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.
Young Designers’ Association at Budapest (FISE) made an exhibition for its 27 silicate (ceramics and glass) artist members. The curators (Ildiko Fazekas, Erika Rejka and Hajnalka Virag) named the event FRAGILE.
To express the message of the title, it seemed an obvious solution to refer to the opposite, and create something which is very fragmented. The result is a crushed typographic surface, where the visual appearance interacting with the verbal message. By pushing the limits of legibility, it draws attention effectively.
DANCE could be a concrete poetry work of art, in fact it is located somewhere at the crossover of verbal meaning, typography and imagery. Typographic structures implemented with a systematic fragmentation method and with different visual algorithms which are consistently documented and analyzed. This open and variable system is endless, based on deformation and rebuilding of letter-forms (letter re-coding). The basic component is letter “A”, as it’s the most elemental linguistic unit.
“Yellow Pages” deals with visual and linguistic artifacts from 80s and 90s pop culture. The work is based on a personal visual archive consisting of individual classified ads from the Yellow Pages (“Gelbe Seiten”) of old music and fashion magazines such as i-D, Spex and Twen. Drawing on the collected material, six posters (1.40 x 1 m) were created by translating the content of the ads into a contemporary aesthetic. Each advertisement is reflected in a large-scale wall piece. During the design process, the rather squiggly and kitschy typeface “Zapfino”, which is mostly used for wedding invitations and menu cards, became a contemporary ornament by accident.
The poster is based on a typographic surface. This text is interrupted with a geometric grid sequence, which fragments the basic text, thus resulting a moving effect, something that resembles to the surface of the sea. This pseudo sea movement plays an important role on the poster. Results are typographic experiment of waving text line fragments.
The visual appearance interacting with the verbal message, thus challenges the limits of legibility and makes the viewer’s distance an important factor.
Originally created for BUG MAG #3 of @klassethomas, the freedom issue, this work explores and addresses what freedom means and is all about. Not always in an obvious way, the meaning of “freedom“ differs for everyone and most likely depends on their surrounding, home and personal experiences. The lettering tries to incorporate all of this combining the common ground of “freedom“ in a simple way while also showing its different appearances – the twirly forms interlace and connect eathother, but depending on the way you look at them reveal the actual letterforms. This work is based on Lena Webers “Mono-Tool“ and plays with its limitations, but uses these as a tool for experimental type.
This poster series was created as part of the typography course of Prof. Dipl.-Des. Eva Kubinyi, in our 6th semester, with the main theme First Things First Manifesto.
The posters question the handling of plastic and plastic waste in our society. To do this, we experimented with analog techniques that mirror the handling. For example crumbled paper, ink, packaging and coffee.
All texts are in German and for the secondary type we used Nouvelle Grotesk from Nouvelle Noir. The Posters were printed in Din A0.
text work experiments with quotes and/in patterns in simple/reduced color fields
Furnitype came about as a result of considerations on the relations between typography and the design of functional forms, on where its’ frontiers expand and overlap, as well as on how form is defined. In turn, these explorations gave rise to a series of objects – chair sketches in empty space – regarded as a certain alphabet of design. Both letters and pieces of furniture are a collection of horizontal and vertical lines, and curves. An important aspect of the project is how it confronts the user, how an abstract symbol becomes converted into an object and enters into a relationship with people.
is a Typography format, which solely explores the aesthetic value of a black and white gradient on the letter D.
Using my name as a template, a new alphabet of five letters is being created in 3D.
Various custom type / letterings. (1A) For the little collaboration with The Templates (The Brand Identity). (1B top) For the collaboration with Ecosia. (1B bottom, 1C and 1D) As part of the Weekend crap series, a self-initiated project, displayed on IG.
‘Kill the Beast’ is a poster made out from quotes from William Golding’s novel ‘Lord of the Flies’ (1954). The novel poses a question why some people, having to fight for their lives, become savages, and why the others are able to stay humans.
I’ve reread the novel after the war in Ukraine started, and with this poster I want to remind that classic literature is still up-to-date (in this case, unfortunately). I deliberately made a poster in a contemporary style to draw attention. I didn’t use any recognisable metaphors from the novel (e.g. the pig head), because the text is more important here. The poster was done with hand-cut stencils and spray paint on canvas, 60 x 80 cm.
Focusing on the slogan “We Create Culture” of
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To dynamically express the slogan of
My Desire to Consume was an art exhibition organized as part of Singapore Art Week. Focused around the creation, distribution and consumption of digital art, the exhibition critiqued the rise of NFTs and how it has come to reshape digital art. Designed specifically for this exhibition, the poster features the recombination of existing typefaces to create new forms and compositions that allude to the chaotic nature of the NFT space. The customized pixelization of specific letterforms seek to emphasize the amorphous digital nature of NFTs and their screen bound imagery, while also alluding to the low-resolution fonts accompanying barcodes – a staple feature of consumption in modern society.
Playing with a different canvas than usual, Marte made a typeface that works best for Belgium’s concrete pavement tiles. The letters can be used as stencils to add messages on the street or as actual tiles, giving people the possibility to turn the pavement into a small garden.
Filuresä is a fictional language imagined to be used by the underwater inhabitants
of Jupiter’s moon Europa. It is a language in space – not spoken but written in
real-time in neon colors. Colorful ink splashes from the finger tips of the speaker to create loops and curves indicating different letters. The color of the ink varies and
illuminates the underwater world in green, yellow, red, blue, violet or orange hues thus indicating which vowel accompanies the curve of the consonant. This language system creates beautiful neon sculptures that disappear as soon as the message
is written and received.