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”.

449.5 °F was commissioned by Fonderie Darling, a visual-arts venue located in a former foundry in Montreal. At the occasion of their 20 years, I have worked on an original typographic design created through a series of experiments with tin. I have reproduced the letters F and D in melted, severed and deformed metal. The two glyphs reveal irregular lines eaten away by heat, forming sinus surfaces with honed angles. The alternation between solid and smooth form, with sometimes abrupt ruptures, generates asymmetrical stems. This semblance of irregularity pervades the entirety of each letter up to their incision points, contrasting with the supple curves that underline them.

Obsolete was a response to the fear of automation in the world of design

In this poster I rolled out word «Petula» with a paint roller and acrylic paint to achieve unpredictability and great contrast for this theatratical event.

There are also some logos, collection of fonts by Fontfabric and handwritten texts made with marker.

Der Inhalt zweier Original-Letraset-Folien wurde analog von Hand dekonstruiert und neu kombiniert. So entstand ein analoger Remix, welcher sodann digitalisiert und in diversen Remake-Bildern zur individuelle Anwendung kam; hier repräsentativ als populäres „Keep calm and…“ Poster sowie als kurzes Video.

The typeface “umami” is a wobbly connected cursive with twenty–nine lowercase letters to experiment with. I used the font for a weather forecast poster.

I made simple stencils from film and sprayed the same shapes into the lettering and the portrait, using triangles, circles and squares alternately as shapes, counter-forms. The final result is an interesting dynamic composition in which shape and background work together to form the word Giacomo, the name of my classmate in the font design course. Made at the Nejc Prah workshop

This animated experimental collage type was made in celebration of the University of Missouri St. Louis’ Kelli Anderson Lecture.

Latin Square Kufic is a typographic experimentation I started designing a CD cover for IRAN, an electronic music band. The design exploits the Square Kufic, an ancient Arabic writing technique: letters and glyphs are drawn with orthogonal lines in a square inscribed grid according to a typesetting rule: no double space between strokes.
The research investigates aspects concerning type designing. How many shapes can a “squared” letter take on an orthogonal grid? And to what extent is it possible to vary the shape of a letter so that it remains recognizable, and a sentence legible?
The pixel-drawn letters result in an optical effect, a kind of maze where seeking a meaning.

When a typeface is unreadable, it has no audience, so there is no communication. Based on this assumption, we can can then give a new meaning to it through a process of disrupting/demodulating, getting back a new form of communication.

FUSE aims to be a live generative typeface.

Tools: arduino, modul8

Drawing that surfs between pixação and lombardic letters. By flipping the same artwork we get an interesting abstract composition while removing its meaning.

Digital Revolution is a typographic layout piece that is inspired by the chaotic state induced by being attached to digital gods in a sense.

The ease of everything being right at your fingertips – no more than an instant away, the desire to consume more, new content being reduced to but a fleeting novelty the moment it’s posted online.

This piece stands as a brief comment into that mindset and ideology – framing it in the sense of this digital cult that has encircled our lives.

Signalton is condensed, almost monospaced display sans serif typeface with very low contrast, closed apertures, and minimal optical compensation. The typeface character is formed by the combination of ultra-narrow letters with ultra-wide alternatives. Quite mechanistic shapes of the signs were inspired by the geometric shapes of Art Deco aesthetics, architecture of the 1930s, aesthetics of the industrial revolution of the early 20th century, when in-line production and belt conveyor systems were first introduced.
Inspiration drawn from machine aesthetics resulted in minimal almost invisible compensations in order to emphasise the typeface’s mechanical character.

Signalton is condensed, almost monospaced display sans serif typeface with very low contrast, closed apertures, and minimal optical compensation. The typeface character is formed by the combination of ultra-narrow letters with ultra-wide alternatives. Quite mechanistic shapes of the signs were inspired by the geometric shapes of Art Deco aesthetics, architecture of the 1930s, aesthetics of the industrial revolution of the early 20th century, when in-line production and belt conveyor systems were first introduced.
Inspiration drawn from machine aesthetics resulted in minimal almost invisible compensations in order to emphasise the typeface’s mechanical character.

Ever failed. No matter. Try again. Fail again. Fail better.
Poster inspired by this quote by Samuel Beckett with the font that started as a failure