From Case To Case – A personal study on individual typography

A PERSONAL STUDY ON INDIVIDUAL TYPOGRAPHY

Tim Frederik Bioly

INTRODUCTION // 3 THE JOURNEY IS THE REWARD // 4 ACCESS: MATERIAL // 5 CHARACTER INDEX // 7 BLOG INFORMATION // 34-35

INTRODUCTION Type evolved into one of the most important tools in a designer’s toolbox. Modern technology enables designers in many ways.

It is easy to access a huge selection of different fonts and definitely easier than prior to the computer age to create layouts, which don’t stress the reader’s eye. The very principle of typography is: type is only set if the reader doesn’t realize that it is there, it is almost invisible. The reader does not know about the entire process of finding the proper type face in order to convey a text’s information adequately and efficient.

As we are bombarded with different fonts in our daily life, many people do not realize what actually makes a certain type functional. This may be connected to the filters in the human brain because we are not able to consciously process all impressions we receive. We consciously process what appears to be important to us.

Further, I have detected a trend in our visual culture. It develops into a pile of standardized designs, fonts and layouts, which doesn’t offer room for different stylistic currents.

I could view this development in a completely negative light but this trend motivates me to find new interpretations.

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During my study I regularly came across certain letters, which fascinate me ever since. The reason for my fascination for one of those letters depends on different aspects the individual letter has to offer.

This may be the letter’s form, its function or its relationship to other letters. Features of those kinds form the personality of the letter and turn it into an individual. Many designs produced for this project were crafted for the moment. My motivation was not necessarily to create reproducible or reusable designs but present each letter of the Latin alphabet with the highest amount of appreciation possible. I’ve tried to use different techniques to highlight the individual characteristics of each letter and simultaneously show that the individual letter is a strong link in the alphabetical chain.

Every letter has a story to tell, has its own personality and pride. Behind the rigid rules of typography I have detected a space in which I can present versatile letters. Each letter shall motivate to use objects of all kind to create type.This project represents an inspiring journey, an ode to the freedom of the letter, which is not simply black toner on a white sheet and vehicle of a word.

The Journey is the Reward Our society appreciates good design.

But in fact many people do not know much about design.

Sometimes I have the impression that designers sometimes forget about this fact. Due to technology numerous creative processes became auto­mated, which in the average Joe’s opinion makes designers and their work more or less obsolete.

But in this view the designer’s role in the entire process is underestimated.

The common practice in many creative processes involves handicraft but this human touch is often not to be found in the final result. With the use of non-high tech tools like scissors, paper or glue to produce design handicraft is reintroduced to visual communication.

Therefore, I’m convinced of the educational value of providing the average person an insight into design processes. By providing the ‘making of’ of the letters in an a blog I hope to make the entire project more accessible for the observer with little knowledge of typography in particular and visual communication in general.

Often it is not the final product that evokes an emotion but the experience of learning how an image came to be.

With conventional tools the audience is more likely to already hold experiences with these materials, which makes the design more tangible.

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ACCESS: MATERIAL Modern design incorporates technology and learned to push the limitations of these tools. But how can I reach the individual with design? What makes a person stop to take a close look at a piece of art? In my eye it is a playful manner that does not demand much but surprises with refreshing ideas.

The observer can retrace all mis­takes made in a design and get an idea about the designer´s personality.

This offers the different facets to be incorporated into the letters, which automatically inclines that the human touch was involved in this process and can be still be recognized in the final product.

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I was accompanied by the present question of identity and integrity of design made for the moment. Every letter is individual and unique and presents itself as a strong piece of art that can stand on its own.

By touching upon emotions I hope counter our mechanical world. The use of commonly known materials like papers, glue and scissors provides the project with an analogue and warm feeling, which cannot be found so easily in these modern times. I am convinced of the possibilities offered, to combine errors and perfection, coincident and accurate planning. But I’m also convinced of the deep desire to explore the limits of typography.

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A

START HERE // 8-9

O

FORMING PERSONALITIES // 36-37

B

GET INSPIRED // 10-11

P

NOT REAL // 38-39

C

DEPTH EFFECT // 12-13

Q

CELEBRATING UNIQUENESS // 40-41

D

LAZY & DUMB // 14-15

R

FOCUS THE DETAILS // 42-43

E

SWING // 16-17

S

GOOD OLD // 44-45

F

GO OUT AND PLAY // 18-19

T

WELL BALANCED // 46-47

G

MADE FOR THE MOMENT // 20-21

U

HANGIN´ AROUND // 48-49

H

BORED // 22-23

V

LINE SHIFT // 50-51

I

IN THE HOOD // 24-25

W

SIMPLICITY STRIKES BACK // 52-53

K

CUT & FIT // 26-27

X

NEW SPACES // 54-55

L

EXPLORING PLACES // 28-29

Y

CONTEXTUALIZATION // 56-57

M

SCALE // 30-31

Z

MODULAR DIVERSITY //58-59

N

GRID LIGHT // 32-33

OVERVIEW // 60-61

start here Square one – everything must begin somewhere‌ This project, the alphabet, visual culture.

Photograms, which occurred already in 1840 can be understood as one of the starting points of visual culture as well as one of the predecessors of photography. To produce a photogram one only needs to hold a more or less transparent object in front of a film or photographic paper. Light settings and the distance between object and film determine the outlines and the sharpness of the shadow later to be seen in the photogram.

Moving the light source or the use of multiple light sources provide further effects.

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Photogram 24 x 17 cm

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Cutout 30 x 12 x 6 cm

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GET INSPIRED Why do you look like you do?

Sometimes I wonder why a certain letter is shaped as it is. Who determines how this optical shape is pronounced as it is?

What are the letter’s characteristics?

The letter B is only a B if its known characteristics are present and recognizable. This doesn’t mean that the characteristics can’t be altered. In practice small changes can alter the B, as far as it appears that I’m introduced to a new individual.

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Ink on Paper 70 x 50 cm

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depth effect While I sit down to draw and illustrate a letter for several hours, it has a meditative and relaxing effect on me.

I’m focused, concentrating on every line, making them as vivid as possible and working towards a balanced and neat result. I’m fascinated with the letter C and its depth effect.

This depth effect can be achieved by converging or dispersing lines and provides the possibility to enhance a 2 dimensional drawing with a more spatial appearance.

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I chose a condensed font as the narrow and clinched character of the letter determines the swing of the horizontal lines, while the opposing beams transport the lines through the open centre.

LAZY & DUMB I’m indifferent when it comes to fonts such as Gill Sans. By definition Gill Sans is a typeface, which is full of character.

However, in my eye this font is simply boring, lacking dynamics and personality.

Perfect examples for this are the uppercase I, the lowercase l and the digit 1.

All three look nearly the same and only differ slightly in their stroke width.

Many view Gill Sans as the British respond to the German Futura font, while it holds a quite unique feature.

All cuts are made individually while other fonts are composed in a mechanical fashion with each letter derived from one and the same sketch. However, my interest in Gill Sans is still not awoken.

I can describe my deep discontent with this font the best by using the example of the uppercase ultrabold condensed D. It’s characterized by a papercut.

In my eye the impression of this font makes the D vanish into the ground as the letter’s movement gets disturbed by its rigid character.

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Papercut 18 x 12 x 6 cm

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SWINGER A script capital E for me is the most beautiful form, in which the capital E can be presented.

The E can be drawn in one line, quick and with a lot of swing. It offers wide variations as I can use different sizes of swings and distances between the lines.

This provides the script E a character and boosts its confidence. It’s also an inspiring process to edit ones’ handwriting digitally as it forces me to analyse the good and the bad traits of my handwriting. In addition, I can use different supporting elements and create a playful drop cap for example.

Vector illustration 30 x 30 cm

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T shirts 100 x 50 x 4 cm

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GO OUT AND PLAY Sometimes the most interesting things are those, which come into existence randomly and by chance.

Maybe I’m starting with a certain approach or I have a specific idea about the result of my work. In some moments I find myself stuck with a basic sketch but actually don’t realize that I’m losing track of my initial idea.

In such a cases I often choose to keep the sketch, put my previous ideas on the shelf and simply start to go with the flow. I love to play with different elements and at points the results of such playful moments surprise me.

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In those moments I’m much more satisfied with a product, which may be rough and not very detailed but absolutely coherent in its overall appearance. Details do not necessarily need to be sharp and neat as they may look sterile or in other words lack charm and character.

MADE FOR THE MOMENT Nothing lasts forever. Well, nothing really has to last forever. Sometimes it is simply enough to create a temporary image, by feeling the spur of the moment or using materials, which will e.g. decompose. Images of this kind cannot be reproduced. I appreciate this uniqueness as I think it fosters individuality.

Going even further, using a limited time frame to produce an image conditions the entire process in the sense that the production of this image can only happen under the given circumstances.

These circumstances are inspiring and refreshing but I also need to work with high precision. My expectations soar but I also think “I can’t press ctrl-z”. It’s the spur of the moment, I’m excited in.

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Ice 18 x 18 x 4 cm

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BORED. I’m bored and I start searching.

I’m searching for a letter. The letter H. The offer is vast. Where to begin?

I’ve seen this H already somewhere.

It is perfect.

There it is, so strong, so clear yet so eclectic.

All the other H’s do not matter anymore.

I’m taking my H home.

I’m searching for the perfect spot for my H. There it is.

But now as I see my H in its perfect place, I’m bored again.

Slowly, I’m getting sick of just seeing this self-absorbed letter.

I pull out a saw and cut the H in half.

I’m pleased again…

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Wooden slices 40 x 20 x 5 cm

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IN THE HOOD Fonts can be created from all sorts of things. Whether this may be an object or different shapes and forms, in many cases small modifications suffice to create letters.

I and J always had a good relation showing slight differences but a lot of things to share. The language of my host country also inspires my approach, as the ij-ligature is quite common in Dutch orthography.

Furthermore they are keeping on good terms as neighbours in the alphabet.

The matchsticks are a simple and pure way to show the similarites and highlight the distinctions which in case of J even were created in a unique, random process. I offered them a doublespread to keep them in touch.

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Matchsticks 7 x 4 x 0,4 cm

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Cutout 70 x 50 x 50 cm

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CUT & FIT Originally, letters are shown in their positiv forms. But I also think that the negative forms have something to offer.

A serif K comes in handy as all four edges hold their own forms. From the top, bottom and right I can see three triangles coming in. From the left hand side I see the rectangle.

But somehow I’m not quite happy with solely four forms so I’m adding the serifs.

The idea to produce more depth in this image teases me and I decide to create these forms through shadowing effects.

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EXPLORING PLACES I enjoy seeing typography in unusual places. I’m receiving new impressions of fonts I already know, as a different side of the letter is highlighted.

The interplay between space and the typographic form as well as the surroundings affect the letters appearance significantly different than on monotonous backgrounds.

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Wood 118 x 93 x 30 cm

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SCALE The font called ‘Bello’ inspires my M. The uppercase M in my handwriting is very similar to the Bello as I use a similar swing and aesthetics drawing it in one line. My challenge with this project is to produce the M as a mural.

To achieve a presentable result I need to upscale the M but this also means that I can’t sketch the letter in one stroke. Here it is important to keep a close look on the proportions of each line and make sure the optical balance is maintained.

Further, I took inspiration form commercial muralists of the early 20th century. Due to economic and technical factors this form of advertising vanished almost completely.

Painted on wall 300 x 340 cm

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GRID LIGHT Conventional typography is based on grids, which creates the fundamental construction measures of fonts. This includes widths, lengths, curvature and distances of the different lines.

I was looking for an analogue process to work on a fixed grid to create a functional letter. I found the mesh of a fence and glow sticks of 15 cm length. In here it is easy to calculate lenghts and heights for different forms.

I also liked the idea of the shiny glow, nearly creating a digital feel.

Glowsticks in fence 120 x 120 x 2 cm

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SEE ALL 26 IN THE MAKING...

If you like to get an inside view on the process of production of the Alphabet, you´re very welcome to visit the upcoming ‘from case to case’-blog and follow online.

Feel free to drop by and see the letters in the making!

casetocase.tumblr.com

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FORMING PERSONALITIES Personalized typography is important.

It is not simply the word’s vehicle but should also convey as much content as possible. In recent years many developments have taken place in the field of headline fonts. Typography and illustration merged, which opens new space for innovative ideas.

Editorial designers increasingly apply personalized typographies in order to visually reflect e.g. the content of an article. The letters already transport a look and feel to the reader, making decisions if he likes to read the article. or not.

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Ink on paper 29 x 15 cm

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IN THE HOOD I hate the flower wallpaper in my office. I don’ t know why me and my housemate never managed to get rid of it but often I find myself constantly starring at the wallpaper. Looking at these pastel coloured roses and orchids I can sometimes see trippy shapes and images. These images usually vanish within the blink of an eye.

In those moments I wish that I’d have captured the image.

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Ink on wallpaper 40 x 30 cm

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CELEBRATING UNIQUENESS The modern Latin alphabet consists of 26 letters. Each letter has its fundamental form from which different languages using the Latin alphabet derive so-called diacritical signs.

Diacritical signs are e.g. dots, tick marks, stokes or circles, which are incorporated into a letter and signify a different pronunciation of the given letter.

The way these signs are used varies, in some cases the diacritical signs are placed on the bottom of the letter in other cases on top. Most commonly known is the title dot over an i.

In the Latin alphabet the letter Q is the only letter that is signified by a stroke. The Q is mostly accompanied by the U and only rarely seen solo.

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Papercut 100 x 70 x 2 cm

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FOCUS THE DETAIL Graffiti culture is a relatively young and experimental form of typography mostly seen in public spaces of the urban landscape. Every graffiti writer develops his own alphabet on the course of his career as many writers study and practice their letters intensively. The ultimate goal is to distinguish one’s work through an individual style.

For this graffiti writers experiment with different forms and shapes in order to stylise their personal alphabet, which reflects their character or the character of the chosen alter ego. Giving letters character is an aspect that can also be found in technical typography. Technical typography as well as graffiti pays close attention of specific features and details of a letter.

I’m using an uppercase R as I regard the R as one of the more complex letters of the alphabet, which offers a variety of possibilities to modify the appearance in a personalise yet versatile manner.

Spraypaint on wall 270 x 330 cm

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Etching 32 x 21 cm

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GOOD OLD The so called black letter type exists since the 16th century and up until the 20th century was one of the most common types in Germany.

A major characteristic of German type are the letter’s arches, which a created in a single motion. Further, several changes in direction of the stroke create the knee of the arch.

In my design I tried to round the knee in order to achieve a rather calligraphically inspired look. To make ends meet I used the technique of etching.

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WELL BALANCED I like balance and symmetries.

I guess that is why I feel so much sympathy for the uppercase T. It is a firm and sober construction with features, which tell me that I’m in good company. The T also represents the link between typography and architecture and can often be seen in architectural structures throughout history.

Paint on wood 38 x 25 cm

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In the typographical sense it can however cause troubles in the typeface. Uppercase Ts hold plenty of white space left and right of the vertical line, delimited by the horizontal line on top. These troubles can be overcome by placing lowercase letters in combination with the uppercase T.

HANGIN´ AROUND We are surround by so many objects in our daily life.

I like the idea of using objects in a different way than they were initially made for. Sometimes I’m just sitting around and start forming letter and words out of everyday objects.

Spontaneous acts are the best, so when I’m hanging my laundry to dry, I occasionally used this chore to start a little typographical study. Given sometime and a freshly washed bed sheet I can form wonderful Us on the laundry line. Whether the laundry dries fast isn’t a matter of my concern anymore…

Laundry on clothesline 110 x 50 cm

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LINE SHIFT Shifting lines can create beautiful symmetrical shapes. Symmetrical shapes are easily made nowadays.

Computers made it easy. I was playing with different ways to create a V and became fond of the possibilities converging lines on the bottom side have to offer. I fixed a vanishing point and after a couple of sketches I realized that the vanishing point has shifted form the centre to the side.

To add more complexity of thought to this design I decided to create the V in one line. For this I used a thin thread and nails, which mark and determine the corners and angles of the letter. With this technique I’m bridging the gap between digitally generated and handmade design.

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Thread & nails on wall 110 x 180 x 4 cm

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Plastic 36 x 65 x 15 cm

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SIMPLICITY STRIKES BACK One line and three knees. If a letter does not offer many possibilities I don’t want to interpret too much into it.

The capital W is without a doubt a wonderful sign, especially when you already have an established relationship with the capital M. But it can’t be denied that the W isn’t an original member of team alphabet, as it was initially used as a ligature for the combination of two V’s and U’s. Further, the W was never known for great creativity, as it is simply a copied form. Therefore, I do not want to pay much attention to this fellow.

Maybe the W will be lucky and find a job as a messenger boy.

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Paint on wall 115 x 115 x 170 cm

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NEW SPACES Most of the times type reaches us in the second dimension. With a variety of visual effects a 2-D image can get a 3-D feeling and impression but this process works as well in reversed manner. anamorphic images are a perfect example for this reversed process. For this I fix a perspective.

Only form this one perspective the

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two-dimensional image comes together in the 3-D space. A major difficulty in the production of the images is the scaling and shifting of those elements of the image, which are positioned deep within the space.

I chose the letter X as it functions not only as a letter but also as sign and symbol.

CONTXTUALIZATION I can’t lose the impression when looking at the letter Y that it is actually an organic form, although it bears symmetry and with that evoke a constructed feeling. The characteristic Y-form always reminds me of a forked branch. I like to idea of typographically correct forms placed in a natural environment.

With the light settings I intend to underline the effect merging technical and organic elements.

Cutout 45 x 36 x 12 cm

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Wood 12 x 9 x 1 cm

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MODULAR DIVERSITY Modular fonts are widely used in the digital field. This may be a timetable at the airport, the digital clock on my car’s dashboard or the tele-text. Modular fonts surround us in our daily life as they are practical to convey varying information.

These fonts are conditioned by the technology of their host medium, which may be a reason for their simplicity.

I’m using this simplicity in combination by crating my own Tangram puzzle. The Tangram puzzle utilizes a few geometrical shapes in order to create divers images and fonts.

I created a mosaic consisting of triangles in different sizes and shapes, which represents the Z. This technique offered a wide variety of possibilities.

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OVERVIEW

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CASETOCASE.TUMBLR.COM

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Tim Frederik Bioly // ABKM 2011 f.bioly@gmail.com