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international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. 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Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 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Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",true,1,"1",{"id":336,"height":13,"width":12,"blurhash":337},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":339,"height":15,"width":14,"blurhash":330},"d4e07c88-6674-4460-9621-b66d952ea4f3",[341,344,347],{"directus_files_id":342},{"id":343},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":345},{"id":346},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":348},{"id":349},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[351],{"languages_code":352,"description":353},"en","Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.","Art & Culture",[26,30,34],[357],"Bong",[258],[231,232,360],"Three.js",[362,364,365,367],{"score":363,"category":71},99,{"score":82,"category":74},{"score":366,"category":77},96,{"score":184,"category":79},[369,370,371,372],{"score":169,"category":71},{"score":150,"category":74},{"score":366,"category":77},{"score":184,"category":79},[88,374,92,96],"blue","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",{"id":377,"website_id":378,"page_id":377,"name":379,"slug":380,"url":381,"website_name":379,"website_slug":380,"website_url":381,"result_url":381,"fetched_at":382,"score":172,"score_boost":326,"ai_score":149,"freshness_score":383,"scored_at":384,"page_name":40,"page_url":381,"page_title":379,"page_description":385,"page_content":386,"page_sort":326,"is_home":332,"is_home_rank":333,"page_type_id":334,"page_type_name":47,"cover":387,"cover_mobile":390,"cover_sequence":392,"translations":396,"industry":354,"styles":399,"credits":401,"font_families":404,"technologies":405,"pagespeed":406,"pagespeed_mobile":412,"buckets":417,"search_payload":418},"57fdeafa-6d2e-4d47-8c60-2bd59fe59c6b","e3740c0e-b131-410d-85b8-0d55bb6abad6","Phase","phase","https:\u002F\u002Feliashanzer.com\u002Fphase","2026-05-04T20:01:28.000Z",75,"2026-05-23T19:10:16.000Z","Phase is a generative type concept.","SlidersVoice Type TesterAbout Background ImageColor Type Phase ss01ss02ss03ss04onumcase M1-AM1-BM1-CM2-DM2-EM1M2-FM1M2-GM1M2-H RandomDownload Typephase Please note: If you wish to purchase the downloaded typephase for commercial use, contact me and consider the EULA. If any phases are used for personal projects, please credit: “Typeface: Phase (Elias Hanzer)”. AgreeDisagree Selected: Phase-M1M2-H PH1074 PH2071 PH3069 Voice Variable fonts are still under development and not yet supported by your browser. Please use the latest versions of Chrome or Safari. More detailed information about how to use Firefox and browser support you can find here. Use site with limited features",{"id":388,"height":13,"width":12,"blurhash":389},"ec8ee428-2b28-4d35-862d-9cdce42542a9","radial-gradient(at 0 0,#fcfcfc,#00000000 50%),radial-gradient(at 33% 0,#fbfbfb,#00000000 50%),radial-gradient(at 67% 0,#ffffff,#00000000 50%),radial-gradient(at 100% 0,#ffffff,#00000000 50%),radial-gradient(at 0 50%,#fafafa,#00000000 50%),radial-gradient(at 33% 50%,#f3f3f3,#00000000 50%),radial-gradient(at 67% 50%,#eeeeee,#00000000 50%),radial-gradient(at 100% 50%,#f3f3f3,#00000000 50%),radial-gradient(at 0 100%,#fbfbfb,#00000000 50%),radial-gradient(at 33% 100%,#f7f7f7,#00000000 50%),radial-gradient(at 67% 100%,#f6f6f6,#00000000 50%),radial-gradient(at 100% 100%,#f9f9f9,#00000000 50%)",{"id":391,"height":15,"width":14,"blurhash":330},"f97ebac3-ce29-415d-97c9-35895159f01c",[393],{"directus_files_id":394},{"id":395},"831e8891-0ba4-4ec4-87a6-d562bbaf01ec",[397],{"languages_code":352,"description":398},"Phase is a cutting-edge generative typography concept that explores the intersection of modular design and real-time interaction. The platform allows users to manipulate variable font technology through algorithmic components or even via voice input, transforming static characters into dynamic, living shapes. It serves as both a creative playground and a technical demonstration of how sound and data can reshape visual language.\n\nThe visual identity is unapologetically experimental and high-contrast, leaning heavily into a brutalist, typographic-driven aesthetic. By utilizing a stark monochrome palette and oversized, distorted letterforms, the design directs all attention to the fluidity of the type itself. The interface is utilitarian and stripped of unnecessary ornamentation, catering to a sophisticated audience of type designers, creative technologists, and digital artists looking to push the boundaries of motion and form.",[400,26,34],"Brutalist \u002F Neo-Brutalist",[402,403],"Florian Zia","Elias Hanzer",[],[],[407,409,410,411],{"score":408,"category":71},93,{"score":72,"category":74},{"score":75,"category":77},{"score":171,"category":79},[413,414,415,416],{"score":177,"category":71},{"score":184,"category":74},{"score":75,"category":77},{"score":171,"category":79},[88,92,96],"Website: Phase. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Phase. Page description: Phase is a generative type concept.. Page content: SlidersVoice Type TesterAbout Background ImageColor Type Phase ss01ss02ss03ss04onumcase M1-AM1-BM1-CM2-DM2-EM1M2-FM1M2-GM1M2-H RandomDownload Typephase Please note: If you wish to purchase the downloaded typephase for commercial use, contact me and consider the EULA. If any phases are used for personal projects, please credit: “Typeface: Phase (Elias Hanzer)”. AgreeDisagree Selected: Phase-M1M2-H PH1074 PH2071 PH3069 Voice Variable fonts are still under development and not yet supported by your browser. Please use the latest versions of Chrome or Safari. More detailed information about how to use Firefox and browser support you can find here. Use site with limited features. A Brutalist \u002F Neo-Brutalist, Clean \u002F Minimalist, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Black, Gray. AI description: Phase is a cutting-edge generative typography concept that explores the intersection of modular design and real-time interaction. The platform allows users to manipulate variable font technology through algorithmic components or even via voice input, transforming static characters into dynamic, living shapes. It serves as both a creative playground and a technical demonstration of how sound and data can reshape visual language. The visual identity is unapologetically experimental and high-contrast, leaning heavily into a brutalist, typographic-driven aesthetic. By utilizing a stark monochrome palette and oversized, distorted letterforms, the design directs all attention to the fluidity of the type itself. The interface is utilitarian and stripped of unnecessary ornamentation, catering to a sophisticated audience of type designers, creative technologists, and digital artists looking to push the boundaries of motion and form.",{"id":420,"website_id":421,"page_id":420,"name":422,"slug":423,"url":424,"website_name":422,"website_slug":423,"website_url":424,"result_url":424,"fetched_at":425,"score":173,"score_boost":326,"ai_score":149,"freshness_score":328,"scored_at":426,"page_name":40,"page_url":424,"page_title":427,"page_description":428,"page_content":429,"page_sort":326,"is_home":332,"is_home_rank":333,"page_type_id":334,"page_type_name":47,"cover":430,"cover_mobile":433,"cover_sequence":435,"translations":526,"industry":21,"styles":529,"credits":531,"font_families":533,"technologies":539,"pagespeed":542,"pagespeed_mobile":549,"buckets":555,"search_payload":557},"812da76c-93db-4fcc-b623-04b07028561c","ebaae344-c91c-4ff4-bbd0-1fd16c0e5496","Read Me: Magazine","read-me-magazine","https:\u002F\u002Freadymag.com\u002Fdesigns\u002F1961938","2026-05-04T12:23:34.000Z","2026-05-23T19:24:45.000Z","Readymag templates: Read Me: Magazine","Glitzy and varied template for editorials.","Read me! 9 tips on Creating a readable web text Part 4 FONTS THAT ADDRESS SPECIAL ISSUES Part 3 EVOLUTION OF LAYOUTS AND TYPESETTINg ON THE WEB Part 2 what makes on-Screen readability special Part 1 Define and conquer 8 min read More and more text-based content is shared over the Internet, but not everything is thoroughly read. In fact, by the time this article reaches the next screen, a significant share of you will have already stopped reading. New York subway, 2019. Photo: Susan Jane Golding, CC by 2.0 studies suggest that on medium, a popular platform for long blog posts, the average read-through rate is around 40 %—that means only two out of five readers that start reading an article, will actually stick around to finish it (though some argue that there is still significant variance). Readymag Stories project read-through data revolves around the same numbers—by the end of each story, we lose over half of those who began interested. To make things worse, people almost never consume digital content word by word: instead, they rapidly scan the text. “People scan because they’re trying to absorb as much information as they need,” notes Kate Moran, a Senior User Experience Specialist at Nielsen Norman Group. To make the problem go away, it’s become almost a cliche to blame the reader. According to this view, the public, addicted to everything new and shiny, is almost eager to be bored by text so that they can switch to the next article, video game, insta account, etc. But what if the problem is deeper, and what is posed as an ethical question is in fact a matter of pure physiology? Some studies suggest that on-screen text might be inherently more difficult to read than printed. That implies that there is no way creators can raise the bar for read-through above a certain level, pre-determined by the properties of a human eye and a human brain. Still, to increase the chances of their work being seen, great creators work hard to create good content and set it in type, as they always have. In this essay we offer some advice on how to deal with both. PART 1 contents Define and conquer Let’s start by defining readability. According to a classic paper by Edgar Dale and Jeanne Chall, readability is “…the sum total (…) of all those elements within a given piece of printed material that affect the success a group of readers have with it. The success is the extent to which they understand it, read it at an optimal speed, and find it interesting.” In other words, readability is a metric that evaluates the ease and comfort of reading a particular text. The question of how to create this kind of metric was asked long before the web emerged—as early as the 19th century. French psychologist Louis Émile Javal provided one of the first known studies of the matter in 1879 with his paper Essai sur la physiologie de la lecture (On the Physiology of Reading). Javal’s key insight was that readers’ eyes don’t move steadily across the text; they actually make short, rapid movements (saccades), mixed with longer stops (fixations). Javal also noted that sometimes, while reading, the eyes unconsciously move backwards to text the reader has already seen. His idea was that the number of stops and backwards moves might help determine readability level—however, Javal lacked precise tools for the task and the idea was dropped at that time. Two other prominent approaches came forward later, in the middle of the 20th century. One was based on the speed of perception, while another emphasized measuring overall eye fatigue. These were pioneered by two researchers, Miles Tinker and Matthew Luckiesh—whose different approaches to measuring readability even led to a certain animosity for each other (you can learn more from a paper by William Berkson). Top: 14\u002F21 Bottom: 20\u002F30 Consider the needs of your audience when selecting the type size: smaller type is harder to read for seniors, children and visually impaired people. Set in Spectral Top: 18\u002F18 Bottom: 18\u002F24 Tight line spacing reduces readability, as you can clearly see in these examples. Set in Suisse Int’l At the end of the day, Tinker’s idea of speed measurement transformed into the notion of legibility, the ease of distinguishing one letter from another as measured by perception speed. Luckiesh’s fatigue-based measurement became what is nowadays known as readability in a strict sense, the ease of reading a text as a whole—including layout, colors etc—measured using fatigue indicators like blink time. It can also be useful to distinguish the readability of a text (as a product of writing) versus the readability of text setting. The first primarily evaluates the skill of a writer, while the second has to do with design. part 2 What makes on-screen readability special Contents [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Contrast The pioneers of readability studies were obviously only dealing with printed text. However, by the end of the 1960s, computers with led screens had become relatively mainstream. Due to their inherent properties, they turned out to be more demanding on the eye. Glowing screens make the reading experience physically different from a paper that only reflects light—the higher the brightness level, the stronger the effect. “If you set the brightness up much too high, a direct focus of light will come into your retina, causing fatigue,” explains Nick Sherman, a typographic consultant and the founder of hex projects typographic company. High contrast between the type and the background ensure good readability This problem can be partially tackled by selecting proper contrast color schemes, keeping brightness levels at bay. Some great tools that measure text contrast are: Webaim color contrast checker, Luminosity contrast ratio analyser, Color contrast check, and Color contrast visualiser. Resolution The second hindrance factor is resolution—the number of dots within a given area that can be used to convey visual information. Resolution is measured in dots per inch (dpi) or pixels per inch (ppi), with these terms used interchangeably. MacBook retina displays (praised for their high resolution) have still only exceeded 200ppi, while offset printing offers 2400dpi or even higher. Most fonts that weren’t specially designed for computers tend to decline in readability when displayed on monitors. Historically, the two major it giants, Apple and Microsoft, have offered different solutions. The key feature in macos font rendering was so-called anti-aliasing—a technique used to add pixels of different color to letter fringes, making them look more smooth. Alias. Click to zoom in Anti-aliased In contrast, Windows tried to maximize legibility. They adapted the distribution of pixels within letters and words to make pixel density and letter shape optimal for reading. Microsoft used what’s now called font hinting, a set of instructions describing when to add additional pixels to each letter. This allows for improved legibility, but alters and even distorts original letterforms. Unhinted character Hinted character However, changes to how fonts are rendered have reduced the differences between these approaches. [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Evolution of layouts and typesetting on the web Part 3 The first website was published in 1990 by computer scientist Tim Berners-Lee and now it seems like an eyesore. Early web sites were basic, using vertically structured, text-heavy pages with few graphics. Before the introduction of tables as a web page structure, there were few design components and no way to emulate the layouts of conventional printed texts. In the early web there were no people well-versed in typesetting. Website layouts were fluid (did not have fixed width), so text lines came in any possible width. That was not so great: all sorts of typographic rules aimed at text legibility were smudged,” says Readymag product designer Stas Aki. The situation demanded new approaches to the creation of web layouts. The variety of screen sizes also strongly impacted web layouts and quality of typesetting. 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It serves as a playground for long-form storytelling, utilizing aggressive scale and experimental compositions to command attention in an era of rapid scrolling. The design is built for creators who want to transform text-heavy content into a visceral, immersive visual experience.\n\nThe visual identity is defined by a bold, maximalist approach that leans heavily into typographic hierarchy. Using high-contrast color palettes—vibrant oranges, deep purples, and electric blues—against stark backgrounds, the design creates a sense of urgency and modern edge. The layout breaks traditional grid structures with oversized headings and organic, overlapping shapes, making it an ideal choice for avant-garde digital publications and experimental design portfolios.",[400,34,530],"Vibrant \u002F Colorful",[532],"Pavel Kedzich",[259,271,534,535,535,536,270,537,538],"Austin","Druk","Giorgio","Freight","Trio Grotesk",[540,541],"FirstPromoter","Readymag",[543,545,547,548],{"score":544,"category":71},31,{"score":546,"category":74},78,{"score":366,"category":77},{"score":170,"category":79},[550,552,553,554],{"score":551,"category":71},25,{"score":72,"category":74},{"score":366,"category":77},{"score":170,"category":79},[88,96,92,556],"red","Website: Read Me: Magazine. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Readymag templates: Read Me: Magazine. Page description: Glitzy and varied template for editorials.. Page content: Read me! 9 tips on Creating a readable web text Part 4 FONTS THAT ADDRESS SPECIAL ISSUES Part 3 EVOLUTION OF LAYOUTS AND TYPESETTINg ON THE WEB Part 2 what makes on-Screen readability special Part 1 Define and conquer 8 min read More and more text-based content is shared over the Internet, but not everything is thoroughly read. In fact, by the time this article reaches the next screen, a significant share of you will have already stopped reading. New York subway, 2019. Photo: Susan Jane Golding, CC by 2.0 studies suggest that on medium, a popular platform for long blog posts, the average read-through rate is around 40 %—that means only two out of five readers that start reading an article, will actually stick around to finish it (though some argue that there is still significant variance). Readymag Stories project read-through data revolves around the same numbers—by the end of each story, we lose over half of those who began interested. To make things worse, people almost never consume digital content word by word: instead, they rapidly scan the text. “People scan because they’re trying to absorb as much information as they need,” notes Kate Moran, a Senior User Experience Specialist at Nielsen Norman Group. To make the problem go away, it’s become almost a cliche to blame the reader. According to this view, the public, addicted to everything new and shiny, is almost eager to be bored by text so that they can switch to the next article, video game, insta account, etc. But what if the problem is deeper, and what is posed as an ethical question is in fact a matter of pure physiology? Some studies suggest that on-screen text might be inherently more difficult to read than printed. That implies that there is no way creators can raise the bar for read-through above a certain level, pre-determined by the properties of a human eye and a human brain. Still, to increase the chances of their work being seen, great creators work hard to create good content and set it in type, as they always have. In this essay we offer some advice on how to deal with both. PART 1 contents Define and conquer Let’s start by defining readability. According to a classic paper by Edgar Dale and Jeanne Chall, readability is “…the sum total (…) of all those elements within a given piece of printed material that affect the success a group of readers have with it. The success is the extent to which they understand it, read it at an optimal speed, and find it interesting.” In other words, readability is a metric that evaluates the ease and comfort of reading a particular text. The question of how to create this kind of metric was asked long before the web emerged—as early as the 19th century. French psychologist Louis Émile Javal provided one of the first known studies of the matter in 1879 with his paper Essai sur la physiologie de la lecture (On the Physiology of Reading). Javal’s key insight was that readers’ eyes don’t move steadily across the text; they actually make short, rapid movements (saccades), mixed with longer stops (fixations). Javal also noted that sometimes, while reading, the eyes unconsciously move backwards to text the reader has already seen. His idea was that the number of stops and backwards moves might help determine readability level—however, Javal lacked precise tools for the task and the idea was dropped at that time. Two other prominent approaches came forward later, in the middle of the 20th century. One was based on the speed of perception, while another emphasized measuring overall eye fatigue. These were pioneered by two researchers, Miles Tinker and Matthew Luckiesh—whose different approaches to measuring readability even led to a certain animosity for each other (you can learn more from a paper by William Berkson). Top: 14\u002F21 Bottom: 20\u002F30 Consider the needs of your audience when selecting the type size: smaller type is harder to read for seniors, children and visually impaired people. Set in Spectral Top: 18\u002F18 Bottom: 18\u002F24 Tight line spacing reduces readability, as you can clearly see in these examples. Set in Suisse Int’l At the end of the day, Tinker’s idea of speed measurement transformed into the notion of legibility, the ease of distinguishing one letter from another as measured by perception speed. Luckiesh’s fatigue-based measurement became what is nowadays known as readability in a strict sense, the ease of reading a text as a whole—including layout, colors etc—measured using fatigue indicators like blink time. It can also be useful to distinguish the readability of a text (as a product of writing) versus the readability of text setting. The first primarily evaluates the skill of a writer, while the second has to do with design. part 2 What makes on-screen readability special Contents [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Contrast The pioneers of readability studies were obviously only dealing with printed text. However, by the end of the 1960s, computers with led screens had become relatively mainstream. Due to their inherent properties, they turned out to be more demanding on the eye. Glowing screens make the reading experience physically different from a paper that only reflects light—the higher the brightness level, the stronger the effect. “If you set the brightness up much too high, a direct focus of light will come into your retina, causing fatigue,” explains Nick Sherman, a typographic consultant and the founder of hex projects typographic company. High contrast between the type and the background ensure good readability This problem can be partially tackled by selecting proper contrast color schemes, keeping brightness levels at bay. Some great tools that measure text contrast are: Webaim color contrast checker, Luminosity contrast ratio analyser, Color contrast check, and Color contrast visualiser. Resolution The second hindrance factor is resolution—the number of dots within a given area that can be used to convey visual information. Resolution is measured in dots per inch (dpi) or pixels per inch (ppi), with these terms used interchangeably. MacBook retina displays (praised for their high resolution) have still only exceeded 200ppi, while offset printing offers 2400dpi or even higher. Most fonts that weren’t specially designed for computers tend to decline in readability when displayed on monitors. Historically, the two major it giants, Apple and Microsoft, have offered different solutions. The key feature in macos font rendering was so-called anti-aliasing—a technique used to add pixels of different color to letter fringes, making them look more smooth. Alias. Click to zoom in Anti-aliased In contrast, Windows tried to maximize legibility. They adapted the distribution of pixels within letters and words to make pixel density and letter shape optimal for reading. Microsoft used what’s now called font hinting, a set of instructions describing when to add additional pixels to each letter. This allows for improved legibility, but alters and even distorts original letterforms. Unhinted character Hinted character However, changes to how fonts are rendered have reduced the differences between these approaches. [ ](\u002Fdesigns\u002Freadme\u002F1\u002F) Evolution of layouts and typesetting on the web Part 3 The first website was published in 1990 by computer scientist Tim Berners-Lee and now it seems like an eyesore. Early web sites were basic, using vertically structured, text-heavy pages with few graphics. Before the introduction of tables as a web page structure, there were few design components and no way to emulate the layouts of conventional printed texts. In the early web there were no people well-versed in typesetting. Website layouts were fluid (did not have fixed width), so text lines came in any possible width. That was not so great: all sorts of typographic rules aimed at text legibility were smudged,” says Readymag product designer Stas Aki. The situation demanded new approaches to the creation of web layouts. The variety of screen sizes also strongly impacted web layouts and quality of typesetting. While print designers knew beforehand the paper format that will house their …. A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Entertainment & Media industry. The overall color palette features White, Gray, Black, Red. The typography features Roboto (Sans Serif), Source Sans (Sans Serif), Austin (Serif, Commercial Type), Druk (Sans Serif, Commercial Type), Druk (Sans Serif, Commercial Type), Giorgio (Display, Commercial Type), Graphik (Sans Serif, Commercial Type), Freight (Serif), Trio Grotesk (Sans Serif, Schick Toikka). Built using FirstPromoter, Readymag. AI description: Read Me: Magazine is a high-impact digital editorial template designed to challenge the conventions of web typography and layout. It serves as a playground for long-form storytelling, utilizing aggressive scale and experimental compositions to command attention in an era of rapid scrolling. The design is built for creators who want to transform text-heavy content into a visceral, immersive visual experience. The visual identity is defined by a bold, maximalist approach that leans heavily into typographic hierarchy. Using high-contrast color palettes—vibrant oranges, deep purples, and electric blues—against stark backgrounds, the design creates a sense of urgency and modern edge. The layout breaks traditional grid structures with oversized headings and organic, overlapping shapes, making it an ideal choice for avant-garde digital publications and experimental design portfolios.",{"id":559,"website_id":560,"page_id":559,"name":561,"slug":562,"url":563,"website_name":561,"website_slug":562,"website_url":564,"result_url":563,"fetched_at":565,"score":566,"score_boost":326,"ai_score":325,"freshness_score":328,"scored_at":567,"page_name":40,"page_url":563,"page_title":561,"page_description":568,"page_content":569,"page_sort":326,"is_home":332,"is_home_rank":333,"page_type_id":334,"page_type_name":47,"cover":570,"cover_mobile":573,"cover_sequence":575,"translations":579,"industry":582,"styles":583,"credits":584,"font_families":585,"technologies":586,"pagespeed":588,"pagespeed_mobile":594,"buckets":599,"search_payload":601},"b26a1674-28ef-48aa-8d89-85b345583033","ea48b0c5-9842-4e66-a512-49f5ee23a6f7","Daniel Wenzel","wenzeldaniel","https:\u002F\u002Fwenzeldaniel.com\u002F","https:\u002F\u002Fwenzeldaniel.com","2026-05-04T15:23:41.000Z",80,"2026-05-23T19:25:39.000Z","Daniel Wenzel, graphic and type design, specialised in utilizing animation-tools and code.","📱 click to access device orientation , specialized in typography and generative processes, balancing on the intersection of art, design and technology. Always interested in collaborations with designers, developers and publishers around the world. Please get in touch for questions or project inquiries. Creative Technology Director at MW.S; Based in Brooklyn, New York. eMail, Instagram, LinkedIn, Bēhance Type Design For retail and custom typefaces please visit 26a1.xyz Aigua Ancillary Post 19 Katsu Grotesque Knickerbocker Live Edge 23 Marund Meatloaf MM Sign 25 MTABC Schwabacher Grotesk The Octagon 21 Throw Untitled AI 20 Veelo Neue Research & Education Automated Type Design19 AI Type20 Hot NewsWIPDinamo GintoGX18Dinamo FavoritGX Beta19Dinamo 26A1 Lab26A1 26A1 Average Font2426A1 Scan24DIA Tangle24DIA Ouroborus24DIA Mapping24DIA Direction, Design & Code Oct 2016 – Mar 2017, achos! Rotterdam & Barcelona Oct 2017 – Jun 2024, DIA Studio, Brooklyn, NY Adidas 3ST.00318DIA Ancillary Post19 Chaumont Biennale21DIA Codea Studio17achos! Coinbase OCS23DIA Daniel Aristizábal17achos! Nike Apparel18DIA Nike KD1118DIA Klim Söhne20DIA Saturnalia Milan18DIA Squarespace18DIA smlXL22DIA Werkschau HTWG19 YouTube Countdown20DIA Also: Adidas London, Adidas Soccer, Apple, Audi, A-Trak, Balenciaga, Beefeater, Louis Vuitton, MoMA, Nike Adapt, Nike React, Pinterest, Space10 Artwork For physical artworks please contact via eMail For digital NFTs please visit foundation.app\u002F@wnzldnl Animating Art22 Generative Paintings20 Pixels and Tiles21 The New York Times21 University Lecturing Pratt Institute NYC, Form and Code24-25 Elisava Barcelona, MVD Typography21 Talks & Workshops Elisava Barcelona25 The Cooper Union NYC24, 25 Typographics, TypeLab24 Dynamic Font Day23 MIT Media Lab, Lunch Lectures23 Libros Mutantes23 TDC Inscript22 Weltformat22 HS Mainz22 HEAD Genève22 HS Mainz, Doubts and Dialogues22 KABK, TS2 Lunch Lecture #321 HSD, Type Talk21 Selected Press Young Guns 22 Winner24 WIX Designer Spotlight24 IBK Award for Innovative Typography22 Webby Honoree22 It's Nice That22 New Aesthetic 221 More is More21 Slanted20 It's Nice That19 It's Nice That18 © 2025 Daniel Wenzel. All rights reserved. Website Design & Development: Daniel Wenzel. Typeface: Monument Grotesk GX. Licenses must be purchased before use. Sharing, disseminating, and distributing is strictly prohibited. Please don’t steal and distribute my typefaces illegally.",{"id":571,"height":13,"width":12,"blurhash":572},"88b5c10f-bd2a-44ac-bd69-8bebed48cd2c","radial-gradient(at 0 0,#ececee,#00000000 50%),radial-gradient(at 33% 0,#f0f0ef,#00000000 50%),radial-gradient(at 67% 0,#f0f0ef,#00000000 50%),radial-gradient(at 100% 0,#f3f3f4,#00000000 50%),radial-gradient(at 0 50%,#e2e2e2,#00000000 50%),radial-gradient(at 33% 50%,#e6e6e6,#00000000 50%),radial-gradient(at 67% 50%,#e3e3e3,#00000000 50%),radial-gradient(at 100% 50%,#e8e8e8,#00000000 50%),radial-gradient(at 0 100%,#cbcbca,#00000000 50%),radial-gradient(at 33% 100%,#dadadb,#00000000 50%),radial-gradient(at 67% 100%,#e4e4e5,#00000000 50%),radial-gradient(at 100% 100%,#e8e8e7,#00000000 50%)",{"id":574,"height":15,"width":14,"blurhash":330},"9f03417e-4593-4a78-b605-f4020c007ce8",[576],{"directus_files_id":577},{"id":578},"016a6899-e83c-4dfe-93b6-880f2d50a55d",[580],{"languages_code":352,"description":581},"Daniel Wenzel’s digital portfolio is a masterclass in typographic expression and technical precision. The site serves as a high-end showcase for a Creative Technology Director, blending the disciplines of graphic design, custom type development, and motion through code. The visual identity is unapologetically typographic, utilizing massive, high-contrast lettering and a structured, grid-based layout that emphasizes the architecture of the characters themselves.\n\nDesigned for a sophisticated audience of designers, developers, and publishers, the interface leans into a brutalist-inspired aesthetic that feels both avant-garde and highly professional. The use of monochromatic tones, expansive whitespace, and rhythmic text arrangements creates a sense of motion and depth, effectively communicating the designer's ability to bridge the gap between static type and dynamic, code-driven animation.","Agency & Studio",[400,26,34],[],[],[231,587],"jQuery UI",[589,590,592,593],{"score":151,"category":71},{"score":591,"category":74},63,{"score":75,"category":77},{"score":173,"category":79},[595,596,597,598],{"score":544,"category":71},{"score":591,"category":74},{"score":75,"category":77},{"score":171,"category":79},[88,92,96,600],"violet","Website: Daniel Wenzel. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Daniel Wenzel. Page description: Daniel Wenzel, graphic and type design, specialised in utilizing animation-tools and code.. Page content: 📱 click to access device orientation , specialized in typography and generative processes, balancing on the intersection of art, design and technology. Always interested in collaborations with designers, developers and publishers around the world. Please get in touch for questions or project inquiries. Creative Technology Director at MW.S; Based in Brooklyn, New York. eMail, Instagram, LinkedIn, Bēhance Type Design For retail and custom typefaces please visit 26a1.xyz Aigua Ancillary Post 19 Katsu Grotesque Knickerbocker Live Edge 23 Marund Meatloaf MM Sign 25 MTABC Schwabacher Grotesk The Octagon 21 Throw Untitled AI 20 Veelo Neue Research & Education Automated Type Design19 AI Type20 Hot NewsWIPDinamo GintoGX18Dinamo FavoritGX Beta19Dinamo 26A1 Lab26A1 26A1 Average Font2426A1 Scan24DIA Tangle24DIA Ouroborus24DIA Mapping24DIA Direction, Design & Code Oct 2016 – Mar 2017, achos! Rotterdam & Barcelona Oct 2017 – Jun 2024, DIA Studio, Brooklyn, NY Adidas 3ST.00318DIA Ancillary Post19 Chaumont Biennale21DIA Codea Studio17achos! Coinbase OCS23DIA Daniel Aristizábal17achos! Nike Apparel18DIA Nike KD1118DIA Klim Söhne20DIA Saturnalia Milan18DIA Squarespace18DIA smlXL22DIA Werkschau HTWG19 YouTube Countdown20DIA Also: Adidas London, Adidas Soccer, Apple, Audi, A-Trak, Balenciaga, Beefeater, Louis Vuitton, MoMA, Nike Adapt, Nike React, Pinterest, Space10 Artwork For physical artworks please contact via eMail For digital NFTs please visit foundation.app\u002F@wnzldnl Animating Art22 Generative Paintings20 Pixels and Tiles21 The New York Times21 University Lecturing Pratt Institute NYC, Form and Code24-25 Elisava Barcelona, MVD Typography21 Talks & Workshops Elisava Barcelona25 The Cooper Union NYC24, 25 Typographics, TypeLab24 Dynamic Font Day23 MIT Media Lab, Lunch Lectures23 Libros Mutantes23 TDC Inscript22 Weltformat22 HS Mainz22 HEAD Genève22 HS Mainz, Doubts and Dialogues22 KABK, TS2 Lunch Lecture #321 HSD, Type Talk21 Selected Press Young Guns 22 Winner24 WIX Designer Spotlight24 IBK Award for Innovative Typography22 Webby Honoree22 It's Nice That22 New Aesthetic 221 More is More21 Slanted20 It's Nice That19 It's Nice That18 © 2025 Daniel Wenzel. All rights reserved. Website Design & Development: Daniel Wenzel. Typeface: Monument Grotesk GX. Licenses must be purchased before use. Sharing, disseminating, and distributing is strictly prohibited. Please don’t steal and distribute my typefaces illegally.. A Brutalist \u002F Neo-Brutalist, Clean \u002F Minimalist, Typographic \u002F Big Type website in the Agency & Studio industry. The overall color palette features White, Black, Gray, Violet. Built using jQuery, jQuery UI. AI description: Daniel Wenzel’s digital portfolio is a masterclass in typographic expression and technical precision. The site serves as a high-end showcase for a Creative Technology Director, blending the disciplines of graphic design, custom type development, and motion through code. The visual identity is unapologetically typographic, utilizing massive, high-contrast lettering and a structured, grid-based layout that emphasizes the architecture of the characters themselves. Designed for a sophisticated audience of designers, developers, and publishers, the interface leans into a brutalist-inspired aesthetic that feels both avant-garde and highly professional. The use of monochromatic tones, expansive whitespace, and rhythmic text arrangements creates a sense of motion and depth, effectively communicating the designer's ability to bridge the gap between static type and dynamic, code-driven animation."]