Camera Obsura: The Tight Logic and Rules of Algorithms with Daniël Maarleveld
Daniël is an Amsterdam-based creative with a strong interest in generative design and kinetic typography. Always searching for unexplored possibilities of new or existing techniques based on mathematical or mechanical principles, Daniël blends his superior programming skills with experimental methods to create brand-elevating solutions that push at the edges of innovation. Naturally curious and technically-minded, Daniël’s output ranges from font, type design, identity and branding, to interactive pieces and motion.
LBB> What is your niche craft obsession?
Daniël> I am a graphic designer, animator, and coder based in Amsterdam, with a strong interest in generative design and kinetic typography. I have been researching the visual output of machines and algorithms for years. This fascination was born out of a wish to escape design dogmas. The tight logic and rules of algorithms give me the freedom to discover new visual handwriting.
LBB> Where/ when/ how did you first come across this thing?
Daniël> My graduation project ‘PenJet’ gave me the chance to explore both typeface design and technology. I hacked an ordinary printer, exposing its underlying logic and software and used a felt pen for its output. I then designed typefaces with the limited output of how the printer works already in mind. Experimenting like this showed me the advantage of having a generative approach to type and how it could be used simply and effectively.
LBB> Was it an obsession straight away or something that has evolved over the years?
Daniël> The obsession started with hacking: Misusing existing software, and trying experiments to get new results out of it. Then slowly I started with modifying software. For instance with the scriptographer.org (an illustrator plugin) and later paper.js, an online coding environment by Jürg Lehni and Jonathan Puckey. After doing a workshop in www.drawbot.com by Just van Rossum I realised that software can be quite limiting and that coding can give you much more freedom.
Over the years, my approach slowly shifted to how things can move, and not just by animating them in a traditional way, but as a generative approach, which lends itself quite well to exposing the difference between the traditional parameters for design. Lately I also use cavalry.scenegroup.co a lot since it combines the logic, programming and the convenience of animation software.
LBB> What are the most interesting debates or conversations you are having around this obsession?
Daniël> I like to make work that balances on the border of both handmade and generated design. I always seek out and enjoy speaking with like-minded people, especially clients that want to explore this border from different directions, as it opens up the possibilities of what traditional and generative animation can bring to typography and design and makes this field much more interesting.
LBB> How widespread do you think this obsession is with your peers?
Daniël> I saw this approach grow over the years. When I graduated there was more of a fear of technology. There were programmers and there were designers, with not so much overlap. But lately I’m seeing more designers using a similar approach.
LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production? Can you tell us about it and share links if possible?
Daniël> I was approached by genome asking if I could generate 1000 unique gif animations for the first early adopters of a domain launch. I am always playing with a spectrum of parameters. Making a series of unique animations felt quite natural, since it is actually harder to pick one design out of an infinity of possibilities.
LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?
Daniël> Try to approach technology from a different angle. Instead of having the end result already in mind, try to see what approaches feel natural with a certain technique.
