With a set of 1287 alternate glyphs, the Ekko typeface gives you tools to be creative. By combining these alternate glyphs between them, you can design real vertical ligatures. Ekko offers a wide range of graphic possibilities and gives you the opportunity to play, experiment and discover, in order to associate the various vertical ligatures among them, in a balanced and harmonious way. Thus, Ekko provides you the possibility to express the musicality of each word, and to give a specific, original and unique rhythm to each composition. In line with the spirit of jazz music, in which nothing is predefined, but everything remains open.

The word “desire” with a melting effect reminds us of a melting candle. Purple is burning desires that we always crave.

Ongoing Exploration on: How do we perceive form and space as letters ? How to combine shapes to trigger a visual memory?

TYPE MOIRÉ OFFSET / STARWARS is an artistic explorational process about one physical phenomenon, the wave interference; especially the moiré pattern, which is often refered to the unwanted inherent of the offset printing technology. The presented artwork is mainly rooted from the manual details of print based media, but viewed from a different, zoomed in perspective. The essence of this visual experiment is to exchange the pictorial components (e.g. rasterdots) to textual elements, thus gaining new possibilities to release verbal meaning from their syntactic and semantic relations.

I developed my first typeface, without much prior knowledge in 2019, following my own kind of learning-by-doing-process. My idea was to create letter shapes that would have their very own, special character to them, by using as little anchor points as possible. Throughout the process I followed the notion to have the typeface remain super light airy, sharps but delicate at the same time, and have the letters compliment each other, without looking too alike. The main reoccurring shape is inspired by a parabola, integrating the feeling of flying through some sort of visual journey into each letter. The artwork represents my interpretation of how Icarus unfolds its full potential and feeling.

Typographic design inspired by geometric ornamental patterns and textile technique developed by the Wichí community in Argentina. Textile technique of a single element (vegetable fiber “chaguar”) that forms a mesh of loops that connect with the previous row. In the proposal, the strokes of each glyph are built from rectangular modules connected by fine lines. The program includes solid and textured style.

The “Etnotipografías” project (National University of Lanús, Argentina) proposes to collectively develop display typographies from the study of representative iconographic features of the visual expression of native peoples of the Argentine territory.

TYPE CODE / ORIGAMI is an experimental typographic poster. Contains the modified text of a Hungarian cookbook. Every letter’s silhouette removed, only counters and accents (typical of the Hungarian texts) remained. This text-code surface was rotated and reflected as it were on a folded transparent paper sheet.

The letters of this alphabet were constructed using triangles of paper on a set grid.
The shape of the triangle appears in the grid. Due to the selected triangular shape in the grid, the letter is placed on the grid analogously with this shape. The shape of the square and the bisected square and thus the triangle play the elementary role. The geometric shapes create cubist-looking letters. Everyone has different approaches on putting a letter shape on the grid, this creates endless possibilities to experiment with the shapes.

AHORN is an analog variable font created in a seminar with Katharina Köhler at HfG Karlsruhe. Just as the glyphs of digital variable fonts can be manipulated based on different parameters, AHORN can be squeezed to different widths due to its physical properties.

The glyphs were laser cut from foam scraps and scanned in various states of squeezing. They are shaped in such a way that the squeezing creates interesting and unexpected bends. For example the slightly tilted N is first straightened before its interior begins to squeeze.

To make the font easy to use I processed the scanned glyphs and made them available in an online tool: arno-schlipf.info/try-ahorn. Have fun squeezing!

Larabic Is a font that merges Arabic and Latin letters in the same alphabet. EX Letter “T” and letter ت are both merged in one letter, and so as the whole alphabet. Larabic is a futuristic font born out of the idea of creating a universal alphabet uniting people of different cultures and makes it easier to spell both Arabic and latin letters. It’s a part of a speculative design project that visualizes an imaginary future after the Corona. Spread 1: “This is the Future”
Spread 3: Letter “H” and ه
Spread 4: “I see so clearly”
Spread 5: Letter “Z” and ز
Spread 6: Letter “S” and س and “About the Typeface” txt written in Larabic.
Spread 8: random txt
Orange:communication,balance,motivation

Ludo is a monospace font family based on a very strict 10 by 15 grid. My experiment was to create as much variation as possible with as few elements as possible.

Ludo Ludo consists of the simplest combinations I could think of.

The Ludo Urban is inspired by graffiti from Sao Paolo and Berlin. Wider letters are constructed on a double grid.

Ludo Groesk is a little bolder and reminiscent of the Cyrillic alphabet.

These and two other fonts are still in development. I am very curious to see how they will work together.

Imagine an E suddenly having four arms, or an U having more than just two stems. Why does a letter look like a letter looks like?
Self-imposed tasks show the personal perception of the letters, with the conscious decision to engage in an analogous analysis. The letters of this alphabet were deconstructed with serif and sans serif letters being cut and mixed together.
By deconstructing the letters, the original form becomes questioned. The font was digitized to enable later applications.
It is about the tension between type and image. This alphabet is trying to find limits. How long does a letter stay a letter?

Typography being a living discipline, I wanted to draw a letter in an organic, imperfect way. I choosed the letter r for the word “Renouveau” witch means renewal. It affirms the endless evolution of typography, constantly inventing new forms, as life does.

ApocalypsA is a Hebrew-Latin Font. Based on their common historical origin, it combines similar sounds of the Hebrew and English-Latin alphabets in one character. The characters are based on print script, cursive writing, majuscules and minuscules.
These joint characters must be mirrored or rotated according to the alphabet, but their basic form stays the same.
The purpose of ApocalypsA is to show the similarities of the alphabets.

What is truth? What do you dare to do? Where does real understanding begin and where does it end?

Visual identity with a modular poster series and intro clip for the screening for the semester presentation of the second year documentary film direction (2020/21) at the Filmakademie Baden-Württemberg.

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Production by Philipp Schaeffer
Music by True Cuckoo

Bauhaus played an important role in the renewal of typography, as it reinterpreted the traditional canons.
I would highlight three elements that I see as important references. Bauhaus had a strong relation to architecture. Bauhaus attached particular importance to regular shapes, especially the square. Moholy-Nagy created many kinds of experimental artworks where movement played an important role.
The result is a grid of experimental typographic sequences, which leaves room for multilayered interpretation. Could be a regular architectural structure, abstract animation or verbal content.

Wassermusik is an ongoing typeface , that occurred as a byproduct while i was the creating a logo for a company that develops energy storage devices for solar energy. It is based, in a very abstract way, on simplified depiction of electrical waveforms. Combined with vertical strokes, it gave me the loose impression of musical notes

Hyper Sensual Reality is a fashion installation by Timo Kreitz that draws a connection between the sensuality and limitation of the physical world and the flow of digital information using neurotechnology.

The title design is based on a modular custom type that plays with readability and the contrast of discrete and continuous forms, echoing the analog and digital worlds as well as futuristic and organic forms of the fashion design.

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https://www.youtube.com/watch?v=L3FFwwcSnh0

My Best Italic Wishes is my contribution to “Best Wishes Italic” Collaborative Type Initiative by W Type Foundry, where a typeface of 345 characters (letters, symbols, punctuation, emojis) was designed by 93 authors, from 26 different countries, in 5 days.
The whole experience is based on analog design methodology using papers, scissors and glue. In the further development of my characters, I decided to experiment with the forms implementing 3D, light, shadow, gradients and material.

Joshua explores the sound’s visualization through a font family of three modular and variable typefaces, which include six styles.

Inspired by Cymatics, I wanted to create a variable typeface that could react to music through an organic motion.

Every word used in the project is a French79’s track from the Album Joshua, which I was listening during the drawing process. Despite that, the visual system can be used with any kind of electronic track, from Techno to Electro Pop.

Another important aspect is that Joshua is not supposed to be legible, the main point it’s to have a graphic universe that creates a visual connection between the music and the listener.

“Insel (11m + 39m)” is composed of two notation levels containing a fragment of a telephone call time list, plus a dated visitors’ directory, both dealing with temporal data, overlapping typographically and visually. The collage symbolises the flowing intertwining of thoughts and the processual character of art projects.

“Einerseits (23m + 1m)” is composed of two notation levels containing a fragment of a telephone call time list, plus a contextualisation of a logbook, both dealing with temporal data, overlapping typographically and visually. The collage symbolises the flowing intertwining of thoughts and the processual character of art projects.

”Deep Times” is designed for the work “100,000 YRS”, that explores the complexity of communicating to humans or other life forms 100,000 years ahead of our lifetime. This enormous time frame is what we need to consider when trying to protect future civilizations from the potential world-destroying danger of nuclear waste repositories. Based on extensive research on the issue the brief was clear: Monumental, but not too monumental. Rough and unpolished without being horrifying. Neutral, clear and distinct, not dramatical or attractive. A self-conscious primitivizing, featuring irregular geometries rough-hewn edges, an eschewing of craftmanship, and a denial of technological sophistication.

TYPOZONE is an exhibition series focusing on experimental typography, showcasing all Hungarian university students’ works at Eger, Hungary. It is organised by the Eszterházy Károly University. My concept was to make a strong visual mark without being too emotional or personal. Not to dominate, but rather to represent the whole exhibition material.