Typographic design inspired by geometric ornamental patterns and textile technique developed by the Wichí community in Argentina. Textile technique of a single element (vegetable fiber “chaguar”) that forms a mesh of loops that connect with the previous row. In the proposal, the strokes of each glyph are built from rectangular modules connected by fine lines. The program includes solid and textured style.

The “Etnotipografías” project (National University of Lanús, Argentina) proposes to collectively develop display typographies from the study of representative iconographic features of the visual expression of native peoples of the Argentine territory.

TYPE CODE / ORIGAMI is an experimental typographic poster. Contains the modified text of a Hungarian cookbook. Every letter’s silhouette removed, only counters and accents (typical of the Hungarian texts) remained. This text-code surface was rotated and reflected as it were on a folded transparent paper sheet.

The letters of this alphabet were constructed using triangles of paper on a set grid.
The shape of the triangle appears in the grid. Due to the selected triangular shape in the grid, the letter is placed on the grid analogously with this shape. The shape of the square and the bisected square and thus the triangle play the elementary role. The geometric shapes create cubist-looking letters. Everyone has different approaches on putting a letter shape on the grid, this creates endless possibilities to experiment with the shapes.

AHORN is an analog variable font created in a seminar with Katharina Köhler at HfG Karlsruhe. Just as the glyphs of digital variable fonts can be manipulated based on different parameters, AHORN can be squeezed to different widths due to its physical properties.

The glyphs were laser cut from foam scraps and scanned in various states of squeezing. They are shaped in such a way that the squeezing creates interesting and unexpected bends. For example the slightly tilted N is first straightened before its interior begins to squeeze.

To make the font easy to use I processed the scanned glyphs and made them available in an online tool: arno-schlipf.info/try-ahorn. Have fun squeezing!

Larabic Is a font that merges Arabic and Latin letters in the same alphabet. EX Letter “T” and letter ت are both merged in one letter, and so as the whole alphabet. Larabic is a futuristic font born out of the idea of creating a universal alphabet uniting people of different cultures and makes it easier to spell both Arabic and latin letters. It’s a part of a speculative design project that visualizes an imaginary future after the Corona. Spread 1: “This is the Future”
Spread 3: Letter “H” and ه
Spread 4: “I see so clearly”
Spread 5: Letter “Z” and ز
Spread 6: Letter “S” and س and “About the Typeface” txt written in Larabic.
Spread 8: random txt
Orange:communication,balance,motivation

Ludo is a monospace font family based on a very strict 10 by 15 grid. My experiment was to create as much variation as possible with as few elements as possible.

Ludo Ludo consists of the simplest combinations I could think of.

The Ludo Urban is inspired by graffiti from Sao Paolo and Berlin. Wider letters are constructed on a double grid.

Ludo Groesk is a little bolder and reminiscent of the Cyrillic alphabet.

These and two other fonts are still in development. I am very curious to see how they will work together.

Imagine an E suddenly having four arms, or an U having more than just two stems. Why does a letter look like a letter looks like?
Self-imposed tasks show the personal perception of the letters, with the conscious decision to engage in an analogous analysis. The letters of this alphabet were deconstructed with serif and sans serif letters being cut and mixed together.
By deconstructing the letters, the original form becomes questioned. The font was digitized to enable later applications.
It is about the tension between type and image. This alphabet is trying to find limits. How long does a letter stay a letter?

Typography being a living discipline, I wanted to draw a letter in an organic, imperfect way. I choosed the letter r for the word “Renouveau” witch means renewal. It affirms the endless evolution of typography, constantly inventing new forms, as life does.

ApocalypsA is a Hebrew-Latin Font. Based on their common historical origin, it combines similar sounds of the Hebrew and English-Latin alphabets in one character. The characters are based on print script, cursive writing, majuscules and minuscules.
These joint characters must be mirrored or rotated according to the alphabet, but their basic form stays the same.
The purpose of ApocalypsA is to show the similarities of the alphabets.

What is truth? What do you dare to do? Where does real understanding begin and where does it end?

Visual identity with a modular poster series and intro clip for the screening for the semester presentation of the second year documentary film direction (2020/21) at the Filmakademie Baden-Württemberg.

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Production by Philipp Schaeffer
Music by True Cuckoo

Bauhaus played an important role in the renewal of typography, as it reinterpreted the traditional canons.
I would highlight three elements that I see as important references. Bauhaus had a strong relation to architecture. Bauhaus attached particular importance to regular shapes, especially the square. Moholy-Nagy created many kinds of experimental artworks where movement played an important role.
The result is a grid of experimental typographic sequences, which leaves room for multilayered interpretation. Could be a regular architectural structure, abstract animation or verbal content.

Wassermusik is an ongoing typeface , that occurred as a byproduct while i was the creating a logo for a company that develops energy storage devices for solar energy. It is based, in a very abstract way, on simplified depiction of electrical waveforms. Combined with vertical strokes, it gave me the loose impression of musical notes

Hyper Sensual Reality is a fashion installation by Timo Kreitz that draws a connection between the sensuality and limitation of the physical world and the flow of digital information using neurotechnology.

The title design is based on a modular custom type that plays with readability and the contrast of discrete and continuous forms, echoing the analog and digital worlds as well as futuristic and organic forms of the fashion design.

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https://www.youtube.com/watch?v=L3FFwwcSnh0

My Best Italic Wishes is my contribution to “Best Wishes Italic” Collaborative Type Initiative by W Type Foundry, where a typeface of 345 characters (letters, symbols, punctuation, emojis) was designed by 93 authors, from 26 different countries, in 5 days.
The whole experience is based on analog design methodology using papers, scissors and glue. In the further development of my characters, I decided to experiment with the forms implementing 3D, light, shadow, gradients and material.

Joshua explores the sound’s visualization through a font family of three modular and variable typefaces, which include six styles.

Inspired by Cymatics, I wanted to create a variable typeface that could react to music through an organic motion.

Every word used in the project is a French79’s track from the Album Joshua, which I was listening during the drawing process. Despite that, the visual system can be used with any kind of electronic track, from Techno to Electro Pop.

Another important aspect is that Joshua is not supposed to be legible, the main point it’s to have a graphic universe that creates a visual connection between the music and the listener.

“Insel (11m + 39m)” is composed of two notation levels containing a fragment of a telephone call time list, plus a dated visitors’ directory, both dealing with temporal data, overlapping typographically and visually. The collage symbolises the flowing intertwining of thoughts and the processual character of art projects.

“Einerseits (23m + 1m)” is composed of two notation levels containing a fragment of a telephone call time list, plus a contextualisation of a logbook, both dealing with temporal data, overlapping typographically and visually. The collage symbolises the flowing intertwining of thoughts and the processual character of art projects.

”Deep Times” is designed for the work “100,000 YRS”, that explores the complexity of communicating to humans or other life forms 100,000 years ahead of our lifetime. This enormous time frame is what we need to consider when trying to protect future civilizations from the potential world-destroying danger of nuclear waste repositories. Based on extensive research on the issue the brief was clear: Monumental, but not too monumental. Rough and unpolished without being horrifying. Neutral, clear and distinct, not dramatical or attractive. A self-conscious primitivizing, featuring irregular geometries rough-hewn edges, an eschewing of craftmanship, and a denial of technological sophistication.

TYPOZONE is an exhibition series focusing on experimental typography, showcasing all Hungarian university students’ works at Eger, Hungary. It is organised by the Eszterházy Károly University. My concept was to make a strong visual mark without being too emotional or personal. Not to dominate, but rather to represent the whole exhibition material.

Young Designers’ Association at Budapest (FISE) made an exhibition for its 27 silicate (ceramics and glass) artist members. The curators (Ildiko Fazekas, Erika Rejka and Hajnalka Virag) named the event FRAGILE.
To express the message of the title, it seemed an obvious solution to refer to the opposite, and create something which is very fragmented. The result is a crushed typographic surface, where the visual appearance interacting with the verbal message. By pushing the limits of legibility, it draws attention effectively.

DANCE could be a concrete poetry work of art, in fact it is located somewhere at the crossover of verbal meaning, typography and imagery. Typographic structures implemented with a systematic fragmentation method and with different visual algorithms which are consistently documented and analyzed. This open and variable system is endless, based on deformation and rebuilding of letter-forms (letter re-coding). The basic component
 is letter “A”, as it’s the most elemental linguistic unit.

“Yellow Pages” deals with visual and linguistic artifacts from 80s and 90s pop culture. The work is based on a personal visual archive consisting of individual classified ads from the Yellow Pages (“Gelbe Seiten”) of old music and fashion magazines such as i-D, Spex and Twen. Drawing on the collected material, six posters (1.40 x 1 m) were created by translating the content of the ads into a contemporary aesthetic. Each advertisement is reflected in a large-scale wall piece. During the design process, the rather squiggly and kitschy typeface “Zapfino”, which is mostly used for wedding invitations and menu cards, became a contemporary ornament by accident.

The poster is based on a typographic surface. This text is interrupted with a geometric grid sequence, which fragments the basic text, thus resulting a moving effect, something that resembles to the surface of the sea. This pseudo sea movement plays an important role on the poster. Results are typographic experiment of waving text line fragments.
The visual appearance interacting with the verbal message, thus challenges the limits of legibility and makes the viewer’s distance an important factor.

Originally created for BUG MAG #3 of @klassethomas, the freedom issue, this work explores and addresses what freedom means and is all about. Not always in an obvious way, the meaning of “freedom“ differs for everyone and most likely depends on their surrounding, home and personal experiences. The lettering tries to incorporate all of this combining the common ground of “freedom“ in a simple way while also showing its different appearances – the twirly forms interlace and connect eathother, but depending on the way you look at them reveal the actual letterforms. This work is based on Lena Webers “Mono-Tool“ and plays with its limitations, but uses these as a tool for experimental type.