The battle cry of the RandomFont: Beowolf. The answer to the Bezier shock of the early nineties. Now that we have achieved technical perfection, which factors determine the shape of our shapes? The question, in the days of retina displays, is still pertinent.
Drawn and engineered in 1989, Beowolf demonstrated that digital fonts are data and code; instructions that can modify themselves. Beowolf was part of the first FontFont library release. A collaboration between Just van Rossum and Erik van Blokland, as neatly announced in their publication “LettError”
This animation was produced as an exhibit for the Digital Fonts exhibition at the MoMA in New York in 2011. Together with 22 other typeface families, MoMA acquired FontFont Beowolf for the Architecture and Design collection. The letters animate differently in each red, green and blue channel, thus creating many colors in overlap. The animation was created using the original PostScript data, with a helping of contemporary Python and QuickTime.
Ricardo Bouyett is a fine art photographer based in Chicago, Illinois. Bouyett was born in San Juan, Puerto Rico, and moved to the states early on in his childhood. Transfixed by perspectives on reality and ideas behind identities, Bouyett developed an interest in telling his story on exploring freedom from social, economic, and political systems put into place by constantly moving culture. Through trial and error, Bouyett found himself drawn to certain themes and aesthetics regarding the representation of one’s authentic and inauthentic self. Inspired by choral music, poetry, psychology, classic literature, culture, and cinema, Bouyett presents narratives that explore the concept of identity and its relationship to the natural world.
German artist Evelyn Bracklow of La Philie decided to combine the elegance of vintage porcelain with the grossness of a horde of ants in a series she calls Chitins Gloss. Various dining pieces such as plates, tea cups, and jugs are all crawling with ants, as if your kitchen is having some sort of ant-infestation.
EJ Hassenfratz is a freelance motion graphics artist who lives in Washington, DC. He is experienced in storyboarding, video production, editing and compression, sound editing, special effects, rotoscoping and compositing and has won multiple Emmy awards for his work. You can find some of his work posted on Tumblr as eyedesyn.
Anoka Faruqee ‘s dizzying moiré paintings teeter between physical fact and psychedelic fantasy.
( Acrylic on linen on panel) When walking towards a painting by Anoka Faruqee your eyes refuse to settle. Turquoise, formed into an elongated triangular band, is pinched between two golden curves. The turquoise is misbehaving. Instead of sitting still it appears to flex and blend into the yellow. As you get closer the painting changes, and at arm’s length another dramatic shift occurs, the previous turquoise and gold bands of color atomizes into narrow, serpentine, overlapping lines with several more colors, no longer just turquoise and gold. Looking across the room your eyes settle on another painting. This square shaped canvas is a warm gray that seems to dance. Upon closer inspection the pleasantly worked surface transforms into a swirling design of forest green and cherry red lines. Faruqee calls this series of paintings the Moiré series, after the illusion with the same name. The history of Modern art is often told as a race towards extremes, but will that be true of 21st century art? Anoka Faruqee’s work seems to place less emphasis on ‘pureness’ than other abstraction. Faruqee’s work suggests that we can be more complex, and where artists over the past sixty years searched for the strongest statement, maybe our searches will lead in different, more nuanced directions.