ask waht is at stake and typographers are really risking. Worthington, however, is referring the risk involved with not knowing the exact outcome of the experiment in which the designers are gaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition presenting type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus development and process when describing the conceopt of the exhibition: ‘The show focuses on the jects which document the development of the designer’s ideas. Attention is paid to the process of ating innovative solutions in the field of type design and typography, often engaging experimental cesses as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation method of working which is contrary to production-oriented design, where the aim of the process is t to create something new, but to achieve an already known, pre-formulated result. Belgian designer echt Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into ount the density of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so t when typed they lock into eachother. The fillings of the letters however varies according to the quency of the use of the letter in the Dutch language. The most frequent letter, (e) represents the hest density of population. The most infrequently used letter, (q), corresponds to the lowest density. tting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of periment as a process of creation without anticipation of the fixed result is an online project. Orthoe Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘and as a

es type design and typography allow an experimental approach at all? The alphabet is by its very ure dependent on and defined by conventions. Type design is not bound by convention is like a private guage: both lack the ability to communicate. Yet it is precisely the constraints of the alphabet which pire many designers. A recent example is the work of Thomas Huot-Marchand, a French postgraduate dent of type-design who investigates the limits of legibility while physically reducing the basic forms he alphabet. Minuscule is his project of size-specific typography. While the letters for regular reading s are very close to the conventional book typefaces, each step down in size results in simplification the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction the alphabet, free of all the details and ptical corrections which are usual for fonts designed for ding. Huot-Marchand’s project builds upon the work of French ophthamologist Loius Emile Javal, o published similar research at the beginning of the 20th century. The practical contribution of both jects is limited, since the reading process is still guided by the physical limitations of the human , however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment ich was formulated by Michael Worthington, a British designer and educator based in the USA: ‘True erimentation means to take risks.’ If taken literally, such a statement is of little value: immediately we uld ask waht is at stake and typographers are really risking. Worthington, however, is referring to the involved with not knowing the exact outcome of the experiment in which the designers are engaged.

pire many designers. A recent example is the work of Thomas Huot-Marchand, a French postgraduate dent of type-design who investigates the limits of legibility while physically reducing the basic forms the alphabet. Minuscule is his project of size-specific typography. While the letters for regular reading es are very close to the conventional book typefaces, each step down in size results in simplification the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction the alphabet, free of all the details and ptical corrections which are usual for fonts designed for ding. Huot-Marchand’s project builds upon the work of French ophthamologist Loius Emile Javal, o published similar research at the beginning of the 20th century. The practical contribution of both jects is limited, since the reading process is still guided by the physical limitations of the human , however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment ich was formulated by Michael Worthington, a British designer and educator based in the USA: ‘True perimentation means to take risks.’ If taken literally, such a statement is of little value: immediately would ask waht is at stake and typographers are really risking. Worthington, however, is referring the risk involved with not knowing the exact outcome of the experiment in which the designers are gaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition presenting type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus development and process when describing the conceopt of the exhibition: ‘The show focuses on the jects which document the development of the designer’s ideas. Attention is paid to the process of ating innovative solutions in the field of type design and typography, often engaging experimental cesses as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation method of working which is contrary to production-oriented design, where the aim of the process is t to create something new, but to achieve an already known, pre-formulated result. Belgian designer echt Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into ount the density of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so t when typed they lock into eachother. The fillings of the letters however varies according to the quency of the use of the letter in the Dutch language. The most frequent letter, (e) represents the hest density of population. The most infrequently used letter, (q), corresponds to the lowest density. tting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of periment as a process of creation without anticipation of the fixed result is an online project. Orthoe Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘and as a

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Combining typefaces is like making a salad. Starting with a small number of elements representing different colors, tastes, and textures. Strive for contrast rather than harmony, looking for emphatic differences rather than mushy transitions. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. When mixing typefaces on the same line, designers usually adjust the point size so that the x-heights align. When placing typefaces on seperate lines, it often makes sense to create contrast in scale as well as style or weight. Lining numerals to take up uniform widths of space, enabling the numbers to line up when tabulated in columns. They were introduced in the turn of the century to meet the needs of modern business. Lining numerals are the same height as capital letters, so they sometimes look bulky when appearing in running text. Non-lining numerals, also called text or old style numerals, have ascenders and descenders, like lowercase letters. Non-kining numerals returned to favor in the 1990s, valued for their idiosyncratic appearance and their traditional typographic attitude. Like letterforms, old style numerals are proportional; each one has its own set width. The first step in designing a typeface is to define a basic concept. Will the letters be serif or sans serif? Will they be modular or organic? Will you construct them geometrically or base them on handwriting? Will you work with historic research material or invent characters more or less from scratch? You can control the spacing of the typeface by adding black areas next to each character as well as creating kerning pairs that determine the distance between particular characters. Producing a typeface is an enormous task. However, for people with a knack for drawing letterforms, the process is hugely rewarding.

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of the E.A.T. put their focus on development and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most frequent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an online application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. The user can also generate those variations of the model. The user can also generate those variations as a traditional 2D PostScript font. Although this

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nd typography allow an experimental approach at all? The alphabet is by its very nature efined by conventions. Type design is not bound by convention is like a private language: both mmunicate. Yet it is precisely the constraints of the alphabet which inspire many designers. the work of Thomas Huot-Marchand, a French postgraduate student of type-design who ts of legibility while physically reducing the basic forms of the alphabet. Minuscule is his fic typography. While the letters for regular reading sizes are very close to the conventional h step down in size results in simplification of the letter shapes. In the extremely small sizes omes an apstract reduction of the alphabet, free of all the details and ptical corrections which esigned for reading. Huot-Marchand’s project builds upon the work of French ophthamologist ho published similar research at the beginning of the 20th century. The practical contribution mited, since the reading process is still guided by the physical limitations of the human eye, hand and Javal both investigate the constraints of legibility within which typography functions. nt notion of experiment is The Typographic Experiment which was formulated by Michael sh designer and educator based in the USA: ‘True experimentation means to take risks.’ If a statement is of little value: immediately we would ask waht is at stake and typographers orthington, however, is referring to the risk involved with not knowing the exact outcome of Does type design and typography allow an experimental approach at all? The alphabet is by its very nature hich the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and dependent on and defined by conventions. Type design is not bound by convention is like a private language: both on presenting 35 type designers and typographers from Czech Republic and Slovakia, which lack the ability to communicate. Yet it is precisely the constraints of the alphabet which inspire many designers. rive in the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. A recent example is the work of Thomas Huot-Marchand, a French postgraduate student of type-design who evelopment and process when describing the conceopt of the exhibition: ‘The show focuses investigates the limits of legibility while physically reducing the basic forms of the alphabet. Minuscule is his ch document the development of the designer’s ideas. Attention is paid to the process of project of size-specific typography. While the letters for regular reading sizes are very close to the conventional olutions in the field of type design and typography, often engaging experimental processes book typefaces, each step down in size results in simplification of the letter shapes. In the extremely small sizes ach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; (2 pt) miniscule becomes an apstract reduction of the alphabet, free of all the details and ptical corrections which etermind a cause-and-effect relationship. As such, experimentation is a method of working are usual for fonts designed for reading. Huot-Marchand’s project builds upon the work of French ophthamologist production-oriented design, where the aim of the process is not to create something new, Loius Emile Javal, who published similar research at the beginning of the 20th century. The practical contribution eady known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an of both projects is limited, since the reading process is still guided by the physical limitations of the human eye, ce based on cartography, which takes into account the density of population in Belgium. In however, Huot-Marchand and Javal both investigate the constraints of legibility within which typography functions. te of each letter is identical, so that when typed they lock into eachother. The fillings of the The second dominant notion of experiment is The Typographic Experiment which was formulated by Michael es according to the frequency of the use of the letter in the Dutch language. The most frequent Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If ts the highest density of population. The most infrequently used letter, (q), corresponds to taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another are really risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of ent as a process of creation without anticipation of the fixed result is an online project. Orthothe experiment in which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and , Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise Typography) exhibition presenting 35 type designers and typographers from Czech Republic and Slovakia, which mulus for the mind and the eye to pick out and process three-dimensional planes on a flat coincidentally will arrive in the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. e is an online application of a typeface designed to recognizable in three-dimensions. In each put their focus on development and process when describing the conceopt of the exhibition: ‘The show focuses set any of the available variables: length, breadth, depth, thickness, color and rotation, and on the projects which document the development of the designer’s ideas. Attention is paid to the process of riations of the model. The user can also generate those variations of the model. The user can creating innovative solutions in the field of type design and typography, often engaging experimental processes variations as a traditional 2D PostScript font. Although this kind of experimental process has as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; cation, its results may feed into other experiments and be adapted to commercial activities. it only sets out to determind a cause-and-effect relationship. As such, experimentation is a method of working e product is no longer experiemental. David Carson may have started his formal experiments which is contrary to production-oriented design, where the aim of the process is not to create something new, t now similar formal solutions have been adapted by commercial giants such as Nike, Pepsi, but to achieve an already known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an his line, we can go further to suggest that no completed project can be seriously considered experimental typeface based on cartography, which takes into account the density of population in Belgium. In xperimental only in the process of its creation. When completed it only becomes part of the Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The fillings of the t was meant to challenge. As soon as the experiment achieves its final form it can be named, letters however varies according to the frequency of the use of the letter in the Dutch language. The most frequent yzed according to any conventional system of classification and referencing. letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of experiment as a process of creation without anticipation of the fixed result is an online project. Orthotype Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an online application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. The user can also generate those variations of the model. The user can also generate those variations as a traditional 2D PostScript font. Although this kind of experimental process has no commercial application, its results may feed into other experiments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David Carson may have started his formal experiments out of curiousity, but now similar formal solutions have been adapted by commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed project can be seriously considered experimental. It is experimental only in the process of its creation. When completed it only becomes part of the body of work which it was meant to challenge. As soon as the experiment achieves its final form it can be named, categorized and analyzed according to any conventional system of classification and referencing.

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For some graphic designers, it has become an unquestioned part of the working process that yields precision, order, and clarity.

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fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own seret; that every room in every one of them encloses its own secret; that every beating heart in the hundred of thousands of breasts there. A wonderful

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designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The fillings of the letters however varies according to the frequency of the

and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to on and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to mmunicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work communicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while of Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while sically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification for regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification he letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds of all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds on the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th upon the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th tury. The practical contribution of both projects is limited, since the reading process is still guided by the physical century. The practical contribution of both projects is limited, since the reading process is still guided by the physical itations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which limitations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated typography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If by Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If en literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really king. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in ch the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition senting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the elopment of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type ign and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment his sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As h, experimentation is a method of working which is contrary to production-oriented design, where the aim of the such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the cess is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht ppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of pulation in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The ngs of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most quent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds frequent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another mple of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type example of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type o of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a mulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an ine application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the online application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the ilable variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. e user can also generate those variations of the model. The user can also generate those variations as a traditional 2D The user can also generate those variations of the model. The user can also generate those variations as a traditional 2D tScript font. Although this kind of experimental process has no commercial application, its results may feed into other PostScript font. Although this kind of experimental process has no commercial application, its results may feed into other eriments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David experiments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David son may have started his formal experiments out of curiousity, but now similar formal solutions have been adapted Carson may have started his formal experiments out of curiousity, but now similar formal solutions have been adapted commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed by commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed es type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent Does type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to on and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to mmunicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work communicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while of Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while sically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification for regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification he letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds of all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds on the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th upon the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th tury. The practical contribution of both projects is limited, since the reading process is still guided by the physical century. The practical contribution of both projects is limited, since the reading process is still guided by the physical itations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which limitations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated typography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If by Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If en literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really king. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in ch the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition senting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the elopment of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type ign and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment his sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As h, experimentation is a method of working which is contrary to production-oriented design, where the aim of the such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the cess is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht ppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of pulation in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The ngs of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most quent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds frequent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another mple of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type example of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type o of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a mulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an ine application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the online application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the ilable variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. e user can also generate those variations of the model. The user can also generate those variations as a traditional 2D The user can also generate those variations of the model. The user can also generate those variations as a traditional 2D tScript font. Although this kind of experimental process has no commercial application, its results may feed into other PostScript font. Although this kind of experimental process has no commercial application, its results may feed into other eriments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David experiments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David son may have started his formal experiments out of curiousity, but now similar formal solutions have been adapted Carson may have started his formal experiments out of curiousity, but now similar formal solutions have been adapted commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed by commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed ject can be seriously considered experimental. It is experimental only in the process of its creation. When completed project can be seriously considered experimental. It is experimental only in the process of its creation. When completed nly becomes part of the body of work which it was meant to challenge. As soon as the experiment achieves its final it only becomes part of the body of work which it was meant to challenge. As soon as the experiment achieves its final m it can be named, categorized and analyzed according to any conventional system of classification and referencing. form it can be named, categorized and analyzed according to any conventional system of classification and referencing. es type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent Does type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to on and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to mmunicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work communicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while of Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while sically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification for regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification he letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds of all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds on the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th upon the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th tury. The practical contribution of both projects is limited, since the reading process is still guided by the physical century. The practical contribution of both projects is limited, since the reading process is still guided by the physical itations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which limitations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which ography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated typography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If by Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If en literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really king. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in ch the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition senting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the elopment of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type ign and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment his sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As h, experimentation is a method of working which is contrary to production-oriented design, where the aim of the such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the cess is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht ppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of pulation in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The ngs of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most quent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds frequent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another mple of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type example of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type o of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a mulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an ine application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the online application of a typeface designed to recognizable in three-dimensions. In each view, the viewr can set any of the

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for classifying typefaces was devised in the nineteenth century, when to identify a heritage for their own craft analogous to that of art history. forms are closely connected to calligraphy and the movement of the hand. faces is like making a salad. Starting with a small number of elements ifferent colors, tastes, and textures. Strive for contrast rather than ng for emphatic differences rather than mushy transitions. Give each e to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of nchovy. When mixing typefaces on the same line, designers usually adjust so that the x-heights align. When placing typefaces on seperate lines, it nse to create contrast in scale as well as style or weight. Lining numerals orm widths of space, enabling the numbers to line up when tabulated in were introduced in the turn of the century to meet the needs of modern g numerals are the same height as capital letters, so they sometimes look earing in running text. Non-lining numerals, also called text or old style ascenders and descenders, like lowercase letters. Non-kining numerals vor in the 1990s, valued for their idiosyncratic appearance and their graphic attitude. Like letterforms, old style numerals are proportional; s own set width. The first step in designing a typeface is to define a basic e letters be serif or sans serif? Will they be modular or organic? Will you geometrically or base them on handwriting? Will you work with historic ial or invent characters more or less from scratch? You can control the ypeface by adding black areas next to each character as well as creating hat determine the distance between particular characters. Producing a normous task. However, for people with a knack for drawing letterforms, hugely rewarding. A basic system for classifying typefaces was devised in century, when printers sought to identify a heritage for their own craft at of art history. Humanist letterforms are closely connected to calligraphy ent of the hand. Combining typefaces is like making a salad. Starting with a f elements representing different colors, tastes, and textures. Strive for than harmony, looking for emphatic differences rather than mushy e each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and ock of an occasional anchovy. When mixing typefaces on the same line, ly adjust the point size so that the x-heights align. When placing typefaces es, it often makes sense to create contrast in scale as well as style or umerals to take up uniform widths of space, enabling the numbers to line ed in columns. They were introduced in the turn of the century to meet the n business. Lining numerals are the same height as capital letters, so they k bulky when appearing in running text. Non-lining numerals, also called e numerals, have ascenders and descenders, like lowercase letters. Nons returned to favor in the 1990s, valued for their idiosyncratic appearance tional typographic attitude. Like letterforms, old style numerals are ach one has its own set width. The first step in designing a typeface is to concept. Will the letters be serif or sans serif? Will they be modular or ou construct them geometrically or base them on handwriting? Will you ric research material or invent characters more or less from scratch? You spacing of the typeface by adding black areas next to each character as kerning pairs that determine the distance between particular characters. eface is an enormous task. However, for people with a knack for drawing e process is hugely rewarding. A basic system for classifying typefaces was nineteenth century, when printers sought to identify a heritage for their gous to that of art history. Humanist letterforms are closely connected to the movement of the hand. Combining typefaces is like making a salad. small number of elements representing different colors, tastes, and for contrast rather than harmony, looking for emphatic differences rather nsitions. Give each ingredient a role to play: sweet tomatoes, crunchy d the pungent shock of an occasional anchovy. When mixing typefaces on designers usually adjust the point size so that the x-heights align. When es on seperate lines, it often makes sense to create contrast in scale as weight. Lining numerals to take up uniform widths of space, enabling the e up when tabulated in columns. They were introduced in the turn of the t the needs of modern business. Lining numerals are the same height as so they sometimes look bulky when appearing in running text. Non-lining called text or old style numerals, have ascenders and descenders, like rs. Non-kining numerals returned to favor in the 1990s, valued for their pearance and their traditional typographic attitude. Like letterforms, old are proportional; each one has its own set width. The first step in designing define a basic concept. Will the letters be serif or sans serif? Will they be anic? Will you construct them geometrically or base them on handwriting? with historic research material or invent characters more or less from n control the spacing of the typeface by adding black areas next to each ll as creating kerning pairs that determine the distance between particular ducing a typeface is an enormous task. However, for people with a knack erforms, the process is hugely rewarding. A basic system for classifying devised in the nineteenth century, when printers sought to identify a eir own craft analogous to that of art history. Humanist letterforms are ed to calligraphy and the movement of the hand. Combining typefaces is alad. Starting with a small number of elements representing different nd textures. Strive for contrast rather than harmony, looking for emphatic her than mushy transitions. Give each ingredient a role to play: sweet chy cucumbers, and the pungent shock of an occasional anchovy. When es on the same line, designers usually adjust the point size so that the When placing typefaces on seperate lines, it often makes sense to create e as well as style or weight. Lining numerals to take up uniform widths of

internationa

es type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent on and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to communicate. Yet it is precisely the constraints of the alphabet ch inspire many designers. A recent example is the work of Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the ers for regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free of all the details and ptical corrections which are al for fonts designed for reading. Huot-Marchand’s project builds upon the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th century. The practical contribution of both projects is limited, since the reading process is still guided by the sical limitations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which typography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated by Michael Worthington, a British designer and ucator based in the USA: ‘True experimentation means to take risks.’ If taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the eriment in which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in the Netherlands shortly. Alan Zaruba and Johanna usikova, the curators of the E.A.T. put their focus on development and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the d of type design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation is a method of working ch is contrary to production-oriented design, where the aim of the process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the nsity of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most frequent letter, (e) represents the highest nsity of population. The most infrequently used letter, (q), corresponds to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of experiment as a process of creation without anticipation of the fixed result is an online project. ho-type Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an online application of a typeface designed to ognizable in three-dimensions. In each view, the viewr can set any of the available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations of the model. The user can also generate those variations of the model. The user can also generate those variations a traditional 2D PostScript font. Although this kind of experimental process has no commercial application, its results may feed into other experiments and be adapted to commercial activities. Once assimilated, the product is no longer experiemental. David Carson may have started his formal eriments out of curiousity, but now similar formal solutions have been adapted by commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no completed project can be seriously considered experimental. It is experimental only in the process of creation. When completed it only becomes part of the body of work which it was meant to challenge. As soon as the experiment achieves its final form it can be named, categorized and analyzed according to any conventional system of classification and referencing. A basic system for classifying efaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Combining typefaces is like making a salad. Starting with a small mber of elements representing different colors, tastes, and textures. Strive for contrast rather than harmony, looking for emphatic differences rather than mushy transitions. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. en mixing typefaces on the same line, designers usually adjust the point size so that the x-heights align. When placing typefaces on seperate lines, it often makes sense to create contrast in scale as well as style or weight. Lining numerals to take up uniform widths of space, enabling the numbers to e up when tabulated in columns. They were introduced in the turn of the century to meet the needs of modern business. Lining numerals are the same height as capital letters, so they sometimes look bulky when appearing in running text. Non-lining numerals, also called text or old style numerals, e ascenders and descenders, like lowercase letters. Non-kining numerals returned to favor in the 1990s, valued for their idiosyncratic appearance and their traditional typographic attitude. Like letterforms, old style numerals are proportional; each one has its own set width. The first step in igning a typeface is to define a basic concept. Will the letters be serif or sans serif? Will they be modular or organic? Will you construct them geometrically or base them on handwriting? Will you work with historic research material or invent characters more or less from scratch? You can control spacing of the typeface by adding black areas next to each character as well as creating kerning pairs that determine the distance between particular characters. Producing a typeface is an enormous task. However, for people with a knack for drawing letterforms, the process is hugely rewarding.

Does type design and typography allow an experimental approach at all? The alphabet is by its very nature dependent on and defined by conventions. Type design is not bound by convention is like a private language: both lack the ability to communicate. Yet it is precisely the constraints of the alphabet which inspire many designers. A recent example is the work of Thomas Huot-Marchand, a French postgraduate student of type-design who investigates the limits of legibility while physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters for regular reading sizes are very close to the conventional book typefaces, each step down in size results in simplification of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an apstract reduction of the alphabet, free of all the details and ptical corrections which are usual for fonts designed for reading. Huot-Marchand’s project builds upon the work of French ophthamologist Loius Emile Javal, who published similar research at the beginning of the 20th century. The practical contribution of both projects is limited, since the reading process is still guided by the physical limitations of the human eye, however, Huot-Marchand and Javal both investigate the constraints of legibility within which typography functions. The second dominant notion of experiment is The Typographic Experiment which was formulated by Michael Worthington, a British designer and educator based in the USA: ‘True experimentation means to take risks.’ If taken literally, such a statement is of little value: immediately we would ask waht is at stake and typographers are really risking. Worthington, however, is referring to the risk involved with not knowing the exact outcome of the experiment in which the designers are engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) exhibition presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will arrive in the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curators of the E.A.T. put their focus on development and process when describing the conceopt of the exhibition: ‘The show focuses on the projects which document the development of the designer’s ideas. Attention is paid to the process of creating innovative solutions in the field of type design and typography, often engaging experimental processes as a means to approach unkown territory.’ An experiment in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As such, experimentation is a method of working which is contrary to production-oriented design, where the aim of the process is not to create something new, but to achieve an already known, pre-formulated result. Belgian designer Brecht Cuppens has created Sprawl, an experimental typeface based on cartography, which takes into account the density of population in Belgium. In Sprawl, the sulhouette of each letter is identical, so that when typed they lock into eachother. The fillings of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most frequent letter, (e) represents the highest density of population. The most infrequently used letter, (q), corresponds to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian landscape. Another example of experiment as a process of creation without anticipation of the fixed result is an online project. Ortho-type Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo Palma, describe ortho-type as ‘an exercise in perception, a stimulus for the mind and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an online application of a typeface designed to recognizable in three-dimensions. In each A basic system for classifying typefaces was in set theany nineteenth view, thedevised viewr can of the available variables: length, breadth, depth, thickness, color and rotation, and century, when printers sought to identify a heritage their own generate multiplefor variations of the model. The user can also generate those variations of the model. The user can also generate those variations as a traditional 2D PostScript font. Although this kind of experimental process has craft analogous to that of art history. Humanist letterforms are closely no commercial application, its results may feed into other experiments and be adapted to commercial activities. connected to calligraphy and the movement of the hand. Combining Oncewith assimilated, the product no longer experiemental. David Carson may have started his formal experiments typefaces is like making a salad. Starting a small number of is elements out of curiousity, but now similar formal solutions have been adapted by commercial giants such as Nike, Pepsi, representing different colors, tastes, and textures. Strive for contrast and Sony. Following this line, we can go further to suggest that no completed project can be seriously considered rather than harmony, looking for emphatic differences rather thanonly mushy experimental. It is experimental in the process of its creation. When completed it only becomes part of the transitions. Give each ingredient a role to of play: crunchy body worksweet whichtomatoes, it was meant to challenge. As soon as the experiment achieves its final form it can be named, cucumbers, and the pungent shock ofcategorized an occasional anchovy.according When mixing and analyzed to any conventional system of classification and referencing.

An epistemology of the word ‘experimental’ as it applies to design and type, contrasted with its scientific connotations. Examples of past and current design, type and reading/ language, as well as scientific experiment, are taken into account. Very few terms have been used so habitually and carelessly as the word ‘experiment’. In the field of graphic design and typography, experiment as a noun has been used to signify anything new, unconventional, defying easy categorization, or confounding expectations. As a verb, typefaces on the same line, designers usually adjust the point size so that ‘to experiment’ if When often the x-heights align. placingsynonymous typefaces on seperatewith lines, it often makes sense to create contrast in scale as well as style ornot weight. Lining the design process itself, which may numerals to take up uniform widths of space, enabling the numbers to tabulated inconsidering columns. They were introduced the turn of exactly line beup when helpful, that inall the century to meet the needs of modern business. Lining numerals are design is a result of letters, the design process. the same height as capital so they sometimes look bulky when appearing in running text. Non-lining numerals, also called text or old The term experiment can also have the letters. style numerals, have ascenders and descenders, like lowercase Non-kining numerals returned to favor in the 1990s, valued connotation of an implicit disclaimer; forittheir idiosyncratic appearance and their traditional typographic attitude. Like old style numerals are proportional; each has its own set suggestsletterforms, not taking responsibility foronethe width. The first step in designing a typeface is to define a basic concept. result. Will When areWillasked what the lettersstudents be serif or sans serif? they be modular or organic? Will you construct them geometrically or base them on handwriting? Will they intend byhistoric creating certain forms,more or you work with research material or invent characters less from scratch? You can control the spacing of the typeface by adding they often say, ‘It’s just an experiment...’ black areas next to each character as well as creating kerning pairs that determine distance a between particular characters. Producing when they don’tthehave better response.

AKZIDENZ-GROTESK a typeface is an enormous task. However, for people with a knack for drawing letterforms, the process is hugely rewarding.

For some graphic designers, it has become an unquestioned part of the working process that yields precision, order, and clarity.

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emology of the word ‘experimental’ ies to design and type, contrasted cientific connotations. Examples nd current design, type and anguage, as well as scientific ent, are taken into account. Very s have been used so habitually lessly as the word ‘experiment’. In of graphic design and typography, ent as a noun has been used to nything new, unconventional, asy categorization, or confounding ions. As a verb, ‘to experiment’ ynonymous with the design itself, which may not exactly be considering that all design is a the design process. The term ent can also have the connotation plicit disclaimer; it suggests not sponsibility for the result. When are asked what they intend by certain forms, they often say, ‘It’s xperiment...’ when they don’t have response.

A basic system for classifying typefaces was d printers sought to identify a heritage for their o Humanist letterforms are closely connected t hand. Combining typefaces is like making a s elements representing different colors, tastes, than harmony, looking for emphatic differenc each ingredient a role to play: sweet tomatoes shock of an occasional anchovy. When mixing usually adjust the point size so that the x-he seperate lines, it often makes sense to creat weight. Lining numerals to take up uniform wi line up when tabulated in columns. They were meet the needs of modern business. Lining n letters, so they sometimes look bulky when numerals, also called text or old style numeral lowercase letters. Non-kining numerals returne idiosyncratic appearance and their traditional old style numerals are proportional; each one designing a typeface is to define a basic concep Will they be modular or organic? Will you constr handwriting? Will you work with historic resea or less from scratch? You can control the spaci next to each character as well as creating ker between particular characters. Producing a ty for people with a knack for drawing letterfo

devised in the nineteenth century, when own craft analogous to that of art history. to calligraphy and the movement of the salad. Starting with a small number of , and textures. Strive for contrast rather ces rather than mushy transitions. Give s, crunchy cucumbers, and the pungent typefaces on the same line, designers eights align. When placing typefaces on te contrast in scale as well as style or idths of space, enabling the numbers to introduced in the turn of the century to numerals are the same height as capital appearing in running text. Non-lining ls, have ascenders and descenders, like ed to favor in the 1990s, valued for their l typographic attitude. Like letterforms, has its own set width. The first step in pt. Will the letters be serif or sans serif? ruct them geometrically or base them on arch material or invent characters more ing of the typeface by adding black areas rning pairs that determine the distance ypeface is an enormous task. However, orms, the process is hugely rewarding.

4 A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Combining typefaces is like making a salad. Starting with a small number of elements representing different colors, tastes, and textures. Strive for contrast rather than harmony, looking for emphatic differences rather than mushy transitions. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. When mixing typefaces on the same line, designers usually adjust the point size so that the x-heights align. When placing typefaces on seperate lines, it often makes sense to create contrast in scale as well as style or weight. Lining numerals to take up uniform widths of space, enabling the numbers to line up when tabulated in columns. They were introduced in the turn of the century to meet the needs of modern business. Lining numerals are the same height as capital letters, so they sometimes look bulky when appearing in running text. Non-lining numerals, also called text or old style numerals, have ascenders and descenders, like lowercase letters. Nonkining numerals returned to favor in the 1990s, valued for their idiosyncratic appearance and their traditional typographic attitude. Like letterforms, old style numerals are proportional; each one has its own set width. The first step in designing a typeface is to define a basic concept. Will the letters be serif or sans serif? Will they be modular or organic? Will you construct them geometrically or base them on handwriting? Will you work with historic research material or invent characters more or less from scratch? You can control the spacing of the typeface by adding black areas next to each character as well as creating kerning pairs that determine the distance between particular characters. Producing a typeface is an enormous task. However, for people with a knack for drawing letterforms, the process is hugely rewarding.

t y p o g r a p h y

Does type design and typography allow an experimental approach at all? The alph private language: both lack the ability to communicate. Yet it is precisely the const postgraduate student of type-design who investigates the limits of legibility while p for regular reading sizes are very close to the conventional book typefaces, each s apstract reduction of the alphabet, free of all the details and ptical corrections whic Emile Javal, who published similar research at the beginning of the 20th century. Th the human eye, however, Huot-Marchand and Javal both investigate the constraints o which was formulated by Michael Worthington, a British designer and educator base we would ask waht is at stake and typographers are really risking. Worthington, how engaged. A similar definition is offered by the E.A.T. (Experiment and Typography) arrive in the Netherlands shortly. Alan Zaruba and Johanna Balusikova, the curator focuses on the projects which document the development of the designerâ&#x20AC;&#x2122;s ideas. experimental processes as a means to approach unkown territory.â&#x20AC;&#x2122; An experiment such, experimentation is a method of working which is contrary to production-orien result. Belgian designer Brecht Cuppens has created Sprawl, an experimental type each letter is identical, so that when typed they lock into eachother. The fillings of letter, (e) represents the highest density of population. The most infrequently use landscape. Another example of experiment as a process of creation without antic Palma, describe ortho-type as â&#x20AC;&#x2DC;an exercise in perception, a stimulus for the mind a typeface designed to recognizable in three-dimensions. In each view, the viewr can of the model. The user can also generate those variations of the model. The user c commercial application, its results may feed into other experiments and be adapt his formal experiments out of curiousity, but now similar formal solutions have be completed project can be seriously considered experimental. It is experimental onl As soon as the experiment achieves its final form it can be named, categorized and was devised in the nineteenth century, when printers sought to identify a heritage movement of the hand. Combining typefaces is like making a salad. Starting with a looking for emphatic differences rather than mushy transitions. Give each ingred typefaces on the same line, designers usually adjust the point size so that the x-h or weight. Lining numerals to take up uniform widths of space, enabling the numbe business. Lining numerals are the same height as capital letters, so they sometime and descenders, like lowercase letters. Non-kining numerals returned to favor in t numerals are proportional; each one has its own set width. The first step in designi construct them geometrically or base them on handwriting? Will you work with his adding black areas next to each character as well as creating kerning pairs that det a knack for drawing letterforms, the process is hugely rewarding.

habet is by its very nature dependent on and defined by conventions. Type design is not bound by convention is like a traints of the alphabet which inspire many designers. A recent example is the work of Thomas Huot-Marchand, a French physically reducing the basic forms of the alphabet. Minuscule is his project of size-specific typography. While the letters step down in size results in simplification of the letter shapes. In the extremely small sizes (2 pt) miniscule becomes an ch are usual for fonts designed for reading. Huot-Marchand’s project builds upon the work of French ophthamologist Loius he practical contribution of both projects is limited, since the reading process is still guided by the physical limitations of of legibility within which typography functions. The second dominant notion of experiment is The Typographic Experiment ed in the USA: ‘True experimentation means to take risks.’ If taken literally, such a statement is of little value: immediately wever, is referring to the risk involved with not knowing the exact outcome of the experiment in which the designers are ) exhibition presenting 35 type designers and typographers from Czech Republic and Slovakia, which coincidentally will rs of the E.A.T. put their focus on development and process when describing the conceopt of the exhibition: ‘The show Attention is paid to the process of creating innovative solutions in the field of type design and typography, often engaging t in this sense is no preconceived idea of the outcome; it only sets out to determind a cause-and-effect relationship. As nted design, where the aim of the process is not to create something new, but to achieve an already known, pre-formulated eface based on cartography, which takes into account the density of population in Belgium. In Sprawl, the sulhouette of the letters however varies according to the frequency of the use of the letter in the Dutch language. The most frequent ed letter, (q), corresponds to the lowest density. Setting a sample text creates a Cuppens respresentation of the Belgian cipation of the fixed result is an online project. Ortho-type Trio of authors, Enrico Bravi, Mikkel Crone Koser, and Paolo and the eye to pick out and process three-dimensional planes on a flat surface...’ Ortho-type is an online application of a n set any of the available variables: length, breadth, depth, thickness, color and rotation, and generate multiple variations can also generate those variations as a traditional 2D PostScript font. Although this kind of experimental process has no ted to commercial activities. Once assimilated, the product is no longer experiemental. David Carson may have started een adapted by commercial giants such as Nike, Pepsi, and Sony. Following this line, we can go further to suggest that no ly in the process of its creation. When completed it only becomes part of the body of work which it was meant to challenge. d analyzed according to any conventional system of classification and referencing. A basic system for classifying typefaces e for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the a small number of elements representing different colors, tastes, and textures. Strive for contrast rather than harmony, dient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy. When mixing heights align. When placing typefaces on seperate lines, it often makes sense to create contrast in scale as well as style ers to line up when tabulated in columns. They were introduced in the turn of the century to meet the needs of modern es look bulky when appearing in running text. Non-lining numerals, also called text or old style numerals, have ascenders the 1990s, valued for their idiosyncratic appearance and their traditional typographic attitude. Like letterforms, old style ing a typeface is to define a basic concept. Will the letters be serif or sans serif? Will they be modular or organic? Will you storic research material or invent characters more or less from scratch? You can control the spacing of the typeface by termine the distance between particular characters. Producing a typeface is an enormous task. However, for people with

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