Computation
Pattern
Typography
TypeLab 2022
Presentation ︎︎︎
Typography Day 2022
Research Paper ︎︎︎
Pattern
Typography
TypeLab 2022
Presentation ︎︎︎
Typography Day 2022
Research Paper ︎︎︎
VISUAL
CRYPTOGRAPHY
IN TYPOGRAPHY
Typefaces as much as a puzzle to solve, as they are a message to read
Legibility is a fundamental element in the process of type design, measuring how quickly and accurately a reader can recognize a letter. Commonly, it's discouraged to create illegible letters, as they can puzzle the reader and introduce ambiguity in communication. However, I wonder an alternative perspective. What if typefaces could be both a puzzle to solve and a message to read? What if we could loosen the constraints of legibility in type design?
This research project explores a programmatic method to create typefaces that are as much as a puzzle to solve as they are a message to read.
This research project explores a programmatic method to create typefaces that are as much as a puzzle to solve as they are a message to read.
ORIGIN OF IDEA
Often times design processes dictate that every decision
should have a reasoning.
Looking at random triangular patterns commonly found in design, made me wonder that even they should have a meaning, a reason as to why each triangle is placed in that certain way. It made me inquire, can something be designed in a way that looks random but if observed closely, the hidden meaning reveals?
Looking at random triangular patterns commonly found in design, made me wonder that even they should have a meaning, a reason as to why each triangle is placed in that certain way. It made me inquire, can something be designed in a way that looks random but if observed closely, the hidden meaning reveals?
CRYPTOGRAPHY
Some knowledge is sacred, reserved for the chosen few. Information like
private messages, company secrets, and passwords is all kept safe and
secure thanks to cryptography.
Cryptography is the practice and study of techniques for secure communication between the sender and receiver. Simply put, it's about sharing information in a secret manner. This age-old study's application can be seen from the times of Julius Caesar to modern-day electronic encryptions for safe and secure transactions.
One of the techniques for encrypting messages is visual cryptography. As the name suggests, messages are encrypted in a visual format, such as images and typography.
Cryptography is the practice and study of techniques for secure communication between the sender and receiver. Simply put, it's about sharing information in a secret manner. This age-old study's application can be seen from the times of Julius Caesar to modern-day electronic encryptions for safe and secure transactions.
One of the techniques for encrypting messages is visual cryptography. As the name suggests, messages are encrypted in a visual format, such as images and typography.
VISUAL CRYPTOGRAPHY TECHNIQUES
Technique by Moni Naor and Adi Shamir
One well-established technique involves breaking an image into components, making it so that only someone possessing all the parts can decipher the message.
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One well-established technique involves breaking an image into components, making it so that only someone possessing all the parts can decipher the message.
Turing Fonts
Similar to the Caesar cipher, characters of Turing fonts are intentionally disordered. They primarily function in the digital realm, providing a means to publish sensitive information without being indexed by search engines such as Google.
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Similar to the Caesar cipher, characters of Turing fonts are intentionally disordered. They primarily function in the digital realm, providing a means to publish sensitive information without being indexed by search engines such as Google.
Bacon Cipher
Bacon Cipher utilizes two typefaces. Each character in the decrypted message is substituted with a sequence of 5 characters for encryption. Similar to the binary system with 0s and 1s, this cipher employs typefaces A and B. For instance, the letter 'a' corresponds to 5 characters in typeface A, while 'b' is represented by 4 characters in typeface A and 1 character in typeface B, and so forth.
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Bacon Cipher utilizes two typefaces. Each character in the decrypted message is substituted with a sequence of 5 characters for encryption. Similar to the binary system with 0s and 1s, this cipher employs typefaces A and B. For instance, the letter 'a' corresponds to 5 characters in typeface A, while 'b' is represented by 4 characters in typeface A and 1 character in typeface B, and so forth.
Printer Steganography
Printer Steganography is a technique that involves printing secret yellow dots on paper. These dots encode information about the device from which the page was printed.
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Printer Steganography is a technique that involves printing secret yellow dots on paper. These dots encode information about the device from which the page was printed.
Pigpen Cipher
Pigpen cipher encrypts messages by replacing characters with symbols. It's a commonly used cipher, especially among children for secret communication.
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Pigpen cipher encrypts messages by replacing characters with symbols. It's a commonly used cipher, especially among children for secret communication.
Doctor’s Handwriting
Sometimes even the plain old handwriting of doctors can do the trick!
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Sometimes even the plain old handwriting of doctors can do the trick!
PAREIDOLIA EFFECT
In plain sight, visually cryptic letterforms may appear as random
patterns. However, upon closer observation, they reveal hidden messages,
creating a pareidolia effect.
Pareidolia is one such effect that falls into the grey area between the
encrypted and decrypted. For example, a cloud might look like a
dinosaur, or the texture on a floor tile might be perceived as a face.
Pareidolia can be used in visual cryptography where typography exists in
the grey area of legibility and unreadability.
ELEMENTS & STRUCTURES
A programmatic method was used to explore letterforms, just as binary
code comprises 0s and 1s as elements forming a code when structured
together in a sequence. Similarly, basic shapes like circles and
triangles were used as elements, and the structure became the grid to
arrange them.
OUTCOME
The outcome of this research
is a collection of typefaces
that are as much
as a puzzle to solve as they are a message to read.
Beyond their cryptic nature, each typeface has a certain visual flavor and attributes.
A
CYPHER MONO
A
CYPHER MONO SECOND NATURE
A
A
CIRCUS MONO
A
A
STRINGS MONO
CYPHER MONO
Drawn from the triangular patterns that initiated this research, Cypher Mono has a right-angle triangle as the element along with a
grid made up of the same triangles as its structure.
The typeface's geometric and sharp characteristics contribute to its cryptic nature.
Upon further experimentation, it was discovered that the
triangles’ replacement with circles increased the cryptic nature of
letterforms.
This resulted in a dynamic version of the typeface, morphing its elements from triangles to circles.
It has always been interesting to see letterforms in a dot grid format, but shift the grid slightly, and it changes the dynamic making letters difficult to read.
It has always been interesting to see letterforms in a dot grid format, but shift the grid slightly, and it changes the dynamic making letters difficult to read.
CYPHER MONO SECOND NATURE
Building upon the foundation of Cypher Mono, this typeface transitions from sharp and rigid shapes to organic and nature inspired forms.
A glitch in Illustrator occurred while attempting to create a complete letterform. The 'Unite' function unexpectedly united only a specific group of triangles at a time, resulting in the formation of dynamic shapes. This is one of those happy accidents where the second nature of tech revealed itself. The glitch of the software became a catalyst to morph the letters.
The likelihood of encountering letterforms like these would have been extremely low if a conventional approach was followed.
A glitch in Illustrator occurred while attempting to create a complete letterform. The 'Unite' function unexpectedly united only a specific group of triangles at a time, resulting in the formation of dynamic shapes. This is one of those happy accidents where the second nature of tech revealed itself. The glitch of the software became a catalyst to morph the letters.
The likelihood of encountering letterforms like these would have been extremely low if a conventional approach was followed.
CIRCUS MONO
Exploring with grids and shapes made it apparent that using fewer shapes to construct letterforms makes them more challenging to read.
For example, seeing an image in HD vs an image made of fewer pixels. One can interpret the pixelated image if one has already has seen it
multiple times, or in the case of letters, read them multiple times.
Based on this principle, Circus Mono has square and circle elements along with a square grid as its structure. Its rounded characteristics contribute to its whimsical and playful visual attributes, along with its primary cryptic nature.
Based on this principle, Circus Mono has square and circle elements along with a square grid as its structure. Its rounded characteristics contribute to its whimsical and playful visual attributes, along with its primary cryptic nature.
As previously discussed in the research, the method of breaking a message into parts can encrypt it. This technique acts as a tool to generate letterforms. With the process of addition, subtraction, unification,
intersection, inverse of intersection and union of intersections, explorations
resulted in the creation of 3 styles, that produce 13 variations by layering and color
assignment.
Further permutations and combinations involving line width and outlines can potentially yield additional styles.
‘+’ signifies the use of two different colors
‘-’ signifies the use of the same color as the background
‘x’ signifies the use of identical colors
Further permutations and combinations involving line width and outlines can potentially yield additional styles.
‘+’ signifies the use of two different colors
‘-’ signifies the use of the same color as the background
‘x’ signifies the use of identical colors
STRINGS MONO
Strings Mono draws inspiration from optical illusions. The letterforms
are created with a combination of two
intricate shapes at angles of 45° and 90°, complemented by a square grid.
When these letters are stacked together, they look similar to an optical art pattern.
Upon converting these forms into outlines, a variable
version of the typeface can be made, where the variation lies in the no. of
lines. The variable version is currently under production using Processing.
Each of the two complex forms is created as a function and composed in a
2x2 grid to form a letterform. Hover over the blank white box below to
try out an interactive version.
WHAT’S NEXT?
Similar to how a coffee bean transforms into coffee, these letters undergo a series of steps to be visually encrypted as patterns. One may question, if patterns replace letters to encrypt a message, can they be considered as a script for that language? Across this research, many such questions were wondered — some answered, some unanswered and some stupid ones. Nevertheless, I will continue to explore and wonder the endless possibilities of what typography can be.
