Metatype: What is the context of text in a de-contextualised world?
Metatype is a design studio founded by Angelo Stitz in 2018. Positioned at the intersection between research, design and art it explores text and technology to express originality.
The scope of work includes a wide range of media as type and graphic design, visual identities, prototypes and installations for spatial environments. Often in close collaboration with individuals and institutions from education and design industry.
Matthias Wölfel, Tim Schlippe, Angelo Stitz: Voice Driven Type Design. 8th International Conference on Speech Technology and Human-Computer Dialogue (SpeD 2015), Bucharest, 14.-17.09.2015, Romania, ISBN 978-1-4673-7560-3.
A Voice Driven Type Design Demo, Mensch und Computer 2015, S. Diefenbach, N. Henze & M. Pielot (Editor): Mensch und Computer 2015 Tagungsband, Stuttgart: Oldenbourg Wissenschaftsverlag, 2015, p. 413-416.
Matthias Wölfel, Angelo Stitz: Responsive Type – Introducing Self-Adjusting Graphic Characters, Cyberworlds, 07.-09. October 2015, Visby, Sweden, p. 298-305. DOI: 10.1109/CW.2015.50.
Angelo Stitz, Matthias Wölfel: Reagierende Schriftzeichen. In: Sarah Diefenbach, Niels Henze, Martin Pielot (Editor): Mensch und Computer 2015 Tagungsband, Stuttgart: Oldenbourg Wissenschaftsverlag, 2015, ISBN 978-3-11-044334-9, p. 367-370.
FontFiction, Experimental Type Design Workshop, Royal College of Art, London, 2018
Typography in Motion (Lecture), University Pforzheim, 2015-16
Advanced Prototyping (Lecture), University Pforzheim, 2014-16
Digital interfaces (Lecture), University Pforzheim, 2014-15
What comes after the eBook? (Lecture), University Pforzheim, 2014-15
Type design and development (Workshop), University Pforzheim, 2012
The Typographic Singularity, Courtyard Gallery, Royal College of Art, 2018
Graduation Show, The Westworks, London, 2018
Common Market, London, Royal College of Art, 2018
The Typographic Singularity, Hockney Gallery, Royal College of Art, 2017
Stewarts Law RCA Secret, Dyson Building, Royal College of Art, 2017
Digital Aesthetics, Centre for Recent Drawing (C4RD), London, 2017
#4 Sublimate, Icing Room, London, 2017
GLOBALE – Infosphäre, ZKM – Center for Art and Media, Karlsruhe, 2016
Call-for-Type, New Typefaces, Gutenberg-Museum, Mainz, 2013
Eight, Kunstverein Pforzheim, 2012
Responsive and Dynamic Type, btk Berliner Technische Kunsthochschule, Berlin, 2015
Responsive Type – Self Adjusting Graphic Characters, Cyberworld 2015, Gotland, Sweden, 2015
Voice Driven Type Design, Mensch und Computer (MuC), 2015, Stuttgart, 2015
Responsive Type – Interaction of Type with the urban Space, 21. Leipziger Typotage, Leipzig, 2015
Auf Typefühlung (Article), digital signage, WNP Verlag, 2015, p. 20-21.
Zeichen Wandle dich! (Article), digital signage, WNP Verlag, 2015, p. 20-21.
Computer Arts Magazine #224 (Interview), Future Publishing Ltd, 2014, p. 98.
KUNSTFORUM International #237: GLOBALE Renaissance 2.0:
Der Mensch als Möglichkeitswesen, 2015 , p. 86.
Typodarium 2015, Lars Harmsen, Verlag Hermann Schmidt, 2014.
Graphic Digits, Victionary, 2014, p. 182–185.
PAGE Magazin 14/01, 2014, Ebner Verlag, p. 8.
Yearbook of Type I, Slanted, Niggli Verlag, 2013, p. 219.
Neue Schriften. New Typefaces, Niggli Verlag, 2013, p. 223.
Typodarium 2014, Lars Harmsen, Verlag Hermann Schmidt, 2013.
Corporate Design Preis Jahrbuch 2012, Tellus Publishing, 2012.
Pluralist: Can the act of reading become a part of publishing?
Editorial design—The Pluralist is the newspaper of the Royal College of Art. One feature of the medium of a newspaper is that their existence usually last for just a few days. To emphasize the ephemerality of this medium this issue was fully printed on a receipt printer.
Concept and Design: Angelo Stitz, Maria Pestana Teixeira, & David McAllister— Comissioned: Royal College of Art, London—
A rubber band works as a binding of the newspaper as well as bookmark. It also helps to rip off each article after it was read. Through that the reading becomes a strict linear process, because the whole content can not be accessed immediately except the part that was unrolled.
It takes 7:39 minutes to print one issue of the newspaper which means a length of approximately 12m.
Group Exhibition – COMMON MARKET, 20 April 201, Royal College of Art, London
Online – Books From the Future, http://booksfromthefuture.info
Drawing Table: Can complexity be experienced through collaboration?
Object—A table through which people can explore the emergent character of collaborative drawing. The drawing happens by easily inserting and taking out a plastic strings into a table. This process can be controlled intentionally to some point until the tensions of the strings get intermingled with others and unexpected compositions occur. An interplay between getting and loosing the comprehension of traceability and predictability.
The result might seem artificial, but is different than randomness. Even though randomness is per definition “unpredictable” the string pattern of this table is not. For example the table and interaction could be simulated by a software. What here occurs is a abvious transition between randomness on the one side and incomprehension on the other. Latter one relates to the capacity of human understanding. Or to put the quintessence of this object into other words: “Results that can not be explained by a human are not mandatory random.”
FontFiction: Is there a narrative in typographical textures?
Workshop—In this workshop participants scrutinizes ways of creating and designing type to generate textures. A font is a collection of different types of letters. Shapes that can be typed by using a word processor to generate text. Together we explored what does it mean to “write” texts and what narratives potentially occur when non-typographical type shapes are used to re-understand the colour and “image” of a text.
Hosted by: F[r]iction Forum, Royal College of Art, London, in collaboration with Laura Copsey, Samantha Kitchener, Angelo Stitz, Chan Shin Park— Poster Design: Angelo Stitz— Workshop led by: Angelo Stitz—
Wip-Show: What is the essence of studying at the Royal College of Art?
Visual identity—The Work in Progress Show 2018 of the Royal College unites 24 Master pathways which unifies one key aspect: Asking questions. Based on an open call a collection of questioned submitted by students build the foundation of a key visual for creating a visual identity of the School of Communication. A visual stream of questions which lead to new questions. A fountain of curiousness that nourishes new research.
Visual Identity: Dominik Langloh, Angelo Stitz— Comissioned: Royal College of Art, London— Print: YouLovePrint, London—
Installation—Due to different cultural contexts between nationalities it is difficult to translate text. The participants of the English Preparation Course (EAP) of the Royal College of Art were given certain expressions which often are used in the course for instance “zeitgeist”. Participants was asked to take a picture corresponding to this word visualising its individual meaning. The taken images can be a starting point between classmates to get to know each other. The installation shows submitted images and word connections which can explored by plugging in and out sockets.
Object—The idea for this structure originates from a short story “Contracrostipunctus” by the writer, physicist and mathematics Douglas R. Hofstadter from his book “Goedel, Escher, Bach–An eternal golden band”. It is about a conversation between Achilles and a Tortoise illustrating that certain features of a poem can not be translated into another language without loosing or even ruin its original intention.
One of a specific feature of language is the so called “Acrostics”. It describes a technique where the first letter of a poem can be assembled to a word that can be read vertically. Through this a poem can be memorised more effective by just extracting from one word a whole verse.
Using this method tells something about the syntax of a language which defines its structure. Because it is so specific for a particular language it can hardly be translated.
This sculpture does not refer to this lingusitic feature, but rather more to explore the syntactical features of a machine. Because language always involves technology as different writing tools, machines can also be seen as a part of defining language. Furthermore, it can be speculated that machines itselves incorporate a own language which moreover affect written language.
A welding machine can combine two copper wires under pressure and electricity by pressing two thicker rods together. It seems obvious that wire can be welded together in any three dimensional shape, but this is not correct, if the challenge lies in making a symetrical three dimensional shape of a cube.
This metal structure is the final outcome of exploring the “language of a machine”. Here in particular a copper welding machine. If the structure of language tells something abouts originality then it can be also asked what might be the language of this machine?
Group Exhibition – 01.06.2017 #4 sublimate, Icing Room, London, in Collaboration with Bohan Sun
Performance—In quantum theory the act of observation changes synchronically its subject through entanglement. People behave similar. They do not can react to a person without adapting to the appearance and behaviour through which a person is perceived. An analogue “quantum camera” diagrammatically records the process of having this interrelationship.
Experimental type design—In this experiment the camera of a smartphone was used to generate typographical shapes by making a movie of a keyboard. The recording was started by the panorama function algorithm of the smart phone mistakenly, because it assumed a movement of the camera.
Editorial design—“Learning understanding” is a text folder in order to learn foreign expressions. Besides the text translation each word is visualised by a corresponding illustration. The folder contains the German dialects Bavarian, Saxon and Swabian. All words were extracted and collected from Bavarian, Saxon, and Swabian online dictionaries which had an standard German equivalent. Through this each dialect can now be translated directly into another dialect without a translation to standard German.
Responsive Type: Can a typographical character respond to the context of its user?
Visual Research—The publication “Responsive types–New ways of interaction between Type and Media” examines the potential of variable typographical characters in the age of new media. Primary focus was to reveal new functions how text can correspond in its letter shapes to a reader preferences. A range of experiments and prototypes demonstrate how e.g. reading experience, users movement, reading distance can improve legibility and the overall significance of text.
Type design—The 2nd edition of the typographic advent gift wrap paper which was firstly published in 2013. Using figures directly onto wrapping paper as a decorative pattern makes additional labelling unnecessary. All figures were redrawn for this edition.
Type design: Angelo Stitz— Idea: Elena Braun— Comissioned: Frau von Zahl—
Installation—The Soundglobe is a geodesic sphere to find new possibilities to visualize sound in a three dimensional and interactive way. The spectrum of frequencies gets analysed and are mapped to different colours and patterns that are flowing around the globe.
Type design—An advent calendar consisting of 24 different sheets of wrapping paper. The corresponding 24 figures themselves were drawn to create each pattern. Therefore, an additional labelling is not any longer required neither boxes which allows now the user to wrap bigger and other shaped gifts as wine, apples or tangerines.
Type Design: Angelo Stitz— Commissioned: Frau von Zahl— Idea: Elena Braun—
Contrary to a common typeface for usage in text or in display applications, the design doesn’t depend on legibility but more on a harmonic interplay of patterns. Overall the main object was to achieve an ornamental character, away from the actual figure in favour of a pattern as an entire composition. During the process it occurred that figures with closed shapes like e.g. figure eight, don’t fit very well in patterns commonly. Open shapes are more suitable and easier to arrange to each other in patterns, because the shape interacts more with its surrounding white-space.
It turned out that mandatory adjustment of stroke weights of horizontal and vertical stems (to let them appear the same thickness optically) doesn’t make sense in patterns as in figure ten, where the zero is used three times in three different reading directions.
The arrangement of figures—depending on the composition of the pattern—poses different challenges to typeface design itself. For e.g. the figure one in number fourteen has the same edge-gated shape as the diagonal corner of the number four.
Every figure relates in its vsiual style to different typographic ages like classicism or baroque This offer enough variety on the way to look forward the final Christmas Eve. Colour was consciously left out to create enough scope for an individual design, using ribbon or to tie bows after ones fancy.
Print – 2014/01 PAGE Magazin 14/01, Ebner Verlag, P. 8
Print – 2014/02 “Computer Arts Magazine #224”, Future Publishing Ltd, P. 98
Print – 2014/09 “Graphic Digits”, Victionary, P. 182–185, ISBN 978-988-12228-8-6
Online – We Love Typography, www.welovetypography.com [04.02.2015]
Editorial design—According to the Diagnostic and Statistical Manual of Mental Disorders (DCM) around 13 different personality disorders can be classified. The main aspect of each disorder is reflected in this book through using typography and illustration. The page formats depend on the mentality of each disorder. For instance, the chapter about “avoidant personality disorder” has a smaller format than the main book.
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