Modular Forms

In my previous research for my proposal I identified the modular typefaces P22 Blox (based on Alphablox), Super Tipo Veloz and Extraset’s Klarheit Kurrent. With my typeface possibly existing both as a digital design and a physical design I felt some further research into other expressions of modularity within different mediums relating to type could be helpful.

The branding for the Vietnam Festival of Media & Design: Hanoi 2019 by Behalf Studio (2021) is a graphic system that makes use of modular elements inspired by the architecture and patterns found in Hanoi itself. These shapes have the hints of letters in their forms, when viewed alone they are compelling enough to be viewed as a shape whilst when combined with other shapes into words they can be read like a conventional sentence.

Vietnam Festival of Media & Design: Hanoi 2019 (Behalf Studio 2021)

Line Up (OLGA, R.D 2020)

In the Line Up book created by Raffaella Della Olga, each right side of a spread is a letter in the alphabet, running sequentially from a-z. The letters themselves are made out of lines aligned with a rigged adherence to a grid, resulting in some very abstract forms. The typeface used is called “Alphabet”, created by Timothy Epps and the experimental psychologist Christopher Evans in England in the late 60’s. As Olga writes in the description of their work “Alphabet” was the result of a challenge for them to find a system that would enable early computers to recognise fonts. Working within a five x five grid, Alphabet was designed entirely from vertical and horizontal lines.”. The first time I watch the video of the book pages being turned I didn’t recognise the shapes as letters, it was only once I had seen up to the letter F that I recognised it as a letterform. Once I had that understanding that I was looking at letterforms I was able to perceive the previous shapes as letterforms. The repetition, unified structure (all designs are made using the same weight of lines and grid) as well as the context of this alphabet being presented as a book aided me in perceiving disparate forms as an alphabet.

10×14 Matrix Alphabet (Information Graphics:A Survey of Typographic, Diagrammatic and Cartographic Communication book 1989 )
Handjet (Rosetta Type Foundry 2021)

Early digital design required physical typefaces and letterforms to be converted to be viewed on low resolution digital screens. This resulted in forms such as these seen in the Information Graphics:A Survey of Typographic, Diagrammatic and Cartographic Communication book (1989) which brings together many letterforms created during this period. This typeface in particular was the outcome of a set of experiments “designed to demonstrate the flexibility of the 14×10 system while conforming to the restrictions of a matrix format. It shows the considerably improved legibility, character spacing and consistency of letter form achievable within this enlarged format.”, by conforming to a grid they are able to enlarge and reduce each letter proportionally whilst keeping the letterform distinct.

A contemporary exploration of this same grid based technique can be seen in the work of Rosetta Type Foundry, where designer David Březina’s Handjet (2021) variable typeface uses the same grid for each font in the typeface but varies the shape of the forms that follow the stroke of the letter. This creates fluid, moving forms that still remain legible as a letterform, even whilst in flux.

When most people think of modularity they think of Lego toys. Lego bricks adhere to a strict set of rules that govern the size, alignment and connection points of any component in their system. This can result in some unexpected shapes and angles being produced, it is shapes like this that allow the flexibility of the system to create distinct and varied forms, rather than everything being built off a 2×4 grid.

Vintage wooden borders and ornaments (AUB 2021)
Creating 2.5-line “star bars” (Hamilton Wood Type 2021)

In my discussion with Ryan Molly we spoke about traditionally produced blocks and about the limitations of the tools they used in being able to produce non-rectangular forms. Though variations of shape and alignment options do exist within antique blocks they are rare to find. This is due in part to the fact that their production was a much more involved process. With there being different angles needing to be cut, machines had to be reset and more care needed to be taken to ensure they lined up correctly. These samples from the archives at AUB show a selection of patterned borders that intersect at 45degrees as well as L shaped patterns that allow you more flexibility in the creation of shapes.

While most conventional woodtype was produced with a pantograph (a router that follows a pattern to create a form), borders were stamped on a separate machine. This video shows the process of taking prepared blank wood blocks and running them through the stamping machine by hand, using the settings on the machine to align various brass ornaments. The patterns are built up one shape at a time, a long process that was again reflected in their higher cost.

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