The distortion effect has been produced by moving the sheet of paper while scanning.

Printed in December 2021 during his Exhibiting Artist Residency at IS Projects, David Wolske found inspiration for “Polysynthesis No. 1” ‘in the vibrant and abundant colors, textures, patterns, and personalities at IS Projects and in Fort Lauderdale.’ While the cropped numbers are characteristic of Wolske’s experimental letterpress work, the use of rounder shapes, fluorescent inks and a gradient (aka split-fountain or rainbow roll) are exciting new additions to the artist’s unique visual vocabulary. David did all of the letterpress printing by hand using the studio’s Vandercook SP-20 and wood type from the Selikoff Collection.

Poster designed for Neubad Bistro in Lucerne.
Poolkino is a series of movies projected in an empty pool.
Letters are designed following the pool grid.

Flying objects is a collaborative project realised with Hansel Grotesque and it consists of two fabrics, a rug and a blanket. This project was born with the idea of translating the concept of motion design into static, physical objects.

In the rug trade, it is common to show the back of a carpet to indicate if it is handmade, as the weft threads reveal so. This act of turning the object over, revealing a different side, is a full-edged motion. Hence, the idea of playing with the front and the back of the fabrics, giving equal importance to these while designing.

Burnier expresses his love for type while distorting, breaking, and beating letters. In these subversive experiments, type, readability, and any other design “rules” are pushed to their limits. These “type torture tools” began as exercises while Burnier was learning to program, but soon they became an expression of a frustrated type designer.

My font is based on writing with a flat pen. It is especially important for me to rely on real handwriting, a natural combination of contrasts when creating a font. I tried to make the linecan font modern, technological, but not too rough. It keeps in touch with classic fonts, but at the same time conveys the spirit of the 21st century.

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.