Transport Accelerated was designed to subvert the invisibility of Transport, a typeface designed by Margaret Calvert and Jock Kinneir in the 1950s for British highways. In The Visual History of Type, Paul McNeil describes Transport as a typeface that “performed so efficiently for so long that most people are completely unaware of them.” We see the content set with Transport but not the typeface itself. In order to celebrate Transport and make it visible, it was made into an expressive display font utilizing letterforms as animation frames that depict an accelerating motion.

The word ‘Fragment’ in Cyrillic recreating it’s own meaning by fragmenting itself.

We all need someone to root for us. I need that, you need that.This poster is support. /Created with SpaceType generator./

WE LOVE XR is an international collaborative project by a variety of artists and contributors from different fields exploring the possibilities of extended reality on a semicircular LED video wall. Initiated and curated by OBJ.Studio the project is made possible by AMBION GmbH at the SUPEROOM XR studio.
For the first event of this project artists designed words of a poem that was presented in a spoken word performance. We created four designs using analog distortion effects creating a particular 3D impression.

This work is in Cyrillic and is a statement saying stop to the malice and agression. I really think we all need that desperately nowadays.

The thread of Revolution is being woven now.

The beauty of nature is that is teaches us rhythm. Ocean waves are great example of letting things go and rejuvenation. In the Black and White Lettering example it was a fun way to seek balance.

BT Linienwerk is a variable display font encompassing rectangular shapes that appear and disappear based on the value of the FORM axis. The Font combines a constructed angular font skeleton with rectangles overlapping and interacting with the shape underneath.

Experimenting with ai (animation) I developed a workflow by creating 3d-doodles to set the light, shadows, materials and motion, using them as an input for Deforum Stable Diffusion to get an animated interpretation of ai by combining it with text. Its bringing it to life and adding a certain randomization. The individual frames of the final animation are very inspiring to find new typographic forms.

Drizzling is inspired by those liquid ingredients that are often seen in the process of pastry cooking. This typeface is meant to be fun and even a bit goofy. Many letters are drawn with one continuous stroke without any stops. It’s an experiment with the lettering trick, mimicking the drizzling process in pastry. This technique helps bring out the wiggly and wobbly appearance, which becomes a key characteristic of this Drizzling typeface.

Fake it ’till you make it makes it real at the end. So be careful what you fake about.

This is the front page of a zine I made about my water bottle going through an acid trip. The hand lettering of the word welcome was my imitation of what I would imagine my water bottle sounds like high.

This poster was made for the “DESIGN IT! 2019 poster contest for the vision of the event: SWISS ART EXPO 2019 which was held from August 15th to 19th. With over 80,000 visitors daily, it is one of the most visited places in Switzerland. The composition is entirely made from the typographic sign “SWISSARTEXPO 2019 each letter is transformed into a 3D object functioning as multiple exhibition halls in which enormous crowds are moving and looking at art.

Unpredictability is connected to an explosion both directly and indirectly. “In explosive circumstances, the calculation of probabilities does not work, there is only chance, and the result is unpredictable,” Lotman explains. In his writings, unpredictability is primarily associated with culture.

Phototyper is a system that generates letterforms by filling typographical skeletons using different crops from an image. The typographical skeletons are originally drawn, representing the essential shape of each glyph.
Different textures can be used to fill and thus give shape to each typographic skeleton creating unique letters that can later be applied to various projects.

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.