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Christian Stindl

Script – Über das Wesen der Schrift

Book design: Christian Stindl, Brühl

German, 128 pages, ca. 110 images, 14,8 × 21 cm, Swiss brochure with flaps

Euro [D] 29.–, Euro [A] 29.80

ISBN 978-3-03863-079-1

CHF   29.00

→ Will the existing writing systems still suffice to communicate in the future – also with machines?

→ A fundamental reflection on the status quo of fonts and what developments are to be expected in the future

Our existing writing systems are among the most important socio-cultural achievements of humankind – writing significantly influenced both our thoughts and actions. Without it, no technical progress would have been possible.
However, the current technological changes – Internet of Things, Industry 4.0, AI – require a structural change that will be reflected in the way we think, communicate and produce.

With this position paper, author Christian Stindl begins the long overdue discourse on current practice in the field of typeface design. He criticizes the obvious discrepancy between the constantly increasing number of formal reinterpretations of characters on the one hand and the lack of structural reflection on the Latin character system on the other.

Stindl embarks on a search for the essence of the typeface of the future. He questions its relevance today and, at the same time, predicts the demise of the Latin system of characters. In his opinion, a fundamental rethink on the part of typeface designers and a necessary reorientation of this discipline are therefore absolutely necessary.

The chapter “Script 1.0 – Kalligrafie” on calligraphy deals with the process of writing and explains the relationship between writing movement and writing tool. The chapter “Script 2.0 – Typografie” on typography discusses in detail the different ways of describing typeface outlines and their respective influence on the corresponding typeface. The chapter “Script 3.0 – Metatypografie” on metatypography shows innovative digital tools for creating typefaces and their challenges for typeface designers. Finally, the chapter “Script 4.0 – Hypertypografie” on hypertypography offers an outlook on what effects on existing writing system on the one hand and on the future work of typeface designers on the other are to be expected.

About the author:

Christian Stindl (born 1978) studied visual communication with a focus on typography at the University of Art and Design in Basel from 2003 to 2006. From 2007 to 2013, as a project and team leader for HG Merz Architekten Museumsgestalter, he was responsible for the graphic design of various permanent and temporary exhibitions, as well as signage, orientation systems and printed materials.
Since 2013, he has been lecturing on the subject of typefaces and space and since 2019, he is a visiting professor for media production at the Kamp-Lintfort Campus of the Rhine-Waal University of Applied Sciences. In addition, he runs Büro Heimathafen in Cologne as a freelance graphic designer, with a focus on the conception and design of exhibitions, signage systems, books, corporate identity and typefaces.

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