geometric grotesque inspired by mathematics, numbers and regular figures. the font has two cash registers and has a wide range of possibilities for use in the design of various layouts

Flower Bodies is a set of typeface by Mari Ebisu, which derives from her previous work, a book “100”. The book “100” (2020) is a summary of 100 flower drawings she made with water colour, through which she researched 100 different kinds of flowers both visually and verbally. One of the objective of the reseach was to understand and capture the shapes and liveliness of flowers.
For this time, by transforming these flower drawings into types, Mari tries to take another step further for the research into flower shapes, and to explore the expressions of flower bodies in the form of alphabets.

From time to time I create conceptual posters exploring different typography approaches, using different tools and programs.

poster, based on the author’s font ornamika, is dedicated to the exhibition of ornamental art

The poster uses Ukrainian Cyrillic with the centerpiece created by hand using ink and later digitalized. Created for an interactive whodunit theatre play where the viewer influences the course of the play (non-commisioned).

Life is Short visualizes the intricacies of life with ups and downs, childhood, adolescence, adulthood, aging and transience. I leave a lot of room for interpretation, so that everyone can find their own meaning in it.

In this poster I have implemented the term Unpredictable in a custom type. As a visualization I have designed a white inflated target in Blender. It symbolizes the unpredictable end. Metaphorically speaking, you don’t know if the arrow will reach the target or if the decisions you make in life will bring you to a desired result.

(I have submitted multiple examples of my work including the Bird Dimension set and others, hope this is ok— if not please use one of the examples).

When creating typography I like to experiment with different materials and methods, and see what emerges from the personality of particular combinations. The Bird Dimension was created while trying to experiment with simple shapes, using only black and white, and exploring a particular mysterious/philosophical narrative.

Silvia Matias mission as a creative designer is to explore the process, and to contribute with a purpose, using the “power of design” to communicate a strong message.

Two custom typefaces, M XX Display and Text, for The Museum of the 20th Century Remembrance in Prague to represent the dis/integrating aspects of both memory and society.

“Chemical” is Post Malone’s first release of 2023. The song is about an on-off relationship that he couldn’t let go of and how life isn’t the same without her. In the song, he reminisces about his time with her.
I decided to go purely typographic, creating a sort of “flow” that makes connections between the then and now, and the negative and positive. An eventful time, represented by disrupted letters and gaps.

Font in use: Neue Haas Grotesk Text via Adobe

I chose two books that I loved as a child and have influenced me a lot. “The Brothers Lionheart” and “Mio, my Son” written by the great Astrid Lindgren. Both books are about little boys who are searching for love, peace, freedom. This search I have represented by the arrows, which are directional and also indicate the reading direction/direction of view for the reader. The designs are kept simple and wrap very colorful stories full of adventure and wisdom.

Font in Use: LFT Etica Mono Book via Adobe

This is a project what anyone can create a small architectural object by combining the alphabet parts of HOUSE, CHURCH, and FACTORY etc.
They are between objects and typography.
They are both objects and typography.

Papertype is a paper-made movable type for letterpress printing. It is easy to produce and light to carry precisely because it is paper. The unevenness of the printed typeface gives it a characteristic that brings out the feel of the printed surface. Working together with a furniture dealer and a portable printing press, it was possible to bring to people not just a letterpress machine and character design, but the experience of printing and typography as well.

OCR FA CTU no. 1 is a digitization and interpretation of one of the least known IBM Selectric 10-pitch typewriter fonts (Printing and Publishing no. 2) in which no descenders exist. It is a nice visual feature but also a practical one allowing written languages with accents to use tighter leading.

In one of the first sketches, I applied the boxy technical character in all letters, resulting in an (f)rigid appearance. The technical barrel-shaped details are softened with the almost handwritten feel of some of the most used letters (a, e, s, r).

This eclectic monospace font is used throughout the yearbook of the Faculty of Architecture at the Czech Technical University 2021–22.

Object Mode is a group exhibition by students of the Electronic Media Department of HfG Offenbach at TOR Art Space in Frankfurt am Main, Germany. The exhibition features moving images and objects in the form of spatial installations and video sculptures, and poses questions of intermedial and interpersonal entanglements.

The poster series takes up the movement of the animation, in which elements distort in a block-like or object-like manner.

The Set Up is a group event with sound, performances and dance – also by students of the Electronic Media Department at HfG Offenbach. It takes place at Studio Naxos and accompanies the exhibition Object Mode.

Letterfrack is a village in the west of Ireland with a magnificent view, no matter the perspective. So, I decided to create letters that could be read from different points of view. I started with tiny blocks of wood, which soon grew to 1.2m tall letters, and spread them around the village.

This project started as an experimental research project to investigate the possibility of implementing 3D printing in typography to enable new typographic experiences using emerging technology. 3D printed text amplified visual and physical interactions. Digital fabrication techniques play a crucial role in turning intangible ideas into tangible design products, and also become an agent to build a strong connection between analog and digital environments. A series of posters are made for a presentation.

Since the launch of the first iPhone in 2007, our haptic world has been dominated by uniform, smooth touchscreens. However, a digital code cannot be physically touched, making it inherently difficult to interact with.
As the design process also increasingly takes place on computers, detached from physical materials, many products suffer from poorly designed tactility. As designers, however, it is our responsibility to consciously design tactile experiences, especially in these digital times.

The German title “Begreifen und berührend” could be translated to “Grasping and Touching” and highlights the multifaceted aspects of tactility in design.

Poster for – fonts and faces – a year symposium about typography.

Accidental font designed on a grid. The chaotic arrangement of the links shows the complexity and intricacy of the structure of the entire functional integrity of the world and the creatures inhabiting it, while having a clear structure, the system of which absolutely everything consists, be it the brain or the human body, the universe, and so on. Everything is interconnected, each of us is a link in the vast universe and we are all connected. We are all part of a single whole.
The posters show the Russian and English alphabets and examples of its scaling