Blur letter with blend background, water corlor effect.

Letter M square edge with fish scale pattern, 3D typography experiment.

Letters can be made by offsetting a skeleton path in a given direction and by a certain distance. This is similar to axonometry. As such, letter shapes can be seen as the projection of a sequence of paths into space. The animations play with this idea using two types of projection: axonometry and perspective. In the first animation the rotation angle of the axonometric projection is animated. This has the effect of making the illusion of space even more apparent. In the second one, the vanishing point is animated, as if it was following the mouvement of the eyes of the viewer. Similarly, any number of geometric operations on a path following a skeleton can be envisioned.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions. Inspired by Diamond by Armin Haab. As seen by Lettera 2 by Armin Haab and Walter Hættenschweiler, 1961.

1. The word “desire” with a melting effect reminds us of a melting candle. Purple is burning desires that we always crave.
2. The “H” is the first letter of my name. I have a strong passion for book collecting, and I want my soul to be filled with books.

This sentence came up working on my diploma. We are so fast in valualing everything and often forget that´s just one of a million opinions. Be free, be open — go out – experiment and foul around!

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

My projects always encompass type, and I love to experiment with it either by plan or by accident. This examples of both finalised client projects and process snapshots happened from paths as diverse as code in processing or random compositions and computer freezes of geometric shapes. Once you fall in love with typography I guess you start seeing letters everywhere — no matter how abstract they turn out out be.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

The London Design Festival commissions designers & architects to produce site-specific installations. For Finsbury Avenue Square, by Liverpool Street Station, we designed a playground of 26 coloured chairs.

We wanted to design an installation with which the public could interact, exploring unconventional relationships between the human body & the material environment.

Our talking furniture was an exercise in making the alphabet concrete. First we designed a typeface: each letter was made from two folding lines. We turned the typeface into three-dimensional drawings, based on human measurements. We then worked with a production company, drawing on their knowledge of metal folding & welding.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

Most of these videos are the result of my collaboration with Type Today. In series of works I tried to unfold the potential of creative coding in type animation and interactivity.

Emblematic typeface for Itelyum, a chemical group operating in the circular economy offering environmental services for the management of industrial waste.
The font is unicase, it contemplates only capital letters and numbers, with uniform proportions and constant line thicknesses.
The design is derived from the company logo, where the sign matrix is composed of a geometric modular grid.
The alignments of each glyph have been designed so that the typesetting can generate variable, compact and graphically abstract images.

Bespoke font for Breton Group, manufacturer of industrial machines. The typeface was designed for the logotype company and the composition of short texts and titles. The proportions of the letters are guided by a square module grid to form a compact text, bordering on legibility, in favor of a geometrically visual communication, as a metaphor for the company’s engineering background.
The ‘BretonType’ – which has its roots in the rationalist typography of the early twentieth century inspired by Theo van Doesburg’s mono-alphabet “square” – integrates uppercase and lowercase letters into a unicase type (175 glyphs), introducing the use of ascenders, descenders and 144 automatic ligatures.

Beer mats are usually seen as a profane everyday object and advertising material for breweries. They keep tables clean, encourage procrastination and help bridging boring conversations. These typographic coasters don’t only look different, they deliberately celebrate diversity. None of the characters corresponds to the norm, each has its own expression, its own intention, its own roots. Each one is allowed and supposed to be different—together these seemingly contradictory variations form a bigger picture, the “House of Type”.

It goes beyond the stereotyped realities that exist in the world and design. The
resulting chaos represents reality while pretending to stay away from reality.

This work is a transcript of a dialogue on generative, written language. Through a process of human embodiment of the algorithm, this project has gradually taken form by investigating the borders or blurring the lines between oxymorons such as Type vs Image, Static vs Motion, Rational vs Irrational, Reflective vs Reflexive and Human vs Machine. By giving a voice to each of the extremes, this arbitrary thesis aims to explore the thresholds and conventions between text and language through a vernacular typographic system of calibrating and corrupting a range of meticulous, yet erratic, processes in the search of the unexpected. 

We had the opportunity to design a poster for the album launch of Elian Zeitel at Neubad Lucerne. Together with her band, Elian creates worlds of sound that can range from massive density to chamber music clarity, complemented by light and buoyant grooves. We tried to capture this spherical soundscape in our poster.

The text has been written with a pen attached to the solar-powered vibration motor.

Pestifero is a uniquely hand-drawn display typeface that gives infinite customizable options and a fully authentic look. Pestifero’s idea originates from an urge to combine type design with graffiti. Almost like using a sample for making a beat. So I focused on a familiar font and melted it with a typical spray can stroke. I’ve started designing Pestifero in 2021 and I still work on it. Through experimentation, I have found that the larger the font is used, the more you feel the raw energy that I love so much in graffiti. Peace

Layout (size 210 x 297 mm) for a calendar (year 2022) with customized typeface (numbers) for an electricity company. This typeface is based from geometric shapes, with variations of size (and hatching).

Dusseldot has three main styles, one of which is a classic font as we know it, and two are abstract forms, which represent the movement of a person walking through Düsseldorf, recorded through GPS tracking. Variability allows one style to flow into another smoothly; this deformation can be stopped at any point, isolating the movement within phases. It enables the creation of twisted glyphs. Dusseldot supports most European languages ​​and Cyrillic.