Trisquare is an Experimental Display Typeface, which is inspired by the strokes of the Fraktur alphabet but developed through the composition of triangular and square shapes. It has a particular ancient soul with a digital taste. Trisquare is good to use for Branding, Signage, Packaging, Advertising, Headlines, Magazines, Book titles, or everything you want to use it for.

GREY ZONE refers to a situation that is unclear or ambiguous. it pivots this original meaning to a more figurative one so that it stresses the fact that when two people come together to form a harmonious relationship, they might have to endure conflict and inevitable clashes in the process. Black and white figures crisscrossed on the paper formulates some letters, and these letters and the back spaces complete the whole picture. In such way, spontaneous moments and choices in our life determine our journey and ourselves as well, and it reminds us we are all floating and living in the grey area.

During Mike’s final exam, he designed and conceptualized ten display typefaces. Part of this work were 30 poster studies, which served to experimentally illustrate the resulting fonts in the form of exhibition and editorial design. Shrooms, showcasing the same called typeface, is one of these 30 posters and is compatible with augmented reality. The typeface and the poster should make the viewer feel like trippin’ through a weirdly colorful forest.

Zwiespalt is a poster that wants to aggressively showcase the political conflict on our planet. Highlight of the artwork is the huge spiky Z letter in the center. Working with a very loud red and black color combination, Zwiespalt just screams for attention and can also be viewed 180°.

The design and naming of Wagnis is inspired by the imperfectionism of the daring experiment the typeface is itself. Every glyph was a first try using the path tool. Without using any sort of grid or rules, Wagnis is made to be a dare of modern and provocative, yet fascinating, type design. With spiky edges and irregular sizing, it is supposed to look like a mistake, yet the aesthetic is so unique and
interesting that you want to take a closer look at every single glyph. The font style of Wagnis is called irregular, because it is everything
else than your regular everyday typeface.

Zelos is an experimental typeface that I created in 2020 which comes with a vertical and a horizontal style. The posters are showcasing both styles and can also be viewed 180°.

For a music venue in London we built a modulator called SoundWaveMachine that transformed sound into a visual. We took various musical sounds that make up the programme and digitally transformed them into unique visual waves. In turn a new logotype was created for each performance, season and staff member.

Perspectiva is a registered charity and a collective of scholars, artists, activists.We created an identity based on an isometric grid showing different perspectives.

The We:deutschland project is about German identity so each letter is made up of the three colours of the
German flag (trikolore). The project is also crucially a study on human dna and the various
components that make up our genetic code – to reference this we created a typeface clearly
made up of different elements, that needs to be decoded.

8x8type is a typeface based on the 8 x 8 grid of a chess board. Each letter is made up of 32
black squares and 32 white squares, as is a chess board. Used for a cardboard chess set and posters.

A box of pencils produced as a promotional piece for a box company. We designed a typeface and illustrations using pencil component shapes. This was used for the identity for Pencil Box, the pencils, the insert and postcards. This typeface is unique to the Pencil Box project and works with the illustrated characters. Five shapes make up the alphabet, punctuation and numbers. Its use carries through from the box, to the insert, the character’s names, the postcard

The font is a playful extension of the type family Weissenhof Grotesk. Based on its Regular style a diverse collection of uppercase vowels has been created by experimenting with analoge as well as digital techniques, using a laser printer, scanner and layout software. The letterings have been designed for the visual identity of the temporary art space Satellit Stuttgart, responding to the ever-changing contexts of Satellit and its participating artists and designers.

Ultimately, I’m trying to capture things that physically can’t be captured in
camera. I usually try to work photorealistically, that is, to create detailed
textures and lighting conditions. In the best case, the viewer should be
amazed and wonder how something like this can be visualized at all. With an
oil painting I appreciate the technique, but also have an idea of how it all came
together. I will continue to work on disguising the traces of my techniques.

Comm-unity is human

…и вовсе не друзья

I’m not sure how to ask, what to ask. I’m filled with questions rather than with answers. On my path to recovery, this is really crucial. I’ve tried different doctors, therapists, and counselors. The most valuable resource I’ve found so far has been this book, Questions That Heal. It gives a person a tool to look at their thoughts about their pain. I’d heard about this book, but it’s actually not until I started using it that I felt the shift. Now I’m Empowered patient.

The poster aims to acknowledge in a cheeky way how these days, in the social networks era, creatives and designers ‘get inspiration’ from each others’ work. Sometimes the line between ‘inspiration’ and ‘copying’ is really thin, but it’s something we learnt to live with and, sometimes, put up with.

The poster was created for the performance The Red Tree in the space of the Boyar Chambers.

The main typography is based on the metaphor of frightening shadows that appear from the moonlight outside the window. The color and shape of the letters combines at the same time the cold, dim light of the night moon and the winding shapes of tree branches.

“The production is built as a journey through the fragments of memories” – this short description of the performance is embodied in service typography, which is divided into its component parts.

The “Vela”, as it is called by the locals, was designed in 2005 by Santiago Calatrava and was destined to host the 2009 world swimming championships in Rome. Due to the increase in costs, it has never been finished. According to sociologists, a place unfinished and in ruins generates a mixture of fear and nostalgia, but also a thrill of excitement, and reminds us of the inexorable passage of time.
The project aims to give value and remember a piece of our heritage that has been forgotten and unused, and also generate the same emotions caused by the abandoned building. The letters are modular: the base is the shape of the “sail”, which takes up the structure of the reference architecture.

The poster was made for the play Demons based on the novel by Fyodor Dostoevsky.

Magic hand-made typography, emphasizing the “sinfulness” of the work. Just as The Possessed became a warning novel, the poster becomes a herald of radicalism and a qualitatively exciting mood.

The color scheme, as it were, warns of something forbidden and provocative.

Service typography pretentiously steals attention, breaking the smoothness of the main composition to create a feeling of inconsistency.

I’ve been looking for a long time for an event to make homage to the marvellous poster «Frederik» by Erich Brechbuhl, when I found out that Diorama is performing in their hometown soon. The sound of this poster reminds me of earlier Diorama songs. The more surprised I was when the musicians decided to use my design.

Large letters «Diorama» are made from Fractal font by Tibor Lantos.

Other type: for March event I used Muller by Fontfabric, for April — Teko by Indian Type Foundry (Diorama asked me to change it to Teko as it was their official type).

I first met Jacob Dahlgren when we worked together on his exhibition “Quality Through Quantity” at Museum Ritter in 2017. One of the exhibits was part of Jacob’s series “Subject of Art”—blocks of pencils of various lengths, forming sculptures with distinctly shaped surfaces.

At the vernissage, I overheard someone ask Jacob if the shapes were supposed to depict letters—one of them could easily be read as an N—which he negated. This was enough motivation for me to get to work.

Thanks to the angled perspective, the surfaces creating the letterforms create shapes similar to brushstrokes. The result is a modern take on the classic blackletter — hence the name “Dahlgren Blockletter”.