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’.

Visual experiments and explorations of the letterforms during 36 days of type #10. Every letter has a topic: B = brutal, M = memories, O = other dimensions, V = vision and victory, I = I believe in myself, Y = your roots, L = let’s play with ASCII, G = Google sheets, K = kin, C = childhood, F = favourite city , Q = god save the queen, R = reflection, P = play with negative space, E = ethno.

The poster was designed for an invitation to a specific theme: Beautiful Seoul. While looking for Seoul’s character that fits well with my own visual approach, I was caught by the cavalcade of the Seoul Lantern Festival.
“In a Buddhist tradition, lanterns are lit and hung on houses, streets and temples in South Korea. The upcoming birthday of the Buddha is celebrated with the lantern parade.” At the lantern event, the curved, spherical body of the lanterns fully covers the field of vision, densely next to and above each other. I processed this cavalcade with my own typographically motivated solution.

Die verostatic-Schrift war die erste Schriftart die ich experimentell und analog mit Stift, Papier, Lineal und Kopierer zeichnete und entwarf und später in der Finalversion digitalisierte. Die Schrift wurde schnell zur „verostatic“, was quasi als Wortneuschöpfung zu verstehen ist; „static“ aufgrund ihrer statischen Erscheinungsform und „vero“ abgeleitet von meinem Rufnamen Verena sowie der lateinischen Bedeutung für wahr, echt oder auch glaubwürdig. So wurde die verostatic direkt auch Pseudonym und später Namensgeber für mich und meine Arbeiten.

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.

“That is not a typography” is an experimental poster aimed to question the limits of typography. This by creating a relation through a superposition of layers of a very strict and geometric typography, combined with a very manual inscription over it.

Upon completing each puzzle, a letter will be revealed. Once you have solved all the puzzles, a secret word will appear, that can be used to unlock the 
.zip-file containing the font.

Make sure to underline all the words in each puzzle accurately. To claim the font, head over to Interna Publishing’s website or Instagram page, where you can find the .zip-file waiting for you. Let the games begin!

These Ps were born as an improvisation by colouring the negative space and letting it define the shape of the letter. Created for the 36DOT #10 challenge.

With the russian invasion bright and peaceful future is the only thing that everyone wants to see not only in Ukraine but in the whole world. This artwork is a cover of imaginary magazine called “Тримай майбутнє” (Hold the future). But what’s inside? Hopes, plans, challenges, births and losses, life and death. Future is bright and unstable at the same time.

Exploring our new variable font.

Typographic exploration using Illustrator’s limited 3d capabilities.