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Jacob Tegel

@jacobtegel

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Murgtal–Chämli Overnighter
First time sleeping above 2000m taken in Murgtal by @jacobtegel

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2 months ago

Fundament Grotesk traces the origin of early Grotesk typefaces predominant in Germany from the late 19th century onwards, and rather than creating a revival of a single typeface, capturing and translating their shared spirit into a contemporary typeface.

Inspiration was drawn in particular from ‘Breite Grotesk’ by the Bauer foundry, ‘Breite Fette Grotesk’ by Bauer & Co., Schelter & Giesecke’s ‘Breite halbfette Grotesk’ and E. J. Genzsch’s ‘Blockschrift’.

In this process I also explored the sometimes very extreme slant angles of some Grotesk typefaces of the era – resulting in a slanted (Kursiv) and extra slanted (Extrakursiv) for every of the five weights.

ECAL MA Type Design semester project
Mentored by Kai Bernau

Photographs: @julieta.tarraubella taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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6 months ago

Approximate West is a chronological data visualization of the change in the usage of colour in the western-genere movie title cards throughout the past century. The dataset itself consists of more than 200 title cards ranging from The Covered Wagon (1923) to The Settlers (2023), with films being selected based on their popularity on @letterboxd as an approximate metric for a films significance, ranging from Django Unchained (2012) with 4.4M logged views to Return of the Texan (1952) with 221 logged views.

The colours are visualized through colour bars representing the colour clusters present in each title card, illustrating the range of colours from most frequent to least frequent. These representations are – inherently – only an approximation, as an accurate reproduction of the ‘true’ colours being impossible, with every step of the film’s production and distribution, and my algorithmic interpretation of the title cards afterwards altering or degrading the colour in every step. This is in my eyes less as a flaw of the process, but more in line with today’s media culture and our relationship to film as a medium, with much of our consumed media being streamed or pirated copies, which themselves suffer from heavy compression algorithms, altering or clustering colours, too. This foundational concept is abstracted from Hito Steyerl’s ‘In Defense of the Poor Image’ in which she talks about the transformation of ‘authentic images’ through time and media resulting in ‘poor images’.

ECAL MA Type Design semester project
Mentored by Radim Peško

Photographs: @julieta.tarraubella 🧚‍♀️

Approximate West dataset Letterboxd list: https://boxd.it/TgLkg taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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7 months ago

Maril Text & Display was created in the optical size class @ecalmatd mentored by Kai Bernau.

As the Name suggests, the typeface was initially Inspired by the covers of the first editions of The Lord of the Rings as well as The Silmarillion, I Initially set out to draw a flared serif in the display size, for which I drew inspiration from Oscar Oggs’ calligraphy as well as CTF’s De Vinne typeface, and an accompanying text size.
However, throughout the semester I decided to abandon the direction of the flared serifs and chose to create a high contrast version of the text cut, which I had developed in the meantime.

Staple bound brochure, 200 × 280 mm, 52 pages taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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a year ago

Little DrawBot scripts created over the past months,  you can find them on GitHub.
Showcase Glyphs, overlay layers or fonts.
Initially started as a side project from a workshop with Frederik Berlaen, thank you again for all the input!  ✍️🤖 by @jacobtegel

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a year ago

tusind tak cph 🫰 taken in København, Danmark by @jacobtegel

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a year ago

by @jacobtegel

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a year ago

by @jacobtegel

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a year ago

april’s fool by @jacobtegel

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a year ago

Workshop with Roland Früh and @norm_zurich at @ecalmatd .
Working from two letters by Max Bill where he hypothesized about a typeface which was never realized, i explored a fictional story where Stanley Kubrick commissioned Max Bill for the type design for his movie 2001: A Space Odyssey.
Starting from a small 3×5 grid to create a human and machine readable typeface, i abstracted it further into a somewhat retro-futuristic stencil unicase alphabet. taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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2 years ago

Fuzzbuzz is the result of @mcnonpareille ’s Ma-Ko class at @ecalmatd . After getting paired up with another student, we were each given a pair of two words and then tasked to draw the countershape (Ma) of a given sentence. We then exchanged our drawings with the other student who then refined and drew the shape (Ko), we then exchanged back to refine the countershape and a final time for refined shapes.

Thank you @maranolze for interpreting my very fuzzy countershapes!

My two words were Dizzy and for Display, which immediately made me draw inspiration from Black Sabbath’s Master of Reality album (and cover).

Afterwards, I went to digitize the result. And while preparing the specimen, I felt as the result was not really heavy enough to be heavy metal; leading to me more than doubling the weight of the type. The specimen itself revolves around metal, specifically doom metal, as well as Black Sabbath.

As the design of the digital type didn’t necessitate any curves, the process felt more like carving the letters from matter, rather than designing them, which was surprisingly refreshing.

During the preparation of the specimen I was also thinking of possible applications for the type and got inspired by guitar effects pedals (especially fuzz pedals, as they helped creating and shaping the doom metal sound). So I thought it was only logical to create a physical one. After purchasing a second-hand pedal and lots of sanding (thank you again @_nina.sommer !) i was able to laser engrave the design with my type at ecal’s workshop. taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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2 years ago

Monograph is a revival of D’Antiqua (or Dissertations-Antiqua), which was released in 1900 by the Rudhard’sche Gießerei, Offenbach a. M. (later becoming Gebr. Klingspor).

Thanks to @alice_savoie for mentoring this @ecalmatd semester project.

Thanks again to @typeoff for helping me to track down the origins of this »Beefy Didone«. Unfortunately, the original designer remains unknown, as it was likely drafted by a punchcutter – either employed or commissioned by the foundry – that was never credited.

And I also want to thank @klingspor_museum , where was able to browse through the museum’s archive of type specimens and came across this typeface in preparation for the class last summer. taken in ECAL/Ecole cantonale d'art de Lausanne by @jacobtegel

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2 years ago