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.

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.