Selfie is defined as photography that one has taken of oneself, typically one taken with a smartphone or webcam and shared by social media. A selfie is a form of art. Over 1 million selfies are now taken every day. Selfies are not always as spontaneous as they seem. They can be a communication tool like any other that can be manipulated for purposes. Typography is the style and appearance of the art of arranging type. A typographic selfie + CODE is an extension of Selfie + CODE which is a collection of generative selfie series by using computer algorithms and libraries. The algorithmic processes expend the concepts of traditional self-portraits to generative and expressive visual languages conveying though or feeling as visual styles. The visual style was inspired by Impressionism, which is a 19th-century art movement that captures a moment, such as Claude Monet’s Sunrise, for instance, by using a smartphone, and Expressionism, expressing inner troubles and feelings of anxiety rather than technical skills or beauty, which is a traditional goal of art. The artist started taking her generative selfies, Selfie + CODE, in 2015 to raise awareness of Asian female faculty being isolated and marginal in a predominantly white institution (http://www.socialhomelessness.com). Her generative selfies have captured psychological moments to express those individual identities are devalued and deconstructed by a homogeneous institution and an ethnocentric group in the United States. It has been shared by social media. The virtual supporting system at Facebook, “Like”, by her diverse mentors and friends, helped her to persist and survive in a regionally isolated and exclusive community. Eventually, It has brought her psychological reconciliation and healing to succeed in dealing with difficulties. Her visual research by using generative selfies have been extend to a medium, typography, as a title, The Typographic Selfie + CODE. Now she is working with diverse typefaces to embed typographic elements into generative selfies to explore alternative typographic solutions purposely.
Language is a way of human communication. Visual language is a system of communication using visual elements. It structurally includes line, shape, color, form, motion, texture, pattern, scale, space, and proportion. Typography is the art and technique of arranging type to make written language legible, readable, and visually appealing to the audience, by the visual elements. It is a visual representation of the written language. Tangible Type extends typography consisting of visual components to perceptible typography by physical touch, one of the human senses. It suggests another linguistic experience beyond spoken, written, and visual languages. Also, it make adequate visual and tactile experiences in human communication. The design process accomplishes artistic expression, construction technique, and materiality. It results in dimensional, textural, and touchable type enhancing typographic experiences.TYPE + CODE explores the interaction of typography and computer code. The computation empowers typography to visualize parametric and systematic typography by mathematics expressions, computer algorithms, and libraries. It showcases alternative and unconventional typographic practices and solutions as visual communication. Tangible Type + CODE explores tangible typography by using computation and digital fabrication. It is a typographic research to make a bridge from code-driven typography to tangible typography by a human senses, touch, in collaboration with digital fabrication. It is applicable to a learning tool for children to acquire of a written language as a play that is engaging, playable, and touchable. For more information: http://www.tangibletypeandcode.com
Students' Works from the Course, Advanced Typography, Graphic Design Program, Art Department, University of Wisconsin, Madison,WI, in 2019 Spring.
It is created by Paul Bulgin from the Course, Advanced Typography, Graphic Design Program, Art Department, University of Wisconsin, Madison,WI, in 2019 Spring. It is mentored by Prof. John Hitchcock in Printmaking.
Flowers is a part of TYPE + CODE IV. TYPE+CODE IV is a computational typography system to explore legible, expressive and narrative typography. It shows how a custom illustration can be embedded into a selected typeface to explore legible and expressive typography in a generative system. Flowers is inspired by a Korean Contemporary Christian Music, 꽃들도, Flowers too, by MEBIG, at KOSTA 2019. It consists of several pieces from an initial drawing, extension to irregular patterns, a letter form (F), two words (Flower and flowers), a generative illustration by using L-system algorithm as a tree form, a Korean typography, 꽃, which means, Flower, in English, to exhibit diverse visual and typographic outputs
It is the Students' Works from the Course, Motion Typography, in Graphic Design program at the University of Wisconsin Madison in 2019 Fall. Participating students are Bevan Alomepe, Mo Chen, Lauren Chung, hong huo, euro kim,and Claire krieger.
It is a collection of the typographic research by using computation. It explores the aesthetic of experimental code driven typography by using Processing created by Ben Fry and Casey Reas. Initially it began with my MFA thesis, TYPE+CODE, at Maryland Institute College of Art, in 2007, and then, it has extended to my lifetime research project since I graduated. Through TYPE+CODE II, I have experimented with traditional and cultural oriented calligraphy to reinterpret into modern and contemporary typography with the computer codes. It crosses boundaries between calligraphy, graphic art, typography, and computer art. I use letterform, words phrases, and sentences to explore innovative typographic forms and solutions by using mathematic expressions, computer algorithms such as Binary tree and L-system and libraries. They convey diversified visual messages inspired by nature, addressing environmental issues such as green design, healing through arts, exploring philosophical and religious interpretation regarding life, death and love. The updated version, TYPE+CODE III, shows the possibilities of an extension of the aesthetic of code driven typography from cyberspace to physical space by using digital fabrication and various mediums.TYPE+CODE IV is a computational typography system to explore legible, expressive and narrative typography. It shows how a custom illustration can be embedded into a selected typeface to explore legible and expressive typography in a generative system.
To implement my visual ideas, I referenced Geomerative Library and Caligraft(http://www.caligraft.com,) created by Ricard Marxer, Binary Tree Algorithm(data structure in computer science composing of parent nodes,or leaves,) L-system algorithm,simulating dimensional tree forms with fractals and the fonts, Arial, Helvetica, Stanford from http://www.jenniferdickert.com, in Processing, created by Casey Reas and Ben Fry.