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

Communication for a week-long event in 2021 at the ESAD in Amiens on artificial intelligence and design.

Fresco for a graphic urban route in the town of Chaumont
This work proposes to make reference to the digitisation of the archives of the town of Chaumont by summoning the aesthetics of barcodes (as a written form of the digital). They will represent the symbol of a nomenclature archivable by our contemporary digital machines. This project also echoes in a broader way the transformations of the profession of graphic designer and of our daily life by the arrival of digital technology.

“TPR” is the result of a joint research in which our two graphic fields, mechanical layout such as typography and drawing based on creative programming, converge. It materializes when we draw with processing code and write with “Revolta” font.
The main element of the project is the Revolta font, a typography based on the loops and calligraphic ornaments of the English letters.
We design and make the layout during the sessions. We develop and apply our graphic line in a generative way. The execution of the project using a Axidraw provides a subtle look full of elements of surprise, errors and chaos created at that moment on the work that is being built as it is evolving.

With Typeknitting, Rüdiger Schlömer explores the graphic potential of various hand knitting techniques, opening a dialogue between digital typography and the analog craft of knitting. He teaches Typeknitting through workshops in design schools, museums and places like Letterform Archive, San Fransciso
This e is knitted from TypeJockey, an alphabet system by Andrea Tinnes consisting of 14 freely combinable fonts with different patterns. It is part of the book »Pixel, Patch und Pattern. Typeknitting«, published by Verlag Hermann Schmidt.

‘WARTAAL’ is a playground for language and performing arts the studio has designed at contemporary art gallery TENT Rotterdam. Wartaal is a collaborative project by TENT Rotterdam, Theater Rotterdam, writer Raoul de Jong and StudioSpass. Visitors are invited to make their first steps in this magical world and discover what performance art is and does. In addition to performance as an art form, language is also an important theme. A full alfabet of 26 activities makes visitors perform and explore language in various ways.

The playful typography system the studio designed plays the main visual role and can be found and everywhere within the space. All interactive elements have been designed

Die verostatic-Schrift war die erste Schriftart die ich experimentell und analog mit Stift, Papier und Kopierer zeichnete und später in der Finalversion digitalisierte. Anfangs natürlich noch namenlos, wurde die Schrift zur verostatic, was quasi als Wortneuschöpfung zu verstehen ist; „static“ aufgrund ihrer statischen Erscheinungsform und „vero“ abgeleitet von meinem Rufnamen Verena sowie der lateinischen Bedeutung für wahr, echt oder auch glaubwürdig. Somit war die verostatic dann auch Namensgeber für mich und meine Arbeiten.

So Me Thing Kunsthal
‘SO ME THING’ an interactive installation created for the exhibition ‘Do it’ at Kunsthal Rotterdam 2015. The piece, consisting of 50 layers of typography applied and divided over 7200 unique numbered pages, is our interpretation of Robert Barry’ s original doit #93 (2012) for the exhibition manual by curator Hans Ullrich Orbist

“Do something unique that only you and no one else in the world can do. Don’t call it art.”

The installation invites visitors to tear of sheets of paper to create their own (read ‘so me’) typographic composition. By doing so visitors playfully discover all the hidden designed typographic layers. The message So Me Thing remains readable till the

„Anna“ is a stencil font inspired by the symmetrical shapes of the Rorschachtest. The organic klecksographies of the psychological test were reduced to abstract, monolined glyphs with ornaments that allow the letters to be connected if set tightly.

Taking inspiration from the work of the artist Getulio Alviani, the poster combines typography and colour to create an optical illusion. If the spectators look closely, they will see a series of blue and red lines, but if they take a step back, they will be able to read.

Based on Vivian Dehning‘s characterization of her typeface Supertramp, this series shows letters pridefully taking up space. They show themselves from different perspectives, so close that their bodies go beyond the limits of the frame. Different color and texture variations enhance their diverse characters and identities. Although you see nothing but letters, you might not see them immediately, blurring the visual line between typography and abstract art.

Everybody uses them while speaking, avoids them when writing and removes them when correcting texts – filler words. “aber eigentlich” was developed from the observation of how these words are viewed and used in German. Between micro- and macro typographic design, twelve experiments show visualized effects of filler words such as making texts unnecessarily longer. Three experiments are then turned into three axis of a variable font to realisticly show the complexity of using these words in a relevant context. The typographic approach is an experimental translation based on semiotic linguistic facts. The project also includes audio experiments, posters and a book to summarize everything.

The concept of “user friendliness” focuses on ease of use above all else. In order to achieve this, most websites use standardized design and interface conventions that don’t require the user to learn how to use a new interface — instead, users repeat the behavior they’ve been trained to do.
In Anti User-friendly, I construct hard-to-use devices and interfaces in order to challenge the notion of user friendliness and bring back content awareness. Anti User-friendly creates a situation in which users need to explore and learn before they can use the interfaces. Through this process, users are given an opportunity to become conscious again — in a way, a form of self care.