CUTTING EDGE

Technology changes always were a turning point in the history of typography. Today’s “perfection,” diversity, and practicality of typefaces is unthinkable without the power of personal computers. Ironically though, we are attracted to ’incomplete’ typefaces made by “state-of-the-art” technologies such as artificial intelligence (AI). The “experimental stage” of AI in typography produces incomplete and even sloppy results, they cause excitement and expectation.

As long as the experiment of technologies continues, the designer’s experiment will never be complete.

233—Anatoly Grashchenko

RUS—CODED TYPOGRAPHY

Most of these videos are the result of a collaboration with Type Today. In series of works the designer tried to unfold the potential of creative coding in type, animation, and interactivity.

253—Zirui Cheng—NDL—ONOMATOPOEIAAA

A design enable character to speak for themselves, delivering loud phonic experience with a touch of playfulness.

This is a visual diary of a brief trip to Israel. Experiencing what it feels like to be in a completely foreign linguistic environment, where you cannot read a single letter, can be liberating but also overwhelming. It’s a free space where letters can be observed purely for their aesthetics, freeing you from the limitations of readability and linguistic conventions.

255——Sharp Type——USA——SORAIZ Soraiz is a parametric typeface generated by a Python script. Its visual grammar reflects the characteristics of digital fonts. The underlying skeleton is a work-in-progress font by Connor Davenport, combining a retro-futuristic impression with today’s technology. Overall, Soraiz evokes a retro-future that is still years away but won’t come to pass

256——Lukas Haider, Alexander Raffl——AUT——UNKNOWN Contemporary display typeface with 3 styles (RND, PX, MX). Adaptable alternates via upper-/lowercase. Organic appearance achieved through character variation, despite linear grid-based roots.