Simplexity
Bachelor Project
Rather than being eclipsed by new technologies, modern typography has become a powerful medium for visual experimentation and personal expression.
This book is a study of the complexity of grids. The goal is to be able to derive different variations of letterforms from a simple grid. Modular systems are constructed as expansive design spaces that allow the production of an almost infinite range of results. It demonstrates how letters, words, lines and text are formed of basic elements and how they shape typographic communication. „Simplexity“ is an experimental effort which basically reveals a simplified complexity.
Each of the 26 upper case letters has a distinct structure, which determines the letter's meaning. If the structure deviates significantly from its common form, the letter no longer communicates. It loses its function. Each letter's structure consists of a certain number of strokes. The basic components of letterforms are horizontal, vertical, slanted, and curvilinear strokes. Combined, strokes imply elementary letterforms. The composition's angularity is increasingly diverse.
The book is divided into two parts:
Part 1 (Initial Grid) contains nine alternative bookmarks for each capital Roman letter A-Z, all constructed using the same simple and primitive grid „base“ of lines. With nine different variations of each letter, this counts for over 234 symbols. These have been carefully sorted and visually ordered.
Part 2 (Further Grids) is divided into eight further grids: „Pixels“, „Thunder“, „Diagonals“, „Spikes“, „Sapphire“, „Circle“, „Waves“ and „Mandala“. These consist of straight, diagonal as well as curved lines. Again, nine different variations of the capital Roman letter A-Z were formed based on each of the grids. The visual representation of the letter variations is also based on a simple grid. By replacing word stems and endings with alternative shapes, the language of typography changes. These characters vary in legibility but express a secondary form of design and graphic language - it should support reading, but it should also be a source of visual pleasure and inspiration. A letter is not necessarily the form we are used to seeing, but an element with surprising possibilities for changes and reinterpretation. For design, this shows an enormous possibility of developing letterforms based on different grids.
270mm x 210mm, Softcover
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