Automat is a variable typeface system that offers a modular and grid-based approach to typography. It draws upon the works of designers such as Wim Crouwel and Karl Gerstner during the 1960s and 1970s, as well as later digital reinterpretations from the 1990s. This system provides a unique blend of influences that offer a new perspective on typography.

The primary goal of Automat is to complement the work of its predecessors by enabling designers to manipulate the typeface seamlessly within a broad design framework. With two adjustable axes, the system offers a wide design space that can lead to unique and unconventional compositions. Automat provides a fresh perspective on typography that

Skateboard design for the brand Nomad adding different illustration effects to typography.

Skateboard design for the brand Nomad adding different illustration effects to typography.

Skateboard design for the brand Nomad adding different illustration effects to typography.

Skateboard design for the brand Nomad inspired by the shocking fires that devastated Australia in 2019/20.

Skateboard design for the brand Nomad inspired by the shocking fires that devastated Australia in 2019/20.

Skateboard design for the brand Nomad using a contemporary take on Gothic typefaces. With a digital twist adding a glitch effect from left to right.

Skateboard design for the brand Nomad using a contemporary take on Gothic typefaces.

Skateboard design for the brand Nomad using a contemporary take on Gothic typefaces. Added a digital twist using a glitch effect from left to right.

Fig. 1. Uniform corrosion; i.e. common but predictable, therefore very manageable and very often preventable.

A typographic yet abstract social commentary on filter bubbles which was selected for CHEAP Street Poster Art Festival’s open call: “Disorder, please” (Bologna, 2017)

Visual interpretation of “Soliflore”, a fascinating triptych by Iris Colomb that had my mind doing somersaults. The individual letters were generated/placed by a little creative code I wrote with basil.js and the rest was manual labour/love.

This piece is part of an ongoing series of collaborative experiments produced by arts collective Colliding Lines, inviting different designers and typographers to reinterpret the work of featured poets. The collaborations are remote and blind. Through this meeting the intention is to explore subjectivity in readings, and create pieces of shared authorship where the writer relinquishes authority over meaning to create something new.

Visual interpretation of “Post-partum”, a raw and absolutely beautiful poem by Hollie McNish that I completely empathise with. The visual elements were drawn with words.

This piece is part of an ongoing series of collaborative experiments produced by arts collective Colliding Lines, inviting different designers and typographers to reinterpret the work of featured poets. The collaborations are remote and blind; neither poet nor visualiser have met or are aware of each others’ name or work. Through this meeting the intention is to explore subjectivity in readings, and create pieces of shared authorship where the writer relinquishes authority over meaning to create something new.

During a parliamentary meeting to discuss Thailand’s national budget for the year 2022, a politician presented a pie chart showing the budget being allocated to the monarchy. The amount of 33,712 million Thai Bath (approx. 1 billion USD) caused a big debate as the country was struggling to fight COVID-19. We split the pie charts in pieces and rearranged them into a lettering that said “sufficiency” and posted it on Facebook. The image went viral because “Sufficiency Economy” is a concept of development approach that the monarchy promoted despite our king being the world’s richest monarch.

We then completed the font and used it on anti-monarchy campaigns, a music video and merchandises.

This typographic poster blends the concept of yin and yang with typography. The word “Yin & Yang” is composed of a variety of different typographic letters, symbols and illustrations that have been crafted to create a visually striking and cohesive design. The artwork has also incorporated elements of the Chinese philosophical concept of yin and yang into the piece, adding an extra layer of depth and meaning.

This poster is also part of an experimentation series, which goal was to take risks and explore new ideas.

Our lives are more and more led by algorithms. Everything is trying to reach the top of the mountain, but there is limited space on the summit. When one thing goes up, another thing must come down. But then it won’t look the same – more like a reflection, with a different background. Love your downs as well.

GrammarType is a type design tool that allows anyone to design modular typefaces. The system allows to design of a typeface by formalising a “recipe” that transforms a set of input shapes into glyphs through a node-based approach. Thus, the user can input a set of shapes that through a set of geometric operations are transformed and recombined. There are three types of operation nodes: move, rotate, and scale. The relationships between the nodes are established by the links between themselves. The output of one node is passed as an input to another creating a flow of shapes from node to node. GrammarType was developed by Tiago Martins and Sérgio Rebelo at CDV Lab.

Composed of a single component that interpolates between a circle and a star, OnX Variable is a modular font about inbetweens. The typeface has two axes—weight & sharpness—and a near infinite amount of variations.

Fax experiments without the fax machine – playing with thermal paper, stencils, and chemical reactions.

Much of my work explores mixing analogue and digital tools as a creative process. When I deploy analogue techniques, it’s about me adding noise and getting some feeling back into the work. Digital can just be so clinical. Sometimes I like that, but at other times I want grit, a depth or texture that’s ‘real’, not a coded imitation. It feels like I’m trying to dirty things up, break them, and get them to a point where they feel used, like an old record or book that shows signs of use.

Musica.OTF was born from an in-depth research into the roots of music and dance, through the most varied cultures of the world. The exploration starts from the dance choreographic annotations of the 1700s, up to the Tibetan musical semiography of the early 1800s Butti rites, gathering elements from the notes of classical music and composition.