Ich weiß nicht; wer weiß wie oft; wer weiß wen; quo vadis; wohin wird das führen; wer weiß, wie das enden wird; wie soll das weitergehen; weiß Gott; wen kümmert es; weiß der Teufel; wer weiß das schon;
3 × A1 Posters, 594 × 841 mm, Screen Printed
1 × A1 size Plexiglas® Sheet, 594 × 841 mm, Screen Printed
80 × A6 Postcards, 105 × 148 mm, Risograph Printed
1 × A4 Paper, 210 × 297 mm, Laserjet Printed
Diploma exploring the possibilities of printing/creating white using black ink.
Do Machines speak our Language?
Using a Generative Adversarial Network (GAN) trained on a dataset of 512 fonts (or images thereof), 100 images of fonts were generated. From these 100, 10 were then selected to represent the full range of results. Based on these 10 images, functional fonts were then created in Glyphs. The reference text is a combination of the beginnings of chapters three and four - the letter and the word - from Jost Hochuli's book Detail in Typography, in which he outlines various aspects of typography, including the relationship between letterforms and legibility. Do Androids Dream of Electric Sheep? by Phillip K. Dick as well as Darwin Among the Machines by Samuel Butler served as inspiration for this work.
Machines, of course, do not speak our language, but are trained to decipher it.
But do the machines even understand what they decipher?
Ring Bound Publication, 210 × 297 mm, 27 pages, 22 of which fold out to 420 × 297 mm
Theoretical diploma exploring GAN font creation and Optical Character Recognition / Machine Reading Comprehension technologies.
Hermann Typeface is inspired by and loosely based on Hermann Zapf’s Ideas which he outlines in »Über Alphabete. Gedanken und Anregungen beim Schriftentwurf«. Especially the part where he describes traveling to italy and searching for inspiration in antique roman gravestone typefaces.
I then went onto the old cemeteary in Darmstadt, where Hermann Zapf himself is buried and looked for inspiration on Tombstones on that graveyard.
The specimen itself revolves around the topic of death and gravestones.
Newspaper, 350 × 500 mm, 36 pages
4C Risograph Print, 250 × 350 mm
Newspaper, 325 × 480 mm, 60 pages, 4 colour (CMYK) vs 7 colour (CMYKVOG) offset printing
Team: Anna Fischer, Jan Motyka, Chiara Schratt, Jacob Tegel
Images were printed two sided, with 4 colours on one and 7 colours on the opposing one and gathered loosely in a newspaper style.
VULGAR DISPLAY OF POWER
Newspaper, 350 × 500 mm, 32 pages
Team: Marvin Backes, Vincent Brod, Marie Schaller, Jacob Tegel
NO GOOOD SPECIMEN
Ring bound collection of prints, 320 × 450 mm, Wood-Type printed, Edition of 4
How To — Vinyl
7 "–Cover Design, 184 × 184 mm, Screenprinted
Team: Paul Jürgens & Jacob Tegel
Mapping The Bermuda Triangle
Interactive Map / E-Book
Team: Natalie Grebe, Niko Ostojic, Jacob Tegel
Neue Texte — Was ist Typografie?
Staple bound booklet, Risograph printed
Team: Pauline Borgmann, Paul Jürgens, Cosima Maart, Rade Matic, Jacob Tegel