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.

Version 1 + 2: experimentelle Schriftschnitte.

This poster deals with the fastest measured speed – the speed of light with 299 792 458 m/s.

Light is one of the most important ressources for life. Humans are not able to touch it. In this poster long exposure is used to capture the light, make it visible and touchable.

The project began with paper cutouts of the Hebrew alphabet. The process had three steps which I repeated for each of the 22 letters. In step one, I printed and cut the letters manually. Step two, I hung the letters on a string to create movement and let them rotate and swing back and forth. At this point, I photographed them using long exposures. In the third final step, I digitally manipulated the photographs. The results of this experimental process were unexpected. Depth, Details and textures that were not visible to the naked eye were revealed and each letter seemed to have its own unique personality.

I am fascinated with grid systems, so I tried to create my own.

Eine Schublade voller Entwürfe oder eher eine Festplatte voll mit Ordner, in welchen Entwürfe, Ideen und angefangenes und doch wieder verworfene als Datenmüll endet. Auch diese Version begann völlig anders und wurde nach unzähligen Stunden dann in die dunkelste Ecke des Müllorderns verbannt; bis diese Finalversion dann doch noch das Licht der Welt enrblickte und ihr Dasein nun als eine Art Lineart-Type fristet.

“To my child’s eyes, which had seen nothing else, Shanghai was a waking dream where everything I could imagine had already been taken to its extreme.” — J. G. Ballard, The Kindness of Women

Poster made for the invitational exhibition shnaghai design 10 x 10.

Typographic posters for two 2020 shows at Audio Rebel, Rio de Janeiro (Chinese Cookie Poets and Frode Gjerstad Trio). The scaling of the artists’ names repeated in inverted layers of colors generates an optical and rhythmic effect that intends to dialogue with their music. Designed as a graphic system for the 2020 season concerts, only two arts were produced due to the suspension of programming at the beginning of the year, due to the pandemic.

TypoElements (working title, still in development) is a game inspired by chiral molecules, their structure and randomness. Five basic components of letters come in two versions, each mirrored and charged differently. They are assigned to the numbers 2-11. It contains one blank element to change the charge. After throwing the dice, shapes are selected and arranged according to the charge. The aim is to create legible letters.

Typographic posters for Quintavant programming at Audio Rebel. The project features artists linked to collective improvisation and experimentation. The posters try to reflect the variety and freedom present in the artists music working with moving typographic experimentation. All information about the show is arranged at the top of the poster, highlighting the date, allowing all remaining area to be free to present the names of the artists in various compositions.

Visual for an exchibition about materiality of digital culture.

The poster was created by Dimitris Lelakis and Maria Tsilomitrou for the Museum of Typography’s 5th international poster contest. Like a window in our world, the word typography is repeated and projected on a marble wall, shaping the light that is coming through, bringing typography into our world for a moment. Blending analog and digital mediums we wanted to show how type can transform the space around us. Using laser-cut cardboard, we wandered around our city, in order to find a place that best expressed our idea. Then waited until the sun was in the right position to take the pictures. An additional graphic element was added in the post process, to show the origins of the initial shape.

This work was insipred by the new building at the MOME campus, where I studied graphic design. The grid represents the facade made of glass bricks and the name of the building ‘two’ placed in a playful way, since this building was the center of the workshops for all the creative majors.

Erebus Grotesk 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. I wanted it to be quite bold, but since with additional weight comes additional width, the weight is added on the horizontals. It is not a true reversed contrast, the horizontals are emphasized only when needed. To be able to set it with tight leading (e.g. for posters), the extenders are very short. It has a variable Shatter Axis that provides a useful effect for animations and layouts. Special attention was given to diacritics and Cyrillics.

Sometimes what we are trying to express cannot be fully answered. No matter how much we try to tell the other person, we keep some things inside. Sometimes out of kindness, sometimes out of indifference, sometimes out of being understood. This poster aims to be the language of the unspoken.