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Chiachi Chao

@chiachi.chao

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Zürich, Taipei
Designer at @lineto_com

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Poster for ‘HORTUS CONCLUSUS ⏤ Emerging From A Walled Garden’, an exhibition by students from the InSitu3 department of @royalacademyantwerp

The exhibition itself follows the theme of a garden and is scenographically set up to resemble a living garden with paths going through the Wintertuin.

Opening this weekend during the Open House: 11.03.2023 / hours 9:30-17:00
Other opening times: 13.-17.03.2023 / hours 12:00-17:00
Location: Wintertuin, Royal Academy

Typeface Bezier by @chiachi.chao 🖤

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🧐🌸Three different Revue Faire issues, three different typographic approaches. From the story of Mitim font, Lineto font specimen and Typographic writings, Revue Faire explores very specific margins 🥸😎

n°09 — A typeface: Mitim by Radim Peško. Author: Thierry Chancogne.
20 pages+ flyers and envelope
n°30 — Types of types: the typographic specimen by Lineto. @lineto_com
Author: @olivierlebrun Lebrun
68 pages
21 × 29,7 cm, CMYK + Pantone on cover
n°43 — A typeface: “Typographic writing”. Author: Thierry Chancogne
36 pages, Black + 1 PMS on cover
Revu Faire is published by @empire.b.o.o.k.s and designed by @s.y.n.d.i.c.a.t

#typedesign #typeface #typefacedesign #fontinuse #font #revuefaire #typography #handscript #printedmatter #magazine
#foundry #swisstypography #swiss #printedmatter #lineto #revuefaire #magazine #graphicdesign #laurenzbrunner
#typedesign #typedesigner #typesetting #font #fontdesign #radimpesko

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👁‍🗨👁‍🗨🌸 @revuefaire forty third issue is now available❤️🫶🏻 n°43 — A typeface: “Typographic writing”. Author: Thierry Chancogne
😈In 1920, Francis Thibaudeau dedicated his manual of modern typography, La Lettre d’imprimerie, to Auriol, a letterer and typographer from the beginning of the century, whom he described as “the innovator of typographic writing.” The book is set using multiple variants of Auriol’s striking typefaces—notably the outline font Auriol-champlevé, the stencil Auriol labeur, the narrow Française Légère, and the bold Robur Noir. And it should be noted that perhaps the most widespread of these alphabets, Auriol labeur, is a typeface which defends both the pictorial dynamics of its components, visibly brushed with an august gesture, as well as the more-or-less industrial technicality of the bridges of this stencil typeface. One could be quite rightly struck by the oxymoron of so-called “typographic writing.” How does writing, along with its contingent, situated, and personal dynamics function in conjunction with the industrial and normative generalization of typography? Can a typeface, an abstract ideal, an orthographic contract, act upon historical movements and the specific and constantly renewed inclusion of alphabets? What happens to cursiveness when it is somehow “reclaimed” by the relatively definitive, or at the very least perennial, form of fonts?
———————————-
Le quarante troisième numéro est maintenant disponible
🍎🧌 n°43 — Un caractère : L’«écriture typographiée». Auteur : Thierry Chancogne
——————-
published @empire.b.o.o.k.s  designed @s.y.n.d.i.c.a.t  36 pages — 7€
#typedesign #typeface #typefacedesign #fontinuse #font #revuefaire #typography #handscript #printedmatter #magazine

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👁‍🗨👁‍🗨🌸The forty third @revuefaire issue is now available❤️🫶🏻 n°43 — A typeface: “Typographic writing”. Author: Thierry Chancogne
😈In 1920, Francis Thibaudeau dedicated his manual of modern typography, La Lettre d’imprimerie, to Auriol, a letterer and typographer from the beginning of the century, whom he described as “the innovator of typographic writing.” The book is set using multiple variants of Auriol’s striking typefaces—notably the outline font Auriol-champlevé, the stencil Auriol labeur, the narrow Française Légère, and the bold Robur Noir. And it should be noted that perhaps the most widespread of these alphabets, Auriol labeur, is a typeface which defends both the pictorial dynamics of its components, visibly brushed with an august gesture, as well as the more-or-less industrial technicality of the bridges of this stencil typeface. One could be quite rightly struck by the oxymoron of so-called “typographic writing.” How does writing, along with its contingent, situated, and personal dynamics function in conjunction with the industrial and normative generalization of typography? Can a typeface, an abstract ideal, an orthographic contract, act upon historical movements and the specific and constantly renewed inclusion of alphabets? What happens to cursiveness when it is somehow “reclaimed” by the relatively definitive, or at the very least perennial, form of fonts?
———————————-
Le quarante troisième numéro est maintenant disponible
🍎🧌 n°43 — Un caractère : L’«écriture typographiée». Auteur : Thierry Chancogne
——————-
published @empire.b.o.o.k.s  designed @s.y.n.d.i.c.a.t  36 pages — 7€
#typedesign #typeface #typefacedesign #fontinuse #font #revuefaire #typography #handscript #printedmatter #magazine

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👁‍🗨👁‍🗨🌸The forty third issue is now available❤️🫶🏻 n°43 — A typeface: “Typographic writing”. Author: Thierry Chancogne
😈In 1920, Francis Thibaudeau dedicated his manual of modern typography, La Lettre d’imprimerie, to Auriol, a letterer and typographer from the beginning of the century, whom he described as “the innovator of typographic writing.” The book is set using multiple variants of Auriol’s striking typefaces—notably the outline font Auriol-champlevé, the stencil Auriol labeur, the narrow Française Légère, and the bold Robur Noir. And it should be noted that perhaps the most widespread of these alphabets, Auriol labeur, is a typeface which defends both the pictorial dynamics of its components, visibly brushed with an august gesture, as well as the more-or-less industrial technicality of the bridges of this stencil typeface. One could be quite rightly struck by the oxymoron of so-called “typographic writing.” How does writing, along with its contingent, situated, and personal dynamics function in conjunction with the industrial and normative generalization of typography? Can a typeface, an abstract ideal, an orthographic contract, act upon historical movements and the specific and constantly renewed inclusion of alphabets? What happens to cursiveness when it is somehow “reclaimed” by the relatively definitive, or at the very least perennial, form of fonts?
———————————-
Le quarante troisième numéro est maintenant disponible
🍎🧌 n°43 — Un caractère : L’«écriture typographiée». Auteur : Thierry Chancogne
——————-
published @empire.b.o.o.k.s  designed @s.y.n.d.i.c.a.t  36 pages — 7€
#typedesign #typeface #typefacedesign #fontinuse #font #revuefaire #typography #handscript #printedmatter #magazine

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The Young Ones identity champions “Young,” embracing the spirit and irreverence often associated with youth. While most identities rely on a single type family, our visual language—our seemingly infinite typographic palette—celebrates the diversity of our audience.

#Identity 2023 #YoungOnes student competition for @theoneclubforcreativity —> Call for Entries Open Now —> Case study —> Link in Bio —> More to come —> Tons of ❤️❤️❤️ and a very special 🙏 THANK YOU 🙏 to all the #typographers and #TypeFoundries that supported and contributed to the identity. @abcdinamo @JangsMullerTypeFoundry @grillitype @waxstudios @fun.weirdo @danielbrokstad @chichi.chao @rishabhgandhi @ecalmatd @emigrefonts #font #fontdesign #fontdesigner #typeface #identitydesign #brandidentity #type01 #branding 🎨@areaofpractice @kevinbrainard @lindseychiz

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'Let’s say you’ve already done all the necessary preliminary work—designing the movable parts, assigning features and capabilities to each, mapping out several initial schemas, identifying and color-coding associated feeling-states—and you’ve also had something delicious to eat, followed by a nice nap and a brisk walk to clear your head.'

For this small edition dedicated to LL Ruder Plakat, @juliempeeters asked 51 friends to contribute a single word to be printed up with the original wood font, and invited the artist and writer @angie.keefer to write a sentence each in response. Each word was printed up 5 times by Lineto on a FAG Standard proofing press, on a 35 x 50 cm sheet of matt uncoated stock. Limited edition of 255. Get yours now at Lineto.com! (Link in bio)

Many thanks to Laure Prouvost, Nicholas Tammens, Luca Lo Pinto, Raimundas Malašauskas, Christoph Schifferli, Chris Evans, Antonia Carrara, Angie Keefer, Tom Engels, Christina Li, Scott Ponik, Giulia Tognon, Lisa Andreani, Julia Born, Diego Marcon, David Reinfurt, Sophie Nys, Sarah Demeuse, Linda van Deursen, @lindersterling, @rosishibi, @chiachi.chao, @jossepyl, @paolobaggg, Elena Narbutaite, @omaradnanchowdhury, @bdebaets, @misterpaulbailey, @pffffffffffffffffffffffffffff, @godabud, @julian_bittiner, @fivehundred_places, @sophiekeij, @shazebner, @michaelbussaer, @arpzap, Joris Kritis, Oliver Knight & Rory McGrath, Maya Tounta, Arthur Ou, Johannes Schwartz, Geoff Han, Hyo Kwon, Helena Papadopoulos, Pieter Verbeke, Jungmyung Lee, Francesca Grassi, Julie Héneault, Lorena Stamo and Nana Esi for their words.

#Lineto #LLRuderPlakat

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Before all Instagram turns Pantone "🌸🐽🌸" I wanted to say thank you @sophiabrinkgerd @leonhardlaupichler @sorry_press for featuring Offkey in New Aesthetic 3. Happy to share the space with my friends @samiraschneuwly @cs__laura @sascha.bente @chiachi.chao @raphael_delamorinerie and more 💞

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Bezier is an organic display typeface designed by @chiachi.chao, completely constructed without any straight line. It challenges the traditional model of letterforms rendered by the trace of nibs. Bezier was conceived as the silhouette of three-dimensional sculptural forms inspired by the works of Jean Arp, Henry Moore and Isamu Noguchi.
Like the Yin-Yang symbol, the letterform of Bezier is defined by the dynamic interplay between the negative and positive space which allows the font setting in tight spacing for the display sizes.

#ecaltypefaces #fonts #letterforms #organic #ecal #typedesign @ecal_ch

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New filmposter and titel design for @filmuni. REIZSTOFF by @juliandieterich

Thank you @chiachi.chao for contributing the Hemon typeface. 🙏🏻

ES Face by @extraset.ch 🔥

#film #poster #filmuniversitätbabelsberg #grafikdesign #titeldesign #design #typoposters #posterreposter #visuellekommunikation

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Kleisch design by @chiachi.chao

"Kleisch, my diploma project during the study at ECAL MATD, is a Latin serif typeface developed for the bilingual typesetting with Chinese ‘Ming’. It is a synthesis of the Baroque and Neoclassical styles. The letterform was based on the cuts of Nicholas Kis, Christoffel van Dijck and Johann Michael Fleischmann whose works have similar stroke construction and ductus to CJK ‘Ming’ faces. The final outcome of Kleisch consists of 16 styles and a variable font that offers adjustable axes (weight and contrast) to adapt with different ‘Ming’ typefaces accordingly."

Image courtesy @joriskritis @marielusa

#365typefaces #ecal #typography #tyedesign #design #editorial #typeface #swisstypedesign #swisstypography

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🚩Today at 1pm : Presentation of the exhibition catalogue « Rovine. Nicolas Party » in conversation with Francesca Bernasconi and Marie Lusa. With an introduction by Tobia Bezzola.
The artist Nicolas Party (connected over Zoom) discusses the genesis of his exhibition Rovine for MASI Lugano and the related catalogue which has just been released by Scheidegger & Spiess and Edizioni Casagrande. Through an extensive photographic documentation the catalogue reveals how Nicolas Party’s project has completely transfigured the museum exhibition space thanks to a major architectural intervention, backgrounds painted in contrasting colours and an extensive faux marble decoration. Within this fascinating context Party presents works created between 2013 and 2021 related to the genres around which he has focused his artistic research: the still life, the portrait, and the landscape, the latter expressed in rock formations, caves, and views of forests. The publication features contributions by Michele Robecchi and Francesca Bernasconi exploring various aspects of Party’s works, in particular his passion for art history, of which he is an eager and untiring explorer.
📍LOCATION:
schwarzescafé, LUMA westbau | Löwenbräukunst Limmatstrasse 270 8005 Zürich @lowenbraukunst.zurich @masilugano @scheidegger_und_spiess @marielusa @studiomarielusa #nicolasparty #masilugano

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