Different

Type has been always a static element; a tool for conveying concepts. Over time its appearance conclusively influenced by the vision of typesetters, type-designers and typographers alike; a lucid cycle between author, designer and reader. However, since the introduction of electronic devices this cycle was begun to be interrupted. The ability of electronic devices to allow users to manipulate content in increasingly more intuitive and direct methods opens many windows of opportunities for digital type design.
instant need of users has greatly influenced their design (for instance, all the smart electronic devices ask for more interactivity). Karl Gerstner’s² analytical approach in developing a comprehensive system capable of generating a broad range of design solutions via computer programing is undoubtedly an enormous step towards the optimum use of a type family. However, Nicolas Kunz (typographer) and Michael Flückiger (designer/programmer) founded their research project called “Laika” with the aim of employing the entire font family. Nicolas was born in Zurich and Michael was born in Basel. In 2006, Michael entered the UAB (University of Arts in Bern) where they initiated the project, Laika. Michael joined the MA program in Communication Design at UAB in 2009 and Nicolas started working for the University as a designer. Since then, they started deepening the project in various aspects with regard to its applications and capabilities. From then on, Laika has been featured in several design exhibitions, magazines and websites.

Laika does not have a certain shape. It is neither Serif nor San-serif! Neither black nor thin,wide nor condensed. Its unique and ever-changing form is the direct result of the users interaction with the application. If the user is tall, Laika becomes condensed. If he is short and chunky, then Laika is black and wide. It defines its essence based on events and real-time changes occurring in its surrounding space. It is meant to be used in a dynamic environment where its entire characteristics are engaged. Therefore, its design process requires an entirely different view on typography and type-design. Laika has no pre-supposed method of use or setup. Rather the user can shape it regarding his needs. It gathers the inputs using a series of sensors or by pulling them from a digital data source and then translating them via Processing³ into programed functions which cause changes in the appearance of typeface. For example, during the Breda Design Festival, the Laika installation contained an infrared camera which read the silhouettes of attendees (so called blob-tracking technique) and translated the information regarding size, width, height etc into modifications of the form of the typeface.
Laika raises several critical questions for the process of designing digital typefaces. Should the design of type for dynamic media be revised according to the capabilities of new technology? Does dynamic medium require a dynamic typeface? Why should a typeface be rigidly set when its ultimate purpose is not print? Laika is not just a typeface, it is a thoughtful experiment and attitude which questions the fundamentals of contemporary typography and challenges the accepted conditions for designing new type. In truth, it stands for a number of scientific projects attempting to dissolve the boundaries of science and design; a first step in the systematic design of a dynamic typeface.
http://www.laikafont.ch

1. Laika (originally a Russian word which translates to “Barking”) was a Soviet space dog that became the first animal to orbit the Earth.
2. Karl Gerstner is a pioneer of Swiss typography who was born in 1930 in Basel. His book called “Designing Programmes” became 60s cult classic.
3. Processing is a programming language, open source alternative to proprietary software tools founded by Ben Fry and Casey Reas in 2001.