The Punk Nouveau typeface, designed by Kanaka Raghavan, is a response to ordinary and unremarkable typefaces. Despite its friendly and blobby appearance, it is not for the faint-hearted. The typeface was created in a punk style, collaging three elements from designers Alvin Lustig, Karel Martens, and M/M Paris to create an intense yet elegant design. The typeface incorporates ornamentation and geometric accents, embracing chaos and celebrating the absurd. As a display typeface, Punk Nouveau is best used to challenge convention, such as in band posters, protest banners, fanzines, anti-establishment flyers, and logomarks.

In 2022, (supported by a Stimuleringsfonds grant) I researched the possibilities of a multi-purpose typeface, concentrating on the letter shape modulation and animatics between its text and display form within a single font file. The research resulted in design proposals of 4 variable fonts (out of 18 initial directions) with a personality axis ranging between text and display letterforms. During my research, I focused more on the irrational side of variable fonts, a non-sequential axis that creates a personality transition where you can specify your own level of weirdness.

Karletto is an experimental project that explores the “topography” of typography and what makes letters legible or illegible. It is a variable “unicase” typeface with four axes: the “Top” axis controls the overhang of curves at the top of glyphs; the “Bottom” axis controls the overhang of curves at the bottom of glyphs; the “Left” axis controls the elongation of letters on the left; the “Right” axis controls the elongation of letters on the right.
The typeface is named after “Carletto the Prince of Monsters” (a Japanese manga and anime published in the 70s), who, like our typeface, is elongated and playfully monstrous. In addition we are currently developing a fifth axis for weight.

A number of letterings were created to be used as chapter titles in Pavin Chachavalpongpan’s book, “The Alien”. The deliberately outdated and bizarre designs of these letterings aim to communicate people’s mixed feelings of awkwardness and fierceness. The intention of this experiment is to portray a subject that has always been taboo in Thai society, similar to how most Thai people feel when they hear or react to Pavin Chachavalpongpan’s critique of the Thai monarchy.

griptype is a collection of funky, weird, lovely, incomplete typefaces. Our fonts are inspired by skate culture. Skateboarding empowers individuality, encourages, selfexpression and is a lot of fun. There are no rules. griptype is an attempt to bring the ease and serenity of this culture to the word of typography. Our fonts are open source licensed and therefore free to use and modify. Feel free to get creative with them if you like.

Valerian Typeface is inspired by Peruvian street art called “Chicha Culture.” These hand-lettering-based posters started as promotional campaigns for folk bands and singers. They are, to date, plastered around the streets of Perú as a cheap medium of advertising.
The organic shapes informed the construction of this typeface. The letterforms have a big personality with several cluttered details. Charged with vernacular symbolism of an underrepresented culture in the graphic design field. Through the visibility of cultural experimental typefaces, designers feel inspired to show their heritage through graphic design.

“Stereotype” is a cross-space confrontation of questions about structural inequalities and personal experiences through language and type. It demonstrates the political power as well as the intersectional representational potential of typography from a feminist perspective to help forming social change. Linguistically and visually, type communicates equally on multiple levels and thus also defines the spaces in which we operate. Augmented reality expands this physical space and makes the unseen visible.

This book illustrates the maddening adventure of exploring the boundaries between type and illustration. Stretching and blurring the lines of letter and image, readability and pattern. To re­create the joy, confusion and madness that was experienced during this journey, Lewis Carroll’s words from ‘Alice in Wonderland’ were borrowed. Illustrating an ever changing adventure with endless possibilities of what may come. But maybe this book just took you on your own journey, finding and questioning yourself, your process – blurring the lines of art and design, letter and illustration, identity and image. After all we’re all mad here! Come with us down the rabbithole…

ROBCA is a typeface sketch as an experiment in mixing calligraphic features with purely constructed geometries. Some kind of Paul Renner/Friedrich Neugebauer-Frankenstein.

My poster is a visual representation of the interconnectedness of language and typography. By experimenting with Greek and Latin characters and overlapping common characters, I aimed to showcase the connection between the Greek alphabet and the international keyboard positions, highlighting how different languages and scripts can come together to form a cohesive whole. This project was created as an illustration for my book ‘Graphic Stories’ and serves as a reminder that language is a unifying force that transcends borders and connects us all.

Barrio Triana is the name of a new neighborhood in a central area of Santiago, Chile.
For the development of the visual identity, an arrow was designed together with the typography of the name. The arrow is used as a geographical marker, simultaneously alluding to the letter T. The typography includes a series of traditional urban gestures from this area of the city, as a visual experiment.
Despite the fact that there were initially doubts, especially on the part of the residents and the most traditional institutions of the neighbourhood, the spatial typographic proposal was a key driver.

“HOPE” is more than just a poster; it’s a message of resilience and positivity that speaks to the power of hope. This design captures the essence of hope as the key to unlocking the heart, soul, creativity, and new paths in life. By using clever typography and letter positioning to create the shape of a key, “HOPE” evokes a sense of unlocking new possibilities and potential. This thought-provoking piece of art has the potential to uplift and inspire those who see it. “HOPE” serves as a constant reminder that even in the face of challenges, hope is always within reach. It encourages us to keep moving forward, to never give up, and to keep striving towards our goals.

Poster made for an invitational exhibition.The aim of the Typozone exhibition series is to introduce visual works, experiments using typography as the main means of expression. The title of this 3. exhibition was Copy Paste. Teachers and students of Hungarian art universities were invited.

Poster made for an invitational exhibition.The aim of the Typozone exhibition series is to introduce visual works, experiments using typography as the main means of expression. The title of this 3. exhibition was Copy Paste. Teachers and students of Hungarian art universities were invited.

This is an analysis of the letters ‘A’, ‘R’, and ‘T’ through rhythm and movement caused by sequential changes in their proportions—one unit at a time. The poster shows the individual letterforms of an animated sequence for each letter.

The poster, realized as an offset and limited edition screen print, was part of the 23rd issue of the magazine “FORMAT” of the School of Applied Sciences Schwäbisch Gmünd with the theme “The Experiment”. The inspiration for the design are air bubbles that rise to the surface as natural lenses in a (laboratory) glass and optically refract and deform the object behind them.

This short brings awareness to the millions, who are challenged to have a family. Infertility affects all, no matter race, religion, sexuality, or economic status. The intent is to help individuals understand they are not alone.

I created a typeface by enunciating each letter in the English alphabet.

So what is a typeface in this case? Is it the sound that I make? The shape of my mouth? The movement of my lips, tongue and teeth? Or is it the color of my skin? What is the equivalent of type size in this case? How loud my voice is? Or how wide my mouth opens? Or how intense I feel at that point?

Can a typeface be sonic or performative? Can it be emotive?

Does my mouth open the same every time I say “A”? Does my body react the same every time I say “B”? Do emotions create different fonts?How can I present this type other than regular, bold and italic? Perhaps “sad”, “happy”, “angry”?

Can it be transient?