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 , we defined the value of the project as a culture, people, tradition/heritance, and visualized the message that wants to convey through three video works.
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To dynamically express the slogan of , which creates culture, connects people to people, and conveys tradition and heritage, Everyday Practice worked on motion graphics optimized for the online environment based on creative coding.

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.

A string hangs from a tripod, a brush hangs from the string and a blanc paper lies underneath. Due to the controlled movement of the string, the brush begins to swing.
Playing with the controlled coincidence creates excitement, because the shape of the letter can only be planned to a limited extent. Forms emerge in which the viewer can lose himself. The details bring mixtures of graphic drawings and appearances that seem sensual to us. New possibilities of interpretation emerge that are more familiar from painting. The free, abstract forms stand in contrast to the fonts we are familiar with.

As the war in Ukraine rages on, so continues the plight of millions. Among these, each person has a story to be told.
This project aims to illustrate how stories of each individual ordeal can be drowned in a sea of tragedies. Hundreds of personal stories were sourced from newspapers and arranged in 3pt type. From afar this looks just like lines but can be read under closer inspection.
Fragments of the stories were put under a microscope, vectorized and placed over the stories. This aggressive disfigurement, almost as destructive as the topic itself, reminiscent of barbwire and charred remains, demonstrates
the mere quantity of such narratives vs. the individual tragedies behind each one.

Experimental specimen of a reverse contrast, geometric, angular typeface (as of yet untitled) set in Black, which is one of six total family styles. Currently in the last stage of development, and set to release in the coming month(s).

I’ve designed pages in all six styles (Thin, Light, Regular, Medium, Bold, Black), but since this is a one page submission I’ve chosen one of the extreme styles. It has a tentative name that it will most likely release under so I’d be happy to update you and provide much more detail (font specifications, concept, final name, etc.) if this work is chosen.

This spread is part of an Arabic poetry book.
The spread shows El Khansaa’s lament poetry as she’s mourning her late brother. She’s crying as she writes the verses and remembers her brother so her tears spread on the paper.