«Popova»

Spatial Power Font, 2021.

This modular typeface was designed in 2021 as part of the international evening school for workers and students «BAUHAUS / VHUTEMAS. Twenties to Twenties».
The typeface has an experimental design allowing to assemble the monograms from overlapping letters. The idea of the font is based on deconstruction and analysis of volumetric and spatial compositions of the Soviet avant-garde artist Lyubov Popova.

This typographic composition represent the word ‘solatio’ (‘sunny’ in italian). The repetition of the individual letters creates a broken composition, gradually more confused, more complex and disordered resembling the abstract form of rays and refraction of solar light. The design was created for a personalized scarf, perfect for shelter from the sun.

This is a page f my upcoming zine Victor. This project presents compositions that resemble a pattern, but the catch is that they’re all generated by AI, and the lines that compose the pattern are taken from music soundwaves and then turned into that composition. The soundwaves are from Tyler’s album IGOR. The chaotic results from Processing were mixed and matched over grids, thus creating letters and numbers. It’s the contradictive chaotic nature of the practice and the attempt to form relatable shapes and forms by using a grid that creates these engaging compositions.

we have designed a combined bio-typographic system with a straw brush for a space built with bio-architecture (straw and mud).

This is a display modular typeface based on a 4×3 matrix.  
It works in a phrase or word and visually reveals its meaning. Depending on the word, the form of type can enhance it and make the image more characteristic and powerful. For example, a word can become visually scratching, or even, swift.

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.

Explorations of pixel type and colour originally done for 36 Days of Type.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and discovering possibilities with new media.

We love to play with the typography in the 3D area pushing the boundaries and
discovering possibilities with new media.

This poster was created for the concert of the Swiss band „Prinz Kamal Khan“ at the Neubad Klub in Lucerne (CH). The poster visualize their wide and experimental soundscapes somewhere in-between Jazz, Psychedelic Rock and Techno.

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)