Our passion for typography leads us to approach visual projet in a physical way: letterpress is an answer to our wish of experimentation on letters. The limits of the tools force our creativity to seek solutions when we draw alphabets.

I noticed that paint consists of Pain+t which explained why it soothes my pain 😉

Inspired by a narrow pixel font I saw on a train in Helsinki, I wanted to give it more utility by spacing and kerning it, as if it were a usual sans. The character shapes themselves adhere to the pixel grid, but the spacing and kerning has a different, finer division, which eliminates the undesirable gaps typical for traditional pixel fonts.

The weight is implemented by scaling the individual pixels, which gives interesting effect especially in bolder styles.

Pixel fonts had always fascinated me, maybe because when I was a kid, that was what digital typography looked like. They break down the traditional letter structure made of strokes of the pen, to more granular units. These units

«Zewa Just-1»

Toilet Paper Font, 2020.

This font was inspired by the fantastic increase in demand for certain consumer products due to the anticipation of a long-lasting quarantine. In Russia, toilet paper sales went up by 47% in March 16th – 19th, 2020 compared to the same period in 2019. This font is a reference to the idea of a hype around the most mundane items.


Es begann tatsächlich als Experiment und mit einem simplen A bestehend aus einfachsten Linien, worauf alles andere aufbaut und ursprünglich die Einfachheit der Dinge widerspiegeln sollte. Trotz dieses simplen, klaren und naiven Konzepts entstand am Ende etwas, das trotz aller minimalistischen Bestrebungen mich unweigerlich an eine Art opulenten Gatsby-Style (20er Jahre) erinnert.

This is a series of Risograph print I made, with experimental typographic graphics, to explore my identity as part of the Chinese diaspora, my personal memories and how the family issue can project onto a queer body. The texts are sound of the words in Chinese: mama(mom), shushu(step father), baba(father), laolao(grandmother), and were interpreted through a exploratory method of typeface making and texture manipulation.

Pexi pexi is a tool made with code where the user can create type, shapes and illustrations made from pixels where the pixels can have many forms like circles even emoji.

Pexi pexi is a tool made with code where the user can create type, shapes and illustrations made from pixels where the pixels can have many forms like circles even emoji.

A typographic poster created using the two sounds boom +takh the challenge was to use only type!

This poster was done in a workshop called trial and error, conducted by 100 best Arabic poster given by Erich Brechbühl

Recodic is typeface created with Processing. Seven vector drawings of records form the building blocks of each letter. The code randomly selects the amount and positions of records to formulate a character, producing a unique look in each iteration. By taking advantage of the mathematical randomness, it creates a different result every time executing the code. Thus, the letterform is every changing yet constant. This headline typeface exists in regular and italic.

H is one of the letters created for the 36 days of type 2022 a challenge where you push the boundaries of type.

I found a B drawing with some colorful rectangles. I am exploring repetition and permutation as tools to design.

This bespoke lettering has been created for a calendar cover originally. In a fun and playful way, these letterforms with their flowing lines strive to represent the dynamics of an upcoming year and invite the viewer to take a closer look into the calendar and what’s coming up.

The typeface is inspired by Flatland, a science fiction novel written in 1884 by Edwin Abbott Abbott. In Flatland is a world of two dimensions, in which everything looks like lines. The typeface is designed with concerns of speculative graphic design and tries to tell a science fiction story with abstract graphics, symbols and colors.

N is one of the letters created for the 36 days of type 2022 a challenge where you push the boundaries of type.

ChanCho va! Is a collaborative game for designers inspired in the nature of Type design: a lonely craft. The game explores how a group can create together, coming from different backgrounds (cultural, skills, language). The most experimental part of the process is playing the game. Players know where they are starting from but not how it will end.
It all begins when each player is assigned a file that contains a few glyphs that serve as hints to keep on drawing and completing sets. Players should simultaneously push the file to the next player while shouting “Chancho Va!”. We do this over a few rounds or until sets are completed, and collaborative alphabets are born.

A self generating typeface made with processing. The letters are drawn out of multiple lines and every line gets neuly generated each time. This makes a treu uniquely typeface.

This proof-of-concept interactive poster is a collaborative project that brings techniques from game development to experimental typography, namely the use of signed distance fields. This allows for the dynamic realtime deforming, merging and subtracting of visible and invisible letter shapes. Free to download and play around at
https://hussjules.itch.io/fieldtrip

Acrophony means the design and naming of letters according to terms that begin with the same letters. (For example: a pictogram of an avocado = A)
The Latin, Hebrew, Arabic and Cyrillic alphabets actually share a mutual acrophonic origin – the Proto-Canaanite alphabet.
In Akrofont these alphabets are reunited by applying the acrophonic principle. Each pictogram represents an international word that starts with the same sound in different languages.
Similar sounds, such as w and v are combined in one sign. Akrofont relates to the spoken language and does not depend on orthographic rules. It can be read independently of any knowledge of the four alphabets.

sticky dot is a variable font whose letters are constructed from sticky dots which are usually used for decision-making. The second style font consists of dynamic hand-painted letters and then constructed from the same dot elements. The discrepancy between the analogue inaccuracy and the digital construction creates tension and individual forms.

I created a typeface based on an iconic piece of architecture: The Point in Milton Keynes, the UK’s first multiplex cinema. Operating between 1985–2015, this red neon pyramidal ziggurat inspired me to make an angular font (‘MK Midsummer’), cut through with a sense of playfulness and a touch of nostalgia. The building is under threat of demolition and a campaign has been launched to Save The Point so that the building can be restored and converted for new use. I have gifted my typeface to the campaign: https://thepoint.mk/mk-midsummer-font/

MakuMono is a variable, monospace typeface that was created in conjunction with the publication Reprise. The three fonts 30, 60, 90 are taken from the publication’s three chapters of the same name, which define the percentage of increasing area coverage of the waste paper used for printing the publication. As the area coverage of the paper grows, the legibility and comprehensibility of the content becomes more difficult, making the visual assertiveness of the typeface more pronounced. Like other parameters within the publication, MakuMono60 is left to chance in that only 30 and 90 have been clearly defined.

Witchbitch is a reversed contrast display typeface that plays with
feelings of discomfort and provocation.
It was inspired by the radical feminist group W.I.T.C.H. from the 1970s and aims to speak with a voice just as strong as women who are empowered by themselves and fight for a world with equal rights.

UNTITLED IS A WORK I MADE TO DISPLAY
INDIFFERENCE FOR INJUSTICE AND RASCIST HATE CRIMES.
IT SPECIFICALLY DEALS WITH ALL (REPORTED)
RACE-RELATED MURDERS IN GERMANY FROM 1950 ON .

MY TOOL IS THE KNITTING PROGRAM DESIGNAKNIT AND ITS OUTCOME: A SLEEVELESS SWEATER.

THERE ARE SEVERAL MEANING LEVELS TO THE WORK, WHICH ARE SHOWN IN THE MAGAZINE DOCUMENT.