Font-remix is a web-based experiment that proposes the process of configuring letter forms at runtime and generating a customized font file for download. Using opentype.js and performing boolean operations on the vector letterforms, two open source typefaces are combined according to a set of grids. This tool has been used in creating the open-source font Robert Brownjohn released through Primary Foundry.

Avogadro ist eine experimentelle variable Schriftart, inspiriert von der Struktur organischer Moleküle, die mich während meines Biologie-Bachelors fasziniert haben. Sie erzeugt eine kontinuierliche Palette von Formen zwischen zwei Polen; einerseits die tatsächliche atomare Struktur des Moleküls und andererseits eine geometrische Display-Schrift ohne Serifen. Die gesamte Schriftfamilie von Avogadro enthält fünf verschiedene Schriften: Molecular, Molecular Black, Formula Bold, Formula Regular und Formula Light. Um die variablen Eigenschaften von Avogadro zu präsentieren, habe ich eine typographische Animation in CSS und HTML programmiert.

General artwork and generative postersystem for VA300 – con/temporary exhibition at Höhmannhaus, Augsburg.

Some looping code and simulated gravity generates and outputs infinite unique variations of vectorbased and printready posters. Printed on cheap b/w-lasermachines and finished with a shiny silkscreen sticker.

Find more impressions and all original generated posters here:
http://www.lafkon.net/what/is/va300/
https://www.forkable.eu/generators/va300/PRINT/SEEME
https://www.forkable.eu/generators/va300/PRINT/o/non-free/

My TYPOEXPERIMENT contains two projects, the first is the Nausea project, where I combine letters from the author’s alphabet with an already known font. I like to make up novel words or phrases as titles for my projects and here the word Nausea was the perfect choice. Furthermore, I move the typography in animation and it creates a kind of embodiment of Nausea. I found it interesting to place the typography on mockups to represent it in an original way. The second project is Morphium, where a strong complementary colour scheme is used, with a bitmap intruder in the foreground representing the morphium itselfand behind it the inscription MORPHIUM LEADS TO DEATH OF THE VICTIM.

A self-directed project directly inspired by Indian string puppets (kathputali | कठपुतली) Merging the storytelling of the string puppets with some experimental Devanagari letterforms, this experimental project recreates an abstract mini puppet-show!

The Glyphs I designed are hard to read and they like to dance. I want to criticize the importance of the visual sense, which is too much connected to our minds and due to this by the manifested structures and conventions of society. Furthermore knowledge is priviledged, I want communication to be accessible or unaccessible for everyone or noone.
Body Type is constructed from one line. This expresses equality. Every body—means every letter—is equal. The letters resonate with one another while they are changing shape. They are connected and in constant exchange. With Body Type I want the reader to question the way we feel and the way we see and life our environment.

There is not much to say, its just numbers written in photoshop with a square brush. It looks ridiculous. It is probably going to be a trend in typography if it’s not already. I should make a font out of it.

Save the world, clear the air, clean the seas.

The type responds to the climate crisis and uses irregular/imperfect circles to suggest the state of the climate.

Is the application of a
rainbow gradient on the letters A, B and C

TEXTURE REIFENSPUR

Is a collection of wheel track textures.

Each graphic is the repetition of a German word related to speed, shaping a pattern to resemble texture.

PURPLE GLASS SEQUENCE

Is an extract of an Excel-made font,
only using the letters A and B.
Both signs explore the visual qualities of light and shadow of glass in a psychadelic atmosphere.

ABC TOMATOE
is the experimental examination between a tomatoe and the first letters of the alphabet.

This typeface was inspired by the shape of cacti, the light reflections you might see if they had a glossy surface, and slightly also the roughness of mountains mixed with the filigree veins of leaves. The font is suitable for titles and looks really well in white on a dark background.

For this typeface, I started with Old Caslon. The first step: print. My printer produces the first printing errors. Then I transferred the letters to linoleum. Thin lines became thicker, curves were no longer round. The next errors. Cutting the letters produced another transformation. Slipping off, tearing out, mistakes happened. Lots and little color affected the appearance of the letters in print. Printing errors caused by too much and too little color. Through scanning and digitizing, these errors finally found their way into a typeface: Mistakes.

Linear was born from the desire to express the planes of perspective in three dimensions. The Linear font refers to the basic geometric shapes. The gaps within the font balance the work. Linear is a great font for titles and subtitles of posters and art projects.

The Klaronaut font is an abstract font and it combines simple shapes. The poster shows the design grid with the finished font below. The colored dot in the design grid is a symbol for the Klaronaut logo. Klaronaut is a project that started in 2020 and serves as a balance to the university for me.

Metallic text effect with the font cera.

Best viewed as an ongoing series of typographic exercises, each “Composite” is an abstract reconfiguration of the graphic elements that make up a single majuscule letterform from an existing typeface. Scaled and centered within a square format, two identical instances of the chosen letterform are cropped into fourths and sixteenths, respectively. The subsequent twenty unique geometric segments are then reconfigured or discarded in order to create an original nonrepresentational composition.

Different outcomes that shows the type of work I create from Illustrations to experimental design typography using shapes.

Mild was born while
working on a branding project.
I was creating a logo for a copywriter
and out of all my proposals,
its hand-sketched lettering
caught my eye.

The lettering wasn’t selected
for that particular brief, but it had
potential. I sketched it out and
reconsidered the concept,
refining it into a set of letters.
Eventually, I arrived at the complete
typeface with the boldness and edge
I had sensed in the original
hand-sketched version.

Mild was born.

In the seminar “New Alphabet” by Prof. Eva Kubinyi at the Aachen University of Applied Sciences, teams of two developed modular fonts and presented them using a digital or analogue medium. In this project, the font was developed based on the shape of crystals and presented in a newspaper. The modular typeface is called “chrystallis” and was designed by Dilara Cekic and Eva Bauer. The writing is presented in the newspaper using the first stanza of the poem “Kristalle” by Heinz Bernhardt Ruprecht.