Overview
36 Days of Type
36 Days of Type
a collage of
Confluence
a collage of
Confluence
Typography + generative Processing + ART / 2022
Typography + generative Processing + ART / 2022
Overview
Overview
Overview
In what started as a desire to play around creating custom letter forms for the Instagram-famous 36 Days of Type campaign, resulted in an unexpected journey into new realms of mark making and a broader understanding of typographic form.
Inspired by the ongoing workshops of Open Collab and other spinoff series, I set to applying their core tenets of creation and randomisation to typography — yielding an endless array of bespoke figures that challenged my preconceptions of typographic function and legibility.
In what started as a desire to play around creating custom letter forms for the Instagram-famous 36 Days of Type campaign, resulted in an unexpected journey into new realms of mark making and a broader understanding of typographic form.
Inspired by the ongoing workshops of Open Collab and other spinoff series, I set to applying their core tenets of creation and randomisation to typography — yielding an endless array of bespoke figures that challenged my preconceptions of typographic function and legibility.
Motivations
Motivations
Overview
I’ve long admired the grunge aesthetics of Raygun Magazine through the 90s. Chris Ashworth’s Swiss Grit style and visual references to the rock-and-roll scene of that time had pulled me into ideas of punk nihilism and its anti-establishment attitude, pushing me to add my own typographic interpretations to the space.
I’ve long admired the grunge aesthetics of Raygun Magazine through the 90s. Chris Ashworth’s Swiss Grit style and visual references to the rock-and-roll scene of that time had pulled me into ideas of punk nihilism and its anti-establishment attitude, pushing me to add my own typographic interpretations to the space.
Chris Ashworth for Blah Blah Blah Magazine Issue 01. Published in April 1996.
The identity is a direct embodiment of the business name which references the interplay between people and bread making, as seen through the lens of an archaic aesthetic reminiscent of ancient prehistoric art and mark making.
Chris Ashworth for Blah Blah Blah Magazine Issue 01. Published in April 1996.
Process
Process
Overview
Alphanumeric forms are generated individually to create a data set of transparent PNG images in an array of randomly derived fonts. Employing the same generative processing software used in Open Collab workshops, the processing application makes a random selection of fonts based on a predetermined number of iterations to overlay using blending modes.
The resulting compositions are then curated, vectorised and redacted to reveal the common shape of the font stack; a Venn diagram of type forms.
Alphanumeric forms are generated individually to create a data set of transparent PNG images in an array of randomly derived fonts. Employing the same generative processing software used in Open Collab workshops, the processing application makes a random selection of fonts based on a predetermined number of iterations to overlay using blending modes.
The resulting compositions are then curated, vectorised and redacted to reveal the common shape of the font stack; a Venn diagram of type forms.
CONTROLS: SHOW / HIDE
CONTROLS: SHOW / HIDE
Outcomes
Outcomes
Overview
Strong geometry crystalise around organic features to create a type “system” that reflects hard brutalism, combined with unforeseen perspectives. These forms show an internal structure, a skeleton, that are the final structures after being redacted to the point before they can no longer be discerned with any meaning as an articulation of type.
Strong geometry crystalise around organic features to create a type “system” that reflects hard brutalism, combined with unforeseen perspectives. These forms show an internal structure, a skeleton, that are the final structures after being redacted to the point before they can no longer be discerned with any meaning as an articulation of type.
Conclusions
Conclusions
Overview
Generative processing softwares provide a powerful tool to the experimenting designer, they allow one to quickly answer a proposed set of imagined circumstances without having to manually sketch each iteration. Not only expedient, the process is intuitive and deepens our understanding of causal factors in visual design. They encourage more human interactions in mark making, and dissolve the need to learn technical processes that are often tedious and esoteric, letting the designer focus on conceptualisation, meaning, and art.
Generative processing softwares provide a powerful tool to the experimenting designer, they allow one to quickly answer a proposed set of imagined circumstances without having to manually sketch each iteration. Not only expedient, the process is intuitive and deepens our understanding of causal factors in visual design. They encourage more human interactions in mark making, and dissolve the need to learn technical processes that are often tedious and esoteric, letting the designer focus on conceptualisation, meaning, and art.
Overview
36 Days of Type
a collage of
Confluence
Typography + generative Processing + ART
/ 2022
Overview
Overview
In what started as a desire to play around creating custom letter forms for the Instagram-famous 36 Days of Type campaign, resulted in an unexpected journey into new realms of mark making and a broader understanding of typographic form.
Inspired by the ongoing workshops of Open Collab and other spinoff series, I set to applying their core tenets of creation and randomisation to typography — yielding an endless array of bespoke figures that challenged my preconceptions of typographic function and legibility.
Motivations
Overview
I’ve long admired the grunge aesthetics of Raygun Magazine through the 90s. Chris Ashworth’s Swiss Grit style and visual references to the rock-and-roll scene of that time had pulled me into ideas of punk nihilism and its anti-establishment attitude, pushing me to add my own typographic interpretations to the space.
Chris Ashworth for Blah Blah Blah Magazine Issue 01. Published in April 1996.
Chris Ashworth for Blah Blah Blah Magazine Issue 01. Published in April 1996.
Process
Overview
Alphanumeric forms are generated individually to create a data set of transparent PNG images in an array of randomly derived fonts. Employing the same generative processing software used in Open Collab workshops, the processing application makes a random selection of fonts based on a predetermined number of iterations to overlay using blending modes.
The resulting compositions are then curated, vectorised and redacted to reveal the common shape of the font stack; a Venn diagram of type forms.
CONTROLS: SHOW / HIDE
CONTROLS: SHOW / HIDE
Outcomes
Overview
Strong geometry crystalise around organic features to create a type “system” that reflects hard brutalism, combined with unforeseen perspectives. These forms show an internal structure, a skeleton, that are the final structures after being redacted to the point before they can no longer be discerned with any meaning as an articulation of type.
Conclusions
Overview
Generative processing softwares provide a powerful tool to the experimenting designer, they allow one to quickly answer a proposed set of imagined circumstances without having to manually sketch each iteration. Not only expedient, the process is intuitive and deepens our understanding of causal factors in visual design. They encourage more human interactions in mark making, and dissolve the need to learn technical processes that are often tedious and esoteric, letting the designer focus on conceptualisation, meaning, and art.
