The task was to design a poster for the concert of the German band «Wilde Jagd» in the Neubad Luzern. The name of the band refers to an old folklore motif that occurs in various northern European cultures. Wild Hunts typically involve a chase led by a mythological figure escorted by a ghostly group of hunters engaged in pursuit. For the poster design I tried to capture the atmosphere of this hunt by designing a lettering based on fraktur fonts which is dismembered in a dinamic style.

The creation of this typographical error, or more precisely a typographical printing error, is due to the support on which the typography was printed. A transparent paper which was to be used as a cover for a photographic paper edition. This edition was made for the museum of photography in Chalon-sur-Saône. In order to define the typographic size of the title on the cover, I made a scale print on a transparent paper. Simply, on this type of paper, there is a face which absorbs the ink and another which is impermeable. I must specify that I made this home-made print on an inkjet printer, which creates this ink deposit.

Lustra – a variable pixel font, is an outcome of the Lem Variable Fonts Workshop, conducted by Verena Gerlach and Maciej Połczyński in 2021. The goal for each participant of the workshop was to create a variable font inspired by Stanisław Lem – a polish science fiction author and futurologist.
This typeface visualizes the transition between human world and the world of Lem’s works. The form of it was heavily inspired by mathematical and logical, yet still organic planetary forms from one of his most famous novels „Solaris”. It fits best in patterns or other decorative purposes.

Available for free at lemfont.xyz

Breach Festival is a festival dedicated to Improvisation and Experimental music.
Breach’s mission is to boost and support these practices in Cyprus: free improvisation, free jazz, contemporary classical music, experimental electronic music, sound-art, as well as many other uncharted sound territories.
This year is the first edition of the Breach Festival and it has joined forces with the Irtijal Festival in Lebanon – the largest festival in Beirut which celebrates its 22nd anniversary of supporting improvised and experimental music.

Gobbble is our first typeface and effort on building type and drawing fonts together as Lobbby24, a collective founded during the first Covid-19 lockdown. We couldn’t meet and see each other so we thought about ways to connect and work asynchronously as a team. Every style is drawn by another person using the same stroke thickness and metrics so all letters connect to each other at fixed points. This makes it possible to mix up all styles and create a united mess.

We released Gobbble on Erntedank 2020, the german Thanksgiving, free and open source. For Halloween 2020 we added three Lining styles.

1. Eye.
It’s the EYE word and you can see from both side. And both sides have different emotion.
2. Random stripes.
Random white stripes on black background create some letters (N, H, A, E…)
3. 我
It’s Chinese word, it means “I”; illustrator, 3D.
4. Alphabet.
I create new alphabet font; illustrator, 3D, stripes.

An interesting development for me recently was finding out I have ADHD. Not entirely sure what to make of that information. I guess it’s good to know though. I guess it explains a lot.

The multicolored typeface “Metamorphose” is inspired by the biological phenomenon of the same name. Each glyph of the font is a formal transition of another glyph. The various shapes take reference to Jugendstil designs of the early 1920s as well as to an anthroposophic approach to design, formulated by Rudolf Steiner during the same time. Besides this abstract experiment, a more functional and readable typeface was designed with the same ideas as a starting point. “Philia” offers contextual alternates for most glyphs, resulting in words whose letters seem to lean towards each other.

This artwork was created after i listened to a lyrical song and get some inspiration from it. So why i will use piano to creative it? That is because the melody of the whole song uses a lot of piano sounds, so in the final i use the piano form to complete this artwork.

This is a series of ten craft beer can labels, each using experimental type layouts to tell a part of a story, the parts of that story explained through a statistic. Each statistic refers to the economic differences encountered in life by the Baby Boomer Generation and the Millennial Generation. It is a comparison in spending power, earning power, the cost of housing, education, debt, and investments in infrastructure that enriched an older generation at the crippling expense of future generations. A true display of selfishness and individualism that will have economic ramifications for generations to come.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

In my work I experiment with the recognition and understanding of forms we commonly accept as letters. The criteria for visual symbols conveying visual language prioritizes unambiguous communication. In this work however, I capitalize on connotational power of letterforms to create various readings of a type-image that conveys altered visual messages. The objective is to make the viewer pause, disrupt expectations, and to spark ambivalence. Words of insignificance assume an existence of their own. I utilize and experiment with “found” text fragments that are derived from the everyday. Deconstructing these helps to reconceptualize an idea of a convention we heavily rely on for communication.

The types came along in the experiments in creating identity and campaign for a hypothetical experiential NFT art creating studio named www studio. The brand stated as a challenge and questioning to what is ‘art’ and the establishment of ‘identity’ in modern society. The name ‘www’ stands for ‘who owns what?’ and ‘who we are in this world?’, it’s also widely known as the short for ‘world wide web’ on the Internet thus also as a meaning connecting to the virtual network. Anyone can enjoy customised merchandise and produce art works that directly coded as NFT to sell or self owned as a ‘profile’ in virtual world with simple sketch in the studio.

BLOW is a variable, monospace, dot matrix typeface, playing with the hypnotizing effect of contrary growing and shrinking dots. It includes 3 axes, one for the unique shifting effect, called shift-axis. Furthermore, one axis for the weight and one axis for spacing, which makes smooth spacing and interesting intersections between letters possible. BLOW also includes an OTF stylistic set alternative to the standard monospaced space, called “Alt Space”, which contributes to its legibility in larger texts. The combination of all 3 axis changes its appearance in many ways, which makes its typographical expression very dynamic. BLOW is still work in progress and not published yet.

Should legibility and function be the main type design’s issue?
Are they only letters because we can read them?
Weg is a type system focused on the study of how latin glyphs are constructed and how their ducts can be modified. I’ve explored how far I can move the limits if I don’t worry about the legibility. The letters are perceived more than readed.
Weg is built by a single line that connects all the characters, along with words and paragraphs while they set text page or pattern page.
When weight decreases, legibility increases. If you get used to “reading” it, it becomes legible. The aesthetics put a strain on the beholder, who wants to read the text.

Exploring artificial intelligence to inform lettering and typography by injecting a random seed of chaos into the letterforms.

I created my designs for a uni course around experimental typography. The intention behind the posters was to use typography and make them illegible, however, without losing the design and aesthetic aspect.

2020 with the outburst of the pandemic was a strange year for everyone. And it still is.
We decided to sum it up and give it it`s own soundtrack. We tried to bring in a tiny sense of humor for weird times with weird typography and animations. Which one is your favorite song of the year?

For the official Exhibition of the Tokyo TDC 2020 Awards in Ginza/Tokyo we designed the Poster-Duo. It is printed in a double deep black with 2 Pantone Colors on each poster.

The font runs from one line to the next but separates individual letters and likewise some letters are dynamically distorted in their width. This gives a feeling of movement .

On the poster we have played with the sound of the voice of Molly Burch as you can find in some of the glyphs. The vibrato or the sadness inside her voice are transferred into the glyphs of the Title.

Poster for an exhibition at 48h Art Festival Neukölln, Berlin. This exhibition was located at an old parking house in the center of Neukölln.
You can find the Name of the Exhibition in the red curled Line between the blue one.
It was printed in a Screenprint 2 Pantone Art Edition.