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Generative Typography
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0:00
{\rtf1\adeflang1025\ansi\ansicpg1252\uc1\adeff0\deff0\stshfdbch37\stshfloch37\stshfhich37\stshfbi0\deflang1033\deflangfe1033\themelang1033\themelangfe0\themelangcs0{\fonttbl{\f0\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;}{\f1\fbidi \fswiss\fcharset0\fprq2{\*\panose 020b0604020202020204}Arial;} {\f2\fbidi \fmodern\fcharset0\fprq1{\*\panose 02070309020205020404}Courier New;}{\f34\fbidi
0:06
\froman\fcharset0\fprq2{\*\panose 02040503050406030204}Cambria Math;}{\f37\fbidi \fswiss\fcharset0\fprq2{\*\panose 020f0502020204030204}Calibri;} {\flomajor\f31500\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;}{\fdbmajor\f31501\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;} {\fhimajor\f31502\fbidi \froman\fcharset0\fprq2{\*\panose 02040503050406030204}Cambria;}{\fbimajor\f31503\fbidi
0:15
\froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;} {\flominor\f31504\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;}{\fdbminor\f31505\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;} {\fhiminor\f31506\fbidi \fswiss\fcharset0\fprq2{\*\panose 020f0502020204030204}Calibri;}{\fbiminor\f31507\fbidi \froman\fcharset0\fprq2{\*\panose 02020603050405020304}Times New Roman;}{\f39\fbidi \froman\fcharset238\fprq2
0:27
Times New Roman CE;} {\f40\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}{\f42\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\f43\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\f44\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);} {\f45\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\f46\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\f47\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}{\f49\fbidi
0:49
\fswiss\fcharset238\fprq2 Arial CE;} {\f50\fbidi \fswiss\fcharset204\fprq2 Arial Cyr;}{\f52\fbidi \fswiss\fcharset161\fprq2 Arial Greek;}{\f53\fbidi \fswiss\fcharset162\fprq2 Arial Tur;}{\f54\fbidi \fswiss\fcharset177\fprq2 Arial (Hebrew);} {\f55\fbidi \fswiss\fcharset178\fprq2 Arial (Arabic);}{\f56\fbidi \fswiss\fcharset186\fprq2 Arial Baltic;}{\f57\fbidi \fswiss\fcharset163\fprq2 Arial (Vietnamese);}{\f59\fbidi \fmodern\fcharset238\fprq1 Courier New CE;}
1:06
{\f60\fbidi \fmodern\fcharset204\fprq1 Courier New Cyr;}{\f62\fbidi \fmodern\fcharset161\fprq1 Courier New Greek;}{\f63\fbidi \fmodern\fcharset162\fprq1 Courier New Tur;}{\f64\fbidi \fmodern\fcharset177\fprq1 Courier New (Hebrew);} {\f65\fbidi \fmodern\fcharset178\fprq1 Courier New (Arabic);}{\f66\fbidi \fmodern\fcharset186\fprq1 Courier New Baltic;}{\f67\fbidi \fmodern\fcharset163\fprq1 Courier New (Vietnamese);}{\f379\fbidi \froman\fcharset238\fprq2 Cambria Math CE;}
1:24
{\f380\fbidi \froman\fcharset204\fprq2 Cambria Math Cyr;}{\f382\fbidi \froman\fcharset161\fprq2 Cambria Math Greek;}{\f383\fbidi \froman\fcharset162\fprq2 Cambria Math Tur;}{\f386\fbidi \froman\fcharset186\fprq2 Cambria Math Baltic;} {\f387\fbidi \froman\fcharset163\fprq2 Cambria Math (Vietnamese);}{\f409\fbidi \fswiss\fcharset238\fprq2 Calibri CE;}{\f410\fbidi \fswiss\fcharset204\fprq2 Calibri Cyr;}{\f412\fbidi \fswiss\fcharset161\fprq2 Calibri Greek;}
1:41
{\f413\fbidi \fswiss\fcharset162\fprq2 Calibri Tur;}{\f414\fbidi \fswiss\fcharset177\fprq2 Calibri (Hebrew);}{\f415\fbidi \fswiss\fcharset178\fprq2 Calibri (Arabic);}{\f416\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic;} {\f417\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese);}{\flomajor\f31508\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\flomajor\f31509\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}
1:56
{\flomajor\f31511\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\flomajor\f31512\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\flomajor\f31513\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);} {\flomajor\f31514\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\flomajor\f31515\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\flomajor\f31516\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}
2:09
{\fdbmajor\f31518\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fdbmajor\f31519\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}{\fdbmajor\f31521\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;} {\fdbmajor\f31522\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\fdbmajor\f31523\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}{\fdbmajor\f31524\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}
2:23
{\fdbmajor\f31525\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\fdbmajor\f31526\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}{\fhimajor\f31528\fbidi \froman\fcharset238\fprq2 Cambria CE;} {\fhimajor\f31529\fbidi \froman\fcharset204\fprq2 Cambria Cyr;}{\fhimajor\f31531\fbidi \froman\fcharset161\fprq2 Cambria Greek;}{\fhimajor\f31532\fbidi \froman\fcharset162\fprq2 Cambria Tur;}
2:34
{\fhimajor\f31535\fbidi \froman\fcharset186\fprq2 Cambria Baltic;}{\fhimajor\f31536\fbidi \froman\fcharset163\fprq2 Cambria (Vietnamese);}{\fbimajor\f31538\fbidi \froman\fcharset238\fprq2 Times New Roman CE;} {\fbimajor\f31539\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}{\fbimajor\f31541\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\fbimajor\f31542\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}
2:46
{\fbimajor\f31543\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}{\fbimajor\f31544\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\fbimajor\f31545\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;} {\fbimajor\f31546\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}{\flominor\f31548\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\flominor\f31549\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}
3:00
{\flominor\f31551\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\flominor\f31552\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\flominor\f31553\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);} {\flominor\f31554\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\flominor\f31555\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\flominor\f31556\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}
3:15
{\fdbminor\f31558\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fdbminor\f31559\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;}{\fdbminor\f31561\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;} {\fdbminor\f31562\fbidi \froman\fcharset162\fprq2 Times New Roman Tur;}{\fdbminor\f31563\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);}{\fdbminor\f31564\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}
3:29
{\fdbminor\f31565\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\fdbminor\f31566\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}{\fhiminor\f31568\fbidi \fswiss\fcharset238\fprq2 Calibri CE;} {\fhiminor\f31569\fbidi \fswiss\fcharset204\fprq2 Calibri Cyr;}{\fhiminor\f31571\fbidi \fswiss\fcharset161\fprq2 Calibri Greek;}{\fhiminor\f31572\fbidi \fswiss\fcharset162\fprq2 Calibri Tur;} {\fhiminor\f31573\fbidi \fswiss\fcharset177\fprq2 Calibri (Hebrew);}{\fhiminor\f31574\fbidi
3:41
\fswiss\fcharset178\fprq2 Calibri (Arabic);}{\fhiminor\f31575\fbidi \fswiss\fcharset186\fprq2 Calibri Baltic;} {\fhiminor\f31576\fbidi \fswiss\fcharset163\fprq2 Calibri (Vietnamese);}{\fbiminor\f31578\fbidi \froman\fcharset238\fprq2 Times New Roman CE;}{\fbiminor\f31579\fbidi \froman\fcharset204\fprq2 Times New Roman Cyr;} {\fbiminor\f31581\fbidi \froman\fcharset161\fprq2 Times New Roman Greek;}{\fbiminor\f31582\fbidi
3:53
\froman\fcharset162\fprq2 Times New Roman Tur;}{\fbiminor\f31583\fbidi \froman\fcharset177\fprq2 Times New Roman (Hebrew);} {\fbiminor\f31584\fbidi \froman\fcharset178\fprq2 Times New Roman (Arabic);}{\fbiminor\f31585\fbidi \froman\fcharset186\fprq2 Times New Roman Baltic;}{\fbiminor\f31586\fbidi \froman\fcharset163\fprq2 Times New Roman (Vietnamese);}}
4:04
{\colortbl;\red0\green0\blue0;\red0\green0\blue255;\red0\green255\blue255;\red0\green255\blue0;\red255\green0\blue255;\red255\green0\blue0;\red255\green255\blue0;\red255\green255\blue255;\red0\green0\blue128;\red0\green128\blue128;\red0\green128\blue0; \red128\green0\blue128;\red128\green0\blue0;\red128\green128\blue0;\red128\green128\blue128;\red192\green192\blue192;}{\*\defchp \loch\af37\hich\af37\dbch\af37 }{\*\defpap
4:06
\ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0 }\noqfpromote {\stylesheet{\ql \li0\ri0\sa200\sl276\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0 \rtlch\fcs1 \af0\afs22\alang1025 \ltrch\fcs0 \fs22\lang1033\langfe1033\loch\f37\hich\af37\dbch\af37\cgrid\langnp1033\langfenp1033 \snext0 \sqformat \spriority0 \styrsid16282827 Normal;}{\*\cs10 \additive \ssemihidden \sunhideused \spriority1 Default Paragraph Font;}{\*
4:15
\ts11\tsrowd\trftsWidthB3\trpaddl108\trpaddr108\trpaddfl3\trpaddft3\trpaddfb3\trpaddfr3\trcbpat1\trcfpat1\tblind0\tblindtype3\tscellwidthfts0\tsvertalt\tsbrdrt\tsbrdrl\tsbrdrb\tsbrdrr\tsbrdrdgl\tsbrdrdgr\tsbrdrh\tsbrdrv \ql \li0\ri0\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0 \rtlch\fcs1 \af0\afs20\alang1025 \ltrch\fcs0 \fs20\lang1033\langfe1033\loch\f37\hich\af37\dbch\af37\cgrid\langnp1033\langfenp1033
4:19
\snext11 \ssemihidden \sunhideused \sqformat Normal Table;}{\s15\ql \li0\ri0\sl-640\slmult0\nowidctlpar\tx432\tx1152\tx1584\tx3600\tx4320\wrapdefault\faauto\rin0\lin0\itap0 \rtlch\fcs1 \af1\afs28\alang1025 \ltrch\fcs0 \f1\fs28\expnd1\expndtw7\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 \snext15 \spriority0 \styrsid9783179 Single;}{\s16\ql \li0\ri0\nowidctlpar\tx432\tx1152\tx1584\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\wrapdefault\faauto\rin0\lin0\itap0
4:26
\rtlch\fcs1 \af2\afs24\alang1025 \ltrch\fcs0 \f2\fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 \sbasedon0 \snext16 \slink17 \spriority0 \styrsid9783179 Body Text;}{\*\cs17 \additive \rtlch\fcs1 \af2\afs24 \ltrch\fcs0 \f2\fs24 \sbasedon10 \slink16 \slocked \spriority0 \styrsid9783179 Body Text Char;}{\*\cs18 \additive \rtlch\fcs1 \af0 \ltrch\fcs0 \ul\cf2 \sbasedon10 \ssemihidden \sunhideused \styrsid3554095 Hyperlink;}}{\*\rsidtbl \rsid12682\rsid404942\rsid531965\rsid597333
4:41
\rsid665258\rsid1116510\rsid1124171\rsid1124661\rsid1199773\rsid1407535\rsid1464828\rsid1851901\rsid1928117\rsid1993121\rsid2047719\rsid2371765\rsid2823337\rsid2824477\rsid2893327\rsid2894364\rsid2908000\rsid3105895\rsid3281158\rsid3282674\rsid3357322
4:42
\rsid3413975\rsid3433380\rsid3554095\rsid3565465\rsid3565754\rsid3568126\rsid3568606\rsid3568962\rsid3742491\rsid3753274\rsid3756195\rsid3802571\rsid3871065\rsid3941246\rsid4147483\rsid4273297\rsid4289142\rsid4326389\rsid4341259\rsid4535519\rsid4656915
4:43
\rsid4671949\rsid4723078\rsid4802646\rsid4816580\rsid4864259\rsid4937434\rsid5007891\rsid5120744\rsid5183600\rsid5190941\rsid5521731\rsid5586320\rsid5595101\rsid5643407\rsid5718947\rsid5723745\rsid5725288\rsid5728694\rsid5769722\rsid5776513\rsid5920807
4:44
\rsid5925652\rsid5975658\rsid6054802\rsid6055085\rsid6111394\rsid6249182\rsid6319428\rsid6320962\rsid6382370\rsid6437800\rsid6561755\rsid6642604\rsid6826239\rsid6889458\rsid6903550\rsid7028268\rsid7037613\rsid7089737\rsid7106259\rsid7148644\rsid7230910
4:45
\rsid7411688\rsid7552972\rsid7608859\rsid7669287\rsid7697649\rsid7734804\rsid7890848\rsid7951425\rsid8133727\rsid8197470\rsid8458578\rsid8873798\rsid8998666\rsid9255914\rsid9317552\rsid9331926\rsid9332423\rsid9404154\rsid9518191\rsid9585465\rsid9702883 \rsid9783179\rsid10055040\rsid10169211\rsid10232960\rsid10291191\rsid10298244\rsid10507207\rsid10515629\rsid10562848\rsid10572280\rsid10895025\rsid10907160\rsid10960082\rsid11143000\rsid11213541\rsid11220926\rsid11476093\rsid11483315\rsid11679317
4:47
\rsid11741515\rsid11957168\rsid11998557\rsid12206592\rsid12399878\rsid12418615\rsid12520243\rsid12792219\rsid12926635\rsid12926934\rsid12935305\rsid13174473\rsid13243078\rsid13261470\rsid13386982\rsid13444797\rsid13520378\rsid13571338\rsid13574669 \rsid13588358\rsid13649986\rsid13726124\rsid14046492\rsid14162651\rsid14237833\rsid14375249\rsid14423291\rsid14551443\rsid14884966\rsid15144007\rsid15156742\rsid15289334\rsid15345737\rsid15622997\rsid15674534\rsid15797317\rsid15810703\rsid16017709
4:49
\rsid16219645\rsid16275877\rsid16282827\rsid16401168\rsid16407680}{\mmathPr\mmathFont34\mbrkBin0\mbrkBinSub0\msmallFrac0\mdispDef1\mlMargin0\mrMargin0\mdefJc1\mwrapIndent1440\mintLim0\mnaryLim1}{\info{\author Cindy}{\operator Cindy} {\creatim\yr2020\mo11\dy20\hr21\min57}{\revtim\yr2020\mo11\dy20\hr21\min57}{\version2}{\edmins1}{\nofpages29}{\nofwords10957}{\nofchars62458}{\nofcharsws73269}{\vern32859}}{\*\xmlnstbl {\xmlns1 http://schemas.microsoft.com/office/word/2003/wordml}}
4:51
\paperw12240\paperh15840\margl1440\margr1440\margt1440\margb1440\gutter0\ltrsect \widowctrl\ftnbj\aenddoc\trackmoves0\trackformatting1\donotembedsysfont1\relyonvml0\donotembedlingdata0\grfdocevents0\validatexml1\showplaceholdtext0\ignoremixedcontent0\saveinvalidxml0\showxmlerrors1\noxlattoyen \expshrtn\noultrlspc\dntblnsbdb\nospaceforul\formshade\horzdoc\dgmargin\dghspace180\dgvspace180\dghorigin1440\dgvorigin1440\dghshow1\dgvshow1
4:54
\jexpand\viewkind1\viewscale100\pgbrdrhead\pgbrdrfoot\splytwnine\ftnlytwnine\htmautsp\nolnhtadjtbl\useltbaln\alntblind\lytcalctblwd\lyttblrtgr\lnbrkrule\nobrkwrptbl\snaptogridincell\allowfieldendsel\wrppunct \asianbrkrule\rsidroot16017709\newtblstyruls\nogrowautofit\viewbksp1\utinl \fet0{\*\wgrffmtfilter 2450}\ilfomacatclnup0{\*\background
4:56
{\shp{\*\shpinst\shpleft0\shptop0\shpright0\shpbottom0\shpfhdr0\shpbxmargin\shpbxignore\shpbymargin\shpbyignore\shpwr0\shpwrk0\shpfblwtxt1\shpz0\shplid1025{\sp{\sn shapeType}{\sv 1}}{\sp{\sn fFlipH}{\sv 0}}{\sp{\sn fFlipV}{\sv 0}} {\sp{\sn fFilled}{\sv 1}}{\sp{\sn lineWidth}{\sv 0}}{\sp{\sn fLine}{\sv 0}}{\sp{\sn bWMode}{\sv 9}}{\sp{\sn fBackground}{\sv 1}}{\sp{\sn fLayoutInCell}{\sv 1}}}}}\ltrpar \sectd \ltrsect
5:00
\linex0\endnhere\sectlinegrid360\sectdefaultcl\sectrsid16282827\sftnbj {\*\pnseclvl1\pnucrm\pnstart1\pnindent720\pnhang {\pntxta .}}{\*\pnseclvl2\pnucltr\pnstart1\pnindent720\pnhang {\pntxta .}}{\*\pnseclvl3\pndec\pnstart1\pnindent720\pnhang {\pntxta .}} {\*\pnseclvl4\pnlcltr\pnstart1\pnindent720\pnhang {\pntxta )}}{\*\pnseclvl5\pndec\pnstart1\pnindent720\pnhang
5:04
{\pntxtb (}{\pntxta )}}{\*\pnseclvl6\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl7\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl8\pnlcltr\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}{\*\pnseclvl9\pnlcrm\pnstart1\pnindent720\pnhang {\pntxtb (}{\pntxta )}}\pard\plain \ltrpar\s15\qc \li0\ri0\nowidctlpar
5:12
\tx432\tx1152\tx1584\tx3600\tx4320\wrapdefault\faauto\rin0\lin0\itap0\pararsid13243078\contextualspace \rtlch\fcs1 \af1\afs28\alang1025 \ltrch\fcs0 \f1\fs28\expnd1\expndtw7\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid11476093\charrsid6903550 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid14375249\charrsid6903550 ROUGHLY EDITED COPY}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid9783179
5:20
\par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid10298244\charrsid6903550 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid13243078 UCLA-DESIGN MEDIA ARTS PROGRAM}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid6382370 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid13243078 \par DMA \endash DANIEL MAARLEVELD & MITCH PAONE \par \par GENERATING TYPOGRAPHY \par \'93TIME IS FORM, FORM IS TIME\'94 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid6903550
5:40
\par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid13243078 NOVEMBER 20}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid3568962 , 2020}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \fs24\insrsid6903550\charrsid6903550 \par }\pard\plain \ltrpar\qc \li0\ri0\sa200\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid13243078\contextualspace \rtlch\fcs1 \af0\afs22\alang1025 \ltrch\fcs0
5:50
\fs22\lang1033\langfe1033\loch\af37\hich\af37\dbch\af37\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \par \hich\af1\dbch\af37\loch\f1 CART }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid15289334\charrsid6903550 \hich\af1\dbch\af37\loch\f1 CAPTIONING }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \hich\af1\dbch\af37\loch\f1 PROVIDED BY:
5:59
\par \hich\af1\dbch\af37\loch\f1 ALTERNATIVE COMMUNICATION SERVICES}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid15289334\charrsid6903550 \hich\af1\dbch\af37\loch\f1 , LLC}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \par }\pard \ltrpar\qc \li0\ri0\sa200\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid3565465\contextualspace {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid3554095\charrsid6903550
6:08
\par }{\field\fldedit{\*\fldinst {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid3554095\charrsid6903550 \hich\af1\dbch\af37\loch\f1 HYPERLINK "http://www.CaptionFamily.com" }}{\fldrslt {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \cs18\f1\fs24\ul\cf2\insrsid3554095\charrsid6903550 \hich\af1\dbch\af37\loch\f1 www.CaptionFamily.com}}}\sectd \ltrsect\linex0\endnhere\sectlinegrid360\sectdefaultcl\sectrsid16282827\sftnbj {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550
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\par }\pard \ltrpar\qc \li0\ri0\sa200\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid9783179\contextualspace {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid3554095\charrsid6903550 \par \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \hich\af1\dbch\af37\loch\f1 * * * * *
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\par }\pard\plain \ltrpar\s16\ql \li0\ri0\nowidctlpar\tx432\tx1152\tx1584\tx3600\tx4320\tx5040\tx5760\tx6480\tx7200\tx7920\wrapdefault\faauto\rin0\lin0\itap0\pararsid9783179\contextualspace \rtlch\fcs1 \af2\afs24\alang1025 \ltrch\fcs0 \f2\fs24\lang1033\langfe1033\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \af1 \ltrch\fcs0 \f1\insrsid9783179\charrsid6903550 This is being provided in a rough-dr aft format. Communication Access Realtime Translation (CART) is provided in order to
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facilitate communication accessibility and may not be a totally verbatim record of the proceedings}{\rtlch\fcs1 \af1 \ltrch\fcs0 \f1\insrsid15289334\charrsid6903550 .}{ \rtlch\fcs1 \af1 \ltrch\fcs0 \f1\insrsid9783179\charrsid6903550 \par }\pard\plain \ltrpar\qc \li0\ri0\sa200\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid9783179\contextualspace \rtlch\fcs1 \af0\afs22\alang1025 \ltrch\fcs0
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\fs22\lang1033\langfe1033\loch\af37\hich\af37\dbch\af37\cgrid\langnp1033\langfenp1033 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid4289142\charrsid6903550 \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid9783179\charrsid6903550 \hich\af1\dbch\af37\loch\f1 * * * *
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\par }\pard \ltrpar\ql \fi720\li0\ri0\sa200\sl276\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid11476093 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid3105895 \hich\af1\dbch\af37\loch\f1 }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid11476093\charrsid6903550
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\par }\pard \ltrpar\ql \fi720\li0\ri0\sa200\sl276\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12418615 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: All right. Welcome, everybody. Good morning to everybody on the West Coast and good evening for some of European people that signed in. Welcome to the DMA salon. Online lecture series of the Design
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\hich\af1\dbch\af37\loch\f1 Media Arts at UCLA. \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 The U}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 niversity of California Los Angeles occupies the ancestral traditional and contemporary lands of the native people. \par \hich\af1\dbch\af37\loch\f1 I am Willem H. Lucas. I organized this lecture on typography
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in motion or type for the screen. We have two guests\hich\af1\dbch\af37\loch\f1 from who are both in Europe right now. Daniel Maarleveld is in Amsterdam. And Mitch Paone is in Geneva, Switzerland. So both speakers will present for 45 minutes. And after that, there's half an hour for Q&A. \par \hich\af1\dbch\af37\loch\f1 Let me introduce the first guest to you. \hich\af1\dbch\af37\loch\f1 Hold on for a moment. Daniel Maarleveld is a graphic and motion designer based in Amsterdam.
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Since 2007, he's been running an independent practice with a strong interest in generate I have design. \par \hich\af1\dbch\af37\loch\f1 And he shifted towards more code base motion design and i\hich\af1\dbch\af37\loch\f1 n addition to his design practice, he has taught head of H. Felt academy and University of Arnan, the academy, when I was visiting and we both were in a group show together curated by John Swader in San Francisco. Daniel.
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\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Thanks for\hich\af1\dbch\af37\loch\f1 the invite and nice introduction. So I am start sharing my screen? Okay. I'll start sharing my desk top. And I'll check if I checked the two boxes. Yes. \par \hich\af1\dbch\af37\loch\f1 All right. Here we go. And welcome, everybody. Thanks for, Henry, for the nice introduction an\hich\af1\dbch\af37\loch\f1 d invite. Generating typography.
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\par \hich\af1\dbch\af37\loch\f1 I will first tell you a little bit about the history how I got into the generative. \par \hich\af1\dbch\af37\loch\f1 Generative design process and showing it quickly on line. And why I'm switching a little bit more to animation and what is next. \par \hich\af1\dbch\af37\loch\f1 I'll get\hich\af1\dbch\af37\loch\f1 into it. But first, I graduated with a project of school called Penjet and made it with Jillian and Avered. [Video Clip]
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\par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 We were }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 building like a regular printer}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 . }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1
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And printer basically, and we were sort of trying to get results out of it. At first, if\hich\af1\dbch\af37\loch\f1 you print a page, it would just have like one giant line of stripes on it. \par \hich\af1\dbch\af37\loch\f1 And we also tried to see what would happen if you would add type to it. But the type was totally unreadable. This was an American typewriter says "type it" and you cannot see wha\hich\af1\dbch\af37\loch\f1 t is written there.
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\par \hich\af1\dbch\af37\loch\f1 So this limitation was really an inspiration for us to see what we could get out of it. For instance here, we were mutilating the Futura instead of shopping some stems. A to see if we can get sort of a typography out of it. \par \hich\af1\dbch\af37\loch\f1 If you wou\hich\af1\dbch\af37\loch\f1 ld print things on more one page, this would stick together and you can see sort of unreadable,
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but also some sort of nice results coming out of it. So we also tried to print those pages with couple of print runs to see if we could get it more readable. \par \hich\af1\dbch\af37\loch\f1 H\hich\af1\dbch\af37\loch\f1 ere's some examples. And by experimentation, I slowly was seeing what would happen with different angles and what I was trying to animate. \par \hich\af1\dbch\af37\loch\f1 Funny enough, I sent this poster to Dan who is in the group
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show Henry was talking about and funny enough, this is a\hich\af1\dbch\af37\loch\f1 lmost like the first sort of analogue animation I could find when I was making this presentation. \par \hich\af1\dbch\af37\loch\f1 And we were also asked to slide this in couple of things and I made some numerals for that. \par \hich\af1\dbch\af37\loch\f1 And I kind of really liked this working method. Because sort of t\hich\af1\dbch\af37\loch\f1
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his limitation gave sort of a new language where you could sort of do anything. And actually, gave you quite a lot of freedom. And it's also used for instance of metamatic working with showing the work of Shawn Dalone. And we made a book for it, this s \hich\af1\dbch\af37\loch\f1 o\hich\af1\dbch\af37\loch\f1 rt of make sense on this project. \par \hich\af1\dbch\af37\loch\f1 And I was also trying to sort of see if it was possible for me to make a fluent of this one.
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\par \hich\af1\dbch\af37\loch\f1 And I made a typeface based on technique that fills the letter for the year and I made a lot of experiments with it. \par \hich\af1\dbch\af37\loch\f1 But at the e\hich\af1\dbch\af37\loch\f1 nd, for this diploma, I could only pick one outcome. I thought it was a pity so I made a lot of experiments next to it. \par \hich\af1\dbch\af37\loch\f1 And this is actually coming from that pen jet that
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I was playing with the counter-shape. And making this shape inside of the letters. \par \hich\af1\dbch\af37\loch\f1 But at the end, it became a printed object. And this is for instance design that's I made in elastic mind about technology and design. \par \hich\af1\dbch\af37\loch\f1 And this case, I could really sort of use those experiments for especially in MoMA. And that's almost motion, but I sti\hich\af1\dbch\af37\loch\f1 ll had to check one frame.
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\par \hich\af1\dbch\af37\loch\f1 So I want to show a little bit what I was actually seeing on my screen was a little bit like this. \par \hich\af1\dbch\af37\loch\f1 But I never really thought of a way to animate it. I made some animations with it, but I never showed it somehow. And recently, \hich\af1\dbch\af37\loch\f1 I thought yeah, it's a pity, maybe it's nice to do something with it. \par \hich\af1\dbch\af37\loch\f1 So I made some type experiments with this also. And
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somehow this combination of this Pen Jet and this diploma typeface gave me sort of a quest I thought I could not just use it at regul\hich\af1\dbch\af37\loch\f1 ar typeface. I should do something with sort of system that I have to use that I can make endless different variations also to find sort of new shapes and to explore this. I was really excited about this. \par \hich\af1\dbch\af37\loch\f1 And it took me quite a while. I was endlessly pl\hich\af1\dbch\af37\loch\f1
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aying around with this concept. But I also had to spend a lot of time and get this working going. It took couple of years to sort of practice this. \par \hich\af1\dbch\af37\loch\f1 So here, I'm going to show couple of animations that I made last couple of two years. And some of them ar\hich\af1\dbch\af37\loch\f1 e really based on this experiment that I did before, but never really animated. But I always used still.
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\par \hich\af1\dbch\af37\loch\f1 So this endless searching for sort of new shape is sort of really embedded in me. And I notice that most of the time, this experiment later somehow g\hich\af1\dbch\af37\loch\f1 et a purpose or not. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 But you sort of build a giant database of sort of sh}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078
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\hich\af1\dbch\af37\loch\f1 apes and visual languages that}{ \rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 maybe one day will come in handy.}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \par \hich\af1\dbch\af37\loch\f1 I don't use so much colors, but just a small color version next to it. \par \hich\af1\dbch\af37\loch\f1 For instance, like one technique I was reall\hich\af1\dbch\af37\loch\f1
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y looking into is the reaction-diffusion system. This system algorithm and in exhibit by Turing. And I was using this in Photoshop. And it was nice outcome. But it would really, yeah, this took a lot of time before you got something. So I was also tr \hich\af1\dbch\af37\loch\f1 y\hich\af1\dbch\af37\loch\f1 ing to see what it could do to type. And make like one of the first animations that sort of with the stripes.
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\par \hich\af1\dbch\af37\loch\f1 And so all this animations were made in Photoshop. \par \hich\af1\dbch\af37\loch\f1 I was also trying color phrase with it. So I really liked this design method, but I was reall\hich\af1\dbch\af37\loch\f1 y not into programming yet. \par \hich\af1\dbch\af37\loch\f1 And when I discovered that, then I was really sort of could use all the knowledge that I sort of learned from sort of all these experiments. So this was for instance something I made
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in while playing in the workshop with some l \hich\af1\dbch\af37\loch\f1 oad block. And I used this same principle of Alan Turing. And in this case, I was putting vector files in and actually making them big enough again and put a lot of actions over it. And just by sort of playing with the numbers, you could just animate i \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 to life. This is just playing with like a
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numbers and codes. And at the end, I could sort of stop at the perfect setting and I could animate this. \par \hich\af1\dbch\af37\loch\f1 What I also really like is you can make endless variations. Yeah, you }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 cannot}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 just pick, but show the who\hich\af1\dbch\af37\loch\f1
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le bunch of variations. \par \hich\af1\dbch\af37\loch\f1 This is for instance like a letter where I just animate on. And I sort of animating it, this sort of creates interesting patterns. Here, I made it still by, just by having a formula in this typeface, you can just make endless vari \hich\af1\dbch\af37\loch\f1 ations. And I really liked this effect about generation of this design. \par \hich\af1\dbch\af37\loch\f1 What I really also like is you can get surprised by the
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outcome. You sort of play with it, and if you sort of find the right angle, you can really can discover visual language. Here\hich\af1\dbch\af37\loch\f1 , I used couple of sketches I used throughout the years and it's fascinating how the computer sort of is limited. If you have, for instance, a gradient with a grade scale and you try to pick it, what's going to black and what is going to be white. \par \hich\af1\dbch\af37\loch\f1 And her\hich\af1\dbch\af37\loch\f1
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e, you can see it also makes mistakes with it. And I always really liked those mistakes. I was really trying to search for those mistakes. And sort of emphasize on those mistakes and show them. Because that's sort of the handwriting of the computer. \par \hich\af1\dbch\af37\loch\f1 Al\hich\af1\dbch\af37\loch\f1 most like force the computer to take creative positions. At least this is my goal. \par \hich\af1\dbch\af37\loch\f1 So there's some experiments that had this principle.
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And I was looking at types and how I can use these principles in type. So I made a lot of different try outs with it. \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And now, with this notion, I also }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 notice that I can also use }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
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\hich\af1\dbch\af37\loch\f1 these principles and make animation, and all the software-based limitations, and like almost same in every program. }{ \rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And every program can be used in a different way. \par \hich\af1\dbch\af37\loch\f1 Let's see. I really l\hich\af1\dbch\af37\loch\f1 ike also the effects. Before, I was always making experiments. And I waited for the moment
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to use it. Or like I just put my experiments in a folder and I thought if somebody else sees it, they're going to steal it and I have to be protective about it. \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 And I'm not going to show it and I have to apply it when there's a nice opportunity for it. So my typical design process would be like this. \par \hich\af1\dbch\af37\loch\f1 I get a design brief. I make a lot of try outs. And I find
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the limitation in }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 many limitations}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 of the assignments. \par \hich\af1\dbch\af37\loch\f1 The client likes it or hates it. If the client hates it, I put it in a folder and not show anybody else and hope I can use it some way because
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I was passionate about it and repeat it. So there's a lot of sort of work with it. \par \hich\af1\dbch\af37\loch\f1 And it can be tough to find\hich\af1\dbch\af37\loch\f1 a nice match with the generative design and a nice client to use it with. \par \hich\af1\dbch\af37\loch\f1 I noticed now that I share a little bit more experiments, sometimes my design process is more like this. I make a design and I didn't apply it to anybody.
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\par \hich\af1\dbch\af37\loch\f1 And somebody asked me to \hich\af1\dbch\af37\loch\f1 apply it. For instance the case with some animations that I made for clients. \par \hich\af1\dbch\af37\loch\f1 I really like the effect somehow if you already come up with certain visual languages, and people really think like, oh really like this. I'm interested in it. And it somehow \hich\af1\dbch\af37\loch\f1 gives so much freedom to design.
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\par \hich\af1\dbch\af37\loch\f1 This is also another experiment I made in droid bot and I got to use it for an editorial for Washington Post. And somehow in design for online magazine or newspaper, you always have to react fast so it's good to have exper \hich\af1\dbch\af37\loch\f1 ience or like knowledge about different ways in how that can animate. \par \hich\af1\dbch\af37\loch\f1 And how I slowly sort of starting to switch to animation. I will explain this.
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\par \hich\af1\dbch\af37\loch\f1 For instance, I have clients called Craft Council Nederland and I always tried to generate a lot of typefa\hich\af1\dbch\af37\loch\f1 ce for them. So identity is like a little bit like the search for identity. So it's sort of never finished. So every time I add on it, there's always sort of new layer on it. \par \hich\af1\dbch\af37\loch\f1 And in this type, I could always experiment with how much
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different solutions \hich\af1\dbch\af37\loch\f1 I could find. And it's really linked to my working method somehow. \par \hich\af1\dbch\af37\loch\f1 And I slowly started to see like to try out different settings and to see if I can animate those kinds of letters in those experiments. \par \hich\af1\dbch\af37\loch\f1 And I noticed when I was making this presentation al\hich\af1\dbch\af37\loch\f1 so in my work, there were a lot of things that were sort of almost animations, but then
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printed on paper. This is one design I made for a poster. \par \hich\af1\dbch\af37\loch\f1 And later, I thought, well, I have to find a way to animate this design. \par \hich\af1\dbch\af37\loch\f1 This is also like design for poster \hich\af1\dbch\af37\loch\f1 I made. Later, I thought, I can go back to that and see if I can make it color-coded. \par \hich\af1\dbch\af37\loch\f1 And because there's a lot of logic behind my designs, I noticed, because I recently started with this animation part.
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\par \hich\af1\dbch\af37\loch\f1 Everything I make is sort of logical buildup. They\hich\af1\dbch\af37\loch\f1 can also really make variations or animations from it. For instance, the birthday card for my second daughter. \par \hich\af1\dbch\af37\loch\f1 And I made it in other software and I was experimenting with it and actually, I could quite easily animate it also. \par \hich\af1\dbch\af37\loch\f1 So I was also going back to\hich\af1\dbch\af37\loch\f1
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my archives and all the experiments, and to see if there was sort of a way I could use it or approach it in a different way. \par \hich\af1\dbch\af37\loch\f1 What I see is that in most of my designs that I did before, I was always only making like couple of letters. And I really want to\hich\af1\dbch\af37\loch\f1 sort of see if I can switch more to making like total typefaces. One example is the Purple haze. It's an experimental typeface I made based on one letter of my 360 Day }{\rtlch\fcs1
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\af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 Soft type}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 who organized lecture space in Amsterdam. And he invited a lot of different\hich\af1\dbch\af37\loch\f1 designers to make variable fonts. \par \hich\af1\dbch\af37\loch\f1 And }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
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\hich\af1\dbch\af37\loch\f1 a variable font is}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 a font which can scale with different axis. So you can have two different sizes of font. And you can scale between that. \par \hich\af1\dbch\af37\loch\f1 And he asked all the different designers to make one font. And I was actual\hich\af1\dbch\af37\loch\f1 ly really thinking of a method that I wanted to make.
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\par \hich\af1\dbch\af37\loch\f1 And I proposed it. (Music) \par \hich\af1\dbch\af37\loch\f1 >> Actually, it was not possible in the logic of variable fonts. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: So we were trying, but it's not really matching, so I thought I should do what I do no\hich\af1\dbch\af37\loch\f1 rmally that is sort of really I think in the limitations of what variable fonts can do.
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\par \hich\af1\dbch\af37\loch\f1 And so, what is one thing, what really works invariable fonts is you can play with shapes and counter shapes. Like that's one thing you can declare in fondling the tho\hich\af1\dbch\af37\loch\f1 ughts of how can I take this approach to a design for a font? \par \hich\af1\dbch\af37\loch\f1 And I tried a lot of different things with this principal, but I ended up sort of cutting the shapes in each other. They're sort of like making a new pattern.
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\par \hich\af1\dbch\af37\loch\f1 This was the variable fonts that 9\hich\af1\dbch\af37\loch\f1 , I made for this project. \par \hich\af1\dbch\af37\loch\f1 And these are other experiments I made for this typeface. \par }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And now I actually was start}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 ing
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\hich\af1\dbch\af37\loch\f1 to}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 develop, also together with my Internet moment, and he helped me finalizing or getting this font ready. }{ \rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 So you can see this was a slide\hich\af1\dbch\af37\loch\f1 r, you can adjust the type in sort of when it's getting bigger, it's getting into a totally
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different font. It's still a work-in-progress, but I wanted to show anyway. \par \hich\af1\dbch\af37\loch\f1 And what's next, I was thinking how can I use this font? And I would really like this,\hich\af1\dbch\af37\loch\f1 this is the next step. And I would really like to make this font actually like this. (Music). \par \hich\af1\dbch\af37\loch\f1 This is typeface. This is another thing, I have to see how to pull this off.
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\par \hich\af1\dbch\af37\loch\f1 And one other experiment that I also really noticed by making font experiments is\hich\af1\dbch\af37\loch\f1 that I found a lot of ways to generate impossible typefaces. \par \hich\af1\dbch\af37\loch\f1 Here, couple of experiments font. And these are all actually made in paper. Yes, I got some help from Jonathan Bookie, founder of Papryus and can see what he could do. And I really like the e\hich\af1\dbch\af37\loch\f1
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ffects that you can really directly see what he was doing. \par \hich\af1\dbch\af37\loch\f1 And sort of really change my approach also to coding. Because I could really sort of see and sort of tweak the settings and makes almost like a program in this coding language. And you can really\hich\af1\dbch\af37\loch\f1 } {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 play}{\rtlch\fcs1
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\af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 around with this language. \par \hich\af1\dbch\af37\loch\f1 I was also asked a lot to play around with these fonts. But it was still quite a process, because it was a design to really get it right. To tweak it, I would maybe spend the half day, or sometimes quicker. But I could \hich\af1\dbch\af37\loch\f1 put some time into it. I made the codes, I rendered it,
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and then if I didn't like it, I went back again and I rendered it again. \par \hich\af1\dbch\af37\loch\f1 So lately, I'm really thinking or dreaming how can I sort of take this approach a little bit further? So I am only recently t\hich\af1\dbch\af37\loch\f1 rying to see if I can maximize this process further. If it's possible, I can coach the typefaces and see if it's possible to really code the whole alphabet. And change one aspect
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of the letter and if you can sort of immediately sort of export the whole \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 ypeface. \par \hich\af1\dbch\af37\loch\f1 So together, also this brief Internet moment, I'm investigating this subject, because I really think this will take the experiment to the next level, and it will be much more useful for me also than just letter forms. And I can really sort of see \hich\af1\dbch\af37\loch\f1 the new way of how to apply this.
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\par \hich\af1\dbch\af37\loch\f1 So I'm sort of at the beginning of this. And I'm really thinking what sort of things I can implement. So this is also one part of what we just implemented this to see if it's possible that I can draw all the letters. \par \hich\af1\dbch\af37\loch\f1 Th\hich\af1\dbch\af37\loch\f1 is one is a little bit of a link to the purple haze typeface. But I really want to change all the settings in such a way that I can really change one aspect of the font. And
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then really new way comes out of it. Or new typeface. \par \hich\af1\dbch\af37\loch\f1 And these are some exampl\hich\af1\dbch\af37\loch\f1 es I can try to build with this system. I also started making like the whole alphabet with it. What I really notice is that normally, in my vectors, you don't really have time to really put so much time into experiments. So that's always sort of side n \hich\af1\dbch\af37\loch\f1 o\hich\af1\dbch\af37\loch\f1 te. \par \hich\af1\dbch\af37\loch\f1
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So, for this project, I also really want to see if there's a way to really execute this and see if it sort of make your own software to layer on design with different things. In this case, I really want to take some time off to invest in sort of ultim \hich\af1\dbch\af37\loch\f1 atize. \par \hich\af1\dbch\af37\loch\f1 This is another one I can make with this system. And explore the way this works and also type this in the software to see what are the next steps I can take.
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\par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Did you unshare your screen, Daniel? \par \hich\af1\dbch\af37\loch\f1 I'm not sure what's happening, D\hich\af1\dbch\af37\loch\f1 aniel. Are you there? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Yeah, I'm here. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Did you unshare your screen? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: I don't see my screen shared anymore.
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\par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: Could you try sharing it again, Daniel? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: So\hich\af1\dbch\af37\loch\f1 mething went wrong. Let's see. Okay. I didn't unshare it. I think it went out automatically. \par \hich\af1\dbch\af37\loch\f1 Sorry, I think I got too quick on the first part. [Laughter] \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: I'm not seeing your screen share right now again.
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\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: No, I \hich\af1\dbch\af37\loch\f1 unshared it. \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: Can you try and share it so you can finish the slides? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Yeah. Let's see. Do you see the screen? \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: Yes. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Was there a problem with the slides?
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Did you see the last \hich\af1\dbch\af37\loch\f1 slides? \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: I don't think -- did we see "thanks"? It looks like your program shutdown. Just at the end. \par \hich\af1\dbch\af37\loch\f1 Once again. \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: I was just saying it looked like the program closed at the very end of your presentation. So it was perfe\hich\af1\dbch\af37\loch\f1 ct timing.
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\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Okay, perfect. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Thanks, Daniel. That was great. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: I'm sorry I rushed it a bit too much. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: All right. Now, I'm presenting Mitch Paone who is a partner in New Yor\hich\af1\dbch\af37\loch\f1 k agency based agency in DS Studio. Cultural identity systems, Graphic Design, and typography.
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\par \hich\af1\dbch\af37\loch\f1 Mitch is in Europe right now where he's teaching and working. Take it away, Mitch. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Sounds good. Thank you for the invite. And it's really ni\hich\af1\dbch\af37\loch\f1 ce to be involved in this. And it's cool checking out Daniel's stuff too. Some really interesting stuff that made me want to get in that software and play with it.
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\par \hich\af1\dbch\af37\loch\f1 But anyway, yes, so I got a lot to share, but I'm going to go through stuff really fast. \hich\af1\dbch\af37\loch\f1 But a lot of the, I kind of want to talk about what the reason why we do what we do. Or even, you know, why we got into interested in this stuff, and kind of go through a very wide range of experimental or client stuff as well. So let me just get into i \hich\af1\dbch\af37\loch\f1 t.
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\par \hich\af1\dbch\af37\loch\f1 Yep, DS Studio. I'm partner with my wife and I started the studio back in 2008 and partner creative director. I'm just going play this for the rest. (Music) \par \hich\af1\dbch\af37\loch\f1 So just to start, I kind of wanted to show you. Wayne Shorter. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 Brian P.}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
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\f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 and trying to perfo\hich\af1\dbch\af37\loch\f1 rm as in improvising and discovering and iterating this time. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 The idea of the studio around the practices about this idea of input, improvise, so pretty much everything leading up to that point in time and the output is the results. And as
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I've got, not \hich\af1\dbch\af37\loch\f1 gotten older, but as I have actually aged, you realize there's a lot more that goes into this work than just the technique and the mechanics, and the typical design stuff. \par \hich\af1\dbch\af37\loch\f1 But I think there's actually a lot more that actually you can bring into it so wheth\hich\af1\dbch\af37\loch\f1 er it's life experience, other interests that are outside of the feel you're in. That kind
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of blend in and kind of give you a position why you do things. And I think for me, that's really, really important. And that kind of musical aspect I'll talk abo \hich\af1\dbch\af37\loch\f1 u\hich\af1\dbch\af37\loch\f1 t a little bit is really highly influential and how we work as a studio and how I sort of developed sort of our creative position as well. \par \hich\af1\dbch\af37\loch\f1 And this cycle, so you kind of make things, but I think
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it's kind of an interesting thing that there really is a sepa\hich\af1\dbch\af37\loch\f1 ration between this critical point of view, the process, and then the making of the process. So it's kind of this feedback loop essentially. But ultimately, of trying to get in this position where we can improvise and not working about making anything a \hich\af1\dbch\af37\loch\f1 n\hich\af1\dbch\af37\loch\f1 d making that everything before.
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\par \hich\af1\dbch\af37\loch\f1 So I'm going to talk a little bit about the input. That's everything other than the design. Or in some design stuff, but before I show the actual results, but just to start. I was talking earlier before we started, we're \hich\af1\dbch\af37\loch\f1 spread out all over. This is the core team and we're spread all over the world. Right now, Deanna is in New York and Daniel is roaming around New York. And Meg and I are in Geneva
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right now. And we formerly closed all our brick and mortar office spac \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 s two years ago before we relocated to Switzerland and our office is managed remotely and has been some time before the pandemic started so it's an interesting thing. There's Meg and I. There's four of us when working in New York. And then there's Leil \hich\af1\dbch\af37\loch\f1 a\hich\af1\dbch\af37\loch\f1 or our dog. So she's super important in the studio.
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\par \hich\af1\dbch\af37\loch\f1 But I think more importantly, while if you're familiar with our work, }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 there\hich\f1 \rquote \loch\f1 s a pretty large-scale project}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 being done. And so, obviously, the core team of 4 people that do most of the work, it's importa \hich\af1\dbch\af37\loch\f1
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nt that we think of collaborators and other people that are very specialized in specific areas that can come in and work with our team to generate stuff. And here, there's type designers, generative artists, animators and illustrators and really the core \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 team responsible for concept of the work. \par \hich\af1\dbch\af37\loch\f1 My personal background. I actually, music is actually
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probably the most influential part of our design practice. So I've been playing piano and I started playing when I was 5. And overtime, started taking it ser \hich\af1\dbch\af37\loch\f1 iously and I discovered the music of Herbie Hancock and Wayne Shorter and I realized, rather than being force to do take lessons, I really wanted to do this. \par \hich\af1\dbch\af37\loch\f1 So hearing that being inspired by their art really kicked
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me into this overdrive of something that\hich\af1\dbch\af37\loch\f1 I want to do take a lifelong quest in. And I think what's interesting, getting into that music also getting interested in the design, and the record covers at that time, you can see the covers of Blue Note and ECM Records. I was consuming this stuff wh \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 n I was super young. So this interest of typography
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and Graphic Design was really, really happening at the same time. Kind of in conjunction parallel to the music. \par \hich\af1\dbch\af37\loch\f1 So at that early age, there very much was this, I have this monument component and design \hich\af1\dbch\af37\loch\f1 interest that ran side-by-side. And I think that set the foundation for everything that we sort of do, even now as a studio, and how those things come together and mix. \par \hich\af1\dbch\af37\loch\f1 This is me playing.
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\par \hich\af1\dbch\af37\loch\f1 I people say oh yeah, design as a musician. \par \hich\af1\dbch\af37\loch\f1 I take music seriously\hich\af1\dbch\af37\loch\f1 as design so, I still practice every day. But I kind of wanted to talk about this understanding of what we see as identity and thing to give it a certain aesthetic. And this is what I was saying earlier, it's more than the visual things, the type, the \hich\af1\dbch\af37\loch\f1 c\hich\af1\dbch\af37\loch\f1
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olor, the whatever. It's like there's a lot more to it that comes together to give a very specific thing. Is the zebra is a good example. Through evolution, it's kind of transformed through different general success of horses and to create this very an \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 mal and the specific thing. What it eats, the terrain, the sun, all these things together to develop that.
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\par \hich\af1\dbch\af37\loch\f1 So this idea, the way we create design is really as a collection of intersecting points coming to the work. And as traditional designers, we're loo\hich\af1\dbch\af37\loch\f1 king at layouts, posters, and stuff like that. But when we start to think about screens and movement, there's a lot more that we can start to think of conceptually that can influence the work. So this kind of phrases the studio is embodied over the last ,\hich\af1\dbch\af37\loch\f1
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I think four or five years, this idea that motion and movement can actually be the signifier of the identity. So for example you saw how the horse is running. And I'll show it to you. The movement of the horse is unique to the horse. Or the movement \hich\af1\dbch\af37\loch\f1 o\hich\af1\dbch\af37\loch\f1 f me walking is unique to me. Or the movement of the caterpillar is unique to the caterpillar. So those are things we can think about as humans. So to break this down, there's physics,
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just rules of nature govern how things move essentially whether it' \hich\af1\dbch\af37\loch\f1 s\hich\af1\dbch\af37\loch\f1 going to feel natural or mechanical. Gravity and magnetism and all this stuff. \par \hich\af1\dbch\af37\loch\f1 And all these different forces give a certain sort of quality and gesture of movement that's really interesting. And then I think when we get into this idea of things being p\hich\af1\dbch\af37\loch\f1
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rogrammatic or generative, and you can borrow from these real things and boil it down to simplified formulaic examples of trigonometry and generate these behaviors through that. So the system that moves gives it sort of a character or behavior that's rea \hich\af1\dbch\af37\loch\f1 l\hich\af1\dbch\af37\loch\f1 ly derived from something quite natural. \par \hich\af1\dbch\af37\loch\f1 It doesn't necessarily have to be so technical. And you
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can expand on this. You have the components in nature, then there's bio mechanics and how things move in structure. So this is a cool piece by Edward Muybri \hich\af1\dbch\af37\loch\f1 bge. And say this is a poster, like a posters series. \par \hich\af1\dbch\af37\loch\f1 And then you have different image thrown all over the city. But you know it's the exact same thing. It's a horse, and you have the jockey on the back.
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\par \hich\af1\dbch\af37\loch\f1 But form lately, it has a nice dynamic and energ\hich\af1\dbch\af37\loch\f1 y and the time is brought into the piece. \par \hich\af1\dbch\af37\loch\f1 So there's a visual consistency, but also flexibility because you're allowing motion within this structure of the horse and its sort of character rigging, sort of speak, that give it its identity and I think this i \hich\af1\dbch\af37\loch\f1 s a fascinating way of thinking about composing work or creating work.
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\par \hich\af1\dbch\af37\loch\f1 And again, these things can be formulaic and brought into very specific animation systems. And then once you start to start thinking about this, there's so much reference and so many t\hich\af1\dbch\af37\loch\f1 hings you can like, oh how does this move? How does that move? How does like a cat move or elephant move or whatever. All these things have their own gesture and character that can ultimately sort of inspire some sort of movement.
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\par \hich\af1\dbch\af37\loch\f1 And I think when you s\hich\af1\dbch\af37\loch\f1 tart to abstract even scientific research out of this, you start to see really beautiful graphic forms come out of this. These really sort of organic shapes that feel alive and moving. And you don't need to have the body of creature or wherever it comes \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 from anymore. It just becomes the underlying structure, the underlying mechanics of it.
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And I find this just really, really fascinating territory to think about some from a Graphic Design perspective. \par \hich\af1\dbch\af37\loch\f1 This is early, but just look at the physics of this c\hich\af1\dbch\af37\loch\f1 aterpillar and bio mechanics of that and letting that actually, you know, approach where I would animate type in a certain way. Play with the tracking, play with the gesture of the text and mimic that in a certain way to give it this natural flowing thin
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\hich\af1\dbch\af37\loch\f1 g. \par \hich\af1\dbch\af37\loch\f1 And it's very simple. These don't need to be complex animations at all. I think it's just intentional and bringing that thing into an abstract realm using text or design elements. \par \hich\af1\dbch\af37\loch\f1 So these are early. These are 3 or 4 years old now. But this is part o\hich\af1\dbch\af37\loch\f1 f a period of time in the studio where we were doing a lot of research, combining motion
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behavior and techniques of typography and seeing what would happen. It was nice because we didn't know what the expected results were going to be. We just brought t \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 is braver into the text and it gave us this result. Just a den active design but we were not using code or processing any of these coding language. This is all done using animation software. But thinking of that within like more of a programming mindse
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\hich\af1\dbch\af37\loch\f1 t. \par \hich\af1\dbch\af37\loch\f1 So I think it gets more interesting is when we think of that humans can be creative with mechanics. And so, you know, bringing my music background in, you think about different genres in music that connect to certain rhythms in music and create certain \hich\af1\dbch\af37\loch\f1 dances. And there's a lot of interesting stuff here just with beats and rhythms and just rhythmic quality of animation can come to life that can be
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inspired by music and culture. \par \hich\af1\dbch\af37\loch\f1 So this is a dance in New Orleans in the '90s. And London raid culture. An\hich\af1\dbch\af37\loch\f1 d even Ballet too, sort of has a connection to the rhythmic structure of the music. So you're starting to see from an influence standpoint that dance, rhythm, music, choreography and all of these things can come back to the design process and be sort of \hich\af1\dbch\af37\loch\f1 r\hich\af1\dbch\af37\loch\f1
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ecreated in that environment and give a certain quality. And I think you think about choreography and dance, even when you hold a still image from a dancer or Ballet, someone doing Ballet, it's always quite beautiful, because there's so much attention an \hich\af1\dbch\af37\loch\f1 d\hich\af1\dbch\af37\loch\f1 care brought into the movement. So you can work in and out of still movement like continuously. \par \hich\af1\dbch\af37\loch\f1 And ultimately, like a Jabberwocky is a good example. And
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this still sound. (Music) \par \hich\af1\dbch\af37\loch\f1 I'm taking that same philosophy and bringing it into the animation. The\hich\af1\dbch\af37\loch\f1 se are tests and using a promotional material at a talk and stuff like that. Trying to see can we bring in this rhythmic danceable quality into this typography, into the design, and also have it affect if I have active in the formal relationship. \par \hich\af1\dbch\af37\loch\f1 And the \hich\af1\dbch\af37\loch\f1
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more we dug into. And this is a visual interpretation of a Bach or Beethoven piece. And this is actually a notation for dancing. Really, really interesting looking at this from a perspective of a graphic designer. And you can see this system underneat \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 there that can generate forms. \par \hich\af1\dbch\af37\loch\f1 Even these examples are so beautiful. But like they were
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never intended for like as a Graphic Design artistic exercise. It's very functional formulas to help show dances. I can see this on the right being a typographic ex \hich\af1\dbch\af37\loch\f1 ercise. \par \hich\af1\dbch\af37\loch\f1 So just getting into this and thinking about this and seeing this material, you really know there's a lot of ways to consider this as a possibility as we work creative. And this is a futurist feature of geo coma Bali. And you can see here, even j
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\hich\af1\dbch\af37\loch\f1 ust like the energy that's left in the frame. \par \hich\af1\dbch\af37\loch\f1 In the capture, it's got a lot of tense sort of quality. And I think that's really fascinating as a design piece where it's still moving or static, there's still a dynamic quality in the work. So piece by Bal \hich\af1\dbch\af37\loch\f1 di Saree. \par \hich\af1\dbch\af37\loch\f1 And this is captured out of something we created and
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generated. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And we were just like this is our favorite composition out of the thing is, so you have you}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 r frame rates divided by the}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 seconds. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
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\f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 If I have one second, I have 30 options essenti \hich\af1\dbch\af37\loch\f1 ally for composition. If it's a looping thing. \par \hich\af1\dbch\af37\loch\f1 So again, creating using animation to have a generative process to it is interesting. \par \hich\af1\dbch\af37\loch\f1 So that's kind of the bulk of research and kind of singing up why music and choreography, and physics and nature and now w\hich\af1\dbch\af37\loch\f1
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e talk about where design is living. We're pretty much at this state where we're like a minority port. Like everything is going to be screened. I mean, we have like banner ads that are hyper focused. And this is probably a bad thing. But context and \hich\af1\dbch\af37\loch\f1 G\hich\af1\dbch\af37\loch\f1 raphic Design has shifted because of the way we consume content. This is funny. Like the hot dog guy was hip to this. They've been doing animated type and stuff. And this is all coded in there.
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\par \hich\af1\dbch\af37\loch\f1 So they're using different formats that dictate how we und\hich\af1\dbch\af37\loch\f1 erstand design. And we have to evolve the way we approach these things in these problems to manage where the contents being served. \par \hich\af1\dbch\af37\loch\f1 And we were talking about earlier, it's not just a book anymore. I mean, it's a multitude of formats, shapes, }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
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\f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 options}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 , AR\hich\af1\dbch\af37\loch\f1 , VR, you name it. And we have to think about the context of this. So the animation and generative ways, and just thinking about the screen in general puts us in a whole new sort of area of understanding how design works.
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\par \hich\af1\dbch\af37\loch\f1 So, I kind of compare this as qu\hich\af1\dbch\af37\loch\f1 ite interesting. Back into music. So what we have to do and what Daniel showed really well is that you're creating your own software, or creating your own instruments in a way to be creative with them. So it's not about necessarily the end result. It' \hich\af1\dbch\af37\loch\f1 s\hich\af1\dbch\af37\loch\f1 more about the system that can be done. And this is quite fascinating with music, and
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I like to use this analogy. It's like the piano always had the same keys for thousands of years. The organ. The organ had a sound and harpsichord is developed in th \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 same system. But harpsichord can play one level so we had to transform the harpsichord into a piano so we can have a different dynamic range. Play loud, play soft. And technology started coming in the '70s. Synthesizer and all different stuffs that w
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\hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 can tweak to produce sound. We still have the keyboard. Canned and then eventually, this is in the '90s. We started to move to hardware and we started to kind of completely lose any traditional classical position of creating music. We can do it with \hich\af1\dbch\af37\loch\f1 a\hich\af1\dbch\af37\loch\f1 nything mixing stuff. And as a trained musician, I was not receptive to this at first. But
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I don't think there's any rules anymore. If you can create powerful work using any assets and tools that enhance, go for it. And you don't need to be a classica \hich\af1\dbch\af37\loch\f1 l\hich\af1\dbch\af37\loch\f1 ly trained pianist to do that. \par \hich\af1\dbch\af37\loch\f1 So move that back into the design process. This is from piece of Squarespace. And we worked on this just creating this generative typographic poster thing.
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\par \hich\af1\dbch\af37\loch\f1 And this is, and this is my test using open framework. So I don't \hich\af1\dbch\af37\loch\f1 do open code and I'm not the best. But understanding the idea and thinking of how this works, it's easy for me to collaborate people that are way, way better than me at that. And here's JavaScript. But I'm going to go through this. \par \hich\af1\dbch\af37\loch\f1 And thinking about tr\hich\af1\dbch\af37\loch\f1
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aditional things. I'm also a type designer in a classical sense. So there's this other counterpoint where I call it the slow design. Where you work on the font for 5 years. And you do fast stuff using tools and generating tools. So here's examples of \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 fonts I've drawn and I think this is really important for me to work in this very contemporary context. Because this has taught me a sensitivity to negative space and understanding of format
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and scale and all this craftsmanship skill that I otherwise wou \hich\af1\dbch\af37\loch\f1 l\hich\af1\dbch\af37\loch\f1 d not have had understood going straight into the technological side of the design. So having this kind of fusion of like a traditional point of view and understanding even type design is sort of fundamental. Bringing that into a context of, you know, t \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 is fast-moving screen-based work has been
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helpful for me. So anyway, I'm just going to fly through this. This is kind of mixed all that stuff up. \par \hich\af1\dbch\af37\loch\f1 Kind of gives you a little bit of the inside of how we work. And this becomes sort of an average day at the\hich\af1\dbch\af37\loch\f1 studio. \par \hich\af1\dbch\af37\loch\f1 We really don't like to meet much and talk about things. It's just like head down and create as much based on what we're working at the time. (Music)
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\par \hich\af1\dbch\af37\loch\f1 This is kind of the idea. This is an older piece actually. So this example is designers work \hich\af1\dbch\af37\loch\f1 within a 6-hour period. So it's like almost taking the extreme of, not only do we use tools, but ourselves actually become so focused on being iterative and making things and pushing through as much work as possible in a short period of time. So then we \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1
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can take the next data and reflect on what we make. And it's important that I'm not necessarily being too critical about what's being made in the spot. That kind of has to come after. So it's the separation of making and reflecting, making, reflecting. \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 And just producing fast and a lot of iterations. Then ultimately, this became this generative shape of color. And there's an application to do that and we can create different assets
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and how this went into the visual identity as well. \par \hich\af1\dbch\af37\loch\f1 But this is really\hich\af1\dbch\af37\loch\f1 before we started to use this system and this type of thinking and type until this project came up. \par \hich\af1\dbch\af37\loch\f1 This A-TRAK that with you live and visual and we had 2 or 3 days to do that. For those of you who aren't traditional animators, they would know that's imp\hich\af1\dbch\af37\loch\f1
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ossible to make that much different variables of work in that short period of time. So we essentially had to figure out ways to hack this existing software After Effects, or cinema 4D to generate these animations through systems we build in there and ult \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 mately, we could easily create ten-second animation by adding text, hitting render and using some set up we had toolkit it. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
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\f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 this is old, and it's kind of funny, but it did change our speed and how we approach work because of this brief on this. \par \hich\af1\dbch\af37\loch\f1 And th\hich\af1\dbch\af37\loch\f1 en also, if you were to go to a DJ show it's not exciting to see DJ jump around so you need 80 feet letters scanning behind him and
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stuff. So this is Lalaplu. \par \hich\af1\dbch\af37\loch\f1 And this is taking the same principles. And we created these record covers by pulling stills ou\hich\af1\dbch\af37\loch\f1 t of animation and that became, started to become a way we worked. It's was kind of working from the system that we would develop and exporting and generating the stills to be the final output. \par \hich\af1\dbch\af37\loch\f1 So this is more example of this stuff and once we did one thi\hich\af1\dbch\af37\loch\f1
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ng, then commissions would come in to produce more of that. This is Secret 7 Project for Squarespace. And people like publically were making these from the system too. So they were exporting these abstract typographic pieces. And here's stuff here. T \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 is exhibition and put it and put it up. \par \hich\af1\dbch\af37\loch\f1 And these are illustrations of type. So I think what
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the next level is how can we start to fuse this combination of dealing with content and typographic hierarchy, but also bringing animation in there. And then the \hich\af1\dbch\af37\loch\f1 se are tests that were ton thinking about this rhythmic quality in the work that I would talk about earlier. \par \hich\af1\dbch\af37\loch\f1 And you see a lot of, you know, almost time signatures
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built into it. 32, 34, very rhythmic. It has this kind of danceable quality into the anima\hich\af1\dbch\af37\loch\f1 tion which has been kind of very central to a lot of things we do. \par \hich\af1\dbch\af37\loch\f1 And then we started making all kinds of stuff. Tests for AR. Doing some crazy type specimen stuff. Just playing with that. This is early test. Just messing around. I mean what happens\hich\af1\dbch\af37\loch\f1
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if you start to play with stuff on a dumpster? So these became prototypes for AR stuff and what we realized during this is that we had to start to think about typography differently, because all of a sudden, we weren't settled to a fixed format. So whe \hich\af1\dbch\af37\loch\f1 r\hich\af1\dbch\af37\loch\f1 e does time live in space? And that became an interesting thing. And this is a piece we did for contemporary art in Denver. And then you have to build these structures and
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type trapped into space some way. Like how do you deal with layouts and content \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 hierarchy like that when you don't have the rectangle into it? \par \hich\af1\dbch\af37\loch\f1 And this is more tests. This is using Unity. And you see in the face and like a format for text. Like just seeing where this possibly can live and how you can sync it up with stuff without h\hich\af1\dbch\af37\loch\f1
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aving to be in the format was something we were very interested in. These are generative test. You can have expressive compositions and just taking, you know, like dropping a marble in a bowl. And gravity applied to text and a lot of these things. And \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 taking like a B-boy, the break dancer and mocap position to text on that. Actually, the thing I showed you earlier with the crazy today thing, that was next to the Muybridge
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thing was the b boy dancer that we put the text to and he create that had form. \par \hich\af1\dbch\af37\loch\f1 A\hich\af1\dbch\af37\loch\f1 nd thinking about virtual reality situation and taking the Swiss typography and grid in 3-D space. Using drone cameras as tracking data for animation to just doing really weird eyeball stuff. \par \hich\af1\dbch\af37\loch\f1 To then just doing tons of different explorations. And
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a lot o\hich\af1\dbch\af37\loch\f1 f these are client projects too. This is actually totally done analog by like costic chemical on screens and stuff. \par \hich\af1\dbch\af37\loch\f1 Let's see. And this is like a generative thing for brand identity. Just playing with like drumming life saw magazine and offset of text t\hich\af1\dbch\af37\loch\f1 o mimic rhythmic behavior that became sort of the defining identity for the visual for the brand name.
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\par \hich\af1\dbch\af37\loch\f1 I'm just going to zip through this stuff. But you can get the gist. If you have this animated system or generative system then we can edit the text to \hich\af1\dbch\af37\loch\f1 and apply it to work. Then it goes into print and interactive and we make sure the touch points become connected in some way. \par \hich\af1\dbch\af37\loch\f1 And this is something we did for MoMA couple of years
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ago. Just trying to move through the different sort of formats much as pos\hich\af1\dbch\af37\loch\f1 sible. Again, sort of taking that test of the b boy and working with Nike and we can play with running data and mass data of typography. What if we put type on this thing that moves and see what happens? Essentially, it's been like the last five years \hich\af1\dbch\af37\loch\f1 o\hich\af1\dbch\af37\loch\f1 f the studio just trying to do that as much as possible.
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\par \hich\af1\dbch\af37\loch\f1 And then we've been creating these sort of radical sports for Nike. This is crazy because this is text design stuff too. And it ended up being printed on shirts. Some more. \par \hich\af1\dbch\af37\loch\f1 Let's see. There's act\hich\af1\dbch\af37\loch\f1 ually the event where I was shooting air ball. Basketball. And then this is a visual identity for KD11 shoes lock. And you can see the static, moving, and how this transforms. And how these
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can be updated on the client's side too so they can generate \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 ext and animation and this is blown all over the place. Some more sort of experiments. \par \hich\af1\dbch\af37\loch\f1 Just a lot of different stuff. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 Some stuff we did for Balen}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
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\hich\af1\dbch\af37\loch\f1 cia. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 These huge screens are to manage content. This is a place the work is going to lynch. \par \hich\af1\dbch\af37\loch\f1 And people that\hich\af1\dbch\af37\loch\f1 don't like look at narratives stuff anymore. They like this textural sort of in between print that's still moving, and kind of looping, and it has a very powerful quality to it I
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think for more commercial level work too. \par \hich\af1\dbch\af37\loch\f1 And kind of wrapping things up on\hich\af1\dbch\af37\loch\f1 the work. This is something we did for the London store. And Adidas. So we did all the screen animation in there. And then re-brand of Squarespace is the biggest project upscale we did in the last few years. And this began, this simple thing, this s \hich\af1\dbch\af37\loch\f1 q\hich\af1\dbch\af37\loch\f1
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uare in space basically the generator concept for everything. So we played with this ride and see how it impacts everything else and we did a typeface with France Hall Rapo and did the strategic stuff. But these are the strategic behaviors we used under \hich\af1\dbch\af37\loch\f1 n\hich\af1\dbch\af37\loch\f1 eath the whole visual identity the export to work and here's some examples of mockup and types. And you can see the top has this edgy quality to it but kind of subtle. You
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can see simply on the homepage, you see the animation there. And then you can se \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 the generator prints. This is in the lobby. And then how this sort of animation behavior starts to affect type, dictate type, work as a window for images and content. Has all this flexibility just by using this simple system. And then we build actual \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1
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tools internally to generate a lot of this work as well. And you can see for us, we can do radically expressive stuff but functional stuff as well to find the flexibility of how wide and crazy, and then how sort of minimal and straightforward. All by us \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 ng the exact same very simple behavior. \par \hich\af1\dbch\af37\loch\f1 So in conclusion, the idea of kinetic identity, this computation
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the means to generate work. Before, it's I am making a poster and maybe it should animate and be interactive? Really, now we work in this. It kind o \hich\af1\dbch\af37\loch\f1 f has to all mix. You have kind of a traditional understanding of type. And also you know interaction behavior can affect how the form works. And it's all messed up, so I think it's kind of embracing this kind of non-linear way of thinking and mixing i \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1
1:04:08
together. And I find that being really good way to being open to stuff. And I said earlier, just move to Switzerland to study fondue eating. And so I teach at head and do bunch of workshops and here's an example of what I do. Sort are looking at form \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 and making people make sound to the form and move to the form. Really connecting all the different senses. And here's the output of the results. All the kids having fun. Yeah.
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This is a pretty cool thing we did with the massive type design. And now \hich\af1\dbch\af37\loch\f1 I\hich\af1\dbch\af37\loch\f1 teach at Head. And final thing I want to say, the idea of being a beginner is really good, but sucking at something keeps you in a humble place. But only if you're trying to learn new things and maintaining that idea of improvisation is super important ,\hich\af1\dbch\af37\loch\f1
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because if I'm super concentrated in the work with the zone. Which ultimately gets in the way. It's really about finding this concentration and whatever it takes to get you there. Whether it's sleeping well, not partying and working out and all this e \hich\af1\dbch\af37\loch\f1 x\hich\af1\dbch\af37\loch\f1 tra stuff. But I think it's really important to get in that state where you can make stuff and this is my piano teacher. It's not a mistake if you play with conviction. As a jazz pianist
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it's true. You can pretty much do anything. And then we did hav \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 a lot of resistance in our work as we started because it was pretty misunderstood. But now it's starting to make sense to people. If you stick to it, it takes off and it's a nice metaphor. To sum it up, I'm going to let these guys say it for us. \par \hich\af1\dbch\af37\loch\f1 >> Are\hich\af1\dbch\af37\loch\f1 you trying to relate to them that? Meaning what's your intent?
1:06:04
\par \hich\af1\dbch\af37\loch\f1 >> Well, intent now is to throw away, and kind of put away everything I learned. The study stuff. And again, it was referred because miles would only talk like this. He would say, Wayne, he\hich\af1\dbch\af37\loch\f1 y, Wayne, do you ever feel like you want to play, he said, you want to play like you don't know how to play? \par \hich\af1\dbch\af37\loch\f1 And then he said, do you feel like you want to play
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music that doesn't sound like music? That doesn't sound like, I know sound familiar, and I hav\hich\af1\dbch\af37\loch\f1 e a tape of Charlie Parker given a lesson. And the student says, Mr. Parker I have to learn all these scales and yes, after you finish learning them, then forget them. \par \hich\af1\dbch\af37\loch\f1 >> Right, play as if you don't know or you're not playing the scale but playing straigh\hich\af1\dbch\af37\loch\f1 t from the heart. That's beautiful.
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\par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Thank you, guys. Appreciate it. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Thank you, Mitch. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Do we have Q&A time? \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: You're perfectly in time. For everybody, if you have questions, please\hich\af1\dbch\af37\loch\f1 put them in the chat. I think I'm going to start with something I noticed with both of
1:07:30
your presentations. And maybe to my surprise, the link to print, like I feel that both of you are interested in motion. But actually as much interested instill. Ca \hich\af1\dbch\af37\loch\f1 n\hich\af1\dbch\af37\loch\f1 one of you may be talk about that a bit? And how it's sort of seems to be off print and. \par \hich\af1\dbch\af37\loch\f1 It seems like that's a new futuristic way of type. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Rye can say really quick. I think for
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us, it's a functional thing. Because the assets we have t\hich\af1\dbch\af37\loch\f1 o deal with and our clients, we have to dictate all of it. So whether it's just sending a still that needs to go back on the Facebook page or printed piece or advertisement. But I think the important thing is that to create visual consistency from inter \hich\af1\dbch\af37\loch\f1 a\hich\af1\dbch\af37\loch\f1 ction to motion, to print cannot be done if you start with the printed image. It's impossible.
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Because if you bring print into motion, you have to bring transition devices to bring it on and off. And if you pause during a transition, you have deteriora \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 ion in the design. \par \hich\af1\dbch\af37\loch\f1 So for us, it's more about creating a consistent thread that can cover all of those outputs. And it's nice, because you can export to still and you're done. You don't have to sit there
1:09:04
and slave over the perfect poster because it's don \hich\af1\dbch\af37\loch\f1 e and you set up a system for it. Yeah, it's more of a commercial need too, for us. But yeah. I don't know if Daniel might have a different perspective on that too. But it's a matter of, yeah, of this necessity. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Daniel, you're mute\hich\af1\dbch\af37\loch\f1 d. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Sorry. Can you hear me now?
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\par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Yum. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: All right, for me, I always thought it was sort of the way you use Graphic Design somehow, and only recently I sort of started to realize like there's q\hich\af1\dbch\af37\loch\f1 uietly really interesting field in this animation and what it looks to discover. So for me, actually, I'm sort of still discovering it at the moment. Because I'm sort of in the
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process of shifting somehow from this one field to the other. But I like bo \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 h fields, indeed. But somehow I really like the variety that you can bring with animation that I cannot ever choose what design I have to pick. So I'm really happy with just showing all the possibilities. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Well, also with the transfor\hich\af1\dbch\af37\loch\f1
1:10:24
mation of the type, pick Romans that are computer-generated, and that might be surprising more rather than having to build it somehow as a still. But, yeah, I have a question here from Ralph Schubert. Does it bother you the full scope of these fonts wor \hich\af1\dbch\af37\loch\f1 k\hich\af1\dbch\af37\loch\f1 can only be enjoyed on the screen and not fully on paper? And what, if anything, gets lost in translation from screen to print?
1:11:00
\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: If I can answer the question. It doesn't bother me so much. I think actually some of the things can w\hich\af1\dbch\af37\loch\f1 ork on print. But it's just for me, it's just two different rules. Sort }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 of a different rule}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
1:11:24
\f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 apply. What I don't like animation is that actually most of the ways you show it, you can never really control the quality of it somehow. That really }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 frustrates}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 me.\hich\af1\dbch\af37\loch\f1
1:11:35
But in prints, I can go to a really nice printer, and it will really take care of you and make sure it looks right. And reality with animation, it will end up with shitty compression and nobody can see it the way you see it on the screen. So that real \hich\af1\dbch\af37\loch\f1 l\hich\af1\dbch\af37\loch\f1 y frustrates me. I think my webcam is off. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Can you unshare your screen? No worries.
1:12:13
There we go. And then can you, do you have an answer to this question? \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: I don't work in, I rarely work in a situation where print needs\hich\af1\dbch\af37\loch\f1 to be precious. So it doesn't bother me at all. And I think it's an interesting cultural thing too, because I live in a place now print is very, very precious. Extremely precious. Like people have hundreds of thousands of dollars for budgets for book
1:12:41
\hich\af1\dbch\af37\loch\f1 s\hich\af1\dbch\af37\loch\f1 . So I came from a place that we never, I never send an asset off to, like Squarespace for example, huge branding project. And I never sent any of that files to print. Ever. \par \hich\af1\dbch\af37\loch\f1 So it was just digital hand-off or toolkit or digital file or animation or code\hich\af1\dbch\af37\loch\f1 snippets. So I think for me, it's just a nature of the client work and especially working
1:13:07
on commercial re-branding and stuff and you remove everything that's handled by other people and it's usually done cheaply. And, yeah, but I do, even actually yes \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 erday, like I just sent something off and we're getting silkscreen posters here and type founder to manage the process because I got nervous about the set-up of the files. Because I didn't know how to do it.
1:13:36
\par \hich\af1\dbch\af37\loch\f1 And they're going to make it. We have the guy \hich\af1\dbch\af37\loch\f1 split the colors and make it fine. Cool, you guys solve this problem for me. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Yes. All right. A question from Nick Brogdon. How is type generated with odd time signature like 5/8 perceived by people without musical background? \par \hich\af1\dbch\af37\loch\f1 >> MI\hich\af1\dbch\af37\loch\f1
1:14:00
TCH PAONE: That's a really good question and it's interesting. Because I do feel that you know, people who don't know, know music from a theoretical standpoint, but we all really enjoy it. So there's thing in music that we do understand. Like 1, 2, 1, \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 2, 1, 2, 3, bop, bop, bop, bop. So all your feeling is just that cadence. So what's interesting about this, this is an example I do in my classes where I teach students difference
1:14:40
between clapping on the one and three versus 3 and 4. 1, 2, 3, 4. But i \hich\af1\dbch\af37\loch\f1 f\hich\af1\dbch\af37\loch\f1 you clap on 1 and 3, 1, 2, 3, 4, 12, 3, 4. It's a down beat. We as humans universally feel that difference in the rhythm. It is a known fact that I'm a 2 and 4 you go up. And you can swing it and do this stuff. \par \hich\af1\dbch\af37\loch\f1 So I think if you have a sensitivity of \hich\af1\dbch\af37\loch\f1
1:15:11
rhythm within the work, it's naturally felt in the animation. I think otherwise, it becomes nonsensical and there's no rhythm there. There's no sort of pattern that's repeating itself. \par \hich\af1\dbch\af37\loch\f1 So it doesn't need to be like theoretically understood. But I think \hich\af1\dbch\af37\loch\f1 it's felt when people watch it, they do feel this, they feel that kind of bounce, that quality and the gesture in there. And I think it's important to be very sensitive to that
1:15:37
when you're animating work. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: All right. I have another qu\hich\af1\dbch\af37\loch\f1 estion from Silas. Who is a great designer in L.A. Can you speak to the notion of taste and style in your work? Do you have a philosophy for this? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Funny enough, because I sort of work from a general design. And I also really ofte\hich\af1\dbch\af37\loch\f1
1:16:19
n come up with stuff that I really don't like. But I also try to sort of bend this notion I have of it. So sometimes I can find the process interesting. But outcome not so interesting. And I'm still going to go through and use it. Because I'm sort of \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 excited about this sort of invention or like the method and things I regret later because they're sort of really made more in a logical sense than in a taste sense. But I always
1:16:57
start to sort of stretch this boundary. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: I thought this was a\hich\af1\dbch\af37\loch\f1 loaded question. But I'm going to do my best to answer. So there's different levels for us. I think the client work has some certain parameters that we have to manage. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
1:17:16
\hich\af1\dbch\af37\loch\f1 That definitely ends}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 up having an influence on the aesthetic or selection typography\hich\af1\dbch\af37\loch\f1 and stuff like that. \par \hich\af1\dbch\af37\loch\f1 So if I need to create a visual identity that needs to work, like on hardcore product level in a tech company and also be expressive and also manage this typographic content, right
1:17:35
away, there's actually automatically very few, like e \hich\af1\dbch\af37\loch\f1 xamples of maybe a type choice that I could actually use because of that reason. That can function at these levels. \par \hich\af1\dbch\af37\loch\f1 So then there are these kinds of things that start to, you know, you have to pick from a smaller pond of materials essentially because the \hich\af1\dbch\af37\loch\f1 quality isn't universally at the level to manage these kind of technical things. Even
1:18:00
engineers of a typeface needs to be so high to be able to work inside an application. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 So then, you }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 know, all\hich\af1\dbch\af37\loch\f1 of a sudden, there's three}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
1:18:10
\f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 foundries on earth that have investe\hich\af1\dbch\af37\loch\f1 d in this stuff. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 So, that has a big dictating quality. So then there's another thing when we get into this animation of text, ripping up text and stuff like that. What I've realized I think in kind of the experimentation of this is, the higher quality o
1:18:28
\hich\af1\dbch\af37\loch\f1 f material you have to destroy, the better off you are, because if you have something that's kind of maybe more decorative or has a lot of character or gesture in it, it does so much work for you, then you shouldn't animate it may be? And then again, all \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 of a sudden in my library of typefaces that I use would be very small again. Because you're putting more of the character and the movement
1:18:50
and less of the character on the type design. \par \hich\af1\dbch\af37\loch\f1 And I've been trained the way I sort of studied and I'm also in this c\hich\af1\dbch\af37\loch\f1 ountry too. I come out of this position of, you know, like, caring about the exact leading space and all this craziness that doesn't matter. But that seeps into my caring and picking the right type size is important. So that probably has some impact on \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1
1:19:19
the quality of the work that's produced. Unintentionally sometimes. But I think ultimately, you know, for branding project, it has to come out of some strategic framework around the content you're working with to justify why did you do that. And then s \hich\af1\dbch\af37\loch\f1 o\hich\af1\dbch\af37\loch\f1 me technical things. Yeah. But, yeah. I think we all have been the things we like and we don't like. [Laughter]
1:19:42
\par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Exactly. I have another question from Amy fang. It's really interesting to see how DIA's kinetic type is inspired by \hich\af1\dbch\af37\loch\f1 sources like jazz music. For you both of you, do you feel like your experiential process flourishes more when it's influenced by the work of other designers/typographies or it's been more helpful to look outside the field of design?
1:20:15
\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: \hich\af1\dbch\af37\loch\f1 Actually, I always felt like I was intimidated with what was done before. In art school, I saw all those great designers and I thought how can I ever compete with that? And in that way, in a sense, I feel like I cheated the system a bit, because I sort \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 of come up with this sort of method to work that didn't exist yet and I can break the
1:20:51
rules. So for me, this is a way to rewrite the rules because you cannot relate to anybody who did something with the system. To answer the question if I look at other \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 hings outside of the design, in some sense. But it's more like the natural principles for me. Yeah, it's different. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: I think obviously the training that
1:21:22
we've done, I think at a certain point is making connections for me that are like tra\hich\af1\dbch\af37\loch\f1 nscending the references and history that we deal with is what's going to make the work for individual too. At least for me, I think, that's why it's so clear watching my presentation that like, out the gate, probably 16 years old, there's two parallel p \hich\af1\dbch\af37\loch\f1 a\hich\af1\dbch\af37\loch\f1
1:21:49
th that's going to merge. And I come from commercial production and motion graphics, and I've been working with DMA graduates and Venice Beach in 2000. So there's this huge animation background in the studio. So it's make it interesting to connect a mu \hich\af1\dbch\af37\loch\f1 s\hich\af1\dbch\af37\loch\f1 ical system and design system. It's same, just like a progression, like a core progression looping in behavior and code. That's basically underlying structure that allows you to have
1:22:33
fun or improvise. Just like Daniel's work, I've noticed where you can \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 expand and contract that thing, there's like an underlying thing that holds it together but it allows you to improvise and have fun with it. It's a musical concept to me. So I like that kind of mixture. I think it's fun to find random connections of th \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 ngs and throw them together. It's whatever
1:22:57
works best for yourself at the end of the day. Don't get caught up through Instagrams. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: I am going to throw one in that I had for myself. Since both of you are teaching, or Daniel has taught\hich\af1\dbch\af37\loch\f1 and is not right now, what do you find most important for students? What's the emphasis to typography? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: Most important, yeah, I think
1:23:44
the most important is sort of the really trust in your own instinct. Because I noticed that in a \hich\af1\dbch\af37\loch\f1 lot of art schools, sometimes it can be difficult to sort of feel the freedom to do what you want to do and sort of, more think about what the teachers will expect from you. I think it's more trusting your own guts. That's what }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 advice}{\rtlch\fcs1
1:24:14
\af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 I would give. \par \hich\af1\dbch\af37\loch\f1 >> MI\hich\af1\dbch\af37\loch\f1 TCH PAONE: Yeah, I think the same. I think while there's definitely some like practical things that I want to make sure that people can apply these to or whatever projects they're going to do beyond the classroom, I think it's the same question as befor \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1
1:24:34
is like, finding what makes it personal to you. And that's what is going to make you stick with it. Why do you care about it? And I think when you can connect it, most designers I know, like my favorite ones are the best ones all have like a -- there' \hich\af1\dbch\af37\loch\f1 s\hich\af1\dbch\af37\loch\f1 like some counterpoint. They're like really interested in a photographer or writing. Or something else. There's always like a connected, like artistic interest that gets combined
1:25:02
that I think is an important thing. \par \hich\af1\dbch\af37\loch\f1 And obviously, when you're young, you\hich\af1\dbch\af37\loch\f1 're still searching for these things. But the more you start to understand that everything kind of fuses and connects, and then I think that's when I always say best stuff comes together when the weirdest two things collide, and it's like ah, that stuff \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1
1:25:25
s genius stuff. To me, trying to set some sort of formula or process to get students to open their minds to that is very important for me. I don't care at the end of the day if they don't like the fonts I think they should use. And vice versa. But I t \hich\af1\dbch\af37\loch\f1 r\hich\af1\dbch\af37\loch\f1 y recommend like here's some good quality stuff. But you need to find what works best for themselves, I guess. Yeah. Go ahead.
1:25:51
\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: And I want to add to it, when I was teaching, I was doubting sometimes when I really liked the work of \hich\af1\dbch\af37\loch\f1 students, I didn't know if they were really honest or against the system or not informed. And when I was on this board, I was breaking all the rules because I didn't know what the rules were. Or there were always things I still remember somehow today. \par \hich\af1\dbch\af37\loch\f1 >>\hich\af1\dbch\af37\loch\f1
1:26:21
WILLEM H. LUCAS: Funny thing, I'm also super attracted to what I have not seen before. Which basically means they break all the rules. Right? Now that we're more focused on not being so Euro centric with our sources, and it seems to open up what the \hich\af1\dbch\af37\loch\f1 p\hich\af1\dbch\af37\loch\f1 ossibilities can be for typography and I've seen, for instance, lecture series announcements for nonwhite designers. And design was made by students that were non-white. And they
1:27:14
basically broke all the rules. And first time you see that, you're like w \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 at is this? And then to me, at least, immediately liking to it. \par \hich\af1\dbch\af37\loch\f1 Which asks the question, how important is that knowledge that we still try to put in? It's so funny to me, Mitch, you're in Switzerland. Swiss typography is this Holy Grail. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE:\hich\af1\dbch\af37\loch\f1
1:27:48
We need to have these discussions here. It's funny, because I was essentially brought here to teach. And I don't think they realize what was coming. Because I'm kind of like, you guys are fucking crazy with all this shit. What are you doing? Like t \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 is is irrelevant to me. And I come in here with this free flow jazzy stuff. And it's not jazzy here. \par \hich\af1\dbch\af37\loch\f1 And I totally agree. Because, like, that is still canonized
1:28:18
here and I work with some of the people that are part of that. Like France R Rapo did squar\hich\af1\dbch\af37\loch\f1 e space and he's the living example here which I find fascinating. \par \hich\af1\dbch\af37\loch\f1 But I think it's fun to destroy that too. And it's nice, because seeing colleagues and you guys talk about this in the U.S., God, we can really use that here, because it's still so like, s\hich\af1\dbch\af37\loch\f1
1:28:42
o rigid, and so like, this is the way. This is who's the best. And I'm like, no one cares. There's other cooler shit out there. What the fuck are we doing? Sorry, I get really passionate about this too because it drives me crazy. But I don't know. \hich\af1\dbch\af37\loch\f1 Y\hich\af1\dbch\af37\loch\f1 eah. I think it's really important that we open up the scope. And just find these other influences. It doesn't necessarily have to be, people we need to get out of this is the
1:29:10
best or this is the important stuff. Sure, book typesetting comes out of a \hich\af1\dbch\af37\loch\f1 h\hich\af1\dbch\af37\loch\f1 uge history of thousand years of printing and stuff and that's not going away. And other aesthetics and why we need stuff to come into it needs to be embraced. And I need to deal with the challenge of school all the time because it's not always like tha \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 . Yeah. \par \hich\af1\dbch\af37\loch\f1
1:29:32
>> WILLEM H. LUCAS: I have a question from Christopher to Mitch. In working in new spaces like AR and VR, what do you find are the most common pain points in working with type in 3-D space? And what would you say are the most compelling opportu \hich\af1\dbch\af37\loch\f1 nities? \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: I think the first thing probably that's interesting here, and this again is breaking European tradition is that the format is gone. So you lose the rectangle that we
1:30:06
would set type size, letter size, it's gone. So you have around \hich\af1\dbch\af37\loch\f1 HDRI essential and you have the world to work in. While that becomes much more challenge to go managing text, we don't have typefaces that deal with this curved, curvature, like the world view of the human being is not flat. So that is a problem. And \hich\af1\dbch\af37\loch\f1 I\hich\af1\dbch\af37\loch\f1 think that's a very interesting thing. But I think what's good, being comfortable in
1:30:35
3-D software. And you can simulate some of these environments of maybe how does text read? In sort of like non-format related areas? \par \hich\af1\dbch\af37\loch\f1 So again, like type animation depa\hich\af1\dbch\af37\loch\f1 rtment, it has to come in from the left because we read it this way. You can't animate type from right will left because it's Arabic and we have this page and yeah, test it. And it's important that we prototype in 3-D and do an AR and VR because you can
1:31:09
\hich\af1\dbch\af37\loch\f1 '\hich\af1\dbch\af37\loch\f1 t just design an AR or VR because there's a lot of steps there. It's technical, but it does totally change how we think about type. Period. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: All right, waiting for new questions. Should I throw one in? I don't know if this is true, \hich\af1\dbch\af37\loch\f1 but why are there not way more typographers for the screen and like people who really
1:31:45
focus on typography for websites, et cetera? Is that too new? I mean, we've won so much with screens having resolved resolution problems, right? \par \hich\af1\dbch\af37\loch\f1 Because it seems so, it\hich\af1\dbch\af37\loch\f1 seems like a smart thing to have people really specialize in screen typography. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: We're limited with the technology. A lot of the ways websites are built still embedded in the first prototypes. Like the
1:32:33
first CSS and HTML and that's\hich\af1\dbch\af37\loch\f1 the logic of books or InDesign programs work. And these systems are being developed with the update of the OS. Before, everything with DOS and everything embedded, and then you need to have like big corporations also vetting their software. So you rea \hich\af1\dbch\af37\loch\f1 l\hich\af1\dbch\af37\loch\f1 ly have to wait for all the supernice technology to finally arrive in the computer of tech
1:33:08
office basically. If that's the case, then there's much more freedom to really start designing for typography. But I think it's already starting. But people are \hich\af1\dbch\af37\loch\f1 b\hich\af1\dbch\af37\loch\f1 it behind the curb because it's not possible yet. I think it's still evolving. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Yeah. And there's a gap between that education side of that. So I think we have these discussions now, but I think I'm still
1:33:39
at school where traditional book\hich\af1\dbch\af37\loch\f1 designers teaching the classes. And when people have discussion about web design, typography should be taught universally with both going on at the same time. I don't know why this is even a discussion because it's 2020. This should have been settled \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 n '98, you know? So I do think there's always a little lag behind the technological progression
1:34:07
and how we behave with work and how that institutionalize with the academic environment and now things are moving fast to find the people to do that and chang \hich\af1\dbch\af37\loch\f1 i\hich\af1\dbch\af37\loch\f1 ng the, man, just the bureaucracy within the educational institution to get that shit is going to take some time unfortunately. Which is a bit, it's frustrating for me, because I like stuff to move fast. But seeing this and being in an academic side for
1:34:40
\hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 a bit, things don't move as fast as you want them to. [Laughter] \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Yeah. All right. I see no new questions. Please, people, if you have questions, put it in the chat. Did you guys know about each other's work before? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARL\hich\af1\dbch\af37\loch\f1 EVELD: I knew Mitch's work. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Yeah. Both.
1:35:08
\par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: I was doing a workshop in la design and you were there before. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Oh wow. Crazy. Small world. It's a }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 super}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078 -}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
1:35:20
\hich\af1\dbch\af37\loch\f1 small}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 world. There's so many people we ended up kn\hich\af1\dbch\af37\loch\f1 owing random. I see one question about experimental pitching stuff? \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Oh yeah. Christopher. In pitching }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 client\hich\f1
1:35:43
\rquote \loch\f1 s}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 new experimental solutions, how do you go about framing your solution in the best way to get chosen? \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD:\hich\af1\dbch\af37\loch\f1 Framing, you want to start, Mitch? \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: I can do this. I think we also have
1:36:01
a little bit of a luxury to having some precedence here. To start the work that we do. Like the corporate and commercial rebrand, the important thing is when we ha \hich\af1\dbch\af37\loch\f1 d the initial conversation, we're not just showing them past study case we've done. They get to see the material that's the R&D and experimentation and stuff we're doing regardless. So that becomes starting points for oh we could see this scale. Or we \hich\af1\dbch\af37\loch\f1 c\hich\af1\dbch\af37\loch\f1
1:36:36
ould see this being implemented in a way or seeing this transformed. So having a personal library of the studio's research to talk about potential clients with makes it very easy to set up this situation, because they're no longer referencing like a mood \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 board on Pinterest on this or that. They're basing initial conversation we've already done on a research standpoint. Then at that point, they know what they're going to expect
1:37:03
and it's not radical or experiment tall because they've seen things we though \hich\af1\dbch\af37\loch\f1 t\hich\af1\dbch\af37\loch\f1 about and dealt with. And we're trying to think about it in the framework or lens of a strategy or client brief that are very specific business goals we're trying to meet within that. And I then it becomes more scaled and commercially minded sometimes. \par \hich\af1\dbch\af37\loch\f1
1:37:25
But I think it reduces the experimental qualities, because you're able to show that that thing is actually quite scalable as an idea outside of just a little sketch. But I think that's probably the one thing I recommend everybody to do is to just save ev \hich\af1\dbch\af37\loch\f1 e\hich\af1\dbch\af37\loch\f1 rything they do in their entire career and be able to pull it up any time no matter if it's just a sketch for a project or just a killer idea from a client. That always can
1:37:51
come back up. Oh yeah, there's this thing and then can just use your own work as \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 your resource material for future commission. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: That's the same approach and because people used to be negative about this in working. And I talk to people about it. You're reusing work? Because I can spend all the freedom without a \hich\af1\dbch\af37\loch\f1
1:38:23
ny limitation and doing what I love and somehow at one point you find a match. The other day, I was with a designer, and he made sort of a design for the New York Times like a big screen. And then I said how does this design way go? And he said, yeah, \hich\af1\dbch\af37\loch\f1 n\hich\af1\dbch\af37\loch\f1 owadays, it goes like you see something, they like it and they ask can you develop on this? Because we have such sort time like cultural days. And this is really good. And you cannot
1:38:58
come up with something this good in like this short time. \par \hich\af1\dbch\af37\loch\f1 So, I really\hich\af1\dbch\af37\loch\f1 like the fact you sort of produce work without clients. And you can also show it. Because before, then you just show your portfolio. And people would say, like, I want what you did for this other client. I want it too. And you say it's not possible \hich\af1\dbch\af37\loch\f1 b\hich\af1\dbch\af37\loch\f1 ecause it's for another client. But this sort
1:39:21
of new approach, I'm really liking it. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Therein lies the danger too. There's the perfect amount of showing just enough. Because if you show too much or show everything, then everybody is goin\hich\af1\dbch\af37\loch\f1 g to ask you to recreate it. Yeah, and we've dealt with this is a constant battle in the studio. So we don't show much public R&D anymore. We actually kind of stopped. But you only
1:39:44
see it in lectures. You'll see it in the context of maybe a lecture o \hich\af1\dbch\af37\loch\f1 f\hich\af1\dbch\af37\loch\f1 like promotion or something? But it's usually some practical piece like content and never just free. \par \hich\af1\dbch\af37\loch\f1 When I think also, when we're doing like very commercially, you know, like branding projects and stuff for companies. So it's like this weird, this weir\hich\af1\dbch\af37\loch\f1
1:40:07
d someone else can grab one of those ideas and purpose it for their project. And you can see where that influence came from. So we got kind of maybe paranoid. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVELD: It's based on effects that happened before. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: But I think\hich\af1\dbch\af37\loch\f1 there's a nice line, you know you have this meeting, then you can open up the keynote
1:40:27
just like this presentation and unload. And all this material that doesn't live on Instagram but you have it. And we have this Pandora's }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 Box}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 . Yeah. \par \hich\af1\dbch\af37\loch\f1 >> DANIEL MAARLEVE\hich\af1\dbch\af37\loch\f1
1:40:40
LD: Also the other way around, I had the research for certain methods. And suddenly saw like other designers doing exactly the same thing. And I thought, it sounds arrogant, but I came up with it four years ago and I put it in a folder. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUC\hich\af1\dbch\af37\loch\f1 AS: Throughout my career, I kept a drawer with all the rejected proposals. And somehow that drawer is a weird value to me. Like, yeah, maybe DID we're too crazy or insane
1:41:18
or impossible. But, still, and Jones Reyas, you know, curated that exhibition on \hich\af1\dbch\af37\loch\f1 \hich\af1\dbch\af37\loch\f1 impossible ideas. So can I show that? \par \hich\af1\dbch\af37\loch\f1 And it's weird, because I feel kind of protective about those ideas. And to have it then up on them on a wall is kind of awkward. Only because they're your failures in a way. All right. I don't see any new questio \hich\af1\dbch\af37\loch\f1 ns. Last chance, people.
1:42:03
\par \hich\af1\dbch\af37\loch\f1 I can't thank you both enough for having showing your work. I thought it was great. It's probably the only positive thing about this whole COVID-19 case that we can actually talk to people abroad. \par \hich\af1\dbch\af37\loch\f1 Because flying is usually too e\hich\af1\dbch\af37\loch\f1 xpensive or whatever. And I also wanted to present to people in hopes that they might know of each other's work and also seeing similarities or differences.
1:42:40
\par \hich\af1\dbch\af37\loch\f1 And keep up the great work. I think it's exciting. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Thank you very much. \par \hich\af1\dbch\af37\loch\f1 >> DANIE\hich\af1\dbch\af37\loch\f1 L MAARLEVELD: Thank you for inviting us. \par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: Way, it was great. \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: Yeah, it was a great and we should have a longer talk about your typography.
1:42:58
\par \hich\af1\dbch\af37\loch\f1 >> MITCH PAONE: There's certainly another hour's worth of forum content that co\hich\af1\dbch\af37\loch\f1 uld be added here for sure. [Laughter] \par \hich\af1\dbch\af37\loch\f1 >> WILLEM H. LUCAS: All right, Gareth, how do we end this? \par \hich\af1\dbch\af37\loch\f1 >> GARETH WALSH: That's always a good question. I mean, I just want to say thank you. It was very inspirational. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0
1:43:19
\f1\fs24\insrsid13243078 \hich\af1\dbch\af37\loch\f1 I've love how free-} {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672 \hich\af1\dbch\af37\loch\f1 flowing you are with\hich\af1\dbch\af37\loch\f1 your designs. }{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 And it's inspiring to see all that unrestrained experimentation. And yes, to end it, I just hit the end button and we all go. [Laughter] All right. Thank
1:43:38
you. \par }\pard \ltrpar\ql \fi720\li0\ri0\sa200\sl276\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid13243078 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 \hich\af1\dbch\af37\loch\f1 (End of meeting)}{\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid13243078\charrsid1987672
1:43:42
\par }\pard \ltrpar\ql \fi720\li0\ri0\sa200\sl276\slmult1\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid12418615 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\insrsid12418615\charrsid1987672 . \par }\pard \ltrpar\ql \li0\ri0\sa200\widctlpar\wrapdefault\aspalpha\aspnum\faauto\adjustright\rin0\lin0\itap0\pararsid16401168 {\rtlch\fcs1 \af1\afs24 \ltrch\fcs0 \f1\fs24\cf1\insrsid5725288\charrsid6903550
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