Poster for a stencil Delusion Typeface that consists of 3 styles: stroke, regular and dimensional. The work is made in 3d (Blender) and finished in Photoshop and represents an illusion made with dimensional style of typeface

Poster for a concept of stencil Delusion Typeface. The typeface consists of 3 styles (stroke, regular and dimensional) that can layered in different ways. This work represents the state of delusion, made with Blender and Photoshop effects to create a feeling of volume and layers

Grundtvig Typeface is a typeface inspired by the Grundtvig Kirke in Copenhagen. It features bold, geometric shapes that reflect the building’s distinctive elements, such as its verticality and the stepped gables contours. An editorial piece has been created to showcase the typeface, with an elongated format and orange color inspired by the church’s tiles. Additionally, an experimental Specimen has been created using methacrylate sheets that generate a 3D effect, inspired by the extruded west facade of the church.

Visual identity of the 2021 annual exhibition of the Staatliche Akademie der Bildenden Künste Stuttgart. For the key visual, students were captured by a LiDAR sensor and visualized as 3D models using point clouds.
The circle as a design element also served as the basis for the self-drawn typrface, which contributes significantly to the identity.

The first letters of Joc typeface were designed to accompany Sara San Gregorio’s exhibition: Juguetoría a l’altura del joc curated by Helena Ayuso Moli y Anna Roigé Barrull at La Panera Art Center LLeida, Spain. The exhibition playground encourages children from age 5 to 9 to create their own toys by combining together different shapes. These shapes were the main inspiration for the concept of the letters and have been translated into symbols for the character set.

The name of the typeface itself is a link between the same matching word in Catalan and Romanian – Joc = Game, a description of the personality and origin of the typeface and it’s designer’s birth place.

«Exoriens» typeface is inspired by the gothic culture and the smoothness of old calligraphic patterns. The typeface was created on a modular line as an architectural constructor.
«Exoriens» in Latin means sunrise.
It’s both an exquisite and intimidating typeface. Its character is mysterious, eclectic and resembles lace.

typography

Ruam Mitr Type is a font family that collects each character from different old signs from places around Bangkok. Some letters are reminders of demolished landmark architectures.

The font was introduced at Bangkok Design Week 2023 as an interactive installation that invite users to input their own words to generate letterings with randomized characters. The digital font family is sold with a sticker set of three styles.

Inspired by legends and evil spirits, this font experiment has become the epitome of prickliness and mystery. Iridescent colours, like the skin of a snake, frightening sharp shapes and at the same time flowing forms. «Вне себя» (eng. «beside myself») — hypnotic feeling of poison, simultaneous despair and delight.

Float or sink? A question we usually ask in science class about objects is here posed about humans. People who are trying to cross the sea in search of a better life. And on the other margin, in Europe, governments treat them as objects, and numbers. They let them drown instead of float and be welcome here. The life jackets are often fake, they don’t actually float. I confront us with a question about people that usually we ask about objects, to show how senseless is the way we Europeans treat them. I express this question with typography that literally sinks or floats.

Our world, societies and what constitutes them are in constant evolution.

People migrate, technology evolves, science progresses, and economies and politics are unpredictable but what about nature in all of this chaos?

Until now nature has shown us tolerance.

Forza (Italian translation of strength) symbolizes the presence of nature under the concrete.
As much as we keep building, nature will always be the basis and if the basis breaks everything above will too.

If tomorrow the Earth says enough and revolts through natural disasters as never before, nothing and no one will be able to stop it.

FORZA is a reminder that nature is unbeatable.

“Look after the land and the land will look after you, destroy the land and it will destroy you.” is an Aboriginal proverb. Despite being an ancient saying, it couldn’t be more relevant to our world today. We are still destroying the planet, our land. And if we don’t change course, it will destroy us humans soon. I decided to write this saying with earth, not only because it is the material that most closely describes our land, the Earth, but also because of its vulnerability. It can be easily destroyed or transformed, by the wind, by the rain, or by us…

Type design and ironsmithing both require a lot of time, knowledge and precision.
In the past, the blacksmith made his own ironwork that is identical and therefore traces back to the maker, such as in facade anchors found in old buildings. By examining, dissecting and then reconstructing the forged facade anchors according to the method of the two disciplines I want to show how our work methods can combine. Finding the perfect shape for each character where I can execute the designprocess both digitally and physically. This typeface is an intense collaboration between the world of pixels and raw physical materials.

Being an artist, i have to offer a part of myself. It may not be perfect, but it has to be true, a little spark of natural inteligence. So i dug deep into my box of leftover electrical parts, and created this leaflet. I hope you enjoy.

In the words of Leonard Cohen, there is a crack in everything, that’s how the light gets in. We all have flaws, things that were never perfect, others that were broken during our lifetime.

It is by owning our own cracks and learning how to live with them that we discover they are what makes us unique among all the other 8 billion people.

Budapest – Invitational Poster for Tschutti Heftl sticker album for the FIFA World Cup 2020 – 2021

Poster for the personal art book Budapest Cretio. Presented at the Anatomy of Design exhibition.

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.