The process of creating always generates a bunch of visual reminders. Every piece of the poster is an unused part of another artwork.

I made a personal experiment to visually represent the numbers of the year 2023 as fireworks.

Die Reduktion jedes Zeichens auf eine abstrahierte Outline Variante; welcher in einer zweiten ergänzenden Version – einem weiteren Schriftschnitt – zur Hälfte sodann und im Kontrast zu der vorher so vereinfachten leichten Optik, ein schwerer „schwarzen Balken“ addiert wurde.
Der Arbeitstitel wurde stillschweigend, aufgrund seiner Einfachheit und natürlich auch seiner Passgenauigkeit, zum Namensgeber.

My visual experiments are created within #36daysoftype 10. Each letter is an attempt to explore yourself and your visual language through different tools, practices, form, material, color and concepts. An attempt to explore how letters can reveal character and influence context and vice versa.

What the future holds for us? The best way to predict the future is to create it. The work was part of the 4th Emirates International Poster Festival EIPF.
In its 4th edition, EIPF draws inspiration from the “UAE Centennial 2071“, a future-oriented and human-centric plan that calls for investments in the future and improving quality of life. The future is no longer what we wait for, but rather what we make, through innovative ideas and scientific planning to improve life conditions for future generations.

“Jazz washes away the dust of everyday life.“
– Art Blakey
The idea was to make a poster to celebrate international jazz day.
Jazz is a constant flow, flow of music in the soul. A connection of the senses in an indescribable way, merging them into a unique feeling. It is a genre that continues to evolve and innovate, with artists constantly pushing the boundaries and experimenting with new styles and sounds to keep the music fresh and relevant.
My approach was to create a multidimensional bridge composition by connecting the letters of the word “JAZZ”.

Performance, like typefaces, has a long history and vivid expression and is always evolving.
Montage Display is a typeface designed based on a specimen published by Hamilton Wood Type in collaboration with William Caslon. The original typeface was labeled No.629. The goal is to recreate this wood type and make it suitable for film and theatre titles. Developed from the original specimen, this typeface is
now improved to include a full alphabet and punctuation marks.

I am looking for new visual possibilities for handling typographic elements. I started in the direction of the interplay of black and white, these are vibrant, positive-negative forms like “op-art”, where the letter is formed by shifting and sliding areas. The end result is reminiscent of the path of light rays, or the disintegration of light rays.

Silvana is a contemporary display serif typeface with sharp and dynamic strokes, strong contrast and delicate pointed serifs. One of Silvana’s core traits is its 82 functional and experimental ligatures including stacked ligatures like www and xxx, making the typeface is a refreshing and playful addition to the designers tool kit.

Doppler is an all-capital variable display typeface with a mechanical letter construction where every letter has a different width depending on its position between the letters A and Z. This approach is inspired by the Doppler effect which refers to the change in wave frequency during the relative movement between a wave source and its observer. In this case, the letters A and Z are taken as the two extremes thus the two source points (aka wave source and observer) for multiplication. The width of each letter between A and Z is then calculated depending on its position in relation to the source resulting in an organic letter width across the typeface.

A message poster against war and to enjoy Jazz, a poster work based on a hand-drawn ambigram, which can be rotated 180° to show the same design. It expresses strongly that we should oppose war no matter what side we are on; the smaller poster size or the leaflet size makes the effect of the design even more apparent.

This pixelated blackletter typeface was designed and printed in multi-color inks using a Riso machine.

This expressive hangul piece was designed and painted as part of the You Are Not Alone project. It can can be seen at the Seaport in New York City as a set of 10 murals alongside the East River Esplanade.

This expressive hangul piece was designed and painted as part of the You Are Not Alone project. It can can be seen at the Seaport in New York City as a set of 10 murals alongside the East River Esplanade.

This calligraphic diptych was designed as a set of large-format tapestries to be hung for the True to Type exhibition at the Schick Gallery in New York. Similar A-Z sets were hand-painted on site as a two-sided mural, and was later translated into a prototype typeface and gold risographic print.

Generative typographic experiments built for 36 Days of Type using p5.js.

Inspired by liquid acid movements, MELT is a kinetic typographic rendering experiment built as the basis for a real-time interactive digital experience.

“More is More” is an influential design principle that Alex Trochut lives by. I find myself working by the same motto when designing. I challenged myself to create this typeface in a day and called it MONZTA for no other reason than it is fun. Expressive typefaces are fun, but I wanted to see how expressive I could get this using p5.js. Using Adobe Illustrator’s 3D effects, I created depth on the letterforms. I exported them at 48 by 48 pixels and imported them into my p5.js. I used the same typeface to create the classic ascii effect. I felt like this project pushed me outside of my comfort zone as trial and error was my best friend.

The project ‘Hanokgul’ aims to build a traditional Korean house called Hanok by assembling the Hangul, the Korean alphabet. The structure of Hangul, with its modular square block, resembles the assembly of components in traditional Korean architecture. Hangul becomes the building material for Hanok in this project, highlighting the traditional typeface while revealing the visual characteristics of Hanok. The concept is developed as a puzzle, allowing players to construct a Hanok model by assembling alphabet pieces, emphasizing the similarities between the typeface and house style and fostering recognition of unique visual features within Korean culture. (work in progress)

Burnt Coffee Shadows is an ongoing typographic experiment. The genesis is material from note and sketchbooks dating back to 1996. The project features visuals generated from thoughts, scribbles and experiments that mix analogue and digital tools, like old fax machines and the latest mobile technology. It is an ongoing project, using impression and expression to create dark, brooding typographic landscapes — ‘typescapes’. In a constant state of renewal, the material is updated, remixed, sampled and revised, manipulated and variations created, focussing on the process instead of the outcome.

Burnt Coffee Shadows is an ongoing typographic experiment. The genesis is material from note and sketchbooks dating back to 1996. The project features visuals generated from thoughts, scribbles and experiments that mix analogue and digital tools, like old fax machines and the latest mobile technology. It is an ongoing project, using impression and expression to create dark, brooding typographic landscapes — ‘typescapes’. In a constant state of renewal, the material is updated, remixed, sampled and revised, manipulated and variations created, focussing on the process instead of the outcome.

A dimensional exploration of the letter R.

𝗡𝟭𝗖 𝟰𝗔𝗔 starts from the cultural and historical significance we have in the postcode of CSM. Focused on the location, it connects to the idea of mapping and visualises by stitching which goes point to point and remains the tracking. It is a conceptual map representing 𝗡𝟭𝗖 𝟰𝗔𝗔 under the concept of stitching. As the stitching remains the thread on the way they go, it stitches the way to the CSM platform bar and two tribes around the N1C4AA. For the background where the footprint stitching is going on, it has the texture of the fabric, reminding the image of ‘hobs’.