Effective communication and education is the road to more tolerant communities. The idea is simply to create a fun & engaging way of learning Modern Standard Arabic through Lego- LET’S PLAY is a full Linguistic/visual bilingual system,meant to break the fear of language, transform the educational experience,in order to bring both scripts & people closer together.

Anarchy in the age of the robots is a self-destructive variable typeface based on the manifesto of the same name by Narodnaya Samooborona. This typeface was developed on the basic idea of construction and deconstruction during the university seminar “Manifesto” by Pascal Kress. It consists of two variable axes.

For a couple of years the draft of this font was around in our studio, originally exploring the possibilities of creating glyphs just with a quarter circle and a line as one of the most reduced possibilities. When Helen Feifels catalogue and exhibition “something else shapes“ at Kunsthalle Lingen came up last year we developed it further to a flexible and “dripping“ form, reflecting her artistic practice.

The typeface in this photographic series has been generated by extracting forms from the famous Jean Dubuffet’s Hourloupe pictorial works. Named Type Brut it was created by Nadine during an interdisciplinary residency at Dubuffet’s former atelier in France in June 2019. The headdresses and masks were designed subsequently as a means to experiment with the letterforms – in space and in relationship to the body. The pieces were supposed to be showcased at LASALLE’s Institute of Contemporary Arts Singapore in April 2020, but the exhibition was cancelled due to COVID-19 and Nadine continued to work on them during the lockdown. They were imagined, not as fashion objects, but as visual elements of

OPUS is a fusion type project that combines pre-printed, pre-determined elements with physical materials in a ‘response’ or ‘reaction’ style lab. The aesthetic has vernacular connections but the process is closer to traditional type design and graphic problem solving. For these forms to work [(as)OPUS], they need to manifest as both highly considered and (have the visual energy of being) thrown together. This project is continuous, ongoing, generative and collaborative.

„timewriter“ is an alternative, innovative time measurement system. It extends the known linear time system by an additional component of individual time perception. The actual duration of time and the perceived duration rarely overlap and often even run in opposite directions. „timewriter“ transfers this ambivalence into a graphical system, which can only be read and decoded on the basis of certain parameters.

Typographics project exploring the impact of nuclear testing at the Nevada Test Site in Nevada, USA. Image series exploring poetic data approaches to creative writing and generative design through computation, made with Python and p5js. Special thanks to Lynne Yun, Kevin Yeh, and Allison Parrish.

Design has always been significantly influenced by technical possibilities. Today, programs and algorithms increasingly
determine our way of visualizing and thinking. In order to retain the ability of action and judgement in times of new technologies, not only coherence but also mechanisms of action should be systematically investigated.
In many cases generative design is a self-purpose or the
 result . It seemed more important to me thinking about when and how this tool can be meaningfully integrated within the design process.
In a self-experiment about the basic structures of programmatics, I searched for correlations and differences in human and technological design series.

The artistic intervention made by Andrea Gassner to mark the anniversary year quotes fragments from Wolf Huber’s most important visual work. Alone the choice of the first name “Wolf“ as the initial typographical visual medium refers semantically to an ambivalent narrative.
In the cycle of images for billboards in the James Joyce Passage iconographical quotations from Huber’s visual work are integrated in the capital letters W O L F. Huber liked to make dramatic use of light, shadow, and space. He preferred garish colours and exaggerated facial expressions.
The work for the glass cube on Jahnplatz continues the game played with the capital letters of the name W O L F but in three dimensions.

Treating the three dimensional grid in the second dimensional digital space was always an intriguing matter for graphic designers, programmers, creative coders and visual artists. In this project (The Alphabetical Room) I have tried to explore the three dimensional grid – to explore its boundaries and limits and to play and lose control on a strictly calculated mathematical grid. Moreover I have tried to examine in which “space” the three dimensional grid acts and reacts when it is created and manipulated in a digital space.

After learning to do color prints from negatives in general, I did a lot of experiments in the darkroom and then eventually started to enjoy exploring subtractive color mixing on photo paper. That’s what I am focused on right now. Therefore I do a lot of multiple exposures; between each of them I use different types of templates, stencils or other things for covering up the to be exposed photo paper. Creating these tools, especially cutting stencils, as well as abstracting shapes, reminded me of doing street art. Finally I found a way of connecting different elements of graffiti with my darkroom work.

A vortex of words and an exercise with type. Endless, aimless, we dive in and use letters to yet again try to verbalize, connect and maybe understand ourselves and each other.

Based on the work of António Lobo Antunes

Poster made with the lyrics of the song “Samuel Mira” by Valete (Prod Baghira & Dr Neo Cortex)

Fragto a flexible typeface:
Fragto is a titling font with an experimental concept. The font has three styles. Fragto is divided into two parts: a fixed part that remains similar across the three styles and a flexible part, different for each style. Thanks to these two parts, the typeface can be used in one or two colours.

Typographic specimen:
To present this typeface, I have created a typographic specimen with the theme of eclectic music. This subject symbolises the formal diversity offered by the Fragto typeface. An artist, representing a different type of music, is assigned to each typeface style: classical music, yodelling (Swiss traditional music) and electronic music.

For this exercise, I decided to play with the idea of mix and layer. As a graphic designer I am at a point where I can comfortably pair two or three typefaces, maybe four. Can I handle more than that? I think I do. I also love the idea of stacking words with different colors and textures, so I wanted to see how far I could go without the poster becoming too overwhelming. At the same, time I wanted to set a limit when it came to color. I loved the final result; I just wish I’ve added more and more words.

Non-normative letters for a non-normative future.

Bud Rodecker — Design Direction, Design
Alyssa Arnesen — Design

Graphic excerpt from a soon to be released uplifting identity.

John Pobojewski — Concept, Design Direction, Strategy, Design
Nick Adam — Design

One of three distinct brands designed to emphasize the differences of lifestyles in a new tower in Chicago. This op art 23 is designed with a brutalism feel that relates to the loft’s architecture and attitude.

Nick Adam — Design Direction, Designer
Avery Branen — Designer, Illustrator

Unselected identity direction for a new restaurant that is reinventing Nashville Hot Chicken in Chicago.

“Stripes Vertical” is a monospaced display font that I designed earlier this year.
The founder and developers of a start-up focused on industrial IoT solutions I work for introduced me to free software, open source technology and the pioneer hackers spirit. So, designing the brand identity of the company, I used a visual style that recalls the graphics of the first personal computers and the dawn of the internet. I used the “Stripe Vertical” font for the title, numbers and acronyms in two one-sheet-only pdf presentations. Soon I would like to digitize and share it for free.

Bud Rodecker — Design Director, Designer
Alyssa Arnesen — Designer, Typeface Designer

Southwest Sans is a display typeface that was designed for residences in the Southwest of the United States. The monospaced-letterform build from Southwest motifs with a uniform geometry.

Pasto is a fun and charming display type family of two styles and four weights each. The first one, Print, is a textured irregular stamp style, and Sharp is a straightforward soft-edged type with clean strokes.

This type family provides three alternating alphabets that are automatically replaced in turn repeatedly to avoid the same letterforms and textures appearing next to each other, once more referring to its natural uniqueness inspiration.

Perfectly suited for graphic design and any display use, Pasto has very large language support! Special characters and currency symbols are also available.