Harmonoglyphs are the product of a generative system that uses a genetic algorithm to evolve Lissajous curves that resemble letters and other glyphs. This project is the core of a practical tutorial for a course on Computational Creativity for Design, where master’s students are introduced to concepts of artificial intelligence, such as evolutionary algorithms, applied to the visual domain. The presented Harmonoglyphs were evolved by different people including students and lecturers of the Master’s degree in Design and Multimedia of the Faculty of Sciences and Technology of the University of Coimbra, Portugal.

Typographic poster dedicated to 130 years Alexander Rodchenko – one of the most versatile constructivist and productivist artists.

A visual exploration of the letter “S” with the topic of outer space.

Stanisław Lem was born on September 12, 1921, in Lviv, and died on March 27, 2006, in Cracow, Poland. 2021 is the 100th birthday (and 15th death) anniversary of the greatest Polish science fiction writer.

Stanisław Lem was a man of above-average intelligence and an exceptional visionary. In his books written back in the twentieth century, Lem predicted the emergence of many devices that function today, such as audiobooks and e-books. He also wrote extensively on various forms of intelligence, including machines as in the novel The Invincible (1964), and the intelligent ocean in the novel Solaris (1961).

This poster is dedicated to him.

I just tried to break my barrier to drawing type.

Uvas Display focuses on the interconnective play of letters (and numerals). In short – characters respond to one another, front and back. The interaction of the letters alter between overlapping, cutting, merging and skewing – generating an unpredictable flow when typed.

Optical sizes (Big, Medium, Small) allow for Uvas to be presentable at different scales, and the variable version foster even more flexibility for matching different sizes.

With “just” 900 lines of feature code, letters fuse together, becoming continuous ligatures.

Wow is a typeface with innovative elements to create a distinctive typographic style. The design is based on the synthesis of western calligraphy and develops the concepts of absolute and relative to create new languages in design, typography and visual arts. The corporeality of the characters from the horizontal axis and the alternate characters are the features that differentiate Wow, achieving a fluid and dynamic effect. These characteristics make it a versatile and flexible option.
Wow is based on the exploration of the variability of a constant to create new forms, which opens a dialogue on the inclusion of all the points of view of the same constant.

Type’o’Taped was an academic project that aimed to explore generative typography using analog processes and human participation.

Users acted as computers following an algorithm that would result in the generation of one output — a letter of the alphabet. They were not aware of anything about the project beforehand.

In short, the algorithm involved: a grid to help drawing the skeleton of each letter; a dice; 6 containers with stickers from different shape categories (arcs, polygons, triangles, etc).

The outcome was an experimental, flexible and fun alphabet developed by various designers and non-designers candidates.

< choose your reality > suggests the idea that we have some degree of control over our perception of the world and the experiences we have. It implies that we have the power to shape our reality by choosing how we think, feel, and act in response to the world around us.

blow your own trumpet

when a music association wants a visual identity, the best approach is to go straight to the heart of the matter – in this case, music. this involved looking at how music is written down and translating that principle into a typeface. the diverse forms and symbols of different musical notation styles were used to develop a new system perfectly attuned to the subject in hand. job done. ta-da!

project team: filip antunović, maks barbulović, dominik bissem (project manager), carolin himmel, andreas uebele

principle typeface:
own, starter by tobias hoenow

One modular grid – a hundred options. All these variations of the letter K I made using the same window grille as a modular grid.

There is no beginning or end. And?
Visual exploration of the ligature ampersand as a careless person.

Extended Ecologies is a one-year, joint programme between Medrar in Cairo and the Critical Media Lab (CML) in Basel that aims to create and reflect the ways that extended reality (XR) technologies can transform our relationship with physical environments, and so ourselves and other beings.

Hisha is a display font made at the Academy of Fine Arts and Design (Ljubljana, Slovenia) under mentorship of Prof. Domen Fras and Tch. Asst. Alja Herlah. It is a student work made as a proposal custom font for Švicarija gallery in Ljubljana. It was inspired by architecture and rich history of the building where the gallery is located. It is a modular font whose glyphs were made using only three shapes. Those shapes are either connected, separedated, flipped or rotaded by 90 degrees in order to form a glyph.

In this project, we developed the identity for the film festival Caminhos do Cinema Português. The visual identity had a large typographic component that sought to imitate the plasticity of the projection used in movie theatres. The text used in the posters was project in different types of materials and the modified composition was used to create the final posters, creating a very varied look in all the posters.

Since the era of the industrial revolution, man has continued to introduce hazardous materials into the environment at an alarming rate. One of our biggest problems now is plastic. Plastics and their byproducts are littering our cities, oceans, and waterways, and contributing to health problems in humans and animals. I wanted to make an alarming shouting message, a wake-up call in an ignorant society.
The approach is entirely typographic, a package of mass production with plastic 3D letters is presented on the poster. Through this poster, I want to support organizations addressing plastic pollution and spread the word to a wide audience. Stop using plastic!

Inspired by the newest font family Oddval by Typeforward type foundry.

The work is inspired by a quote from Monty Python: “You come from nothing, You go back to nothing. What have you lost? Nothing!”

Reinterpretation to a lyric from The Libyan Reggae band, The White bird. From the song “Ya Omy”.

The poster is a tribite to my mom and all moms.

Type Design is a domain that multiple times has profited from the emergence of new tools and technologies. This domain has received an even greater push with the increasing adoption of generative and AI. tools to create more diverse and experimental fonts. In this work, We created a dataset of letter skeletons from a collection of existing fonts and trained a Variational Autoencoder and Sketch Decoder to generate new ones by exploring the latent space. This process also allows us to control the style of the resulting skeletons and interpolate between different characters. Finally, we developed new glyphs by filling the generated skeletons based on the original letters’ stroke width.

What the future holds for us? The best way to predict the future is to create it. Be part of the Future…Design Now!

“The future belongs to those who can imagine it, design it, and execute it. It isn’t something you await, but rather create.”
HH Sheikh Mohammed bin Rashid

Type Design is a domain that multiple times has profited from the emergence of new tools and technologies. This domain has received an even greater push with the increasing adoption of generative and AI. tools to create more diverse and experimental fonts. In this work, We created a dataset of letter skeletons from a collection of existing fonts and trained a Variational Autoencoder and Sketch Decoder to generate new ones by exploring the latent space. This process also allows us to control the style of the resulting skeletons and interpolate between different characters. Finally, we developed new glyphs by filling the generated skeletons based on the original letters’ stroke width.