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.

Digital 3D spray over the empty space. Rendered by Redshift and worked at Cinema 4D.

For my bachelor thesis I created a grid system to generate abstracted shapes from the necessary lines to represent Latin alphabetical and numeric characters, in order to identify one – or even more – bases of the smallest, essential fragment of the respective character.
These characters build the base of my thesis, ultimately yielding six complete sets of uppercase letters, lowercase letters and numbers and were then combined in different font-approaches. The results of the different approaches then again were used for the creation of a new Latin monospace font to close the transformation circle from system to fragment to character. This work is the starting point of the GOLEM type foundry.

Inspired by the 36 days of type project, I created my own alphabet and posted each letter on instagram for 36 days.
while creating, I followed only one rule: No letter may resemble the others in terms of “classic typography rules”.
After that, I decided to use two design directions out of that portfolio to form a “real font” out of it. One of them, you can find in the poster mockup “Hamburgefont” of my contribution. The work is still in progress, the designs show the status quo.

I combined regular money design with some dirty type to take out the seriousness out of the currency, but at the same time keep the illusion of value on printed paper.

Cross is a typeface designed on the
basis of personal visual research.
It contains aesthetic references to the
world of architecture and type design,
but also to all those visual stimuli related
to typography that I pick up while
walking around my city.

ink on paper – flowing ink. handwritten. the pen distributes the ink chaotically & the typeface takes on a life of its own and becomes a new overall image.

An endless workshop

Die Hellvetica entstand im Rahmen meiner Bachelor Arbeit und basiert auf theoretischen Themen wie Aneignung, Wiederholung, Kopie sowie Originalität und Autorschaft. Die weltweit verbreitetste Schriftart, die Helvetica, wurde als Grundlage genommen, um aus dieser systematisch und experimentell aufeinander aufbauende, neue Variationen und Versionen zu entwerfen. Mit der Absicht, sich gegen die herrschende und überholte Originalitätsmoral zu stellen, sowie ganz bewusst dem daraus resultierenden Zwang zu entgehen und im Einklang mit der menschlichen Natur und dem alltäglichen künstlerischen Schaffen ein neues einzigartiges Originalwerk – gerade durch Wiederholung und Aneignung – zu erschaffen.

For the release of @playtype’s Studio 6 typeface I designed a two-sided foldable specimen A2 poster. The poster features the shattered 6 element (which is generated in p5.js) with a playful layout showcasing the different weights on the back.