DAVID WONSIK JUNG

WORKS MAKEREADIES ABOUT

Factus Specimen

2025
Typeface, Poster, Book

To demonstrate intended use cases for Factus, the specimen was designed to be a book of clip-bound 18×24-inch posters. Two maxims generously dictated the making of the posters: The bigger the better, and Tight but not touching. As in the case with Fictus, the typeface welcomes the limitations of printing technologies, against its infinitely sharp forms: through screenprinting and inkjet plotting, its corners are naturally wedged/rounded as far as the definition of the machine allows. The printing also experiments with different kinds of black via a combination of two acrylic blacks and a transparent varnish.
While the type specimen tries to convey the letterform’s consciousness towards its digital origin, the series of covers, featuring differently treated illustrations, tries to make a point about the constructedness of consumable images. Two images demonstrate two different attributes: an image of gravel pointing out definition, and an image of a bird pointing out color. The treatment of the gravel image was derived from a particular methodology of Minkee Bae’s Sequential Composition series. A gradation of decreasing dpi for dithering was applied to the image, which renders coarser, more distinguishable square units towards the bottom part of the frame. The image of a bird is part of a series of illustrations randomly acquired from a giveaway table. After the illustration was separated into four colors, five different composite images were produced by swapping the ink for each screen.