Daniel Stuhlpfarrer Melds Phonetics, Architecture, and Iconography in his Variable Typefaces

One example of this is the Wabla typeface that he initially developed as a display font for a book about self-reflection. In designing the book, titled Reflexikon due to its lexicon-like structure Daniel “had the idea to reinterpret initials from past centuries and create something more ‘modern’,” after which the first shapes of Wabla were created. He then dedicated himself to the design of the entire typeface, turning it into a variable font to be able to pair the initial display font with other text fonts. “The reason for this is the exact weight interpolation,” Daniel says about the conversion into a variable font. “The focus is on the interpolation itself, the letters and the kerning remain in place and only the inner paths change so that the weight is adjustable.” Another project, a typeface for an identity design for an Austrian friend who’s ended up in Berlin, takes its initial approach from the vocalisation of his friend’s dialect, that “stretches vowels or entire words enormously.” What results is Innschbruck, a modular typeface that replicates this behaviour, stretching single letters and words. Daniel does this by creating two masters: an Ultra Condensed and an Ultra Expanded version, and then interpolating the character widths between the two to visualise the unique phonetics. Currently, Daniel is working on a typeface called Kritik, for the 11th issue of Protocol magazine that is focused on criticism in architecture. “The conceptual and practical work on a magazine in combination with working on the typeface is a lot of fun and is definitely a direction I would like to keep for the future,” he says. Attempting to reflect the magazine’s subject and theme, he designed a typeface with angular characters but, “in its basic form, ‘round’ and ‘soft’,” adding on elements in addition to an already existing scaffold, a process akin to constructing a building. His first variable font, Melange, features striking ink traps, and is already in use across a number of publications. In these projects, it’s clear that Daniel’s affinity for a conceptual approach to creating variable typefaces is where he’ll find his home in the near future. URL Out – https://www.itsnicethat.com/articles/daniel-stuhlpfarrer-graphic-design-171019Author – www.itsnicethat.comDate – 2019-10-18 21:47:36

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