This is a display modular typeface based on a 4×3 matrix.  
An ascetic matrix gives a great variety of forms and images. Since this typeface is based not on the material but the module, some letters can have an unconventional grapheme, nevertheless readable.

Ich sollte ein Logotype für eine KiTa gestalten und beschäftigte mich mit der Frage, wie Kinder, die noch nicht lesen können, Schrift wahrnehmen. So entstand die Idee für meine „KiTa Time“ mit ihren fünf Schriftschnitten, „Punkt“, „Kreis“, „Komma“, „Strich“ und „Fertig“. Streng geometrisch konstruiert und in ihre Grundformen zerlegt, entstehen aus den Buchstaben Bauklötze und aus dem Schreiben wird ein Spielen, bei dem Muster entstehen, die zwar Wörtern ähneln aber keinen Inhalt transportieren.

Die LUNIK enthält 29 Schriftschnitte, einen für jeden Tag einer Mondphase. Die Schriftschnitte wurden mithilfe einer vereinfachten Nachbildung des Sonnensystems in CINEMA 4D erzeugt. Dabei wurden dreidimensionale Buchstaben anstelle des Mondes platziert und von der Erde aus betrachtet. Auf diese Weise konnten die 3-D-Buchstaben um die vierte Dimension (die Zeit) erweitert werden. Mit einer simplen Processing-Programmierung entstand eine „Zeitschreibmaschine“, mit der sich der LUNIK im Laufe der Zeit verändert.

“jimmi gropp” mit sieben Schriftschnitte (“Monday” – “Sunday”). Entstand bei Experimenten in Photoshop.

«Pebble»
Sochi Sea Pebbles Font, 2020.

I have always been inspired by whimsical lines on sea pebbles. In April 2020, we found ourselves in isolation on by the Sochi seaside, and this prompted me to create this font. It is designed from the stones themselves, and we can see letters’ silhouettes in their lines.

Parco Studio has designed the identity of CIG Arcigay Milano by matching two important elements: the typographic and the chromatic palette.
The palette reinterprets the colors of the rainbow flag by reshuffling its borders and creating a collection of backgrounds in bright and vibrant colors. The union of these two elements – the black text on a colored background – gives life to a language that recalls pride parades around the world and proudly claims its need to be heard.

This piece is an exploration of how black and white gradients can be used to create letterforms. Light and dark values acted as the outlines of letters whilst the repetition of gradient blocks created a jagged and novel aesthetic.

“Botanical Thriller” is a photography project by Cartacarbone. As part of the project we designed a custom lettering of the front cover that immediately communicated the overall feeling of the publication: bloody thrilling!

Perfect is boring. It’s the imperfections that show that there was a human involved. This is what makes something interesting.

Type experiments from a project exploring how to hide typography in plain sight. By blending upper case type in contrast with their lower case form, the typography remains visible within the visual chaos.

A collection of twelve A4 posters called “I´ll rather not say” (Prefiría no decirlo). They are typographic compositions based on the pages of our personal diaries. Probably the only way a shy person could publish their own diary is in this way: distorted shapes of letters put in together as an encripted message exposed to the world. About the printer: Epson LX-300 dot matrix printer modified by an Arduino system. We manipulate the speed of the roller and the number of steps, we could extend or condense/compress your graphic even while printing, you could overprint or use continuos paper and transfer paper.

I couldn’t stop staring at these letters with holes, so I made a poster dedicated to this magical font. I believe that type specimens should appear in poster format. Posters make fonts feel at home.

Although officially the feature with holes is a reinterpretation of light traps of 60s to make text more readable on TV screens, I feel it more like metal plates or parts of an engineering mechanism (which I matched with the letters).

Poster design: me, and I was blessed by Dinamo to submit it to Slanted 😉

Type design: Dinamo (Johannes Breyer, Fabian Harb, Robert Janes, Fabiola Mejía) with Sascha Bente
Spacing and Kerning: Igino Marini
Production: Dinamo (Robert Janes)

The work is made up of a background of words where some are arranged straight and others upside down. Then on this bottom there are some bigger words on the left and on the right there is an atom. The mistake of the arrangement of the background is linked to the atom as it is intended as that of polluting energy substances: another mistake on which we have focused. The big words on the left are for reflection.

It’s a playful attempt to create a digital sculpture with a focus on the material.

Concertato is a font family in which the variation of proportions and horizontal bar’s height defines six styles each representing one of the six operatic voice types – Basso, Baritono, Tenore, Contralto, Mezzo Soprano, Soprano. Proportions are determined by the acoustic wave length and height while the horizontal bar’s height by the position of the clef on the staff. Basso and Soprano are the master styles, Baritono, Tenore, Contralto, Mezzo Soprano were obtained by interpolation.

Fatboy was created as the final project of my CAS Fundamentals of Typography at the ZHDK, Zurich. For me, as a newcomer in this field, it was the first time I dealt with the development of a typeface.
That’s how Fatboy was created. A black and fancy typeface that can be used mainly as a headline and whose individual characters play with a combination of clear geometric as well as organic shapes.

A Meditation on Type is an alphabet created between October 2019 and October 2020. This span of time marks a phase of personal upheaval that coincided with a period of international crisis and unrest. The series began as a way to confront the tension between competing urges to create and rest, find employment and take a break, practice design and avoid burnout, seek inspiration and do absolutely nothing. The mindful process of creating these letters satisfied all of these seemingly incompatible needs. Though each form began as a considered piece of a cohesive typeface, once the initial outline was drawn the ensuing process of filling out each shape became an extended meditative release.

These x-rays are part of a design research project that applies the steps of a root canal procedure to the story of a friendship, essentially “performing a root canal” on the relationship. One of the first steps in a root canal is to obtain x-rays in order to determine the level of necrosis in the tooth and what can be salvaged. These small risographed x-rays layer photographs of a friendship with teeth at different levels of decay.

«Galina»

Font from the city of Suzdal, 2021.

During a two-day children’s laboratory held in Suzdal in May 2021 children studied the character of their city, its imagery and texture, and expressed these observations in fonts and letters. Then the resulting letters were assembled into a display typeface.

Barbecue is a typeface plays with the ‘terrible’ alignment and patterns. The uppercases have lower baseline than the lowercases, so the letters are always jumping a bit 🙂

Letters arise in the negative space

In 2021, I had a commission design job to design numbers and arrows, which is mainly for the space of an exhibition. During this job, I made CLOCK, CLOCK is a typeface originally inspired by a German artist Margarete Heymann-Loebenstein’s work – WALL CLOCK. I
like the boldness of the numbers on the WALL CLOCK, and tried to keep the boldness in my typeface – CLOCK.

The interesting experience for me during this project, is that I used my way of writing chinese, to make the typeface – deconstruct the latin letters in several components, mainly use I and O, combine those elements to generate the glyphs.