Marie
Lusa

Enseignements

Laura Zsófia Csocsán – Neureal

TYPE DESIGN

Laura Zsófia Csocsán – Neureal

Diploma project with Kai Bernau, Marie Lusa

The book Neureal features an exploration of AI software that was tested on a series of images. Glitches and the software’s “residues” expose the neural filter’s activity, which colourises black and white photographs. The visual material highlights different scenarios in relation to our technology-influenced, everyday lives, shown in contrast with images of flowers and nature. They ultimately construct an alternate reality created by the programme. Neureal Display is a reverse-contrast sans, accompanied by a Mono version designed for small sizes. Initial drawings based on visual distortions were extrapolated, generating new ideas with mathematical calculations. The final typeface consists of these revised and redrawn shapes as a result of this back-and-forth experimentation with the software.

Paul Christ – Microcosm of Proportion

TYPE DESIGN

Paul Christ – Microcosm of Proportion

Diploma project with Kai Bernau, Marie Lusa

“Cosmos, noun. The universe, especially when it is thought of as an ordered system.” Inspired by spiritual movements such as the Theosophical Society or the vegetarian colony of Monte Verità, this project explores the influence of geometry, numbers and systems on the arts and design. The result is a book consisting of three parts that reflect the development of the project. It begins with the presentation of the research material and continues with a practical exploration of geometrical figures and their proportions. The third chapter applies my insights on the development of a proportional system which forms the base of the typeface family used throughout the book.

Nicolas Bernklau – Resial / Strength in Fragility

TYPE DESIGN

Nicolas Bernklau – Resial / Strength in Fragility

Diploma project with Kai Bernau, Marie Lusa

Strength in Fragility is a dialogue between fashion (Anna Deller-Yee, RCA) and type design (Nicolas Bernklau, ECAL). To find the intersections of the two design fields, shapes are explored and brought to life: from 2D to 3D, shape to object, printable to wearable. A publication showcases a common shape pool made up of type letterings as a foundation for the development of fashion silhouettes, woven materials and prints around themes of individuality, strength and vulnerability. To enhance the feeling of the project, the accompanying sans serif typeface family Resial was designed. Resial balances the functionality of condensed Swiss/German typefaces from the early 20th century and idiosyncrasies found while researching Latin typefaces in the Japanese graphic context.

Benedetta Bovani – Acquerino

TYPE DESIGN

Benedetta Bovani – Acquerino

Diploma project with Marie Lusa, Kai Bernau

Acquerino is a family project that revolves around the Acquerino Nature Reserve in Tuscany, Italy. Growing up near the place, the idea for this project was born out of the curiosity and affection that both me and my brother have for it. We felt the need to create something that reflected our thoughts and emotions about such a place while at the same time letting people know about it. Bringing together our knowledge, memories and skills we designed two books. The first book is a travel guide that aims to inform the reader about the reserve: from the flora to the fauna, hiking itineraries and nearby villages. The second one is an album where we collected words and photographs that reflect on the value of nature and of memory. Two specific typefaces were also designed for the books.

Simona Alina Andone – Leisure Time

TYPE DESIGN

Simona Alina Andone – Leisure Time

Diploma project with Kai Bernau, Marie Lusa

Free time. Did it exist in the past? Does it still exist? What implication does it have for society? Nowadays, the distinction between leisure and work is more subtle, calling into question the true meaning and importance of free time. The topic was widely discussed during the 13th Triennale di Milano in 1964. Through the appropriation of archival iconography and a fictional dialogue with essays from 1964 and nowadays, the editorial project aims to highlight the ambiguity between past and present in their connection to free time. Cordusio is a typeface family designed as part of the editorial project. Inspired by 1960s Italian type design, with an added contemporary touch, it is available in Display and Text, with slanted italic for both cuts.

Anne Seseke – Machine like Man

TYPE DESIGN

Anne Seseke – Machine like Man

Diploma project with Marie Lusa, Kai Bernau

This publication focuses on the link between humans and machines through the lens of the keyboard – a visual story of the evolution of the keyboard over the years, alongside its user. The curated text and images, playing on scales, give us insight into this discreet object which has become an essential part of our  daily lives: the architecture of the keys, the act of typing, the choreography of the hands, the notion of pocket-size and handheld objects, and the constant evolution of our idea of the office. The content is supported by a bespoke font, inspired by early computer printing techniques. I played with a dot matrix grid to create a more human typeface, resulting in a family of four styles: MLM Dot, Vector, Pixel and Italic.

Romain Tronchin – Supertifo

TYPE DESIGN

Romain Tronchin – Supertifo

Diploma project with Kai Bernau, Marie Lusa

Supertifo is a typeface family of five styles inspired by the lettering on the banners of ultras. Born at the beginning of the 1970s in the Years of Lead in Italy, ultras were inspired by communist groups to support their club with banners, chants and smoke bombs, taking this passion to the extreme. At the same time, a group of scientists called the Club of Rome published an alarming report about the future of the planet. This report did not have the expected impact and 50 years later the situation is more than worrying. What would have happened if the Club of Rome had been supported by a group of ultras, like a football club?