Tuaf is an experimental Latin & Arabic type family designed for small sizes, started as an EsadType graduation project.
The process began with sketches on 2 mm high lines, adhering to strict rules. This approach prompted an exploration of the interplay between the black and white shapes, shaping the writing rhythm over the individual letter details.
Rather than a linear increase of weights in the family, the styles changed shape or structure to improve their performance at small sizes.
In his works, Wolfgang Herbold deals with scientific and technical image strategies.
The unexpected, surprising and unexpected is provoked from the most diverse digital possibilities.
One element of his working method is the causation and experimental triggering of accidents, incompatibilities and malfunctions,
be it in the exchange between digital programmes, be it in the constant change between digital work
and other techniques such as drawing/painting, as well as within a technique.
Attached are the book’s spreads with illustrations and text. The main design idea is radio and television noise and vibration. Constant repetitions, lack of chronological order, chaotic facts, and historical statistics data are like noise from which you can catch individual slogans popping up in the book’s margins. Hence the idea to make a book in the style of radio waves with different frequencies that overlap each other and create a noise from which you can catch individual quotes and phrases.
The ASCII Playground is an attempt of a browser-based live-code environment with text-only output.
It is born from the joy and pleasure ASCII, ANSI and in general text-based art can give and it is an homage to all the artists, poets and designers which used and use text as their medium.
From the design perspective it is also an exercise in reduction: there is almost no interface, just a preview window and a code editor; margins and line numbers are removed as well.
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https://play.ertdfgcvb.xyz
The amazing slow-growth movement of the Platanus tree branches directly inspires the wavy, brutalist style of symbols. Typeface deliberately created by combining primitive pattern-like shapes and simple forms. Platanus letters can appear straight and narrow, or breaking and wattle. Sometimes alien-like, a bit haunted, sometimes clumsy, even child-like. Still monumental. Accidental ain’t random by appearance and its process. Platanus.
“Non-resident Alien” is a US tax designation for individuals who do not hold permanent residency status or US citizenship, which applied to Sajad upon arriving in the US as an international student. The project “Language is not Innocent” explores the uncertainty and ambiguity in language and its dramatic sociopolitical impact through semiotics. Interestingly, scrambling the order of “Non-resident alien” yields “Resident non-alien,” which has an almost opposite meaning in both English and Farsi.
Typographic sample poster for our newest variable font Zanco.
Design direction for the branding of an editorial in Argentina.
Experimental typographic poster for an audiovisual installation in Geneve.
Being in the Garden of Forking Paths, an exhibition at OFFICE IMPART, a multi-dimensional space and platform for contemporary art, features works by CROSSLUCID, Salomé Chatriot, and Pola Sieverding. The exhibition runs from July 17th to August 23rd, 2024.
CROSSLUCID’s latest work, We Have Never Been Human / alias (2024), breaks from traditional construction methods by focusing on the interplay between models, data sets, and prompts. Unlike the common AI approach that emphasizes prompt generation as the key to artistic control, CROSSLUCID prioritizes the model and data interpretations over the artists’ direct inputs.
This shift allows for the emergence of beings with emotional expressiveness previously unseen in photographic and GAN outputs. Emotion here is seen as arising from the complex interactions within the latent space—the undefined and uncontrolled area between prompt, data set, and model.
This concept echoes the themes of Landscapes Between Eternities (2018), the dataset for We Have Never Been Human / alias (2024), highlighting the importance of finding new ways to connect objects and subjects. Released on the platform Alias, which uses protocol-based technology for IP attribution and royalty redistribution, the work invites audiences to delve into the artist’s process. Visitors can engage with the CROSSLUCID x Alias model to create their own artworks, available as digital collectibles or physical prints.
A special event will be the artist talk at the Office Impart this Thursday, 1 August 2024, 6pm.
Very special for us about these works is the AI portraits, which were also featured on the covers of our Slanted Magazine #37—ai. Every single magazine had its individual AI generated cover (a few printed copies and an e-Book are available here!), making it a particularly exciting and visually interesting issue, which is why it’s great to see familiar faces in the exhibition again!
© exhibition shots by Hans-Georg Gaul
Typographic sample for our variable type Broker.
Typographic sample we created for one of our newest variable types, named Brinca.
Part of the sample work we created for one of newest variable fonts, named Brinca.
Typographic experiment to celebrate the new year, 2024.
Experimental typographic artwork to celebrate this year as a leap year. We only get one every four years!
Antiphony is a type family that explores typographic extremes and orchestrates commonalities through opposites. Antiphony is a dualistic system that challenges the viewer as well as traditional models for typographic systems. Because of the extreme angle of the forward and reverse italics, Antiphony is suitable for setting type at 45° in either direction. Additionally, the fluid nature of the design allows naturally setting the type on curved paths.
Affection (1) is a sculpture. It is made out of wire, concrete, plaster, acrylic paint and a reflective stainless steel plate, measuring approx. 300×400×600 mm (D×W×H). It needs a wall to lean on. Affection (2) is a state of mind and body. It is a come together of two different beings or forces under good will and tenderness. Aff. (1+2) is the sum of Affection (1) and (2). It also is the realization, that one half is leaning on a reflection, that is leaning on something else.
YO, street style with the help of AI
Metabolic Type is a typography inspired by the Japanese architectural movement Metabolism. What would the movement be like if letters changed shape like living creatures and adapted to their surroundings? This typeface is characterised by a wave-like movement, with the serifs changing according to the letter that comes next.
This experimental lettering is one of the results of visual experiments conducted for the “ARRIVEDERCI E GRAZIE” publishing project. It is a letterset created by blackening receipts exploring the thermal paper properties. Many letters show residues of other words contained in the receipts themselves. This practice is inspired by the work of M. Duchamp who used ready-mades to create art by giving them a second life. Following the same principle, even the receipts can reveal something unexpected.
This experimental lettering is one of the results of visual experiments conducted for the “ARRIVEDERCI E GRAZIE” publishing project. It is a letterset created by blackening receipts exploring the thermal paper properties. Many letters show residues of other words contained in the receipts themselves. This practice is inspired by the work of M. Duchamp who used ready-mades to create art by giving them a second life. Following the same principle, even the receipts can reveal something unexpected.
“unform actress” is a geometrically constructed typeface that tries to jump between classical latin and abstract forms. all letters are related to each other in their form and at the same time are independent in their expression. in large formats, the perception between letters and organic forms becomes blurred
Analogously created letterforms were digitally captured and interpreted by an image-generating AI. Influences such as transparent foil, Y2K product design, X-ray images, and anatomical visualizations shaped the process. The sketches were interpreted and refined using a real-time image-to-image model and repeatedly blended to create new perspectives and expressions. Through the process, static forms transformed into more abstract and organic shapes.
A play on Backgammon, Snap!Gammon pushes the iconic format of the game into a new visual field and narrative. The starting point was turning the board into a crocodile’s mouth, with the pieces – Egyptian plovers – moving along the teeth. The typography is made of triangles/circles. They reference cuneiform lettering – from Sumeria, like the game itself.