Processing of the Putin script where the letter N rotates into a Z. The Z is one of several symbols painted on military vehicles of the Russian Armed Forces involved in the 2022 Russian invasion of Ukraine.

Poster created in memory of the collapse of the Morandi bridge in Genoa. The broken text that falls like the bridge, the black outline like a death announcement

A sheet of the old Letraset which reads Fake News. If you pay attention to the news you will discover false ones.

This poster design was for filmmaker Vincent Dieutre’s talk event hosted by FOL and IKSV as a part of 36th Istanbul Film Festival. Dieutre is an avant-garde filmmaker who creates docu-dramas he stars as the protagonist. I designed a custom lettering for this poster to represent Dieutre’s experimental approach.

A reaction to leaving my twenties and embracing the moments that define my age more than simply a number. The end of one thing becomes the beginning of another.

My work was an exploration of diverse methods and mediums, pushing the boundaries of creativity. From traditional pen and paper to digital illustrations, I experimented with textures, colors, and compositions. Each day, I challenged myself to think outside the box, merging different techniques to create letterforms. It was an exhilarating journey, filled with moments of inspiration and breakthroughs.

Type Thursday is a monthly gathering in Tbilisi for type lovers from all walks of life and any experience level. The goal of the poster was to attract type-lovers that never heard of the event before, and to give joy to those who are already a part of it.

Since the event takes place only on Thursdays, the poster contains elements specific to the calendar. And to please type-lovers, the main role is assigned to custom letters in a complex space with the familiar Unicode marks.

The poster has AR Instagram mask that applies motion version above the physical static one.

Terra, 2017, Solar – Galeria de Arte Cinemática, c/ José Luis Dias e DROP

New Spain, 2018, Solar – Galeria de Arte Cinemática, c/ DROP

Mescla, 2019, c/ Inês Nepomuceno

Abitare Italia — PDB, Porto Design Biennale, 2019 c/ Another Collective

The project included designing a film festival poster. “Poetic Realism” was the theme of my poster. There is a lot of social and emotional drama in these films about marginalized people. It’s common for poetic realism movies to end in despair. Lighting played an important role in those movies. Using lighting, for example, the main character’s face is illuminated from the side, or a key location where the character found himself is illuminated, or an object is transformed into a symbol. Lighting became a design decision. To reveal my poster’s typography, I used several lights. Shadows were also used. Through lights and shadows, the typography of the movement’s name was brought to life.

Chutz is an audacious slanted typeface with horizontal contrast and horizontally oriented strokes developed for Jewish brand Chutzpah of the Feisty Foods company based in Brooklyn, New York. The typeface has three purposes – to feel Jewish, audacious, and delicious. To convey the feeling of Hebrew in Latin, Greek and Cyrillic script, such means as horizontal contrast (opposite of Latin) where horizontal strokes are thicker than vertical ones, and horizontally directed calligraphic strokes inherent in Hebrew script which make the letters more square, are used.

Don’t: Postcards of Glitch Feminism is a series of five lettered postcards that expresses the defiant energy of feminism in the cyber age. When society fears discomfort and malfunctions and tells you: “don’t rock the boat”, don’t listen, don’t comply, don’t stay silent.

Quanzoid is a display typeface that explores form-making outside of calligraphic rules yet still maintains an establishment of contrast and motion. I was inspired by the brushstrokes of the ocean — kelps. Rooted in shallow oceans, these large brown algae seaweeds make up underwater forests. They grow as fast as half a meter a day, sheltering thousands of marine organisms near the coasts.

The Earth Overshoot Day marks the day when all the natural resources our earth can regenerate within a year are used up. Thus, we are now living at the expense of future generations. This series of posters is intended to draw attention to the problem and to suggest possible solutions.

I created the ActionType project as part of my diploma thesis at UMPRUM in 2020. It is the result of my long-term interest in typography and the study of animation in the Studio of Film and TV Graphics. This resulted in a set of hand-animated letters, inscriptions and alphabets intended for use in a video presented on the actiontype.xyz website.

Manually processed typography has a special charm and achieves unrepeatable results compared to digital animations. I see this creation as the opposite of the flow of sterile motion design, which is full of eye-popping effects.

DEAR DIARY is a series of more than 150 drawings based on the experience of having a physical space to write emotions, wants, fears, ordinary stuff, trauma or even just to express love … Like a diary itself. This body of works express more than anything the urge of the artist to express his own feelings and emotions in an attempt to connect to the public around him. This takes a bit part of a constant movement of evolution between a graphic language and drawing with the use of the word.

The font with strong reverse contrast supports three languages: English, German and Ukrainian. Has a friendly, positive character. Intended for posters, advertising, book publication and various events. This font allows you to perform experimental searches in typography. It will certainly cheer you up! Created in 2023 in Munich.

Poster made from screensavers for the “RANEPA design school” YouTube channel

Typographic installation inspired by different meanings of the word scratch. Each of the seven large works arranged in the gallery space graphically and typographically interprets a different letter of the word. The rhythmic, analogue structures allude to musical sources. The form and spatial context are based on a more literal sense of the word—intervening in the found space, they touch on the notion of fractures in space. The different layers of words, alluding to X-ray forms, permeate the room and intermingle, creating new formal contexts, giving the impression of scraping out space, make this a story about the loss and lack we experience in life, which affect our perception of reality.

Posters were created by means of various techniques: with the help of computer programs and manually. All these posters were designed for concerts at the “Dom” cultural center and for various poster competitions.

The glyphs of the word contain fragments of decorative elements from the Art Nouveau typefaces of the Klingspor Archive in Offenbach and parts of patterns that result from marbling paper with water and colors. Using a modular principle, a handful of glyphs has been created from a few elements. For me, designing typefaces in the sense of Art Nouveau requires a certain letting go of rules and the will to design emotionally. Maybe it helps to be in love, on cloud 7.

“Shared Drawn Reshared” is a catalog of object graphics, transforming everyday things into typographic resources through an iterative approach.

The work is based on objects from encounters with other designers. I began exploring the objects using pencil drawings and later finalized them as B/W sketches. During this process, the sketches were combined to create intersections in meaning and style, leading to new perspectives in communication design.

The book features 63 sketches and 52 vector graphics, which are also accessible at https://shared-drawn-reshared.com. The catalog is shared with everyone who contributed an object. In return, the graphics can be remixed in their own work.

Found typography of the street – typography with a soul.

Soraiz—née Sore Eyes—is a parametric typeface, the direct output of a complex Python script that generates a multi-axis color font straight out of DrawBot. Its visual grammar is self-referential, reflecting the qualities of type on screen. Its form follows the means of displaying it–the technology of digital type–akin to a digital-on-digital skeuomorphism. The underlying skeleton is itself a type-in-progress by Connor that references Handel Gothic from 1965. Taken as a whole, Soraiz is an impression of a retro-future that is some years away, but won’t come to pass, and has only been made possible because of the technology of today.

‘So, we should make friends with chaos, and in the whirlwind we should look for the superior order that chaos brings in itself.’
– Franco ‘Bifo’ Berardi