This type began as a variation of Helvetica, modulated through a vibe-coded Python program. I added Metaball connections by hand in Illustrator, turned the vectors into type in Glyphs, and reprocessed them through custom software modeled on the Hershey Fonts. Each stage transformed the letterforms—mechanically, visually, and structurally—into something both engineered and expressive.
I explored many words and methods while preparing this submission. I ultimately chose stigmata—a term we often used during my final semester at Yale when discussing work. The Metaballvetica letterforms felt anatomical, like limbs or muscle fibers, despite how computed and processed they were. The “T” glyph, in particular, resembled a human figure: arms outstretched, legs hanging—suspended in gesture.
Among the many methods I tested, I first experimented with a gradient-based modular type generation tool (shared here). I eventually chose to take Metaballvetica—originally developed using that tool—and refine it using a Hershey-style monoline processor. The monoline tool works by reducing each letterform to a single continuous line, tracing the centerline of the strokes. This creates a skeletal, vector-like version of the type, stripping away weight and contrast while retaining structure and gesture.
