The project’s theoretical underpinnings are rooted in the evolution of written language and its development from image to abstraction.
The dissertation follows Adrian Frutiger and Wassily Kandinsky’s research to elaborate on the perception of signs and the production of meaning. The reader engages with Kandinsky’s theory of forms and Frutiger’s classic studies on the human expression of thought through graphic means.
The practical part uses a specific methodology of systematically de- and reconstructing contemporary Latin letter shapes. This process is built around the logic of the Punnett Square, a diagram used by geneticists to determine the probability of an offspring having a particular genotype as the outcome of a specific cross or breeding experiment.
The result is an extensive library of scientifically engineered typographic forms, questioning our perception of written language. The shapes fluidly occupy both, the familiar and the unfamiliar, gradually shifting from one to the other – some simplistic, others opulent in visual allure.