Squares, circles and triangles. Burn them all.

The specific design process started before the Covid-19 quarantine period, however it was completed within it. During the first quarantine period the integration of an experimental display monospaced font, inspired by the typography of graffiti on large surfaces, mainly in tall buildings and highways, is our footprint to this unfamiliar times. “Brutalism” stylistic references are observed, such as the use of graffiti brush & the shapes formed by, as well as the use of bold black color. At the same time, the letters designed do not follow strict rules, as the writers are interested in tagging only the imprint of their message.

‘Generative Typography’ is a free form visual exploring typefaces and design and testing typefaces within p5.js which is a JavaScript library for creative coding. This poster animation seeks to explore the free forms of multiple typefaces in culminating a stretching texture animation representing the concept of pushing the limits of generative processing and coding language in exploring typography.

A chunky modular typeface, blocks of squares and right-angle triangles, grid spaced, grid set. Rules – this size, these shapes – initiate the process of exploration. Letterforms, as forms, guide the paths the rules create.

This display typeface was designed for a manufacturing and construction company to help with creating recognizable visual identity. The font is based on the concept of a concrete monolith and the rebar that holds the entire structure together.


“Island Invisible” is an exhibition representing Taiwan in the Prague Quadrennial. This name is intended to insinuate Taiwan’s status in the international community, which is in a time of uncertainty. When this blurred boundary is constantly changing, what is the relationship between theater and people? What is the current situation in Taiwan?

I think this topic is very interesting, so I directly used “island” and “Invisible” as visual elements to arrange the text into flattened islands and waves to create this image:
“In an ocean of text, A lonely island that is always floating, even though it is vaguely visible.”

Fun experiment playing around with depth and isometrics. Nudging the words close to abstraction.

Exploring the whole alphabet through a set of isometric constraints. Where can each letter be pushed without losing its legibility?

Ausschlaggebend für diese experimentelle Schrift war die Annahme, dass jeder Buchstabe in ein Quadrat als Grundform passen muss und jeder Buchstabe selbst aus Rechtecken oder Kreiselementen besteht. So entstand: Jedes Quadrat ist ein Rechteck oder die Quadratur des Kreises.

“MACHTLOS” (powerless) is an excerpt of a poster series about insomnia which I made a bookazine (“SOMNIA”) about. SOMNIA is a bookazine between sleep and sleep disorders, where scientific information is paired with personal experiences to make society aware of the seriousness of sleep disorders. In this bookazine the disturbance is shown in the typography and photography. The deeper you get into it, the greater the disturbances become. This specific poster “MACHTLOS” clarifies the feeling of being unable to move, feeling powerless, when you have a sleeping paralysis, where your body is paralyzed, and you can only use your eyes. the letters want to move, but the format won’t let them.

Everything started with a simple idea: -What are the limits of legibility?

In this personal project, the aim is to experiment with the distortion of a “sheet of paper” on which a single letter is drawn. I’m interested in testing the limits of the human brain in recognizing patterns and shapes that allow legibility.

This project is still ongoing to this day.
This is DYSTORPIA

Bureau Now created the typographic identity for the experimental film HYSTERESIS. The visceral film needed a warning about epileptic content and a credits page with a clear & strong look that stands against the flickering worlds of AI imagery. The film intimately weaves a transformative fabric between Robert Seidels’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine-learning to mediate these transformative re-presentations, the film corrupts strategies of the AI, unveiling a frenetic, delicate, flamboyant visual language in this historical moment with its unique modes of AI creation, where history collapses into a single point in the present.

As part of the 3rd module at the HSE School of Design, I worked on the creation of a modular accidental font in the Glyphs program with curators Svetlana Nedashkovskaya and Nik Nedashkovsky. “Somethorns” is a font that combines the smoothness of the lines and the sharpness of the angles obtained from them. A similar effect is created by creating three-dimensional letters from wire and then moving them in 3d. Despite the roughness of the resulting material (metal), the plastic of the letters was still inspired by the stems of roses, the thorns of which resemble the main elements of the font.

BATAREYA is a modular display typeface. It is on the verge of the cold elegance of chromed metal and the brutality of old batteries.

Commissioned by Adobe to create Animate CC splash screen.

»Rekto« is a formal examination of the unused legacies of the printing industry that inevitably arise in every printing process: the waste paper. Among faulty proof sheets, fragmentary press proofs, and truncated layouts, the fundamentals building blocks for the geometric sans-serif were found. As a heavier book typeface, »Rekto« lives up to its claim of standing firm and being legible on already printed paper. Without being fully rounded down, »Rekto« thrives on incisions and flattenings. Its many alternative glyphs make the iterations of the printing process – the gradual approach to a professional optimum – visible.
Co-designer: Eva Richter

// No Text … comes asap //
Liebe Clara, so sorry. Ich schick den Text bis Montag nach! Danke, Liebe Grüße, Petra

// no text yet, sorry – but asap //
Liebe Clara, ich schicke Dir den Text bis Montag. Ich hoffe, dass ist ok.
Ganz lieben Dank, Petra!

As part of the centenary of the Bauhaus School this font was created for an exhibition in the HSNR Krefeld. The basis of the concept was the light-space modulator by Laszlo Moholy Nagy.
This deals with the modulation and design of light through movement, which should also be taken up in the font concept and led a variable font.

This is where the P22 Universal from the young master Herbert Bayer comes in.
Based on Herbert Bayers P22 the typeface 3 other cuts were designed, that were morphed into each other and recreates the concept of the modulator.
To present the potential of the typeface a poster was also designed, which can be experienced through the Augmented Reality App ‚Artivive‘.

The title for this exhibition, “something about a room not having a floor,” is an idea gotten from a limerick “The Floorless Room” by Gelett Burgess. Likening ‘room’ and ‘floor’ to the society and its foundation, an installation was represented utilizing the gallery space that has a courtyard.

Altering letters, site-specific installation piece which invite viewers to wander in the uncertainty of signs.
These characters are originally from Japanese writing but it’s altered and deformed into another signs through the process of removing strokes from the original shape.The gallery space will be filled with unfamiliar writings which seems like Japanese but strangely resembles other language at the same time. The extracted strokes are scattered in the space.
Alongside the exhibition, the workshop “collecting and taking away characters” takes place. Each participants translated the artist’s work with their visual language.

WHIP is an experimental monospaced typeface in progress. It has 2 sets of uppercase letters: one set is geometrical and structured, the other one loose and playful, generating an interesting contrast between shapes. Each letter has 4 different widths that work proportionally that way you can flexibly design a consistent block of text in which words align vertically. This project was designed in two months, especially for the Slanted Experimental Type-Call by: Avril Ponce de León, Matías di Iorio and Fernando Díaz (Reset Type Studio).