System Process Form: Type as Algorithm by Paul McNeil
The ultimate typographic experiment – 7,762,392 typefaces from one of the world’s foremost typography studios.
System Process Form is a detailed survey of MuirMcNeil's Two type system, an extensive collection of geometric alphabets in which every stroke, shape, letterform and word is designed to correspond and collaborate in close harmony.
The methodologies demonstrated transcend the short-term limitations of single solutions to single problems, revealing the ways in which system, process and form constitute the bedrock of a successful design practice.
Using a combination of algorithm, chance and deliberation, a core database of 23 type systems and 198 individual fonts is interpolated to generate millions of hybrid forms in which every dot, line, space and letter is designed to correspond and collaborate in close harmony. The showcased examples, selected for their distinctively abstract and striking qualities, are printed in three vibrant neon inks and metallic black.
The result, far more than a mere catalogue of typefaces, demonstrates the power of excavating design problems at their deepest roots, allowing abundant and diverse outcomes to proliferate spontaneously.
System Process Form is a detailed survey of MuirMcNeil's Two type system, an extensive collection of geometric alphabets in which every stroke, shape, letterform and word is designed to correspond and collaborate in close harmony.
The methodologies demonstrated transcend the short-term limitations of single solutions to single problems, revealing the ways in which system, process and form constitute the bedrock of a successful design practice.
Using a combination of algorithm, chance and deliberation, a core database of 23 type systems and 198 individual fonts is interpolated to generate millions of hybrid forms in which every dot, line, space and letter is designed to correspond and collaborate in close harmony. The showcased examples, selected for their distinctively abstract and striking qualities, are printed in three vibrant neon inks and metallic black.
The result, far more than a mere catalogue of typefaces, demonstrates the power of excavating design problems at their deepest roots, allowing abundant and diverse outcomes to proliferate spontaneously.