GREEK & LATIN ALPHABET

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

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

“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.

Type out Loud Manifestos

The publication “Type out Loud Manifestos” documents the typographic poster manifestos created in a course of the same name at the University of Applied Sciences Hamburg, supervised by Prof. Heike Grebin. With its bright yellow color, the publication reflects the dynamic and activist characteristics of the typographic poster manifestos. The publication also offers insights into the various workshops and the excursion that inspired the creative approach to the topic of manifestos.

copy_paste_

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.

copy_paste__

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.

A-R-T

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 Experiment

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.

Type is sound is performance is sculpture is human is type

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?

Processing Type—The infinity of letterforms

This is a selection of digitally generated variations of the letter ‘X’ using Processing. The tool is built on the principles of parametric design, which can generate an infinite number of variations. Each of these experimental letterforms is created from the same origin by changing the existing parameters of the base form. The functionality of the letters was not the focus of this exercise; rather, the focus was laid on the range of expressions.

Book for the Hospice of St. Lazarus (Pilsen, Czech Republic)

The topic of my Master’s thesis was the creation of an original book titled “Prolínání” in collaboration with the St. Lazarus Hospice. The book portrays the life journey of patients with incurable diseases, from the moment of diagnosis to the period after death. The text focuses on the daily life of patients, their emotions, relationships with staff, and experiences they undergo during their stay. The book also describes the functioning of the hospice as a medical facility providing nursing care to patients and their families. The aim of this work is to present readers with a deeper insight into the subject matter and promote an open and sensitive approach to discussing death and dying.

PYRY

PYRY is an artistic book about preserving the feeling of coldness.
Photographs were taken in the Arctic Circle, printed on thin paper using the environmentally friendly RISO printer. Frozen in water, resulting 1kg pages separated by transparent pages with critical text fragments & combined by a semipermeable textile.
By using ice as material, the book aims to convey the transience and fragility of its contents. Unlike other books, this one must be kept constantly below 0°C. The effort involved is symbolic of the effort that must – but absolutely should – be taken to preserve the beauty of the cold and the impact it has on our ecosystem.

CASE-M

CASE-M is a variable display font which contains the lower case letter and the upper case letter as the variable axis. Due to the interpolation from one extreme to the other, the „mid case letter“ is formed. CASE-M is based on a circular grid, which gives the font its organic attribute fitting to the process of growing.

When Words Become Form, Écritures Plastiques

When Words Become Form, Écritures Plastiques is the catalogue of the homonymous exhibition that happened at Le Botanique in Brussels from April 22 to May 13. The catalogue showcases the work of a selection of artists from the ‘Art(s) & écriture(s)’ interdisciplinary module at ENSAV La Cambre, a visual arts and design university in Belgium. The exhibition was co-curated by Jean-Baptiste Carobolante and François de Coninck. The design of the catalogue seeks to highlight the work of the artists, with a rather compact format (180×240 mm) and by enhancing the writing portions of the book, notably with the use of the Adelphe, an inclusive writing open-source typeface made by Eugénie Bidaut.

BUNK.A.I.R

Visual Identity.

BUNK.a.i.r. is a group of Chilean/ Dutch artists/ designers.

Open to international visual artists, is an experimental art laboratory, a nuclear test site for creativity, initiating and supporting cross disciplinary art projects.

The purpose of BUNK.a.i.r. is the creation of temporary and permanent art projects, presented through various physical and virtual global platforms to worldwide audiences.

TYYYPOëzie

This series of (moving) posters was created for a TYYYPOëzie project organized by Graphic Matters showing collaboration between designers and contemporary Dutch poets. In order to render the poignant lines from Elianne van Elderen’s two poems, Aleksandra let her subconsciousness do the work and developed a lettering style which she prefers to describe as awkward, reckless, naive, wild, inconvenient, genuine, and potent. This lettering style is Aleksandra’s take on adolescence, which Elianne often reflects upon in her texts, and memories of which Aleksandra savours from the safe distance of her current age.