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.

Diamond Grotesk is a variable font that was born from the idea of creating a revival of the Akzidenz Grotesk font. The initial idea was to increase the contrasts of the font and give it a more contemporary look, however, during development, the contrasts were exaggeratedly increased creating a certain imbalance, which instantly gave us the idea of turning them into inktraps. The result is a variable font for text that allows a variety of dynamic solutions that has a total of 402 glyphs, supporting 80% of Latin Plus languages, has a huge variety of ligatures, inktraps and the diamond shape of the dots that gives the font its name.

Dynamic identity project for the Master in Contract Design for Public Interior at IUAV Venice. The letters take on physical forms, conveying the concreteness of design for interiors, of the structures with which they interact, with the function they must fulfil. Lettering becomes tangible and lives in the same space in which people act. In the 2021 version it tells the boundaries of the space, in 2022 it fills it and becomes an actor in the interior design. [IG: @iuav_contractdesign ]

Poster for the collective exhibition “Bauhaus – 100 Anos, 100 Objectos” at Casa-Museu Guerra Junqueiro in Porto, Portugal.

A well drawn classic like Vendome Italic gets fully out of balance with a simple process consisting of a single step: Just slant the font backwards in the right angle to get it upright 🙂 The quirky result is stunningly well drawn but somehow on the wrong track 🙂

This project links rave and football hooligan subcultures together through the use of typography, using the similarities of rhythm as well as looking into the history of both being an escape from the normal working week. Both subcultures were a vessel to release pent up aggression, with the typography evoking the feeling of freedom and ecstasy. Other influences include sculpture and experimental drawing.

Monolith.
In Stanley Kubrick’s 2001: A Space Odyssey (1968), a monolith of unknown origin appears at various points in history. Each time humans make contact with the monolith they appear to make evolutionary and technological advances.
Through a series of algorithmically made typefaces, beginning with “Monolith”, we can imagine a universal font with hundreds of thousands of glyphs, and we question what new potential such a font may hold for humans. Could a font function like the monolith in Kubrick’s film?
Through “Monolith” we use computational typography to explore the limits of writing systems, in an ‘infinite knowable’, imagined beyond language.

Every week, several emails accumulate in your spam folder. They promise you a million-dollar prize, a boost in your IQ within seconds, free liposuction and sexual offerings.

Spam messages of one week were collected, typographically edited, printed on sheets of paper, and crumpled up for the trash. The wrinkled sheets were scanned to create new experimental typographic graphics.

Virtual Sprint.

BRANDING, IDENTITY, COLLATERAL, ASSORTEED PRINTED MATERILAS AND ONLINE PRESSNECE.
Virtuyal Sprint is a full service print broker located in Melrose Park, Illinois. The “V” shape evolves into crop marks and the crop marks form the shape of a cross, humorously implying the level of care and attention to detail given to every project.

https://segura-inc.com/virtual-sprint

My project is about the manufacture of a compostable paper, made of 100% ecological material. The main component is chopped and pressed grass, which was blended with water and wheat flour. Using a laser cutter machine, the typography can be cut and engraved. The thickness of the Eco Paper amounts up to five millimeters and is accordingly solid. Wood as a raw material can consequently be saved by this alternative production process. This technique is especially suitable for single-use and individual PR products like advertising posters, invitation cards or tickets.

Continuous experimentation of the relationship between typographic form and function, how far that form can be pushed, the places in which it can be taken to and at which stage it becomes simply a graphic device. A series of experiments using generative compositions (via processing) abstracted through a mixed media approach.

Happy new Yeah !

typography research
Y–O–M–A

Self-promotional poster for our new and fresh graphic design agency.

Sync is a display typeface with up to three glyph variants. The font was developed as part of the Saturday Type Fever at the Karlsruhe University of Applied Sciences in 2019. Large parts of the glyphs were assembled from only a few individual components. By rotating and cutting the pieces, Sync obtained its mirrored effect. The glyph variants are stored as stylistic sets, and are randomly chosen when typing.

Squid is a display typeface inspired by the appearance and behavior of a squid. The counters (arms) are not closed and the intersections (body) are the thickest parts . Developed at écal, supervised by Alice Savoie.

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.

From looking at letters as a rigid system, to them into a totally relaxed gestural movement pushes this limp, inky alphabet.

Everyone has a unique handwriting. Hand – pen – paper is arguably the most accessible and convenient way to write a note without losing one’s personality behind it. In an attempt to replicate this on the screen, I decided to collaborate with the machine, as an independent agent to produce a vast amount of dynamic and full of character letters that could be assembled into fonts. Some of the fonts were more successful in terms of legibility. However, the computational outcome that failed to meet typographical norms provided a true collaborative spirit and asked to step back from what was expected to find ways to make these miscellanies work.