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

Experimental project on the concept of identity and nation by means of typography. It expresses the necessity of diversity and coexistence, as from this can take origin new forms.
In the form of a book, the motto of all nations are collected shaped in new and different letterings. From their words (and flag’s colours) new ones are randomly generated. I used a generative automatic tool to mix words into new sentences, and designed a method to obtain new letters shapes, generated by the merge and overlap of the letters (and colors) belonging to the original motto. From here new glyphs are originated, always maintaining the legibility of the words.

Werner Gotesk is a variable font interpolating between a textura master called Gotik and the sans-serif master Grotesk. The smooth process of changing forms can be set manually within six hundred intermediate steps. Because of the high variety of different shapes, it is the designers choice if the font is going to be more gothic, more modern or in between.
In the slow morphing of the forms one can see how curves build up or break step by step, how edges and corners emerge, how entire elements come out or disappear. Werner Gotesk gives designers the opportunity to revive largely forgotten typefaces, the broken scripts.

This work consists of a generative system to design a lettering to express, through form, that: the sea which gives pleasure to who is on holiday (Sorrento) it is the same which gives pain to the refugees (Tripoli).
Through a generative process and programming are defined two different and opposite type deformation, starting from a common and neutral one.
The intention is to express the two different ways to experience the sea: the seriousness of the refugee and the care-freeness of the man on holiday.
The generative system implies that form and aesthetic derives from a specific rule/instruction. In that way it is reachable the objective formalization of that given rules.

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

‘Anagram 2.2’ is part of a letterpress series that applies a masking technique that I invented, called ‘isotype’ printing, to large, antique movable wood type.

I saw a crumpled piece of paper in my trash can. The wrinkled and deformed text on it served as an inspiration for me. Then i took the individual deformed letters, cut them out and placed them in the room as an three-dimensional object. Depending on the perspective and arrangement, the word is still legible.

I saw a crumpled piece of paper in my trash can. The wrinkled and deformed text on it served as an inspiration for me. Then i took the individual deformed letters, cut them out and placed them in the room as an three-dimensional object. Depending on the perspective and arrangement, the word is still legible.

The ‘Comma Splice’ series is letterpress printed from antique wood and metal types. The abstract imagery is created by masking large woodblock letters using the ‘isotype’ printing technique I invented.