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

i cut the letters out of paper for the poster – i assembled more letters from the leftover paper, which i thought was more creative – and used them in the poster

This work is inspired by Japanese characters, based on which a flat brush and black ink were chosen, similar to how it was done in Japan. The combination of lines of different pressure creates a feeling of free movement. I did not limit myself to the traditional standards of writing “Cyrillic”. Due to the free movement of the brush, the effect of the challenge is created. I boldly sneer at the orthodox writing of Cyrillic letters, achieving a grunge effect.

My artistic creations are a confluence of typography and vibrant color palettes. With each piece, I aim to channel my emotions and unleash my creativity to craft a unique and expressive work. This philosophy is evident in my latest creation, “You are enough,” which is intended to communicate a powerful message of self-acceptance and empowerment. By presenting this artwork to the world, I seek to inspire viewers to embrace their authentic selves and avoid the pressure to conform to societal norms or expectations. My hope is that this work will encourage individuals to celebrate their unique identities and find solace in their individuality.

Die Hellvetica entstand im Rahmen meiner Bachelor Arbeit und basiert auf theoretischen Themen wie Aneignung, Wiederholung, Kopie sowie Originalität und Autorschaft. Die weltweit verbreitetste Schriftart, die Helvetica, wurde als Grundlage genommen, um aus dieser systematisch und experimentell aufeinander aufbauende, neue Variationen und Versionen zu entwerfen. Mit der Absicht, sich gegen die herrschende und überholte Originalitätsmoral zu stellen, sowie ganz bewusst dem daraus resultierenden Zwang zu entgehen und im Einklang mit der menschlichen Natur und dem alltäglichen künstlerischen Schaffen ein neues einzigartiges Originalwerk – gerade durch Wiederholung und Aneignung – zu erschaffen.

BRZO offers the fastest coffee experience in town. Where warmth and hospitality meet crazy typography, it’s a fresh, joyful, and experimental space. Instantly, one feels at home and welcomed.

The Retreat, a dance performance, depicts the understanding of the concept of “ Otherness”. When one understands to confront and embrace themselves; boundary is formed and oneself would realize the otherness that lies outside their territory. Throughout the performance, each dancer gradually experiences the impact of their movements towards the environment and others. This concept has been brought upon to the process of design. Typography in this design works parallel with the dancers. Wicked and experimental forms of types are open for interpretation in hope of stimulating the audience’s curiosity and somewhat defining “otherness” in their perspective.

Normalizer -then.
Normalization and normal.
Sooooo normalized
Hyper normalize -till decay.
Too normalized for lines, and then waves.
Vibrations of normality till 425Hz
Saturated rhythmic escalated.
A play on the norm that never existed.

Der Inhalt zweier Original-Letraset-Folien wurde analog von Hand dekonstruiert und neu kombiniert. So entstand ein analoger Remix, welcher sodann digitalisiert und in diversen Remake-Bildern zur individuellen Anwendung kam; hier repräsentativ als populäres „Keep calm and…“ Poster sowie als kurzes Video. Der Letraset-Bogen der Hawthorn und der Avantgarde-Gothic wurde durch ein festes Prinzip gemischt / geremixt, woraus sodann eine neue Schriftart die „TRR“ entstand.

In 1961, french writer Raymond Queneau and designer Robert Massin published “A Hundred Thousand Billion Poems”.
It is a piece of experimental literature: 10 poems are printed—each on its own page—and each of their verse is cut, making it possible to combine verses and create your own original poem. Since there are 14 verses to each 10 poems, it makes up for a combinatorial potential of 10 to the power of 14: a hundred thousand billion potential poems.
I furthered this approach with typography: using the same poems, I cut further into the text to make of it an atextual image, designing a pixel blackletter to weave the text and resulting in a combinatorial potential of 10 to the power of 9588.

This series of three-dimensional sculptural letterforms are created with Rhino, computer-aided design (CAD) software, and Grasshopper 3D, a visual programming language run within Rhino. Grasshopper is a parametric modeling tool that allows a robust and systematic new way of designing complex geometry. SPIN letterforms are 3D printed with corn-based bioplastic and are 1260mm (4ft) tall. When installed in a gallery, they spin infinitely.

Hand-drawn letters were imported into a 3D software to be inflated like balloons, resulting in organic shapes and textures with a cold, metallic appearance.

The new version of large 3D printed printing devices prints letters on toilet paper with no ink. The 3D printed type embosser is digitally designed using Computer-Aided Design and fabricated using 3D printing. The 3D printed embosser uses the same idea as the ordinary embosser—however, it has a modified mechanical system like a cylinder seal and a roll press to produce the pressure efficiently.

BT Flimmer is a distorted display font developed by photographing letters through a textured vase filled with water. By turning the vase slightly after each photo, a series of multiple versions of the same letter were created. This process created flickering and restless looking characters. Each offers a variety of multiple glyphs who alternate automatically, thereby leading to words where no letter looks the same.

Marching squares with increasing resolution to reveal underlying text

I designed a typeface by playing with architectural elements of Dravidian temples that I found in the south of India. I used scanned pieces of Tamil temple calendars that are often hung in religious Hindu households. These calendars have a lot of information, including important times of the day and key temple events. Even though I’m not very religious and can’t read Tamil, I really like the cultural graphics. I also like how the typeface contrasts with the curves of the Tamil script, which gives it a bold yet traditional and authoritative look similar to temple structures.

Twentyfive consists of a basic font based on a grid system of 5 x 5 dots. Playing with line thickness, layering, offset and colors allows for endless (less or more abstract) combinations.

DsAI Typefaces is an experimental project where Duy showcases 6 different fonts created with the help of AI. Using AI to mix and match fonts like Helvetica, Futura, etc… with each other to produce a series of experimental shapes, which are then refined and translated them into six usable typefaces. DsAI Typefaces are the outcomes of how human creativity may collaborate with AI and use it as a support tool, not a replacement

Assuming that the typeface is to the written word what the voice is to the spoken word, the sound-reactive variable font Phono investigates a way in which the face of the type can correspond to the sound of speech. With its three axes HIFQ, MDFQ and LOFQ, representing high, mid and low frequencies, it is capable of reproducing the articulations of the voice in detail. The fourth axis TONE allows the typeface to appear sharp, clear, soft or anything in between. The Phono website offers a sonic font interaction, while the specimen showcases all the possibilities in a spectrogram aesthetic. Phono is the result of the theoretical discourse in Paul Eslage’s master’s thesis Type Follows Identity.