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.

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.