Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.

Cumbre is meant for large display settings to make the most out of the precise outlines and the clean intersections.
The font styles: ‘Sharp’ has straight paths and precise intersections. ‘Round’ has the same kind of outlines but with round corners. ‘Stamp’ has irregular wavy contours and heavy swelling at intersections.

A horrific and multifaceted visual identity created in collaboration with AI systems.

In conjunction with the horrific AI themes within UNINVITED.ICU we created a shifting and unstable visual identity. Consisting of an array of horror-trope inspired logotypes, produced in collaboration with a range of automated tools. From Augmented Reality trigger finders to image enhancement softwares. The visual identity is conceptualised as a collaboration with machines, seeing our role as the producers, providing a service for the fictional Uninvited organism.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.

The ‘Same Vine’ black and white poster, inspired by David Kushner’s “Daylight,” is an expressive representation of the toxic dynamics that can occur in close relationships. With a symbolic dent/hole at its center, the poster powerfully illustrates the shared destruction that can result when two individuals consume the same ‘poison’. The repeated text above and below the hole further emphasizes the cyclical nature of reflecting one’s own flaws in a partner and the challenge of breaking free from the toxicity of an unhealthy relationship. Ultimately, this thought-provoking artwork serves as a poignant reminder of the importance of recognizing and confronting toxicity in our relationships.

“You Better Remember My Name” is a “scream-into-the-void” poster. With social media constantly exploding with content and an artist’s worth being determined by the number of likes and shares, it’s easy to get lost in the endless flow of work and lose sight of one’s priorities. This is especially true for young individuals who are just starting to establish their practice and find their visual voice. Going unnoticed can be harmful and frustrating, like banging your head against a wall. The poster is a scream directed at the faceless crowd and the author themself. Its visual language is inspired by caution signs and barrier tapes, and is complemented by bold typography that’s barely readable.

Poster inspired by the song Synthesize me by Diorama

The poster is a reflection on the migrant crisis in Europe. The German word “Fernweh” is opposed to the lines from an Arabian poet Kaʿb ibn Zuhayr’s poem. Among the themes of ancient poetry was observation of the deserted, ruined home of the loved ones. A Palestinian poet Walid Khazendar says: “The ancient poet was in a very critical state, living always in the uncertainty between the presence of place and its imminent destruction. Transience is the principal feature of place in the ancient poem, and absence is its dominant theme. Every place has either vanished or is waiting for its inevitable fate of destruction.” It’s interesting to apply same optics of poets to the contemporary situation

This is a concept poster for Diorama band concert

Proposal on the occasion of “36 days for type”
36 Days of Type is a project that invites designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet and share it with the world, as a global and simultaneous act of creativity that explores the limits of typography. .
Letters and numbers arise from the experiment of superimposing geometric shapes while preserving all the lines.

This poster was partially inspired by Virginia Woolf’s quote “I prefer men to cauliflowers” from her book “Mrs Dalloway”. And we were looking for appropriate typographic shape for it

A font family consisting of three typefaces, including the standard sign composition and alternative character typefaces. Supports Cyrillic and Latin alphabet. Inspired by floral motifs and the accumulation of wires formed on poles or when connecting equipment at music concerts.

The typographic graphics are excerpts from Katharina Koch’s master’s thesis “stet – on patriarchy and typography”. Part of the work was her own typeface called “unfamiliar”. This typeface aims to irritate the uniform ideal of a (type) family and to question “common form characteristics” of a family. The newspaper “stet”, which was created in addition to the typeface, is a reaction to the rules of typography established by predominantly male designers who want to dictate the way type is used. It stands for the deliberate breaking of rules and the self-confidence not to make corrections, but to develop one’s own position on type setting and design.

“YES”: A vibrant fusion of fun, playground vibes, and bright colours. This experimental-type design embodies the spirit of youthful energy, as every letter springs to life with the charm of a freshly-hatched chick!

The posters are part of a project in a typographic research called ”Molecular Typography Laboratory.” The Laboratory examines the speculative premise: “The characters of the Hebrew alphabet have a molecular structure.” The research shows how this assertion affects the Hebrew alphabet, word, and language. More than 150 different tests were conducted, which were grouped into nine main topics: Elements; Language; Gender; Formula; Weight; Gravity; 3-D; Generative research; and Play on words and letters.

The concept of the poster is to reproduce a quote by the famous Ukrainian philosopher and poet Hryhoriy Skovoroda on the occasion of his 300th anniversary, using colored pencils as the primary material for creating the poster. This medium allows conveying the feeling of warmth and spiritual depth expressed in the quote. The main idea of the poster is that everything passes in this world, but love remains forever.

The poster is dedicated to Ukrainian original font. The special font named “Mriya” reproduces the Ukrainian sans-serif font in an accident style. The font has soft, round shapes that create a feeling of lightness and freedom. The poster features the word “Mriya” with an embroidered Ukrainian pattern on a background of bright colors, which helps to convey the aura of dreaminess and emotional connection with Ukrainian culture in a modern interpreted perception.

I felt very inspired by the first “experimental type” issue and decided to make my own experiments surrounding the limits of typography. I started asking myself questions like: What happens when type is on the edge of illegibility? Does almost illegible type allow us to truly appreciate its shape and composition? Then, when my Photoshop crashed and started going crazy, I decided to explore the accidental beauty of digital malfunctions.