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).

Kapkafe coffee roastery, a shop and café identity concept. The main element of the brand identity is the motif of water (“kapka” means water drop), the passage of time and self-reflection. Used font — Agrandir (designed by Alex Slobzheninov) was deformed by moving animations. This distortion symbolizes water and reflections on its surface. This motif connects all the elements of the identity, including the packaging of the products — roasted coffee, matcha and iced drinks — cold brew, ginger and matcha latte.

Taking inspiration from the Chinese name of Aeropress (愛樂壓, Ai-Le-Ya, which means Love-Joy-Press), beautifully taking the rhyme of the Chinese character “Joy” (樂), the key visual is a construction of components of Aeropress brewing kid, capturing the vividness and fluidity, forming an abstracted image of the Chinese character. The visual identity epitomized the excitement, enchantment and joy among the contestants during the competition processes.

Tihv is a poster design I prepared for the 12th human rights documentary film days. The typography was distorted and I had experimentally prepared an experimental poster design with glass and gel on it.

This practice-led research is an investigation of form, operating within the field of experimental typography and 3D modeling. The specific aim of the work is the analysis and experimentation of three-dimensional born typography and what that implies in terms of viewer experience; the shift from letter-form to object-form to image-form and the implications on reading – viewing – perceiving. The practice situates within the larger field of discursive design and the purpose of the practical outcomes is discursive.

The function of this study is to inquire into how one might encounter and interact with three-dimensional born typographic form (3D > 2D).

When creating a typeface, I like to aim for a modular toolkit. All my experimental typefaces are based on a system of tiles which lets you fill an entire canvas with glyphs without any spacing in between. These features dictate my typefaces to be monospace and mostly de- and ascenderless. There are strict rules determining the letterforms while also mantainning the modular square tiling concept.

UUU (Ugly, Useless, Unfinished) is a display typeface born from the most common font: Arial. Its numerals have been taken, chopped, re-composed and manipulated to shape a complete alphabet. The individual characters are weird and inconsistent, but made almost uniform by the similarities in the numerals. This is a work in progress.

fokus bottle by Mikko Laakkonen, adapted to a new graphic design, expressing and focussing on its pure meaning

The potential in the strokes that draw letters is seen as a complex body in the physical theory, and the movement that changes from day to day in a single letter is expressed in 3DCG.

Streco started as a challenge to make reverse contrasted types softer with curves and playful with simple modular forms. The horizontal stress plays with the negative space within and between the letters and its various styles as well as making them compatible for layering. Beta version of Streco is available on Future Fonts.

Amazigh women, indigenous to North Africa, have played a crucial role in communicating pre-Islamic feminist concepts—consciously or unconsciously—and preserving the Amazigh culture through weaving rugs during periods of time when it was not even allowed to teach, write or publish anything using the Amazigh language. Yet, they have been erased from the design canon and history books in favor of colonial and patriarchal perspectives. This experimental poster challenges this dangerous discourse.

Smile Initial Plus was commissioned to create three unique type engravings for the works of the artist Lena Marie Emrich.

The shapes are based on dividers which have been made for cabs to reduce the spread of viruses and bacteria. The soft, warm color and the inscribed poetic titles such as “meanwhile evaluationg doubt with our elbows” somewhat juxtapose the reflective slick acrylic surfaces, allowing for a reassuring look upon oneself.

Given this Smile Initial Plus dived deep into the type design. As the work is a piece of art and the sentences have subtitles, it was possible to push the borders or readability and consistency whilst indulging in pure optics.
All this without forgetting th