fai* chittayasodhara



about me
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catalogue of thoughts



fai* is Thai multidisciplinary designer currently based 
in NYC, bridging typography, visual systems, and digital product experience.


 



Cappella

Project: Retail Typeface
Type@Cooper Extended Program Thesis
Country: NYC, United States
Released: 2024
Supporting Language:  English, Catalan, Danish, German,Spanish, Finnish, Filipino, 
French, Indonesian, Italian, Malay, Dutch, Norwegian, Portuguese, Swedish, Vietnamese

Roles:
Type Design, Type Drawing, Historical Researching, 
Promoting Artwork, Content Researching and Writing

Tools:
Robofont, Adobe Illustrator 
‘Cappella,’ as in Italian term means ‘choir’. 
Singing without instrumental accompaniment occur the concept of typeface harmonized by themself. The way of thoughts in experimental perceptual pacing convey in a glance of reading. Cappella’s components are not ornamentals, but quietly drawn from the music vocabulary; legato & staccato, moderato & accents. Consistency of rhythm expressions emerges through negative counter-space, white remain spaces between flared serifs of letterforms, and harmonized curves. These subtle variations in text typefaces compile the theme in readability and legibility with drawing attention to themselves, feeling composed more than decorated. Cappella aims to shape the pace, dynamics and movement of reading.

As is the project of Type@Cooper Extended Program shows on term of my original typeface, Cappella approaches me to bring together the capacity of letterform components and reading behaviors in condition.



How white and black space harmonize together?In Cappella, black and white space are designed as a quiet dialogue. The black forms carry the structure of each letter, while the white counterforms shape the rhythm between them. Rather than treating negative space as empty, Cappella uses it as an active part of reading.

I’d been exploring the various shapes and feature at the beginning of the project, exploring how the capacity of tiny details can reform the perception of the reader. The subtle flared serifs and soft modulation help control how the eye moves from one letter to another. Black strokes create weight and direction, while white spaces open small pauses, similar to breath in music. This balance allows the typeface to feel calm, fluid, and readable without becoming overly decorative.







When Cappella speaks in dynamic

Cappella is referenced from music symbol. Like voices in a choir, their harmonization of various tone in signing are tuned together assembly. Cappella tends to interpret the difference tone of voices into the association of visual cues.

Each letterform has its own presence, but the harmony comes from how they listen to one another. Cappella’s black and white spaces work together as a music harmony to create a continuous reading rhythm, the counterform, and spacing become part of the same composition. Together

When set in a full layout, this harmony becomes even more apparent. No single letter, stroke, or detail is intended to stand out on its own. Instead, each part supports the others, allowing the text to perform as a unified texture. The relationship between black and white space helps the page feel even, composed, and continuous, so the reader experiences harmony across the whole rather than interruption from individual forms.









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