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.

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.