https://frammenti.stefanseifert.com Typeface Works and Essays Wed, 05 May 2021 05:37:58 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.5 https://frammenti.stefanseifert.com/wp-content/uploads/2016/12/cropped-Homescree_icon-32x32.png https://frammenti.stefanseifert.com 32 32 https://frammenti.stefanseifert.com/2018/01/to-put-or-not-those-extra-points/ https://frammenti.stefanseifert.com/2018/01/to-put-or-not-those-extra-points/#respond Sat, 13 Jan 2018 12:25:39 +0000 http://www.seifertfragments.de/?p=2374

Sometimes, or even always if I am asking myself more closely, I envy all the designers and creatives in the world for whom the computer might be not more than just a (powerful) tool to organize their work, to make it more simple to correct, modify, archive it etc. Like it may certainly influence and have a huge impact on the production of work in a great couture enterprise who, yet, in the end let those critical touches, of how the material is cut and put together in the hand of skilled craftsmen or the designer himself. This is so different and brings me even to the question wether it is an art any longer or not, to what we type designers have to face and how much and essentially the computer influences in a direct way on our design, how Béziers corrupt our feeling towards natural forms, how it undermines the organic flow of the swelling of a curve! Speaking for me, I am continuously involved in a deep struggle between what my imagination seems to want me to do and what Béziers try to allow me, or better limit me to do. Certainly, we can put points and points into the middle of our curves (even if I personally tend to shift them asymmetrically towards one side of it) but don’t we have the impression then it made our form more insecure, more shaky? That’s because of the digital grid that forces them to go to one side or another and never seem to let them stay where we wanted them. This is as well valid for the points themselves as well as for their tangents which like in a zooming glass seem to make our curve jump from one extreme to another. If I had the time to do so, not being forced to make my money as a graphic designer (which I certainly like) I could spend some weeks like a scientist to make dozens of diagrams minutely displaying every minimal step I make in a curve to demonstrate what I mean. But I do not. I am sorry for this lack. I limit pictures of this post to a daily working process scene on a character called Excess, just without comments. If you like to click through the slides feel free to leave yours anyhow! Or, otherwise, just be comforted to be not alone searching for the correct curve that never seems to happen.]]>

Sometimes, or even always if I am asking myself more closely, I envy all the designers and creatives in the world for whom the computer might be not more than just a (powerful) tool to organize their work, to make it more simple to correct, modify, archive it etc. Like it may certainly influence and have a huge impact on the production of work in a great couture enterprise who, yet, in the end let those critical touches, of how the material is cut and put together in the hand of skilled craftsmen or the designer himself. This is so different and brings me even to the question wether it is an art any longer or not, to what we type designers have to face and how much and essentially the computer influences in a direct way on our design, how Béziers corrupt our feeling towards natural forms, how it undermines the organic flow of the swelling of a curve! Speaking for me, I am continuously involved in a deep struggle between what my imagination seems to want me to do and what Béziers try to allow me, or better limit me to do. Certainly, we can put points and points into the middle of our curves (even if I personally tend to shift them asymmetrically towards one side of it) but don’t we have the impression then it made our form more insecure, more shaky? That’s because of the digital grid that forces them to go to one side or another and never seem to let them stay where we wanted them. This is as well valid for the points themselves as well as for their tangents which like in a zooming glass seem to make our curve jump from one extreme to another. If I had the time to do so, not being forced to make my money as a graphic designer (which I certainly like) I could spend some weeks like a scientist to make dozens of diagrams minutely displaying every minimal step I make in a curve to demonstrate what I mean. But I do not. I am sorry for this lack. I limit pictures of this post to a daily working process scene on a character called Excess, just without comments. If you like to click through the slides feel free to leave yours anyhow! Or, otherwise, just be comforted to be not alone searching for the correct curve that never seems to happen.]]> https://frammenti.stefanseifert.com/2018/01/to-put-or-not-those-extra-points/feed/ 0