Counterfeit is a type design exercise with the objective of using the least amount of modules for the letterforms. What resulted is that at large scale it becomes display, hard to read and decipher each glyph, but at small scales the gaps between modules close and becomes more readable.

This risograph print is composed using a wide range of typefaces that spell out the track titles from the rap album Temps de Flors by Mallorcan rap artist Pode. The piece has been translated into black and white for this magazine edition, while preserving the characteristic texture and material quality of risograph printing. The diversity of typographic styles, shapes and visual rhythms reflects the album’s own spirit: a varied, vibrant body of work full of life, contrasts, and expressive energy

holding, (shift)ing is a textile installation about care work, mental load, and domestic labour. Seven white aprons become a tablecloth through stitching and embroidery; a cyclical poem and childhood drawings surface in thread and print. An archive book gathers tests, samples, and foils from production, held by eyelets and safety pins, while a translucent flyer uses rotation and layering to make hidden weight perceptible.

Communication. Strength builds up like a muscle. Phrases are projected as texture onto a continuously pulsating structure. The beauty of language becomes visible through the visual abstraction of letter forms.

This custom lettering draws inspiration from the shape of a heart, which dictated the construction of all the letters. Custom lettering created for the Type Campus 2025 call for entries.

How should Singlish be perceived in our society today? Is it an incorrect form of English? Or a unique language that is deserving of greater respect?

Standard Singlish challenges viewers to reconsider the status of Singlish by introducing a new Singlish typographical system together with a set of educational materials that reimagine a future where Singlish is formalised.

Maaster Sanz is a variable font family of three styles that uses deliberate interpolation “errors” as a visual language. By researching technical failures, the designer developed methods – reversed contours, changed component order, and incorrect path directions – controlled via Weight and Glitch axes. This turns technical flaws into a generative tool, allowing users to decide how far letterforms “break,” bridging conventional type design with experimental deformation.

MULTIVERS is about modular letters that can have many variants (for fun) but keep their basic structure (for function). It’s like wearing different clothes while remaining the same person. The letters are based on a 3×7 grid. The modules for corners, T-junctions, inner lines and end lines are based on straight lines and arcs to keep the overall look somewhat coherent in this early stage of the project. The letter A has over 40 million variants, so the simple components create extreme complexity.

The work was created within the seminar “Can you read me?” by Susanne Stahl at the University of Applied Sciences Potsdam, including a two-day workshop with Giulia Schelm from Studio Burrow. Through analogue and digital experiments with glyphs using unconventional materials and parametric tools, the limits of legibility were explored.

The poster was assembled using analog processes, combining gelli plate/spray paint textures, typography from found printed materials, and abstract photography of light and shadow. Its layered composition captures the spontaneity of tactile methods, reflecting the course’s exploration of experimental image-making through chance operations and purposeful play. A Xerox photocopier was used to manipulate the top/bottom content, adding unique distortion and texture to each letterform.

Each composition takes shape on the translucent stage of an overhead projector, where materials such as glass, wood blocks, colored cellophane sheets, letter stencils, typography printed on transparency film, and various found objects with transparent, reflective, or porous qualities are arranged and intersected. When projected, the assemblage of materials transforms into luminous compositions of light, color, patterns, and silhouettes.

BACK2BASS is a party series founded by friends QT-XTC and DJ DUO BUTTMONEY, creating a space for femme and queer perspectives in their local club scene. The concept showcases uptempo electronic music influenced by contemporary soundscapes, bringing high energy and diverse rhythms to any dancefloor.

I’ve hand drawn a raw, loud, distorted, physical, sweaty, aggressive, anti-polish, anti-corporate font for my creative playground HOLY HARDCORE which crafts narratives that connect people,
products, and places through authentic storytelling.

Graphic for the collaboration between the London restaurant Giacco’s and the Marseillaise restaurant La Ola. Realised with custom lettering.

Graphic for the residency of Ling Ling’s at the restaurant Giacco’s in London. Realised using the extraordinary Harber by BB-Bureau.

Five hounds emerge from the margins of British and European folklore, their names and territories preserved like fragments of a corrupted archive. Myth becomes both legend and data, reactivated through aged surfaces and contemporary typographic language.

We have become captured by efficiency and acceleration. The inaccessibility of the font grants the user to slow down and process the dissonance of our cultural programming. CAPTURED, a variable kerned font between each glyph, critiques the masquerading of swarmmachines enabling the discrimination of humans from non-human intelligences. To reject being captured via a transmission of semio-withdrawal helps breed the cybernetics of re-enchantment within the commons.

VITRO-ASEMIC was cultivated with mouth bacteria and agar. The process was created from three petri dishes that were marked in the forms of the seven Henderson’s typtoms in order to cultivate alternative consciousness that is beyond the human using this artifact of a dingbat font. The rejection of agency within the postnatural world has haunted the (de)sign field and for its betterment the designer shall become beyond their own and towards a collective consciousness of subjectivities.

The human writing system has evolved from hieroglyphs to our modern Latin alphabet. While the Latin alphabet without a doubt allows for more complex language, the hieroglyphic systems of the past were more deeply connected to real-life objects. Humans now prefer quick flashy videos over long text. Therefore going back to an image-based writing system like humans used to thousands of years ago could be the future of typography.

While proofing a typeface, a broken image link in InDesign created distorted, pixelated previews. This unexpected glitch was compelling enough to investigate further. Screenshots were taken and the distorted forms were traced in Glyphs, forming the basis for a new pixel-based typeface. The modular construction made exploring variations easy. Replacing square pixels with circular ones created a different visual tone. ML-25 features three axes, 300 characters, and supports 74 languages.

This Gujarati experimental calligraphy artwork inspired by a poem that reflects on the city’s unforgiving heat, whitewashed silence, and dry restlessness, the calligraphy becomes an urban choreography of shade and intensity. The calligraphic response embraces this raw, sensory landscape. The letterforms are black, bold, matt and dense- like shadows that stretch along the edge of footpaths, lean against crumbling walls, hover beneath balconies, or pool in the patches of sand.

This work reflects on the role of the human hand in the creation of letterforms. Rather than aiming for perfection or automation, it emphasizes touch, imperfection and the physical trace of the maker. The forms emerge through gesture and movement, leaving a visible imprint of the hand. Typography becomes a carrier of presence, intuition and authorship, shaped by human involvement rather than invisible systems.

https://font.fol.com.tr/

Designed to celebrate Fol’s 10th anniversary, Fol 10 is an Experimental typeface family that reinterprets pixel aesthetics through lines and dots. With four distinct styles — Square LIne ThIn Dot — and a total of 112 characters, It offers a digital, modular, and systematic typographic structure.

Gravity is the universal force of attraction between masses, most familiar as the pull toward the Earth’s center. An essential energy grounding all physical existence, it serves as the silent prerequisite for walking and moving. Just as meridians and parallels map the globe to identify specific points, words help as the coordinates of human connection. They lead the individual to develop a dialogue with the other, transforming a physical world into a shared space defined by language.