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prolects which document the development of desig ners' ideas. Aitention is
paid to the process of creating innovative
solutions in thefield of type design and
typography, often engaging experimen
talprocesses as a meansto approach
An experiment in this sense has no
preconceived ideaofthe outcome; ii only
sets out to determine a cause-and-effect
relationship. As such, experimeniation
is a method ofworking which iscontrary
to production-oriented design, where
the aim of the process is not to create
something new, butio achievean already
known, preJormulated result.
Belgian designer Brecht cuppens has
created Sprawl, an experimental typeface based on cartography, whichtakes
into account the density ofpopulation in
Belgium. ln Sprawl, the silhouette of each
letter is identical, solhatwhen tYped,
they lock into each other Thefilling of the
letlers, however, varies according iolhe
frequencyof use of the letter in the Dutch
language- The mostfrequently used letter
(e) represents the highest density of population. The most infrequently used letter
(q) corresponds to the lowst density.
SettinqasampletextcreatesaCuppens
representation of the Belgian landscape.
Another example ofexperimentas a
process of creaiion without anticipation of
the fixed result is an online project. Orthotype trio ofauthors Enrico Bravi, Mikkel
Crone Koser, and Paolo Palma describe
oriho-type as 'an exercise in perception,
a stimulusforthe mind and the eye to
pick out and process thre-dimensional
planes on a flat surface,,.," Ortho-type
is an online application of a typeface
designed to be recognizable in three
dimensions. lneachview,lheviewercan
set any of the available variables:length,
breadth, depth, thickness, colour, and
rotation, and generate multiple variations
of the model- The usercan alsogeneF
ate those varialions as a traditional2D
Postscriptfont.
Although this kind ofexperimental
process has no commercial application,
ils resulls may feed other experiments
and b adapted to commercial activities. Once assimilalod, the product is no
longer experimental. David Carson may
have started his formal oxperiments out of
curiosity, but now sim ilar formal solutions
have been adapted by commercial giants
such as Nike, Pepsi, orSony.
Following this line, we can gofurther
to suggest thai nocompleted projectcan
be seriously considered experimental.
It is experimental on ly in the process
132
Typ6 ?
Conceptual Typ6?
To begin with, let's beclearthat conceptualtype is an oxymoron, A typeface can t
really be conceptual, because it is dependenton itsexecution- Typeface design is a
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134
in
Copenhagen,