During the migration in 2015, for the first time since the founding of the European Union, there were increased controls at the borders within the Schengen area. Since the beginning of the corona pandemic in 2020, the situation at the inner-European borders has worsened again. Member states report a massive increase in the right-wing scenes in the wake of the pandemic. Due to the current developments within the EU, we have also asked ourselves whether the Schengen area is about to end, almost 25 years after its introduction. That is why we have decided to use our poster series to draw attention to the importance of open internal borders and to make a statement against rising nationalism and

These three different fonts are made for my master project, “Pick Me”, which is a graphic experiment, which is about eye-catching snack designs. Can’t these playful snack package designs be used for better snacks that aren’t unhealthy processed foods? These concerns inspired this project. For the design process, I collected around 80 snacks from all around the world and researched what typefaces they have on their packages. Then I decided to make three types of fonts. These three typefaces have strong characteristics but share one grid system, which is inspired by Le Corbusier’s Modulor. So they can be unique by themselves, but can be well-composed all together on a same product.

I made this tool with processing in the class “Code && Type” at Bauhaus University. This tool reads a brightness value of a pixel from images and converts it to an SVG shape I put. The shapes are changed by mouse movement and also colors can be changed by key press. The changes of the letters make an interesting appearance by accident. And also, viewers can capture the moment they want.

Experimenting with photography and typography by capturing water drops on glass above printed typography compositions. A combination of the digital and physical world, aiming to break the boundaries of typography and explore new aspects and dimensions around it.

Experimenting with printed typography on transparencies, using the scanner. The power of the hand gives life and energy to the letters, emphasizing how playful typography can be.

Poster based on the inspirational quote “In a gentle way, you can shake the world” by the Indian Activist Mahatma Gandhi. Aiming to make people think and take action, this motivational poster suggests that each person should follow these powerful words, take action, and change the place we live, into a peaceful world. The main part of the poster is a long exposure photograph, a result of a paper with cutout typography, black background, and flash.

Which is the relationship between hopes and dreams? How can each one transform into the other through experimental typography? A visual journey that combines the physical and digital world with the use of photography (water drops on glass above typography prints) and digital design.

Be careful! Typography is fragile. Treat it the right way.

Posters dedicated to the Pakistani Olympic Athlete Abdul Khaliq. A typographic journey that emphasizes important values, such as power, spirituality, and courage.

In these difficult times, graphic design should be a powerful ’tool’ that can send strong messages and ’wake up’ humanity. Each one of us can act, express our opinion, make a difference; BREAK DOWN THE WALLS. A visual study that uses the grid and typography, to express and represent how the social boundaries can be overstepped.

“Letters are the signs for sound”, – Eric Gill. And that says it all. Typography hides so many different sounds; Magic. Using a plastic bag, water, classic music, and a camera to capture the vibrations that occur, and explore how the form of the letters can change based on sounds. Diving into typography literally and metaphorically.

Aiming to travel the viewer through the magical world of Typography, the poster introduces older techniques and typographic elements in combination with modern approaches, as Typography in both past and present, has managed to make people think, changed their perceptions, and created a completely different world. A set of different digital and physical techniques, textures, and materials based on an experimental grid.

I write because I’m nervous. The last one and a half years have gone by too quick and slow simultaneously. An isolated life in a hail of information – every day accompanied by new bad news. In the process of writing I have found peace in these times. The text mirrors my own feelings concerning the pandemic. Feeling overwhelmed, personal loss, longing for a future and the past. The universe carrying on despite our insignificance in the chaos.The writing is reaching up to my neck – I’m camouflaging myself in it and bring my nervousness to the outside.
In writing, I have found a place where my nervousness dissolves. The writing itself has become my outcry – a peace of mind in hectic times.

Now that it’s possible to let AI generate images out of text, I wanted to check out if it can generate letters. Neuratype_P is an experimental font, where every character was initially generated from a generative adversarial network, afterwards extracted and processed into a typeface in three weights, eg, iterations.

And it marks surprisingly already around 10 years when the first vectors were drawn, the first fonts mangled and bastardized into new “letters”.
Experiments and commissions from the past got repurposed to assets, which make up the snippets of the personal typographic work collage.

A reinterpretation of traditional forms of Roman monumental script. Sharp, modern, with hypertrophied serifs and Snake-serifs.

A stencil variable font in which the construction of the signs is dictated by stencil features. The design of the sign follows the traditional forms and proportions of Didot-style typefaces, but cutting the ovals for technical stencil connections creates a unique style of typeface with a logic of humanistic contrast.

The main purpose of the typeface is to make the font parameters and contrast change according to the size of the letters. Not according to only optical size, but to a minimum stroke thickness of 1mm. The minimum technically possible thickness for a handmade stencil

Entropyst — variable font with axis: from neutral but expressive. Forms impressed by nature and entropy. The font is in progress and it is planned to create a dozen different axes reflecting the different entropy forms. For example one axis is inspired by the leaves of the Holly tree: When animals start eating the leaves of this tree, leafs become sharp and prickly. I tried to transfer this change from nature to the form of variable letters. In the future, I plan to translate the result into a Wood type for Letterpress to bring together the analogue and digital sides of type design. So that the idea of entropy coming from the real world into digital form comes back to the real world.

F034 is a display typeface based on the 34th shape of an archive of 100 shapes, which was created using a misloaded and thereby abstracted photo. Both the form language and the name of the typeface are based on this shape.

This is a lettering spontaneously altered through an glass snack box. I play with the german words MUT and WUT wich mean COURAGE and FURY. These are often words that are not accociated as feminine properties. As a woman, I often struggle to involve these traits in my life, so i printed the words in bright playful colours on a riso printer as a reminder.

Poster inspired by the “Forma” font by Aldo Novarese. Overlapping of multiple layers of R41 transferable masks

“I regret nothing” is inspired by a teacher of mine who said we should just join competitions and be fearless. Trying out new things is something I really enjoy and I am taking a step out of my comfort zone to present my work to the world. We don’t know where our art and creativity takes us but I will always look back at my art and thing “I regret nothing. This is and always will be part of my journey.”
“I regret nothing” is also written in black and white in an alien-like font I created

Poster 50×70 cm
Ink on paper
© Marco Campedelli