Created by Mary Huang, TYPEFACE is a study of facial recognition and type design, creating a typeface that corresponds to each individual, like a typographic portrait. Somewhat similar to LAIKA project – interactive typeface, the challenge here were the limitations of geometric type system, being able to allow for a great amount of variation while maintaining a general level of quality in the letters. This was made especially harder by using lowercase letters.
…people really wanted to do was make funny faces at the camera so they could watch the type change. So, I decided to encourage that. I also wanted to draw a closer connection to handwriting, so I added the ability to type in the program, which creates sentences with accumulated variation in the letters.
TYPEFACE was created using Processing.
UPDATE 27.07.2010: App is now available for DOWNLOAD.
- Helvetica Face [Flash] Created by Naoki Nishimura, Helvetica Face is a Livetype format font. This new Helvetica family font changes the “typeface” based on the posting of a new “face”. The site allows you to record your face within the font, adjusting the threshold resulting in a new glyph you can download. While normal fonts which are governed by software rules on how to show the internal form (=data), Helvetica Face doesn't have this internal information on the form. What is does have is external data given in the shape of a image of your face, and how to show that form is the only rule. For that reason, through the given data, the form continues to change without bounds. Livetype is a new font format which takes a variety of data and can change the form of it in real […]
- Prototyp-0 / Font Generator [Processing] Created by Yannick Mathey (byte-foundry), prototyp-0 is an application designed for the drawing of typographical characters. Created using Processing, the application automates the process allowing you to manipulate a large number of character properties in realtime, reflecting on the results and applying it to others. Settings used on a single letter or letter sequence "type," are instantly reflected on all the glyphs: Low-to-break, capitals, small capitals, but also numbers and common punctuation. The built in database includes all the typographic features achievable for any desired font, including fonts similar to the historical styles. Markers can alert the user of the limits and within the established rules of proportion and typography. For more info and to follow development process, see diplome.canalblog.com + yannickmathey.com byte-foundry.com See also: TYPEFACE [Processing] - Type design by facial recognition // by ... + typography tag on […]
- edding 850 Font by Büro Destruct + Collaborative Realtime Text-Editor Couple of months ago Büro Destruct got a call from 'edding' – famous for their permanent markers - and they wanted BD to design a font for them based on the edding 850, their boldest marker. For those that have used the marker know the limitations and also the freedom and scale that comes with using one. The team started scribbling and doodling straight away with countless sheets and letters they abandoned the idea of doing a script they've preferred the idea of each letter becoming a logo by itself. The font evolved from two simple principles, the thick and the thin stroke, the basics of the marker depending on which way you draw, up/down. Ultimately these two stroke weights create a modular system which can be combined to produce most letters. Besides the font, the team also built a web app which is an endless whiteboard following the principle of edding marker - what has been written, can't be erased. The Type-for-type web application created in HTML5 allows you contribute something to the collaborative realtime text-editor. Once you’re done, the «edding 850» opentype font is available for download. It comes together with a PDF-magazine that features the most liked designs from the project gallery, basically the blog side of the site, where everybody can upload anything using the font. Try it here: Type-for-type | project […]
- mis.shap.en.ness [Processing] mis.shap.en.ness are the latest experiments by Reza Ali who we have covered on CAN a number of times in the past. The images below were created with a processing utilizing springs and particles. The program allows you to enter a string, then that string’s type is traced out, rendering its outline. Using the outlines consisting of points allow these points to be transformed into particles, connected (via springs) to other particles in their proximity creating mesmerising effects of leaking geometry. The springs apply force fo the particles which keeps them together and also apart. Then gravity is applied to these particles, which causes wet paint-like drips to form in the image (when the background of the image is not cleared of course). I interact with the decomposition of the text’s form via the mouse (soon to be the touch screen of an iPad). This interaction pushes particles away from the mouse’s position in such a way, that it resembles paint splattering on a canvas or a pseudo Jackson Pollock effect. The process of creating the image is fun, and really where the magic happens, where you can see the decomposition process unfold before your eyes. Although no download of the app is available, as with most Reza's experiments expect this to appear soon. More info on syedrezaali.com and also keep an eye on his flickr. See also: A Drifting Up [Processing] - Audio reactive piece by Reza Ali .. Superformula | CreativeApplications.Net BioRhythm [openFrameworks, Mac] - glsl noise distortion in ... Lormalized [Processing, Mac, Windows] - Lorenz + 25k particles ... and Jacob’s Cave [Cinder] by David […]
- YouWorkForThem – How Proce55ing typeface came to be (Sponsor) For the second time this year we are very pleased to welcome our dear friends YouWorkForThem as the sponsors of CreativeApplications.Net. Today we share a little story about how Proce55ing typeface came to be and how the same two people, 8k miles apart, met in person by pure chance. Some 10-12 years ago Casey Reas (Processing) was looking for someone to design the Processing typeface. Since he has been a fan of Michael Paul Young's and YWFT work already, he approached them to create it. In return, Casey would write some visual software experiments for a website Michael was working on. The original Processing logo, designed by Casey (the big P), was drawn around Arial, the typeface that was used on the website at the time. YWFT designed both the new Proce55ing font and improved upon the original letters with the "Alternate" version, which is what you see on the Processing website today. So, the life went on and both Casey and Michael randomly talked here and there, but never met in person. About 4 years ago right after Michael moved to Thailand, him and his wife went back to America to visit friends and family, and along the trip they were in his home town in Tennessee to visit his dad and go to his old friends wedding. So Michael is at her wedding and all is well, having a few drinks and talking to his friends (the bride) brother, hadn't seen him in 10 years. He is asking what Michael does and as usual Michael is having a hard time trying to explain, but it comes out to something about using computers to "make art and shit, or um graphic design". He then gets excited and is like, really? "You know my cousin is all into that stuff, he even teaches it or something! You guys should meet, he is here today!" So Michael and the bride's brother walk over to another table, and her brother introduces Michael to this guy with a "busted ass beard in some vintage looking suite". He says, Mike, this is Casey, Casey this is Mike, I think you guys should meet, it sounds like you guys are into the same thing. Instantly, a light bulb goes off in Michael's head, and he says...Casey Reas? He said, ehhh, yeah? Michael is about spit out his brain..."wtf!" Ten years later, Proce55ing typeface YWFT designed still stands as the visual identity for Processing. YouWorkForThem live and love and breathe design. Michael leads YWFT with Jackkrit Anantakul as Senior Art Director, Piyada Vachanaratana in marketing, Michael Madill as a copywriter, Paul Frank Young in accounts and Alpha Wayha Young in R&D. It's a small affair but with huge reputation. So, take some time away from your daily routine and say hello to youworkforthem.com. It will change how you think about type. Summer Sale is On! Thank you Michael + the team at YWFT! Just few of the typefaces YWFT has on […]
- Craig Ward [Profile, Events] We had a pleasure of hearing Craig speak at the recent OFFF conference and thought we'd outline his talk including influences, development and general typography interests he has evolved over the last few years. Interestingly, we do not have many typography projects on CAN and considering the Craig's procedural working we thought it might appeal to CAN readers. Craig was early on drawn to Chuck Close's work, not something particularly evident in art history including his face drawings that were composed out of many small pictures. If you are unfamiliar with Close's work, it's a must see, an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits (wiki). "I felt his work was relevant to mine because he believed that the brain was capable of making huge cognitive leaps when it came to recognising forms like the face. And that, because of that, he felt comfortable and able to abstract it so greatly. I believe the same is true of letters and words - here in came my point about nurture Vs. nature as you don't recognise letters from birth but thanks to your education (and possibly Sesame St) you're able to treat and abstract letter a lot before they become unrecogniseable to human eyes." Craig later developed interest in the concept of "nurture vs nature" in typography, treating type relevant to context and Henrik Kubel's work with letter press. He particularly enjoyed manually set kern which Henrik and Craig likewise believed this manual process resulted in better design decisions. 2003-07 were Craig's "Letterpress Years", getting inspired by constructivist type assemblages of words and type. His "build a house and rocket car" was one of these pieces, created using letterpress included type with own narrative. These experiments evolved to creating pieces such as the typographic map of NY and a map of London. He particularly enjoyed the printing process, able to produce unexpected results, a textured type in most cases but always being "slightly a chance", the distortions that were difficult to control and uncontrollable elements to play with. Once his cut hair fell on the floor resulting in what could have been read as a letter 'C'. Having gone to the barber to collect hair waste he began to experiment with creating other letters of the alphabet by just throwing them around and looking for shapes to come to life. The typeface was created out of images of hair followed by PhotoFont software commission to create new photo sets. "ink and water don't mix" were his new experiments by simply dropping water onto black ink and photoshopping these thereafter. Pieces like "don't die from a broken heart". It was the organic and clean juxtaposition that he enjoyed the most. A conflict of something that is controllable but at the same time organic. Since 2007, Craig influenced by the work of Universal Everything and particularly that of Karsten Schmidt began to explore generative possibilities of type. Working with Processing, he commissioned explorations from programmers to explore how type/shapes could be evolved. What began as simple explorations into generative shapes, with some control introduced into algorithms they began to see letters evolve - beautiful by their creations. "Reimagining frost patterns" was the inspiration, writing a script that will create invisible patterns. "Love" piece created using particles - gravity and motion further inspiring "kinetic type experiments". "Love Spreads" (in collaboration with Cedric Kiefer) was one of the pieces, utilising Brownian motion to draw hairs out of each pixel embracing the random element in generative. Further on, inspired by random phrases found in the toilets, scratches into walls, Craig created pieces such as "wishing where I was when I was wishing I was here..", "dont stop thinking about tomorrow" leading onto geometrical progression. His interest in kinetic typography, things that were physical in their nature but had qualities of digital began to evolve to include a project playing with type on broken glass. With Jason Tozer, photographer they created experiments with screen printed glass being fired into with split seconds captured by the camera. They particularly enjoyed the physical manifestations in the process - avoiding replicating in 3d software. Pieces such as "you blow me away" was created. See the making of here. Having been commissioned by CreativeReview to design the cover, re-image the logo, Craig experimented with amorphous perspective, drawing logo in space viewed from a single viewpoint. Logo was projected onto stair, drawn in red, legs in the air - emerging behinds the stairs. This led onto designing the cover for the CreativeReview's The Annual. With this large task at hand, looking at previous work where artists produced bigger and bigger manifestations of type in the built environment, Craig decided to instead go smaller. Experiments led to creating things like a letter A on the top of a pin but Craig was more interesting into going even smaller, at cell level. Laser cut pieces were just too big and having found a immunology lab, Craig began to play with pollen cells, micro beads resulting in beautiful natural creations where pollen compacts fall into the letter A embeds. For more of Craig's work see wordsarepictures.co.uk and his page on debutart.com + his behance + his […]
- LAIKA [Processing] A bachelor thesis project of Michael FlÃ¼ckiger and Nicholas Kunz,Â Laika is a dynamic typeface created using Processing. Via a custom designed control panel, user can adjust kerning, italics, size and other properties of a typeface. The final project installation included a type which was responsive to passers-by. Try it online here (via blitblit) LAIKA on […]
- The Frankenfont [Processing] The Frankenfont project by Fanthom (Ben Fry and co) is an edition of Mary Shelley's Frankenstein laid out using characters and glyphs from PDF documents obtained through internet searches. For each of the 5,483 unique words in the book, the team ran a search (using the Yahoo! Search API) that was filtered to just PDF files. They downloaded the top 10 to 15 hits for each word, producing 64,076 PDF files. Inside these PDFs were 347,565 subsetted fonts. From those fonts, 55,382 unique glyph shapes were used to fill the 342,889 individual letters found in the Frankenstein text. The incomplete fonts found in the PDFs were reassembled into the text of Frankenstein based on their frequency of use. The most common characters are employed at the beginning of the book, and the text devolves into less common, more grotesque shapes and forms toward the end. fathom.info/frankenfont Profits will be given to Donors Choose to buy books for […]
Posted on: 20/02/2010
Posted in: Processing
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