I am Ksenia Endovitskaya, a first-year student of the graphic design department. I want to show you my almo font. It is made on the basis of a flat pen and imagination. I think my font is very elegant and brutal.

House numbers form a figurative object on every building. They are primarily used for orientation and to identify the district. Once installed, they are rarely exchanged or replaced. This is also the decisive argument for choosing recycled plastic. However, house numbers are also a means of personal expression, which is why the numbers were deliberately designed to be very “exotic” during the process. The typographic approach as well as the personal interest lies in the modular interplay of basic shapes such as the circle, the triangle and the rectangle. Due to the manufacturing process, no two numerals are alike, which gives the numerals an additional high design value.

OM Litho is a design experiment on variable font, inspired by crazy type composition from old specimen. The starting point was a light and bold style, both in condensed and expand versions. Then to each style a contrasted version was added and after that also a medium form, common resultant of all styles. To each style I also inserted round, slanted and backslanted form (both 45 degrees). Main goal was to keep maximum character contrast between light and bold and still have one medium version.
The design process was about fun and learning variable fonts at the same time.

Ciudadela is a font inspired in urban fences. It’s part of a much larger design and research project, called, letra capital: type walks in Buenos Aires. As result of the inspiration found during these walks, Ciudadela takes after all the laborious blacksmith work we found.
It was built with one style and no lowercase, but it explores something else. It looks into how ornated and connected shapes can be in writing before they become a texture. Each word written in these heavily ornated version of Ciudadela explores unique letter connections, shapes, stroke, openings and endings, playing with this idea of a typeface turning into custom writing.

basic_form is a typographic experiment, exploring the possibilities of grid-based letter systems. The visual form is taking inspiration from the early pixel fonts, but my focus was to look for different solutions and more abstract objects as an outcome, while working on two weights in both Latin and Cyrillic alphabets. First presentations of the project were connected to this year’s 36 days of type and 33 letters for Ukraine action, but it is still a unit-based-system in construction, undergoing further development.

Using artificial intelligence as a starting point to inform typographic experimentation. How does AI interpret lettering? Where does legibility cease and abstraction begin? How far will a virtual dream push and distort letterforms into a language of its own?

Koniec Świata, Umyj Okna (The World is Ending, Clean the Windows) tells the story of a woman experiencing panic attacks. The smudged typography in fiery setting represent the struggle of balancing the everyday life and constant fear of and effects of panic attacks.

Fabio uses deformation and destruction as tools of creation. Charcoal is a 3D font where the number of bubbles, they size and their position can be changed, thus the number of deformations is seemingly endless.

Design of the second instalment of EP series that compiles the most promising Polish club artists evolving from dubstep and funky.

To produce glitch/digital effect, animations of cover elements were created. The animations were displayed on a monitor and scanned on a flatbed scanner. Through experimentation with animation framerate and scan speed the final effect was achieved.

My second submission is an inverted image of the underside of the paper weaving. The negative space created when the vertical strips of paper are pushed through to the front makes up the letterforms. I hadn’t focused on the underside when weaving the paper so when I turned the page over, it was a happy accident that the negative space had been created. The font has been created by experimenting with paper strips and allowing the paper to form the word.

I created my first submission by weaving vertical strips of paper through a horizontal loom. The style of type created and the word chosen references a digital format but has been created entirely by hand. The process of weaving each letterform forced me to think much more deeply about each form and the curves, lines and negative space that give a letter its character. The font has been created by experimenting with paper strips and allowing the paper to form the word.

The letters are a documentation for the journey of learning and exploring Naskh Arabic script and are not in any way near perfect.

Darf man das, oder lass ich das? Einfach machen — hoffen das es wirkt.

Design of labels for my home brewery. The labels are all typographic and somehow relate to the beer name. They’re printed on coloured papers on a monochrome laser printer.

The BHV family is a rather unconventional coalition, containing various weights of a monolinear grotesque and a corresponding serif in text and display styles. They all share a common grid-based skeleton resulting in some odd letter shapes with emphasized links. While the serif styles follow a more traditional approach and try to fulfill at least some legibility conventions, the grotesque almost always creates pattern-like lines. Because of the unfixed x-height, texts set in lowercase and uppercase differ drastically in terms of texture.

A Typographical Game Action-Abstraction is an arranging play of abstract elements which have original configurations. The Typographical Game presents a conception about opportunities of matching and setting together abstract shapes forming new entities. It regards and reminds letters as a form of recognisable symbols. The Game has a legend which may assist positioning a particular set up of elements. Also participants may create their own letters which might have another original configuration including assigned elements. Furthermore letters might be gathered in a polish word AKCJA or ABSTRAKCJA as well as in any word using assigned letters: A B C J K R S T.

Alna is a display typeface worked between 2019-2021. I was seized by a visual observation of a disease massively present in the vineyards of Bordeaux, the Flavescence dorée. The leaves bend on themselves before falling, announcing the total death and the non production of grapes.
I wanted to ask myself how this disease could metaphorically apply the drawing of letters. Through three different weights, Alna is characterized by stems placed like plant stakes on a recurring diagonal and the rest of the letters are thought to compose a foliage. A contrast appears between thin zone evoking the impact of the disease and very dense zone evoking the richness of life.