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.

Project Boobs Font is an experiment with letterforms, the context of the visual part and the idea of the physical differentiation between men and women. Also it shows how equal and similar we are.

Intentional text scanning error applied.

Merging design features from different times is always an exciting thing. Like in this case with an experimental reinterpretation of a traditional typeface classification, the Rotunda. The characteristic constructions are translated into the present day of grotesk fonts in a reduced and no-frills formal language. In addition, the font family comes in styles that are unusual for the genre but recently popular: Besides the Regular, there is a variant with angular curves (Squared), with striking Inktraps (Inktrap) and even a soft version (Rounded).

Font created on 2×4 block.

I found myself taking some wire I found on my desk and creating the letter ‘a’ while I was participating in a very long Zoom meeting. I did it unconsciously but as soon as I realized I had formed a letter I kept pushing it to see if I could recreate the whole alphabet with that little piece of wire. It was refreshing to see how routine can be intercepted by creativity so easily, almost involuntarily – we only need to be present enough to catch that glimpse and make something out of it.

Distortion of a font through a random process. The basic idea of my work was to create a typeface in which the designer has no influence on the final shape of the glyphs. The random process is supposed to generate the shapes itself. The tool I chose to visualize and execute the random process was the pantograph. The name Pantotype is composed by the words Panto (representating the pantograph) and Type (representating the result of the random process). I determined the position of the pantograph using four-sided dice. The units of the four axes (A,B,C,D) were also determined by dice rolls. I chose the Ursonate by Kurt Schwitters to reproduce it with my typeface, so I could test it in use.

Announcing Poster for the first edition of the “Elke Twiesselmann Preis” – an award with the intention to support female actors of the degree course in acting at the Folkwang University of the Arts in Essen, Germany. Screenprinted in two signal colors.

Announcing poster for the university-public trial lectures for the professorship of philosophy at the department of design at the Folkwang University of the Arts, Essen.