Generation technology plays an important role in typography, but argues that human beings need to balance creativity.

Rick Poinor In his 1991 book Typinggraphy Now, he wrote:

“Traditional scholars argue that access to technology will accelerate the decline in literacy rates.

Louise Slopper

The latest Metavers talk focused on immersive, digital technology. No matter how you feel about the algorithm AI revolution, it is here, and it is here to stay. And he slipped into the creative world. A recent project, for example, used AI to create new tracks from artists such as Jimmy Hendrix and Nirvana.

A.D. In 2016, Wunderman Thompson used AI to create a ‘new’ Rembrandt, and Van Gog’s style was convincingly developed from photo to drawing machine. The Automated Talent Agency Genie is another example, winning great typographics and designers on stage, as well as the innovator, algorithm digital product itself.

Technological advances in technology have been improved in all professions – or at least accelerated – processes. In the fields of design and spelling, there is a constant flow of research and experimentation on algorithms, including advanced algorithm-based AI machine learning. This form of generative design has created a lot of revival and divided camps. I have long been interested in using algorithms in design, and it is an area I cannot think of.


How the design type is improving

AI-generated script Aifont, from Process

Type design is improving. Flexible typewriters are fast becoming the fastest way for many brands due to their speed, versatility and flexibility. Algorithms, or parametric, spelling are very broad. It is very different from what we are used to and it is amazing. Instead of a designer working on individual shapes in design programs, a mathematician comes up with formulas to distinguish features from a whole set of letters. Math plus Wisdom brings equally joy, and the results can be quite dramatic.

As a general rule, I often think of algorithm-like designs as jewelry, experimental art pieces. Father and son Math team at MIT, Erik and Martin Demaine, created completely strange and playful “algorithmic puzzles” to show the theories. Concepts from Origami and Sudoku to Fonts have made the science of font science based on play by Jugler Ron Graham methods.

Award-winning artist, designer and researcher Yohun Ahn has created bubble and reproduction-based ornaments, combining creative code into experience graphic design through a geometric code library. The library allows the user to create new characters and then convert them to TrueType and SVG fonts.


Algorithms can save time with type design.

Font Map Screenshot, from IDEO

Nowadays algorithms are best used in type design to speed up functions such as placement and space or computer light, measurement and curve vector. Automotive automation is a very popular way of creating new characters, such as robots, in car manufacturing.

Modern fonts can hold more than 600 characters, and an algorithm that describes certain features such as serif, curve, and angle saves many boring hours related to characters. It can even change entire sets at once, just like Fox in Word. Hoefler & Co applied a three-dimensional font to Obsidian, using a three-dimensional font to quickly illuminate the decoration form and eliminate shadows on each character.

Algorithms and AI can also be used to identify and classify fonts. WhatTheFont is a prime example of this. Kevin Ho developed an IDEO font map to show the similarities and relationships between different fonts; Very useful tool especially when you want to make small adjustments to your font selection in a project.

Space is a challenge, but it is an important part of typing. If there is no one-size-fits-all approach, it would be nice to see the opportunity for AI to learn visual compensation.


Brands must first think digital

Strichpunkt’s rebrand for Audi

When it comes to branding, many companies need to think digital-first. The Austrian Design Studio process focuses on generative and interactive design. The design team took advanced writing skills with the help of an advanced script and more than 200,000 fonts. This system It was used to create a visual identity for the 2019 Uncanny Values ​​Exhibition in Vienna, Vienna. Another unique example Strichpunkt’s rebrand for AudiHe took advantage of opportunities in generative design.

All of this means more time for conceptual play and the artist. After all, we live in a society where speed is crucial and there is a great deal of impatience for the newcomer. In the same way, replacing a high-tech designer with the undeniable uber-perfection of a hand-held machine can be seen as the death of man-made craftsmanship. They cannot replace human creativity with debate – or hope.

Gerard Unger once pointed out that “the script will always be a self-portrait of a designer.” The designer is a computer, and I can’t help but think about how much soul there is in creation. Does every new spelling eventually come from the same source everywhere? We do not fully trust robots, but AI will undoubtedly be an important helper. I look forward to seeing what happens next, so that there is a well-balanced balance between man and generator.


Louise Slopper is TypoCircle’s chairman and studio founder and creative director.

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