please note: This website is still under construction. đŸŒ
                        loading page...  

Das Ende
Meiner Kindheit

[The end of my childhood] As a contribution to my intermediate diploma examination, I published a typo-transcript of my granfathers secret war diary along with his today comments and photo-archive.
Cover des Buches Das Ende meiner Kindheit Von Hermann Stimmler Moritz SchottmĂŒller
“Das Ende meiner Kindheit” (128 pages. 14,8cm x 21cm)



Intermediate diploma
Hermann Stimmler is my grandfather. During WW II, he volunteered to fight for the German Army at the age of 18. But even before he could take part in combat operations, the capture and deportation by French troops saved his life. He spent 14 months in captivity before he returned to Germany.
Today, Stimmler is 92 years old. For the past two years, he has been autobiographically recording his experiences during his childhood in Nazi Germany. He remembers the rise of Adolf Hitler, the November pogroms of 1938, and his “commitment” to the Hitler Youth. He describes the radicalization of German society under Hitler and the persecution of the Jews in his immediate neighborhood in a damning way. During his time in the war and captivity, he illegally kept a diary that he managed to smuggle inside his jacket's lining. On thin paper he documented his military training, positions and life as prisoner of war.

Seite aus dem Buch das Ende meiner Kindheit
Graphology
What instantly caught my interest was the small notebook my grandfather showed me. The slight but constant change of his handwriting throughout the book clearly came along with the change of his mindset and ideologies. On the first pages, right after lists of crossed out friends and family members, he writes in large buoyant cursive glyph with wide and flourish ascenders and descender about his military training and his dream to become a pilot in order to “fulfill his duty” and to help to win the war. The uneven baseline grid must have been caused by the soft barrack mattresses he was writing on. As the diary continues, and more and more names of friends and family were marked with crosses behind their names, drastic changes in his handwriting are notable. The fountain pen he was using in the beginning got replaced by an ever shrinking pencil and text size and leading (line height) became smaller and smaller until his tiny jagged handwriting tells us more about his conditions than the text itself. For the publication, it was my aim to translate this meta-layer of information and preserve it for the reader. Furthermore I decided against showing scans of the document as examples and worked on a more subtle but, in my opinion more lively, representation of the diary.


Comments
After his release and despite his very early work as historian for the local historical reappraisal, he kept the little notebook under wraps for more than 70 years. While I transcribed many hours, what my grandfather read to me from his diary, not only myself, but also he was faced with his past. Meanwhile, new and spontaneous memories and narratives(narrations) occurred which he remembered or did not dare to write down 73 years ago. His comments on the sides that flow into the text represent his spontaneous and direct view of today onto the writing of that time.
Drawings
His diary contains a lot of sketches. As an engineering draftsman he also drew presice technical plans and solved mathematical problems to keep his boored mind active. I've redrawn all the sketches to provide an accurate impression of them.


Study the Future
Postcard

I was happy to design a postcard for the University of Arts and Design Karlsruhe. The postcards glows in the dark.

The postcard glows in the dark
Alt Text!

























Three Open Borders Exhibition Posters



Open Borders
European Culture Days

Exhibiton catalog and Posters for the exhibition “Open Borders”.

Three Open Borders Exhibition Posters
Catalog poster Gael Canton
Catalog poster Iris Santander
Catalog poster Julie Deutsch
Catalog poster Robert Kunec


Equal Rights for all.
In October 2017 Shuaitong Zong and I were commissioned to design a bilingual catalog and posters for the Exhibition “OPEN BOARDERS”, that was held by the German Association of Visual Artists BBK as their contribution to the “European Cultural days”. Curator Lisa Bergmann invited 17 artists from Karlsruhe and its five twin cities to show the view of today’s artists from Nancy, Nottingham, Timișoara, Krasnodar, Halle and Karlsruhe on the current political upheavals and new beginnings in their cities, countries and all over Europe. In light of this, the exhibition focused especially on current and urgent questions of equal rights regarding skin color, background, gender and sexual orientation as well as ecological and sociopolitical factors which influence possibilities of participation. The Exhibition took place in the former organ factory in Durlach, just 10 km outside of Karlsruhe city. The catalog was divided into a reader (see below) and 9 posters that contained the work of all 17 artists. To trigger a dialog among the different artist, we matched two artists from different cities and their artwork reko verso on one of the 9 A1 posters. These posters where folded to A4 and held by a folder. This meant that no hierarchy and order was arising between their works.
Catalog Folder opened

Riso Reader
The Folder also contains a collection of different essays and theoretical text in English and German (Justified with new separated paragraphs for English and left-aligned with an indent for German). I printed all 8000 pages of the catalog on a risograph.
Cover from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
Page from the Text part of Open Borders
52 Factorial
(52!)
A Poster about a mathematical example of how complexity often begins with the most simple system.

Poster:52Factorial
Poster 52 Factorial (52!)

You Hang Up! No, You Hang Up!
As an introduction to the seminar [we] students were asked to develop a multiple choice question: To think of a question and some exciting, confusing and surprising answer(s), of which at least one should be the right one. Soon, the assignment started leading a life of its own and became bigger than initially planned. (From Bart de Baets Seminar Introduction)

I asked myself:
In how many different ways can you arrange a standard deck of 52 playing cards. How many different hands can be dealt. The correct answer is this humongous number: 834 659 327 493 265 926 574 568 768 764 875 638 454 535 [vingtilion] also written 52! or pronounced 52 factorial. To make the reader understand the sheer immensity of this number of 68 digits, think about a timer that will count down the number in seconds from 80658[...]000 to 0. In the meantime you could place yourself everywhere on the equator. You’re going to walk around the world along the equator, but take a very leisurely pace of one step every billion years. After you complete your trip around the world, remove one drop of water from the Pacific Ocean. Now do the same thing again: walk around the world at one billion years per step, removing one drop of water from the Pacific Ocean each time you circle the globe. Continue until the ocean is empty. When it is, take one sheet of paper and place it flat on the ground. Now, fill the ocean back up and start the entire process all over again, adding a sheet of paper to the stack each time you’ve emptied the ocean. Do this until the stack of paper reaches from the Earth to the Sun. Repeat this now for an additional one thousand times. Now you’re just about a third of the way done.

Quizzing
Together we exhibited our multiple choice questions posters in the exhibitions spcace of ßpace along with a foldable handout for visitors to participate in our quizzes.
Poster Exhibition Set- up Bart de Baets
We are setting up the exhibition
Poster Exhibition at ßpace



Poster design for the 25th anniversary of HfG Karlsruhe. Collaboration with Shuaitong Zong. Selected forthe Graphic Design Festival Scottland 2017.

Anniversary of HfG
Last year was the 25th anniversary of our university. In addition to the anniversary celebration, three panel discussions with designers, artists and alumni were held. We were asked to develop a design in order to announce these three events. We wanted to combine all three of them in one single poster.


Digital Bauhaus
The central topic was “Art, Design and Thinking”. The challenge was to represent three different events, participants and topics in one single poster. The poster is divided into three parts, so that every event is announced on a separate banner.
We used “Lego Digital Designer” to visualize the dates of the events. Using this application as a tool for graphic design offered some particular characteristics: It gave us the chance to explore, play and think with a limited number of fixed shapes. This basic concept of building with Lego, represents the three topics of the panel discussion, “Art, Design and Thinking”; Furthermore it also refers back to the founding ideas of our university as a “Digital Bauhaus”.
The grid in the background combines the individual numbers and puts them into context within one overall construction plan, a notion of order that is simultaneously undermined by changes of perspective within the grid. The paradox of order and dynamic interchange between the individual elements symbolizes the transdisciplinary approach of our university.
Also, the technical character of some of the Lego elements reminded us of the industrial architecture of our university - a former ordnance factory. The playful element of the Lego bricks contrasts those technical features and recalls the open atmosphere and approach of the university and the individuality of its students and teachers.



The poster was selected by the jury of the Graphic Design Festival of Scottland to be exhibitted among many of our favorit designers at the Lighhouse Museum in Glasgow.











We founded and are currently running a student type foundry where we publish typefaces and organize events for type designers. We recently receivced the Gunter-Schroff-Price, awarded by the ZKM | center for art and media.

NoFoundry.xyz Map Screenshot
Map of Nofoundry
NoFoundry.xyz
In the context of a class by Johnson and Kingston as well as out of frustration that many typefaces from designers in our university are not in use, we founded NoFoundry: A student organized platform for the discussion, distribution and exchange of student typefaces. Outside of established circles we aim to bring cross-university attention to student works. Trying to build a network of young type designers we offer students the possibility to sell or show fonts, buy fonts from other students or simply to get in touch with other designers.


Structure
The website is divided into two sections with different functions. On the “map” student type designers are able to upload their typefaces. We left this space rather open and only set basic requirements, as for example the character set and the size of the specimen that will be placed on the map. Currently, we have more than 20 typefaces on the map. Typefaces that fulfill a specific range of characters will be released via the “Typetester” of NoFoundry. This “Typetester” offers a platform where they can be tested on spot, bought and downloaded. To highlight the release of our fonts, we are always celebrating a font’s release with fun events, special merchandise or cooperations. For the two typefaces “New Rage” and “Morphose” we held a Football Tournament inside the university’s building. The latest release of “Kaeru-Kaeru” that No-Foundry Member Isabel Motz designed was a co-release together with our friends from Velvetine typefaces. The font is now available on both websites.

Screenshot from the Typetester of NoFoundry
NoFoundries Typetester
Screenshot from the Typetester of NoFoundry
NoFoundries back-end










Saturday Type Fever

We organized a 30 houre type marathon for 80 students from 5 countries. đŸ‡ȘđŸ‡ș



Saturday Type Fever
On Januar 11th and 12th, 2019, NoFoundry hosted the type-marathon Saturday Type Fever: For 30 hours, approximately 80 students and typographers from numerous schools from Germany, Belgium, Estonia, France, Switzerland and the Netherlands joined at the HfG Karlsruhe to work side by side on their unfinished fonts or one-day font projects. The event also aimed to connect type design students from different universities across regional boundaries, and create a vital exchange between apprentice typographers and designers.

Studnets working at their typefaces

Studnets working at night

Copy shop we set up to produce the zeens and for students to print

Workshops
The marathon started on Friday at 18:00 and lasted until Saturday 00:00. To kick off the work in a playful way and gather some inspiration, we asked seven students from our university to organize an hour-long workshop on analog type design in smaller groups for all participants. Then, throughout the event, 10 graphic designers and typographers of all kind - students or etablished - held short talks giving an insight into their work and the design of fonts, also they offered feedback sessions for participants to discuss the work in progress. Invited were Johnson/Kingston and Reto Moser, Charlotte Rohde and Tatjana StĂŒrmer, JĂ©rĂ©my Landes, Simon Knebl, Riefka Elhabachi, Massimiliano Audretsch, Catharina Hirsch and Severin Geissler.




Charlotte Rohde and Tatjana StĂŒrmer having their talk at 04am

The designers were working in groups of 4 to 7 people per table and every ten hours, a zine was produced for each group recording the actual status of each participant. These process zines were then displayed after the end of the countdown on Saturday night as the results of the marathon. A large number of typefaces has been produced during the marathon, including numerous first ever typefaces and collaborative projects. Alice from Lugano in Switzerland had no previous experience in type design: “I wanted to try to create a typeface; and it was my first experience in type design and this event was the best opportunity for that. I am very happy that I was part of this event.”



Lecture at
Typo Table Leipzig

Joni, Isabel and me were happy to give a lecture at Typotable in Leipzig. As a counter position to the commercial and established "Super Type" we were invited to give insights of how we work as a young self initiated collective.

The Typotable is an independent event series in Leipzig, where current positions of type design and type publishing are discussed in an open lecture and discussion format. Lectures are held by both established designers as well as junior designers and students. I assume it was to set a rebellious counterposition to the very well etablishes commercial typefoundry Supertype from Berlin, when we were ask to talk about the NoFoundry, it's creation and our ways of sustaining it. While showing one of my favorit fonts “Computers” by Marianne Noordzij, Supertype designer JĂŒrgen Huber mentioned that he wouldn't allow his students to draw typefaces like that. Poor studenst I thoght...






Spherical Shapes
in Architecture

Short writings and drawings about the constructional, psychological, historical and sociological reasons in round and spherical architecture. From a Seminar by Sandra Kassenaar.


Simplicitiy
Round houses are often found in rural traditional African architecture. There are almost as many different types of dwellings as there are ethnic groups living in the wide plains of South West Africa. As in the evolution of the species, their form and construction is precisely adopted to their environmental conditions. These different constructions are representing many different solution to the similar problem, i.e., the harsh and dry lands and the nomadic lifestyle of their inhabitants. To derive a lack of skill or technology from their apparent simplicity would not be a fair conclusion at all.
In a time, where many African tribes lived semi nomadic, one of the most important features of the construction was a short build time. In the tribe of Zulu, one of the biggest African ethical groups, the construction of dwellings was a highly cooperative venture where man and women worked together, building the shelter in one or two days. It was even considered as bad luck when a house was not finished within one day, and it was believed, that bad spirits would seek an unroofed house during the night time.
Man usually build the round ground plan and frame, while woman thatched the roof. The frame is made of flexible wooden poles, a materiel that is relatively easy to find, placed in a circle and bend inwards in a parallel pattern. To improve stability of the construction, more poles are bent between perpendicular, and then laced together. A major benefit of the round bended shape is, that the bending of one single element provides a significant internal stability to the hut. After this frame is completed, bundles of dried grass, skins, leaves or mud are used to build the roof of the hut, covering the the hut from the intense sun and heavy rainstormsThese dwellings can give shelter for one or two persons, so consequently several huts were constructed side by side, for each family member as well as for granaries and stables .
Another advantage of the round construction principles becomes evident, when compared to the similar simple, but triangular shaped Tipis, build by some nomadic native American tribes. By using the same amount of material, the walls of the Tipi are tapping inwards straightly in a much shallower angle, providing therefore less space, in which a person can stand up right. This means to waste significant space in the very lower part and very upper part. The bend walls of the Zulu huts instead are much steeper in the lower parts and make a better use of the covered space with a given amount of material. Another disadvantage of the Tipi lies in the mathematics of its triangular shape, where an expansion of the ground area of the Tipi means also a linear increase in height and unusable space and especially in surface area that had to be covered with precious animal skins.



Imagination
Aldo van Eyck carefully arranged the various sandpits, jumping stones and climbing domes, he had designed for over 700 unique playgrounds in Amsterdam. In a harmoniously balanced, almost zen garden like composition, where the space in between the objects gets the same attention and importance as the object itself, this space in between becomes an important part of the world, the mind of playing children can make up. It is this seemingly empty space that stimulated the children creativity to fill it up with their imagination
The climbing domes are made out of vertically and horizontally connected aluminium bars, forming a net like frame onto a half sphere, that is high enough for most children to stand inside. Some bars are arranged closer, to make it possible for smaller children to climb onto the dome and some bars are placed wider, to make it possible to climb from the inside out and vice versa. The pattern is as narrow to allow to imagine being inside of something without feeling locked-up, as in the same time being able to observe the outside.
Besides the meticulous adaption to the physics and psychology of children and their way of playing, one of the most important aspect of the climbing dome, that transforms it from a bare climbing tool into a framework that can be filled by children to become anything, is truly its most simple" and generic shape; the sphere. It is, in the true meaning of the word, a wireframe template that challenges children to use their imagination to transform the bland dome into what ever is needed for their various role plays. Rather than confronting children, in mistrust of their creative powers, with predetermination themes of modern plastic playground, the reduced form of Aldo van Eycks playing equipment, challenges children to imagine their own world.



A Model of the Model
When hunting and gathering societies gave up to agricultural and trading, the knowledge about heaven and the stars provided important information about seasons and navigation. It is no wonder that the moon, sun and stars were also given divine characteristics in most human cultures. The sun and moon control the floods, the seasons and the harvest. Therefore astronomy was in service of Religion and while all cultures recognized the heaven to be round, only some have speculated about the roundness of the universe as sphere. The Babylonians concentrated their efforts in understanding the movement of the stars rather than inquiring about its form. Only a few cultures as the Greeks or Romans used geometrical models to express their vision of the sky and the universe. Furthermore it appears that in these cultures where geometric models of the universe involved spheres, we find round shaped sacred buildings.
It is important to say that these buildings, inspired by cosmic models, aren't a direct translation of the universe but rather models of the model of the universe. Cosmic symbols in architecture are the result of a double translation, where ideas about the nature of the universe are first translated into geometry and then retranslated into architecture.
No document of its construction, porous or architect survived the 2000 years of the existence of the Pantheon in Rome. A close look at it's architectural features allow an interpretation as architectural model of the Roman world view: The large rotunda of the Pantheon is composed by a cylinder covered by a gigantic 43 meter wide half sphere, that, if continued to a full sphere, would be exactly tangential to its floor. The Romans believed that the stars were fixed on a spherical heaven and some scholars of the Pantheon claim that each of the 140 sunken panels at the ceiling of the dome, called coffers, where decorated with a bronze star. We therefore can conclude that the first characteristics of the cosmos modelled by the Pantheon is the perfect roundness. The only light source of the building is it 9 meter wider central opening on top of the dome that symbolizes the sun and its movement over the convex floor, that is 28cm higher in the centre. These formal architectural characteristics represent the model of a Spherical earth inside a spherical universe.
In secular buildings we generally interpret the shapes as deriving from the buildings function and not as symbolically meaningful in themselves. Sacred buildings functions instead is to be symbolically meaningful. They are an expression of religious belief, proving to all men what is divine and Superior. Building spherical buildings as the Pantheon require not only the understanding of complex mathematics, as the calculation of pi but also high material recurses, so there has to be a strong motivation to build these complex spheres. This, probably strongest of all human motivations, was faith.

Panopticon
In his Book “Panopticon”, British philosopher Jeremy Bertham describe his ideas of the perfect prison. His Panopticon, from the Greek pan, for ‘all’ , and optik, for ,visual’, is based on the concept of a perfect round view, allowing the observation of every prisoner from a single, central, point. The radially arranged cells of the prison enclose to a full circle and have each two openings: A window to the out-side and metal bars towards the inside through which the inmate can be observed by a watchman sitting in a tower at the exact centre of the building. The incoming light makes it easy to see inside the cells but impossible for the prisoner to recognize when being observed. It is also impossible to communicate from cell to cell or to conceal from the permanent and simultaneous surveillance of the totalitarian observer. According to Bertham, this is what would make the delinquents behave conformable and eventually forces him to internalize this relation of power that forms his behaviour.
Michel Foucault saw in his work “Watching and Punishing” (1975) Bentham's prison building as a prototype for the perversion of bourgeois enlightenment and as a symbol for totalitarian dictatorship. However Bertham wasn't, as often misunderstood, a proponent of surveillance. As a modernist and follower of the Enlightenment movement, he rather wanted to revolutionize the incarceration and dispense with corporal punishment. His utilitarianism belief, that simplified states that an action is morally justified when it maximizes the well-being of all persons involved contains a cold rationalism and the general schizophrenia of liberalism that always wants the good but always creates the evil.
Women in Computation
KIM Institute

Poster for Matteo Pasquinelli and Ariana Dongus using an Typeface generated by artificial intelligence. In collaboration Barney McCann and Desiree Kabis.



The seminar “Women in Computation” took place during the summer semester 2019. It provided a historical introduction to feminist theory and to its intersection with natural sciences and information technologies in the 20th century. The foundation for the course was built on the historical and yet invisible role that women and their labour practices have played in the development of computer technologies, such as during the industrial revolution, during WWII and in the development of the first mainframe computer ENIAC in the United States. The displayed exhibition is the result of collective research to “write women back into the history of computation they were always part of” (Jennifer S. Light).The project presentation is a collaborative work by students Ulrike Barwanietz, Vanessa Bosch, Emma Lilo Keller and Carmen Westermeier. The seminar was organised by Ariana Dongus and Prof. Dr. Matteo Pasquinelli. Desire Kabis and I were comissioned to design a poster that would mention some of the course references. We collaborated with artist and programmer Barney McCann who used his “computers handwriting” algorythm to generate the glyphs on the poster.

Theory of Derive
Walking as practice

Johann Wolfgang von Goethe
Der Wanderer

Wandrer. Gott segne dich, junge Frau,
Und den sÀugenden Knaben
An deiner Brust!
Lass mich an der Felsenwand hier
In des Ulmbaums Schatten
Meine BĂŒrde werfen,
Neben dir ausruhn.

Frau. Welch Gewerb treibt dich
Durch des Tages Hitze
Den staubigen Pfad her?
Bringst du Waren aus der Stadt
Im Land herum? —
LĂ€chelst, Fremdling,
Über meine Frage?

Wandrer. Keine Ware bring‘ ich aus der Stadt
KĂŒhl wird nun der Abend
Zeige mir den Brunnen,
D‘raus du trinkest,
Liebes junges Weib!

Frau Hier den Felsenpfad hinauf.
Geh voran! Durchs GebĂŒsche
Geht der Pfad nach der HĂŒtte,
D‘rin ich wohne,
Zu dem Brunnen,
Den ich trinke.


Wandrer Spuren ordnender Menschenhand
Zwischen dem GestrÀuch!
Diese Steine hast du nicht gefĂŒgt,
Reichhinstreuende Natur!

Frau. Weiter hinauf!

Wandrer. Von dem Moos gedeckt ein Architrav!
Ich erkenne dich, bildender Geist!
Hast dein Siegel in den Stein geprÀgt.

Frau. Weiter, Fremdling!

Wandrer. Eine Inschrift, ĂŒber die ich trete!
Nicht zu lesen!
Weggewandelt seid ihr,
Tiefgegrabne Worte,
Die ihr eures Meisters Andacht
Tausend Enkeln zeigen solltet.

Frau. Staunest, Fremdling,
Diese Stein‘ an?
Droben sind der Steine viel
Um meine HĂŒtte.

Wandrer. Droben?

Frau. Gleich zur Linken
Durchs GebĂŒsch hinan;
Hier.

Wandrer. Ihr Musen und Grazien!

Frau. Das ist meine HĂŒtte.

Wandrer. Eines Tempels TrĂŒmmer!

Frau. Hier zur Seit‘ hinab
Quillt der Brunnen,
Den ich trinke.

Wandrer. GlĂŒhend webst du
Über deinem Grabe,
Genius! Über dir
Ist zusammengestĂŒrzt
Dein MeisterstĂŒck,
O du Unsterblicher!

[...]


Publication Palais Mouvais
Romantic artist Hans Thoma, "Selfportrait" and "Der JĂ€gr im Wald"
Publication Palais Mouvais
I tested the situationistic "Derive" technique to experience Paris on a 4 houre long walk
Publication Palais Mouvais
I recreated my walks with things I collected as a map
Publication Palais Mouvais
Publication Palais Mouvais
4

Publication Palais Mouvais

Publication Palais Mouvais

Publication Palais Mouvais

Publication Palais Mouvais

Publication Palais Mouvais

Publication Palais Mouvais

Runners Meeting
Lauftreff

Overnight poster designs for the schools running team. In Collaboration with Shuaitong Zong.

It's a match Tennis poster printed on sand paper
Close up Tennis Poster
This poster is printed on red p100 sandpaper


We love running and sports in general. Therefore Shuaitong and I founded “Lauftreff”, trying to compensate the non existing sports offers at our University. We met mostly once a week and tried to come up with announcing a poster for every running session. Since the dates of the sessions are spontaneously chosen we were often forced to design the Posters late night to send it via e-mail the next day to other students. Each time we tried to come up with an original idea and had great fun testing out different methods and styles. In case of bad weather, we went swimming and in summer we even organized a tennis tournament.

HfG Tennis Team Posing
HfG Tennis Team Posing
HfG Tennis Team Posing
HfG Tennis Team Posing
HfG Tennis Team Posing
HfG Tennis Team Posing
Avoid Red Arrows
Poster

We designed a series of seven posters for the lecture of Avoid Red Arrows using an open silkscreen and cut out shapes.

Shuaitong and me were asked to design an announcement poster for a talk from Stefanie Miller, Marko Grwe and Peter Stahmer from the type foundry "Avoid Red Arrows". The three alumni of HfG had been talking about how they set up their foundry and gave us important input, that helped us setting up our own type foundry: The Nofoundry. The poster below was our first sketch that contained a manual to bootleg fonts from many typefoundry websites.
First sketch that we dissmissed


First sketch
The image, that shows a man shaking someone’s hand by using an others persons toren-off arm, is a bit like using ripped typefaces for us. First of all: it's obviously a bad thing to do, but besides that, it actually does almost the same job as the original. But since Avoid Red Arrows is giving away all of their fonts for free, there is not much to steal and therefore the metaphor and the ripping manual seemed like an obsolete provocation to us. Hence, we concentrated on the typefaces on their website and extracted a repertoire of shapes formed by the white space of their typefaces and glyphs. We both really like the idea of presenting a type foundry not by its own typefaces but by the absence of their typefaces. While silk screen printing an open screen, we placed the forms by hand between the screen and the paper and arranged within every print run a unique poster.

Cutouts layed on top of every sheet before the print
Final Poster Series
Space
Jupiter EP
Shahrokh Dini
Design of the Vinyl sleve for Shahrokh Dinis new Jupiter EP.
Jupiter EP Vinyl




Jupiter EP
TBI-regular
TBI-corrected

A generativ typeface that makes use of the hidden tracing algorythm of low resoluted type.

Generative
While working with the image tracing tool of Adobe Illustrator, I abruptly paused and wondered how the tracing algorithms magically turns bitmap graphics into vector graphics. Suddenly interested, I was reading more about the automatic process and while still not truly understanding the schemata of the process, I realized its huge advantage: It does not include an optical character recognition system, which means that glyphs are emotionlessly treated as lines, curves and filled objects without attaching any significance to their true shape or meaning. This led me to think about a process in order to generate a typeface (more detailed below), where the shape of every glyph is not based on common aesthetics and years of type design history as most of existing fonts do; instead, it follows complex, mathematical algorithms of the vectorization process, and belongs therefore to the generative typefaces.
TBI stands for Traced-by-Illustrator and comes in its original conceptual regular version or in its corrected version for an improved readability. As an example of this process I created four different typefaces which are differing in the resolution of their origin bitmap. The Specimen is a foldable booklet Poster.

Generally, in digital type, all glyphs are designed as vectors. When characters are rendered on a computer screen, this very precise and ideal shape or bézier curve of the vector needs to be expressed with a more or less coarse grid of pixels. The appearance of the glyphs depends on the number of pixels, used to display them on the screen. Algorithms in the computer graphics card decide which pixels are shown black, and which are shown white, depending on the percentage of space of the pixel is overlaid by the vector.

By using very small text sizes, e.g., such as 9pt, there are just a few pixels left rendering the glyph. In this case, glyphs of various different fonts look very similar. Moreover, different sizes of the same font show huge differences in their look because of the small amount of pixels used. Often typefaces are hinted, which means that for every resolution or size below a certain value precise instructions or hints are adjusting the display of the glyph and are rendering a more clear and legible text.

The Adobe Illustrator tracing program tries to turn the bitmap information into single vectors by finding edges, comparing colour, and comparing brightness of every single pixel. During this complex process the program fails to in-interpret the pixels correctly. The tracing result differs significantly from the original bitmap. TBI is now benefiting from this fuzziness, using the result as new concept. For some letters it is possible to guess their origin, whereas for others it is incomprehensible why the program chose certain vector shapes.

For an improved readability, every of the four cuts comes with a corrected version, which has as few interventions as possible. This is to offer a readable, but at the same time conceptual font including the main punctuation marks.

TBI 9pt Regular
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­
TBI 9pt Corrcted
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­
TBI 11pt Regular
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0  ­?­!­
TBI 11pt Corrected
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­
TBI 13pt Regular
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ?­!­
TBI 13pt Corrected
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­
TBI 15pt Regular
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­
TBI 15pt corrected
A­D­B­C­D­E­F­G­H­I­J­K­L­M­N­O­P­Q­R­S­T­U­V­W­X­Y­Z­a­b­c­d­e­f­g­h­i­j­k­l­m­n­o­p­q­r­s­t­u­v­w­x­y­z­ ­1­2­3­4­5­6­7­8­9­0­ ­-­,­.­:­;­?­!­


Font-in-use from TBI by Timothee Charon
Fon-in-use TBI. Graphics designed by Timothee Charon...

Font-in-use from TBI by Timothee Charon
...for a Workshop from the Institute for Interactive Practices of Digital Design (IPDD)...

Font-in-use from TBI by Timothee Charon
...at Staatliche Akademie der Bildenden KĂŒnste Stuttgart ...

Font-in-use from TBI by Timothee Charon
...from the HfG Karlsruhe

Font-in-use from TBI by Timothee Charon
...with use of "artificial intelligence".


Thanks for your visit. 🌝 Above, you can find more infomation About myself. Soon I will upload new project like the just finished exhibition catalogue "Digital Divide" for the Kunstverein Speyer, the new poster for the Saturday Type Fever and an exchange program between the HfG Karlsruhe and the EnsAD Paris that we initiated, organized and conducted.