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.

Named after American writer and philosopher Susan Sontag my typeface represents (as I see it) the essence of “Camp”. Sontag typeface is visual speculation about phenomenon of love of artifice and exaggeration the writer discusses in her well know essay “Notes on “Camp””. The idea of letter forms originates from engraving typefaces principles and combines the simplicity of shape (having no stroke contrast) with excessiveness of fake swashes. “Sontag” has two styles Italic an Regular.

Announcing Poster for a concert in the series „fresh sounds“ of the master´s program New Music at the Folkwang University of the Arts, Essen. Ensemble BRuCH performs pieces of music composed by students. Fragments.

I like to think about my Typeface rorschach regular in more of an illustrative way, that transports not just the idea of transmitting information in the first place but using a font as an image. Rorschach regular is loud and as soon as one uses the font, a pattern appears for the eye which effect reminds of the psychological Rorschach procedure. Similar according to that the single letters mixed together are mirroring or even completing themselves, so one might recognize a whole new picture in it depending on the order of the letters.

Announcing poster for a screenprinting-workshop in collaboration with the artists´ collective „Palefroi“ (Marion Jdanoff and Damien Tran).

I create new alphabet font; illustrator, 3D, stripes.

It’s Chinese word, it means “I”; illustrator, 3D.

Random white stripes on black background create some letters (N, H, A, E…)

Typographic experimentation based on a modular construction. Each letter and each number are built from a single module. Each module has a different filling rate to create a game of contrasts and transparency. This reveals the initial construction of the character, its skeleton. For the filling, I used the dot technique. The sentence is inspired by an anecdote by Jean-Paul Rouve, French actor and director, interviewed on February 7, 2022 in a French television program: Quotidien, hosted by Yann Barthès.
Original drawing
Rotring 0.18mm
Black ink
40x50cm
Velin d’Arches paper 250 g

Every day we need to make decisions – easy and hard ones.
My work explores the relationship between the words “Yes” and “No” and shows that the difference might not be as distinct as it seems.

Linha de Fuga is a biennial of performing arts. To create the image of the 2020 edition we typeset the title in Phantom Sans by Phantom Foundry, laser cut the letters in MDF, painted them neon green, then photographed them out on the streets of the city so that they could perform various typographic compositions.

BKR reimagines the form of a type specimen as its own fictional landscape filled with bold catchphrases and amusing stories. Using the medium as a peephole into the three individual worlds, the reader is more than welcome to examine and reflect on the similarities and differences in the atmosphere of each typeface. BKR aims to celebrate as well as represent the experimental nature of the student-made fonts developed during the Advanced Typography course at Berlin International. Bucato typeface by Beatrice Costa; Kuku typeface by Erika Indra; Restruct typeface by Israa Abouelkhair.

A few years ago I came up with the idea of drawing letters with hands and feet. On the occasion of »36 days of type challenge« I started to create a whole alphabet and even numbers that way, which I shared on Instagram. My work »We wanna have fun« shows a few of those humanized letters on a playground. Their hands and feet enable them to skate, draw or listen to music. The typography itself shows and calls for fun. In times of life- and future threatening crises this demand takes on a different scope.

Bespoke typeface designed during the workshop One Language at the Vans Store in London.

Participants were invited to design letters with tapes and stickers on pre-printed sheets of paper with some basic shapes.

“The dancing in the Rite of Spring is agitated and uneven with performers cowering, writhing and leaping about as if possessed. Often, the dancers are not one with the music but rather seem to struggle against it. Nijinsky instructed them to turn their toes inwards and land heavily after the jumps, often off the beat. For the final, frenzied scene, a woman dances herself to death to loud bangs and jarring strings. The ballet ends abruptly on a harsh haunting chord.”- Iseult Gillespie

FFF (an acronym from “Form follows fiction”, Ole Scheeren) is a work in progress typeface that aims to encapsulate the atmosphere of The Rite of Spring ballet composed by Igor Stravinsky.

Poster designed for a group exhibition about Compasso D’Oro prizes in occasion of the opening of ADI Design Museum in Milan. The poster aims to celebrate the designer Marco Zanuso and his role within the field of design and architecture by transforming the letters of the name ‘Zanuso’ in real objects. The simplicity of its shapes are reminiscent of components, molds, of part of an industrial production process.

The Big O is a photographic project by Abbie Trayler-Smith.
It is a storytelling platform on the human experience of living with obesity.

The starting point for the identity is a drawing taken from Abbie’s diary*, where
a series of circles are arranged to represent an overweight body.

The identity features a bespoke typeface, which resembles the curvy shapes
of the human body. The exaggerated counters are a hint to how people affected
by obesity see their bodies as deformed. Moreover, each letterform is placed inside a shape, delimited in an area, resembling how one can feel trapped in a certain body. The logo works as a stencil, allowing to focus attention on the body details.

The form of a typeface is responsible for its impact and how it is perceived. “A matter of form” is an exploration of form, an attempt to grasp its influence on the expression and character of a typeface. The starting point was supposed to be something neutral, ubiquitous, that almost feels like air. As a consequence Helvetica and Times New Roman were chosen and developed in very different directions – some rather traditional, some playful or unconventional. Out of this experiment 6 different typefaces emerged, A–B out of Helvetica, C–F out of Times New Roman. Although the origin of the typefaces is still very obvious, they have rather little in common regarding their character.

Krisan is a modular typographic system, designed by Daan Rietbergen. The characters consist of several lines which can vary in thickness so that the letter grows and moves organically. This dynamic effect is further explored by Sander Sturing with Processing.

NOTE: These submitted images are screenshots (which is something I never did before). I’m not sure if 100% placing is enough quality. So maybe it’s nice to place 4 smaller images? Or I can relook at the resolution. Cheers.

Pandemic poster: Myj ręce 20 sekund (Wash your hands for 20 seconds).

Mockup used in 1080×1080 file: urbanpostermockup