GS_2013
This typeface is inspired on Gothic typefaces and is used for the 2013 calendar of the studio gebr.silvestri This typeface is available in two different cuts, solid and outline.
Digitalised in 2022
This Typeface is available at
[email protected]
GS_2012
This font is a one line font and available in two different cuts.
Digitalized in 2022
This Typeface is available at
[email protected]
What is poetry without emotion?
Can a computer write a poem?
Nine works from the history of computer poetry have been reinterpreted, translated into code, and given to a computer. These form the basis for nine poems that are generated by the computer with the help of three random words.
By entering new words, this process can be repeated infinitely. In this way, new poems are created; in between poetry and code, in between language and calculation, in between human and computer.
An appendix provides information on the definition, inspiration, information and construction of the poems.
Japonism is the term used to describe the influence of Japanese art on Western artists, with Japanese artists also being heavily influenced by Western culture. This magazine depicts this mutual influence through various artistic means. One of the fonts used here was designed by myself to illustrate this mutual influence.
Font: Bodoni (German), Mattis (Japanese), Combined Font Bodoni + Mattis.
Open Works is an exploration project that generates visual material with alternative software.
In Royal Chambers, Wang & Söderström investigate our relationship to the term home in a rapidly changing phygital world. The book presents exhibited works, processes, AR elements and essays from five contributors that unfold the idea of home as a multifaceted ecosystem. The ecology of technology, calls for speculative perspectives. Royal Chambers posits an expanded idea of home, of care and connection from micro to macro, to shine light on a more integrated, nuanced notion of life and living.
Essays: Jazmin Morris, Magdalena Rozenberg, Oscar Salguero, Yasaman Sheri and David Zilber
Introduction: James Taylor-Foster
Published: Arvinius + Orfeus Publishing
Graphic design: Kiosk Studio
Between spoken and written language: »Phonograph« is an optophonetic typeface for german speech. Made as a tool for experimental typography, its aura opens a wide space for reflections on the connection of acoustic and graphic communication. Aesthetic quality of texts is here based on physic signs, each letter characterized by its soundwaves. The font recognizes pronunciation rules and contains a number set. The documentation shows the publications »Stimme« (2013), contributions to »Sound/Idea #2« (2017), »Prothese #4« (2022) and different posters. Printed voice signals.
Publication documenting thoughts and reflections of Klasse Thomas during the first lockdown. The book cover features details of all 122 works, which are screenprinted on acetate.
Concept and design together with Christoph Reinicke.
Freedom at all times poster series incorporates five quotes from a New York Times documentary about Chhaupadi Custom (A Menstruation Taboo Custom) in Nepal. The posters represent the voice of young girls from Western Nepal advocating for their basic menstrual rights.
Our art book “Hong Kong — Story of the riots” tells the stories of former students of the MOME, who experienced the events of the 2019 Hong Kong protests firsthand. The book combines objective descriptions of the demonstrations with the subjective experiences of the three artists, with Gábor Bácsfai’s powerful photos. Each chapter is named and illustrated after a Cantonese proverb, and the book includes augmented reality content that brings the events to life. Our book has also been supplemented with uniquely designed typographic and graphic elements. This mixed, multidisciplinary work of art offers a unique perspective on the protests, and try capturing the atmosphere of the events up close
The master’s thesis examines the relationship between design intensity and the success of a graphic artifact and thus takes up the challenge of a quantitative measurability of design.
For this purpose, parallels are drawn to classical rhetoric, in particular to rhetorical style levels. Using different digital tools, perception of design intensity and success of individual artifacts are measured and processed.
The idea was to create a typographic poster, using a technique in which, the end result, reflects the meaning of the chosen word (in this case: Germ).
Every type is made out of these little bubbles, which all together shape something new, just like a germ does. The beginning of new life.
In December 2001, Argentina was going through one of the worst economic and social crisis of its history.
With all of people’s savings trapped in a bank “playpen”, a currency devaluation, raising prices, a fast-increasing poverty and a government who wasn’t able to bring any logical solution -but instead decreed a state of siege-, the Argentinean people went out to the streets and marched under the motto “let them all go, so that not a single one of them remains”.
This work tries to reflect and explain the anger, the desperation and the uncertainty of the Argentinean people during those tough times.
The Trash Talking Encylpodedia is a research documentation project about our relationship to waste. From Anthropocene to Zeitgeist, the book compiles concepts that can help us rethink how we relate to our waste and to the environment.
A research project that uses graphic design as a tool to question rather than as an aesthetic tool.
The letterforms were done by 3D scanning trash, using it as a material, a form of recycling that also speaks to accumulation.
Dis/connected is an A0 mixed-media poster created based on Jonathan Safran Foer’s quote in his book “We Are the Weather,” namely “I have never resisted a wave.”
Dis/connected has silver screen-printed type on a digitally printed gradient background. The letters are the people and the background is the environment they are surrounded by. The continuous waves of type, created by a so-called “connected stencil,” evokes a sense of collectivity within individuality.
The TYPE GARDEN project is an experimental typographic project that involves using an autonomous type generating machine to cultivate plants and explore the aesthetics of letter shapes. The project creates a special ecosystem that allows different plant species to grow within the confines of typographic signs, with the natural evolution of the plants transforming the basic shapes of the letters over time. Factors such as species, light, gravity, humidity, and the shape of the letter barriers all influence the visual changes that occur. The end result is the creation of surprising new shapes of language signs.
This typeface was designed for a commissioned poster design, part of the exhibition Post – The Poster at the Eindhoven based project space Onomatopee.
‘Selling Nothing’ shows that posters are both information carriers and design objects at the same time. Postering is not only a commercial affair, but also an artistic statement and an act of empowerment: materializing the events and ideas we are trying to create visibility for. It playfully demonstrates this contradiction as it contrasts the visual vocabularies of sales ads (e.g. primary colors, bold typography, repetitive graphic elements) with baroque-like patterns, typography and adornments.
It represents the separation of something hard that anyone has to deal with and how it feels to try to move past it. As normal as it may seem the roads are always unclear and unstable.
Many perceive the chaos of anxiety as panic, though I couldn’t feel it as anything but heavy fear intoxicating your breath while you drown. Pushing you deep beneath the fragment waves of blue, deeper under you silently chaos.
Kakine, which means “hedge”(a green wall) in Japanese, is an experimental typographic project. In this project, after analyzing the imported very low-resolution image file of letters (monochrome bitmap format), two layers of leaves are drawn algorithmically and partly randomly like a hedge displaying letters with the parameters of the density of the leaves; then the rendered image is algorithmically converted into the graphic expressed with two sizes of dots. These dots will be considered as a hole like a perforated metal that acts as a screen to protect privacy. The algorithmic process in this project is realized by Processing coding of mine.
The Tangley font is a loose interpretation of the Cy Twombly’s graphic in the untitled series. The type has the characteristic loopiness of the letters, minimal spacing and the ability to typeset with zero or even negative leading. The height of the lowercase letters is made as high as possible to reduce the height difference in the title case and to increase the graphic uniformity of the lines relative to each other.
A dithered black and white photograph of an ‹st› ligature made of white lego blocks, compositioned in the center area of the image with two reaching hands beside it, as a play of the most known detail of Michelangelo’s ‹Creazione di Adamo.›
When a tsunami hit the Fukushima Daiichi Power Plant on March 11th in 2011 and led to a nuclear meltdown, the entire world watched in a state of shock. As a result of the catastrophe, more than 25,000 hectares of farmland were contaminated. A team of environmental scientists has developed a sustainable decontamination method that preserves fertile soil. It reduces the amount of radioactive waste by 95% and enables farmers to grow perfectly safe rice again. Alongside paper manufacturers from Fukushima and Gmund Papier, the Moby Digg digital design agency developed a comprehensive book design concept for Meter Group that incorporates the paper made of rice straw from the decontaminated fields.