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.

Photomaton is a tailor-made interactive museological experience that automatically creates typographic portraits of people. Using computer vision algorithms and non-deterministic generative techniques, Photomaton enables users to create their typographic portrait and combine it with their favourite text on the exhibition. During the creation of each portrait, thousands of letters are strategically positioned, rotated, and scaled to recreate a snapshot of the users’ faces. Since this process is not deterministic, each generated portrait is unique and unrepeatable. It was developed for an exhibition of Portuguese literature, taking into account its space, nature and target audience.

Looking for the perfect alphabet

Typographic Tapestry weaves together pixel pattern fonts and optical illusions to create abstract visuals. Powered by a Python script, it exports individual shapes as gradients, which can then be layered using a Risograph printer. This way alternative way of typesetting turns ordinary ASCII text into vibrant compositions.

The ‘Flow’ poster is an expression of experimental typography through the use of Risograph printing. The project aimed to experiment with legibility by incorporating slanted, hand-drawn letters inspired by old Cyrillic styles.

Fax experiments without the fax machine – playing with thermal paper, stencils, and chemical reactions.

Much of my work explores mixing analogue and digital tools as a creative process. When I deploy analogue techniques, it’s about me adding noise and getting some feeling back into the work. Digital can just be so clinical. Sometimes I like that, but at other times I want grit, a depth or texture that’s ‘real’, not a coded imitation. It feels like I’m trying to dirty things up, break them, and get them to a point where they feel used, like an old record or book that shows signs of use.

I set out to create a transition between functional and experimental typography. “Vearge Variable Font” provides a seamless transition from a linear static reading font to an experimental constructed font. This results in many possibilities for application. For more visit: www.vearge.de

The typographic experiment is based on the idea that our experience of reality is often incomplete or fragmented due to our limited perceptions, biases, and other factors that shape our understanding of the world. This fragmented view of reality may lead us to perceive only a small part of the larger picture, and to form incomplete or inaccurate beliefs about the world around us.

Experimental work with tools developed in Processing, and text of the book Polvora Verde by Regino Martínez and Pascual Muñoz.

Diplomky 21 is a graduation show of students of the Faculty of Art and Design in Ústí nad Labem. The central motif for 2021 was a typographic game with the letters of the word Diplomky. The main communication medium is a poster printed with two-color screen printing on gold paper, it was supplemented by other printed and electronic promotional materials, exhibition graphics and an orientation system in the faculty building. Part of the work on the visual style of Diplomky 21 was also a printed catalog of graduates of the master’s degree. The visual style combined two colors – gold (in print) and blue (in digital use).

On the internet, everything made out of 0s and 1s, and once you leave a trace, you can’t erase it. This typeface was created with that in mind, tracing back to the original two binary values. Each character is designed based on the shape of the 0s and 1s, and has a strict 5×7 grid, where each character is defined by the same rules. Just like on the web, not everything is easy to interpret, as the shape of the letters attests. The defining details of the letters are based on bitmap font character sets, a throwback to the days before graphical user interfaces, when binary code and bitmap characters gave the interface its distinctive look.

The font “Krepost” is a branded display font created for the Vladivostok Fortress.

Its geometry is based on the unique architectural forms of this object, and thanks to the “laconic” serifs, it exudes the spirit of the late 19th century, the era of the industrial revolution, armored trains and, of course, fortresses.

This project contains collages featuring selected letters from my upcoming font titled “nothing but lines.” The collages showcase the different phases of my work, including sketching, drafting, tracing, and eliminating ideas. Much like the process of designing the font itself, I transitioned back and forth between analog and digital methods to create these collages.

AI generated type experiment based on an image of grass

—the phrase touch grass is “used when someone is doing something weird, stupid, or pointless. it means they need to come back to reality, they need to get some fresh air and get back in touch with how the real world works.”—urbandictionary.com

This project was on view @ Tate at the Cyborg Futures digital display.

print: Digitalpress
type: Neue Montreal
paper: Cromatico Extra White 180gn

Ai is frightening as much as it’s fascinating. This is an accidental graphical attempt that created a warning symbol for the potential threat of artificial intelligence.

The exclamation mark inside a triangle is a widely known symbol for danger and caution, flipping the exclamation mark to form an “i” while simultaneously making the negative space in the triangle form an “A, created a distinguished symbol that is descriptive and informative to the topic with familiarity to anyone. 

Recently, I started experimenting with photographic paper in a darkroom. In analogue photography, a contact sheet is produced by placing the film on photographic paper and exposing it to light. I modified this technique, so I could expose photographic paper using my desktop screen.
I wanted to explore what this technique does to typography – where does the type get distorted, fractured, blurred, or illegible when I bend the paper, cut it, crumple it, or splash it with water or photographic developer.

excerpt of the analog created, experimental series “ED°01”.
various complex properties of ephemeral substances are captured
and build the foundation of this project.

ED°1 is an improvised analog set up, to capture divers materials in its movement,
either reacting chemically/physically or in combination with sound vibrations.

the goal of this project was to close the gap between analog & digital and to get a new perspective on working with typography & illustration.

Dieser Font resultiert aus der Disziplin der Line-Art bzw. One-Line-Art in der Zeichnung bzw. Illustration und ist von dieser inspiriert und so entstand diese Lineart-Type.

Algorithms controls and dictate many aspects of our lives and decisions. Bit by bit we are losing ourselves to the technology we invented, chained by its directives of a new evolving narrative of zeroes and ones.

Neon design.

Calligraphic Experiments with Processing.
To explore new shapes and letterforms.