In 2016 National centre for contemporary arts “Arsenal” started “Graphic Practices” — a course curated by Eugene Strelkov. It was about a history, main technics and mediums of the contemporary art. For a final exhibition, every student made a project on graphics or visual arts.
“Flow” is a research of typefaces through the lens of the aerodynamics. The main hypothesis is: there are some other resistance forces, besides obstacles of the perception. So, i supposed, that a good typeface readability can be achieved with aerodynamics laws and shape analysis.
For this experiment, I introduced a term the reading flow. An eye movement through the letters, words and symbols across the visual resistance forces — this is the reading flow.
I chose eight fonts and nineteen [Cyrillic] letters for the analysis. By comparing these control letters, I figured out the “drag” of the whole font. There are 8 × 19 = 152 computations to discover all of the data to compare.
I picked the most feature letters, which designate a font the best. These letters have a very dynamic and unsettled shape: А, Б, Г, Д, Ж, Ф, Я, а, б, у, ф.
Also, I added Ё, ё, Й — to see the confuser and diffuser sections.
The last letters are the “control group”: Г, г; Н, н and О, о — are typical bodies for aerodynamic computations.
Almost the whole book is a result of computations.
I screwed up with a physics model, so absolute numbers are incorrect. But they could work as relative.
So, i’m looking for a fluid dynamicist to update results. And for the next project also.
I invite you to find the fonts with the most and the least coefficient of drag:
Calculated aerodynamic properties: the coefficient of drag and the frontal area: