http://www.conoranddavid.com/images/large/000003A.jpg

by Conor&David

http://mocoloco.com/art/archives/steinhilber_apr_05.jpg

by Dan Steinhilber

http://nymag.com/daily/entertainment/2008/07/video_street_artist_joshua_all.html

by Joshua Allen Harris

Dan Steinhilber works with all kinds of everyday materials and objects like trash-bags, bottles or paper-cloth-hangers. He uses them as modules or media to create abstract organic sculptures.
Street artist Joshua Allen Harris even brings his creatures made of garbage bags and tape to life.
He tapes them to a sidewalk grate and every time the subway passes the underground exhaust inflats and animates the sculpture that first just looked like ordinary trash on the street.

http://www.jenstark.com/sculpture_17.html

by Jen Stark

http://www.deitch.com/files/slideshows/swoon_work_5.jpg

by swoon

http://www.123buero.com/img/projects/PublicProjects/PublicProjects_06.jpg

by 123buero

http://www.thomasdemand.de/

by Thomas Demand

http://www.fredriksterner.com/Bildmaterial/odetolaserprinter/laser3.jpg

by Fredrik Sterner

http://anfischer.com/wp-content/uploads/indizes/anfischer_indizes_1.jpg

by Andreas Fischer

http://www.deffekt.ch/wordpress/wp-content/gallery/p8/p7181409.jpg

by Martin Fuchs / deffect

http://www.pierrevanni.com/portfolio.jpg

by Pierre Vanni

Paper sculpturing has become commonplace in contemporary visual culture. Paper is not only seen as planar two-dimensional canvas any more to write, print or draw on. It rather becomes an affordable and multi-functional material for uses such as building miniature models to sculpture surfaces and large scale objects. Artists using paper as their favorite medium come from very different fields. Swoon is part of an international street art scene but also gets featured in various galleries. On the street the decay of the material becomes part of the artwork what is not given in the gallery though. So location influences the aesthetics of her work.
In Thomas Demands photographic work, paper and location play a very different role. He uses paper to build exact models of locations that were specific happenings once took place. Lightning and perspective let the photographs look almost like reality.
The examples of Andreas Fischer and Martin Fuchs applied digital production methods and used data input to create specific shapes. Thus paper sculpture becomes a kind of physical representation of information graphs or mathematical calculation.

Robert Lang talks about Origami as art-form or form of sculpture which has been around for hundreds of years but totally changed it’s face once combined with mathematics. The mathematic rules of modern Origami however could be defined in simple four laws: The two colorability, at any interior vertex the ‘mountain-’ and ‘valley-folds’ always differ two, angles around a vertex sum up to a straight line and a sheet can never penetrate a fold (no self-intersection at overlaps).
These rules are as simple as an computer could understand them what makes Origami a mean of digital production, rapid prototyping and simulation not only in areas like science and technology.
To enable a kind of origami on demand Robert Lang developed ‘treemaker’ - a program to generate crease patterns after a given definition of a stick-figure-like version of one’s design. The basic principal of a crease pattern is to create as many flaps as needed for the final object so what ‘treemaker’ mainly does is to calculate and output the packing of circles on the sheet.
(www.ted.com/index.php/talks/robert_lang_folds_way_new_origami.html)

http://farm4.static.flickr.com/3212/2739457894_2b10257c23_o.jpg

above: ‘This is pure unmodified type. No vines or decorative elements added. It is not painted to merge graffiti and type design. No fluorescent light tubes used. It is not shaped to represent an object. It is not recreated with any part of the human body. It is not colored to transport a mood. It is not hand drawn to look personal. It is not made of simple geometric shapes, metal scrap, books or other objects. It is not set in caps to look precious. This is not Avant-Garde with unnecessary ligatures. This is not a fat, hip block typeface. This is not a tribute to Helvetica either. This is not a t-shirt print. And this is not a poster with the designer hiding behind it. This is pure unmodified type.’

http://farm2.static.flickr.com/1326/1151971874_6d3bb7a0fa.jpg?v=0

The Swiss Leander Herzog created a broad range highly inspiring and visually appealing designs mostly implemented with processing. He also digitally fabricated certain pieces and experimented with a drawing machine. Moreover he applied code to font design akin the banner title for the ‘ars electronica’ in 2007.

http://farm3.static.flickr.com/2032/2302101434_9fb4ef79fb.jpg?v=0

Today Marius Watz exhibited and talked in [DAM]Berlin Gallery.
Marius Watz is known for his work and teaching in generative art. His visual works use drawing machines, software implementations, large-scale projections or plastics. Moreover he curates Generator.x - ‘a conference and exhibition examining the current role of software and generative strategies in art and design.’ This platform is addressed to those using code as a mean of creative expression whereas his blog documents his activities such as the recent Workshop around Computational Typography (which will end on Thursday 27. Nov.) Here he also provides a list of links as references and resources to ease creating computational typography.

http://www.danielmaarleveld.nl/files/gimgs/16_speciman.jpg

http://www.coreyholms.com/portfolio/31/pea.gif

Daniël Maarleveld on his typeface: ‘Every tool has influence on how characters are formed. Think of: calligraphy or stencil-type. Digital tools, such as a filter, also have influence on typography. That’s how the diploma Akzidenz arose, A inbetween shape of the clear Akzidenz Grotesk and the excessive calligraphic visual interpretation of security paper and certificates.’
Corey Holms likewise designed the Font ‘Pea’. Her work probably involved another process and is based on the geometric Sans-Serif.

Since I prototyped my font design with ‘fontstruct’ which has an grid-based interface for shaping each letter, it might be worth mentioning that this approach obviously goes even back to Jan Tschichold and his ‘New Typography’ in the 30ies. This year typedesigner Sebastian Nagel recontructed Tschichold’s Typeface originally named ‘Leicht und Schnell Konstruierbare Schrift’ (A font easily and fast to construct) and translated it digitally. The end-product is Iwan Reschniev. (Sample pdf over fonts.info/info/iwan-reschniev.htm)

http://robseward.com/documentation/home/

YWD contains of kinetic typographic sculpures made of wood, metal, fluorescent lights and electronics.
In certain moments the automated formation of the lights result the words ‘You’ ‘Will’ ‘Die’. Video on robseward.com/documentation/ywd

http://www.hansje.net/dropbox/Gaasletter.jpg

www.hansje.net shows digital letter designs by Hansje van Halem. His focus is on shapes built up with lines - black on white.