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

Illustration for the clothing brand Uncommon Being to commemorate the 23rd anniversary of Respect DNB in Los Angeles, California.

Extra Kinetic is a variable typeface that I developed in my master’s thesis. It contains 4 axes that offer enormous flexibility and unpredictability to font design. Its main objective is to be applied to kinetic typographic animations so it has exaggerated and repetitive characteristics that give kinetic proprieties to the type itself.

This typeface was developed on a p5.js script that contains a table of randomly positioned black and white pixels that change when you refresh the page. When I found an interesting form that had the potential to be great and different I started developing all the other letters based on the main shape that I retrieved from p5.

This experimental typeface came up in the #36daysoftype contest and happened by mistake when I scanned images and ended up creating the number 4 occasionally. All other letters and numbers come from the number 4 and were developed on the scanner with random textured objects like silver, paper, pillboxes, etc.

WFxPP was created for Páreas Párias, with the goal to celebrate the artists that took part in their indie publication in the previous year.

Challenged to create a poster, I decided to go a few steps further by creating a gradient working font and developing a program with Drawbot that allows anyone who acquires the poster to create their own print-ready version of it, set with their own words.

Finally, I wrote a short essay on the importance of letters and typographers in our society and the relevance of seeing all human beings as creators.

“Párias Páreas ends the colophon with shades that allow themselves to be read and called letters”.

facetype + shapetype are experimentations that delve into dynamic, responsive and kinetic typography.

For facetype, which is based on the position of the face (using PoseNet), each letter in the word is distorted and different stroke weights and heights are ascribed to different parts of the letter.

‘shapetype’, inspired by modular typography, allows for type that is formed by modules that stay in the same place, but appear and disappear according to the dynamic letter it supports. A little bit Midsommar-ish, this is a fun breath of fresh air that you can stare at and play with for as long as you’d like.

Full website link: https://type-and-code.netlify.app/2021/aditi/

“Node”, a typeface I designed in collaboration with Dissrup. One of the first fonts distributed via blockchain technology.