Poster for the works exhibited by graduate students of graphic design, who studied under Koichi Sato of Tama Art University. Research works along with works made after developing as a graphic designer were exhibited. A spring being a flexible object, was used in typography to represent the diversity and flexibility of graphic expressions.

Visualized Korean traditional candy pillar “Ok-chun-dang” using hangul typography. The repetition and stacking of the form of the candy pillar (only placed during Korean celebrations) was expressed.

We envision fonts as more than just tools for reading and writing. We are changing the definition of fonts into ‘digital communication media in the new normal era where anyone can create and use their own to create new communication’. For us, what was more important than simply making a readable font was to capture the value and personality of the user in the font.
So, in the fall of 2021, I took part in the youth artist training project conducted by Korean Disability Arts & Culture Center, and made a departure from the existing fonts. Together with young disabled artists, we designed our own letters from each point of view, and made the designed letters into a font file to promote digital

Bouleversé is an experimental display and modular typeface with multiple variants for all glyphs to connect, and to provide options for better legibility. It carries many personal connotations, ideas, and concepts.

This is an ongoing project that explores how rasterization, dithering, and overlays affect the shapes and counterforms of type and written words, and how those features create a visible mechanical pattern across all permutations that help create new alphabets, letters and symbols.

Poster for concert and workshop by electronic musician Jason Kahn.
Client: Quintavant/Audio Rebel
Year: 2018

This typeface is designed to not be read. It is designed to have fun with the shapes of the letters. You can see letters but you can also puzzle them together to get special new forms and shapes. The letters are designed in a 5×8 grid so that they fit to each other. Have fun with creating something out of this typeface.

Poster for the concert by instrumental duo Tomaga (England / Italy), featuring pieces inspired by minimalist and industrial music, free improvisation and krautrock. The textual information is set in a giant monospaced typography mixed with a circular black and white pattern, altering the original letters shapes. The same information appears minutely positioned at intervals proportional to the circles of the halftone.
Client: Alavanca
Year: 2019

Poster for the instrumental music concert by Sambanzo, solo project of Brazilian saxophonist Thiago França. A modular typography is filled by a gradient of alternating orientation that helps the identification of each letter and creates an optical effect that relates to the name of the project.
Year: 2017
Client: Quintavant/ Audio Rebel

The main goal of this project was generation of a whole font from a single glyph. Enabling the type designer to get an approximate idea how the final font would look like. This was a test to study the behavior of AI in transforming letters. More than 3000 fonts were used for the machine learning process. In only 24 hours, the whole system based on CycleGAN (Generative Adversarial Network) was able to trace and transfer style between glyphs.

Poster for the concert of Brazilian folk-rock singer and songwriter Siba at Casa da Gávea, Rio de Janeiro.
Year: 2015
Client: Quintavant/ Audio Rebel

Experimenting with dramatic 3D letters using digital painting for each letter individually. Poster was done in a collaborative session with students from Dortmund (type design done by me/background picture done by Dortmund student) .

The idea is to combine two letters in one.You can do it with two colors or with two shapes. The topic of color is exhausted pretty quickly. Shape on the other hand is a huge field. I tried slicing two letters with a diagonal cut and put together opposite halves. I combined a thin letter with a thick one. I used a massive and a hatched letter – a single-color reinterpretation of the two-color method. I also went into 3D. I let two letters rotate in two opposite directions and put them together. In another concept I moved one letter behind the other and looked at the scene with an isometric view. Although using the third dimension as helper, I wanted the letters to work in 2D.

Innerhalb meines BA Projektes “Éclate – Recherchebuch über Dekolonial(isierend)es Design”,eine studentische Annäherung an das Thema Dekolonialismus und Design durch
das inhaltliche, wie gestalterische Konzept des Ausbruchs in Form eines Buchgestaltungsprojektes, ist eine Variable Font entstanden namens Éclate, welche aus einer eurozentrischen Groteskschrift (Neue Haas Grotesk Text) “eklatant” herausbricht.

Poster for the concert of Full Blast – trio by legendary free jazz saxophonist Peter Brötzmann – at Sesc 24 de Maio and Ribeirão Preto, São Paulo. The trio name is written in a modular typography camouflaged by several overlaps that make it a heterogeneous pattern.
The repetition of a cartesian element generates a chaotic composition that refers to the freedom present in the artist’s music.

The filtered typeface is the output of the computational operation. When the typeface is processed in intersect filter, this operation only remains overlapped space from the previous typeface. Repeating this process, a series of filtered outputs appears.
This typeface presents how essential the pieces are to become the specific alphabet. For example, just the existence of a crossbar makes this shape is ‘t’, no matter how thick it is. Sometimes you can see the disconnection between the pieces in one alphabet, like ‘K’. But you can still recognise what this type indicates.
When you look around the various typeface, you might find the ‘Filtered typeface’ in them.

Erebus is part of a type system designed for my graduation project. The system was inspired by the mystery, horror and suspence genre, but grew to be used in versatile environments. The Display styles are variable, and while losing weight, they also lose the serifs. The Black weight pays homage to the aesthetic of the 70s-era horror and mystery genre with low contrast and small (but not insignificant) serifs, at the same time adding liveliness with italic shapes. Smooth animation between Sans and Serif was important, and so the little serifs turn to chunky stems in the Bold weight, giving it a chiseled appearance, taking many cues from my stone carving lessons.

Typographic poster for Quintavant programming at Audio Rebel. The project features artists linked to collective improvisation and experimentation. The piece tries to reflect the variety and freedom present in the artists songs, always from the typographic experimentation, restricted to a palette of 3 colors and a monospaced text font.

what do you feel?

The study of the paradox using braille type. Making the invisible visible and the intangible tangible by asking „what do you feel?“

The experiment resulted in two photo series of five pictures each.
Part 1, glove (vinyl, with the
question written on the fingers)
Part 2, Latex bandages („what do you feel“-strips casted from natural rubber latex, oxidized) – analogue photography

I have some little experience with Rubik’s cubes and wondered – as it can display so many different combinations, it should be able to contain all numbers and letters, if I just place enough geometric elements on the surface. The first idea after that thought was about creating a stamp that can deliver all characters I need. One stamp for all! I 3d printed and painted new faces that carry the necessary elements and glued them onto an existing Rubik’s cube. To prove the concept I used carbon paper to rub down all numbers and letters. Besides the 36 characters there are tons of others hidden there. The four ampersands are an example I discovered when the cube was already done.

Lettermorphosisis a combination of two simple ideas. One idea is using one letter to write a word by morphing through all required letters. Because you only see one letter at a time, you have to pay attention. It’s like speaking where you can miss something. Here comes the second idea. I imprinted the transformation into the third dimension. I basically let the morphing letter leave a trace in space. It’s like writing but into the paper, not left/right/top/bottom. I did this with words, also 3D printed them to get a deeper understanding of the created shapes. I morphed from uppercase to lowercase letters for the 36 days of type 09 this year.

Uirapuru is a novel in flames. In and through them, the protagonist Léo evokes memory, affection and the imaginary in search of his origin. The book title is composed in a typeface specially designed for the project, whose sharp triangles allude to fire.