is

a

type

and

graphic

design

practice

run

by

.

In

his

he

explores

the

meaning

of

text

considering

its

visual

and

technological

aspects.

Personally

interested

in

language

as

a

tool

for

translation

he

is

keen

to

find

new

original

points

to

tell

concealed

interrelationships.

info @ metatype . de
+49(0)152 214 601 31

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.

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Contact:
Metatype
Marianne-Werefkin Straße 22
36041 Fulda
info @ metatype . de

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Working hours:
Monday to Friday 10.30 to 6.30pm (CET)

VAT Number pursuent to Section 27a
Value Added Tax Act: DE281462635

    Angelo Stitz: Who is that?

    Angelo Stitz is a researcher, graphic designer and maker currently based in Fulda.

    Intrigued by the obstacles of translation he specialised on the abstract language of text and technology.

    He is doing this by exploring text and its parallels to technology in terms of its ability to overcome time and space limitations.

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    Publications

    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.

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    Teaching

    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

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    Group Exhibitions

    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

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    Talks

    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

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    Articles, Interviews

    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.

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    Recognitions

    Nomination, The Varley Memorial Prize,Royal College of Art, 2016.
    German Scholarship, Hans and Lilli Holl-Stiftung, Pforzheim, 2014.
    Junior Corporate Design Award, JCDP, 2012.

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    Features

    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.

      projects

      Pluralist: Can the act of reading become a part of publishing?

      2018

      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 McAllisterComissioned: Royal College of Art, London
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      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.

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      It takes 7:39 minutes to print one issue of the newspaper which means a length of approximately 12m.

      Press

      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?

        2018

        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.

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        Process

        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.”

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        A string inserted into a frame.

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        Two strings interrelating within a frame.

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        Inserting a second string.

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        The same experiment executed with two strings in a acrylic cube.

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          FontFiction: Is there a narrative in typographical textures?

          2018

          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 ParkPoster Design: Angelo StitzWorkshop led by: Angelo Stitz
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          A series of posters to announce the workshop.

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          Poster.

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          Poster.

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          Poster.

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          Poster.

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          Introduction how fonts were used to create first graphical user interfaces.

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          Workshop experiments.

            Wip-Show: What is the essence of studying at the Royal College of Art?

            2018

            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 StitzComissioned: Royal College of Art, LondonPrint: YouLovePrint, London
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            Posters with the questions.

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            Five different posters compose a full stream of questions.

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            The poster contains at the back the map.

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            The back of the folded poster.

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            Entrance.

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            Wayfinding system.

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            Wayfinding system.

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            Website www.soc2018.rca.ac.uk of the School of Communication.

              Strangers Con(text): How can context be communicated between strangers?

              2018

              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.

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              Complete Installation.

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              #1

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              #2

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              #3

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              Three submission from three different people visualising the word “collaboration”.

              Press

              Group Exhibition – 23.01.–01.06.2018 Graduation Show of the Royal College of Art, School of Communication, The Westworks, London

                Sonicacrostipunctus: How can the non-translatable be materialised?

                2017

                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.

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                Process

                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.

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                Detail of the structure.

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                Welding the structure.

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                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?

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                Group Exhibition – 01.06.2017 #4 sublimate, Icing Room, London, in Collaboration with Bohan Sun

                  Quantum Camera: How to record the “entanglement” between people?

                  2017

                  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.

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                  Process

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                  The quantum camera consists of tow disposal cameras taped to each other.

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                  Further quantum photographs

                  Typo Panorama: What is the materiality of the digital?

                  2016

                  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.

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                  Letter M.

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                  Letter R.

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                  Letter M.

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                  Letter I.

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                  Letter R.

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                  Letter S.

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                  Letter T.

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                  Letter E.

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                  Letter Y.

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                  Letter G.

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                  Letter J.

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                  Letter P.

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                  Letter B.

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                  Letter O.

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                  Letter C.

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                  Letter Q.

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                  Letter Z.

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                  Letter N.

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                  Letter V.

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                  Letter D.

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                  Letter A.

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                  Letter L.

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                  Letter E.

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                  Letter U.

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                  Process

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                  Generating a type panorama by using the panorama function of a smartphone.

                  Press

                  Group Exhibition – 22.3.–27.3.2017 “The Typographic Singularity”, Hockney Gallery, Royal College of Art, London

                  Group Exhibition – 23.02.2017 “Digital Aesthetics”, Centre for Recent Drawing (C4RD), London

                    Dialect Translator: How to learn a foreign language?

                    2014

                    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.

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                    Inside the folder.

                      Responsive Type: Can a typographical character respond to the context of its user?

                      2014

                      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.

                      Research, Writing, Prototyping, Type design: Angelo StitzPrint: Engelhardt & Bauer, KarlsruheScreen printing: Eichner & Rombold GmbH, FellbachBinding: Buchbinderei Ernst
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                      Publication.

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                      Table of contents.

                      Press

                      Talk – 09.05.2015 “Responsive Type – Interaction of type with the urban space”, 21. Leipziger Typotage 2015, Leipzig

                      Group Exhibition – 04.09.–31.01.2016 “GLOBALE – Infosphäre”, ZKM – Center for Art and Media, Karlsruhe

                      Talk – 08.10.2015 Angelo Stitz: Responsive Type - Introducing Self-Adjusting Graphic Characters. Cyberworlds, 07.-09. Oktober 2015, Visby, Sweden

                      Publication – Matthias Wölfel, Angelo Stitz: Responsive Type - Introducing Self-Adjusting Graphic Characters. Cyberworlds, 07.-09. Oktober 2015, Visby, Sweden, P. 298-305. DOI: 10.1109/CW.2015.50

                      Talk – 28.11.2015 Symposium “Dynamic Type – Bewegtschriftgestaltung”, btk – University of Art and Design, Berlin

                      Feature – 2015/12 “KUNSTFORUM – International, #237: GLOBALE Renaissance 2.0: Der Mensch als Möglichkeitswesen, P. 86

                      Publication – Angelo Stitz, Matthias Wölfel: Reagierende Schriftzeichen. In: Sarah Diefenbach, Niels Henze, Martin Pielot (Hrsg.): Mensch und Computer 2015 Tagungsband, Stuttgart: Oldenbourg Wissenschaftsverlag, 2015, ISBN 978-3-11-044334-9, P. 367-370.

                        Gift Wrap Paper #2: How can figures be used to make patterns?

                        2014

                        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 StitzIdea: Elena BraunComissioned: Frau von Zahl
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                        Overview of 24 versions of the wrapping paper.

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                        Backside is printed with silver.

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                        Detail.

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                        The whole advent calendar wrapped.

                          Soundglobe: How to visualise sound in space?

                          2013

                          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.

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                          Final Soundglobe.

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                          Colour test.

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                          Soundglobe as stroboscope.

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                          The Soundglobe reacting to frequencies.

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                          Running Text.

                            Gift Wrap Paper #1: How can figures be used to create ornaments?

                            2013

                            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 StitzCommissioned: Frau von ZahlIdea: Elena Braun
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                            Process

                            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.

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                            Overview.

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                            The figure 6.

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                            The figure 1.

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                            The figure 10.

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                            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.

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                            The figure 14.

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                            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.

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                            How a finished advent calendar can look.

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                            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.

                            Press

                            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]

                              13 Character Disorders: How to visualise the different types of character disorders?

                              2012

                              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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                              Double page of the “Avoidant personality disorderr”.

                              Imprint

                              © 2010— All Rights reserved
                              Responsible for contents: Angelo Stitz

                              Hand coded with love.

                              All content of this website is copyright by the author unless specified. Any use of any of the materials on this site other than for private, non-commercial viewing purposes is strictly prohibited. For any enquiries just drop me a line to  info @ metatype . de

                              Your are lucky. This webpage does not take any statistic data from anybody. So, I would suggest just let me know how do you feel by calling, writing or even meeting me.