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

Poster for the movie Alraune directed by Henrik Galeen (1928). The typeface was inspired by different states of metal: liquid, solid, melted, rusted.

Poster for the movie Enthusiasm: The Symphony of Donbas directed by Soviet filmmaker Dziga Vertov (1931). The typeface was inspired by different states of metal: liquid, solid, melted, rusted.

This typeface was inspired by different states of metal: liquid, solid, melted, rusted.

This simple modular type consists of two simple elements

Typography is a very present element in my art inherited from my design background. However, it was never so openly under the spotlight as in Bad Typography. Bad Typography is not a type face at all but sometimes it behaves like it were. It allows me to explore new formal relations between characters and hack the logic by which typography should work according to a more academic way. It ended becoming a ever-changing type family, a platform that can be stressed out in multiple results, not only from its original purpose, but also bringing some new possibilities that ended by making myself so productive as I could not manage to be in a recent past. Must keep working on it for a while.