This project is apart from a typographic exercise. I brief was to create a unique experimental typeface based on an experiment repeated over and over. I decided to capture the water stain left on my shower everyday for a month and create letters out of the water forms. I used this font to then create an alternative album cover for Men I Trust.

Project completed at @elisava @graphic.elisava

Squeeze is a monospace display font inspired by the work of Barcelona Artist, Kim Van Vuuren. It is chunky, happy and a bit retro. This font is built with a considered yet awkward balance between abstract forms and geometric shapes.

The Experimental Trash is a place that holds all the failed typographic experiments that where created in the process for this submission.

This poster is part of the Bad Printing project, which explores the means and possibilities of letterpress printing by engaging with the medium of the poster. The aim is to design visuals by experimenting with this printing technique. The particularity of this poster is that it is entirely handmade. The text is composed from patterns, composed tediously one by one in the frame of the letterpress. The important thing in this work is to think about the process of creation, it is this process that will lead us to an explorative form of design.

Plastic is a variable monospace font, formed by four master styles — Chain Black/Thin and Simple Black/Thin. Thanks to two interpolar axes it is possible to generate thickness instances and also sets the openness of the characters. It is inspired by a plastic toy called C’s, a Czechoslovak socialist phenomenon of the ’80s. Chain styles keep the chaining principle, which was the ground principle when designing the font. Simple style is more conventional. The font is complemented by a stylistic set of width alternatives of capitals and numbers created in double width of the glyph. Promotional postcards were printed on risograph. Text and visuals were inspired by the C’s phenomenon.

This poster series addresses the issue of violence against women and focuses on public spaces. It was inspired by the »First Things First Manifesto« (1964) and created within the typography course at the FH Aachen in the Department of design.

The subject is multi-layered, which is why we included several sub-topics. But in particular, the very recent »Reclaim these streets« debate is one of the debates that was especially important to us. »Reclaim these Streets« focuses on the fact that women do not feel safe, specifically on their way home at night.

My work circles around a mixture of digital design tools and analog printing techniques – I like to call that NEOANALOGUE. The birth of modern typography lies in analog letterpress printing and is still rooted in it. Experimental type design, in particular, opens an historically based playground for today’s hyper-digital design tools in harmony with and through analog printing processes. To do this, I designed a typeface based on circles only, sawed coins, glued them on a wooden block and printed them by hand. The technique of analog printing was involved in the entire design process not only as a background idea, but also as a style-defining factor for an experimental design approach.

The Formbar font family is an experiment in reproducing diagrams using typography and making this design pattern accessible to everyone on the web. For this purpose, a variable font system was created that includes 4 font styles. The glyphs have a 100% span to each other. This creates enough flexibility to reproduce bar charts with the font. The typeface is characterised by uniform-looking counters and a mixture of capitals and minuscules. Using the Formbar font family, a web tool for creating typographic bar charts was created. The properties of the bar chart can be customised through various settings. Afterwards, the typographic diagram can be downloaded and used for other purposes.

Variable Display type design made during Martin Lorenz’s workshop at ELISAVA.

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The brief was to create a Type system based on a picture we had to take in Barcelona. This particular one is based on a door metallic structure. I re-used the same shape over and over to create the typeface.
First time using Glyphs to create an actual working Variable font super easily thanks to the components.

Limited edition typographic prints integrating the letter ‘M’ from different languages/scripts across South Asia, Canada and other parts of the world. The design is an abstract pictographic mark, which represents the River of Language. It is an amalgamation of the various scripts flowing together into a maze like structure. The sound/letter M (Ma) has a strong connection to both water (river) and mother tongue (language).

It is believed that the Phoenician word for water, “mem” was the origin for the contemporary letter “meem”. In multiple languages, the letter is connectable to both sides of a word. It can be presented in any of the showcased three forms depending on its position in the word, the initial, the medial or final forms — representing the beginning, middle and the end, the flow of time, the passage of experiences, cycle of time, the journey — a continuous loop. It is a homage to the creative sensibilities of the past and a continuation of our collective stories.

Typographic forms that merge corresponding letters from English/Latin and the Perso-Arabic scripts.

Kollaps is a variable display font inspired by LED signs and the oddities that appear when they collapse. Its shapes consists of hard lines and soft moving glitches. In order to explore the collapse further I have used different mediums and scripts to generate form. Here are one example of the font being used in a LED sign and some examples of the font being set using javascript.

Kandinsky Sans is a computer-generated and parameterizable typeface created as a collaborative research project conducted by two professors in two Texas universities. This poster demonstrates the application of the typeface.

Das Kopieren ist eine Kulturtechnik. Innovation entsteht nicht mehr aus einem Gedanken heraus, der einmalig und zukunftsträchtig ist, sondern durch Inspiration, Kombination und Veränderung von Bestehendem.
“Das ist alles nur geklaut”… Nein, das ist alles nur kopiert! Das Kopieren und Adaptieren ist ein urmenschlicher Prozess. Der Mensch lernt nur Sprechen und Handeln durch das Kopieren des Verhaltens der Eltern und entwickelt es weiter zu einer ganz persönlichen Art des Sprechens und Handelns. Wir Menschen werden also nur zu dem, was wir sind, indem wir abgucken, kopieren, adaptieren, verändern und Informationen in unser Selbstkonzept integrieren.

The interactive code based project , “Literally Freaks”,allows viewers to produce visual distortions of their profile. A generative code based on two words (one affects the x-axis and the other the y-axis) , “literally” produces “freaks” profiles. In the design process, an image was created for each letter from the Latin alphabet, based on the same code developed for the project.

A series of posters celebrate the 130th birthday of El Lissitzky, Jewish-Russian artist and designer. One poster uses the number 130 and the words “El Lissitzky” written in English, Hebrew and Russian. The other uses the words “El Lissitzky” written in English and Hebrew and can be read from top to bottom and vice versa. All alphabets are made up of basic shapes, as a tribute to Lissitzky’s work, which influenced the Bauhaus and Russian constructivist.

A series of posters to promote jazz events in 2021.

An experimental typographic research laboratory. The Laboratory examines the speculative premise that “the characters of the Hebrew alphabet have a molecular structure.” The research shows how this assertion affects the Hebrew alphabet, word, and language, and examines the discipline through the parameters of function versus aesthetics, and content versus form. The project contained a research book, interactive web page, printed posters and 3D animated videos. The posters illustrate the research conclusions while using linguistic patterns, such as anagrams, palindromes, and pangrams. These tests examined the formal, aesthetic, and symmetrical appearance of the characters and the words.

Dear human starts with the assumption that we have distanced ourselves from the natural world. We shape and affect the landscape around us; thus, we have become the landscape. The climate crisis and fast changes in the natural world has resulted in a need to get back to nature.

This project is a series of visual experiments in various formats that aims to give a voice to the voiceless. By borrowing the voice of nature this project invites reflection and makes visible possible interactions and proximity to the biosphere. The goal is not to solve a problem, but rather start dialogue and conversation about relations that are lost.The variable font aimes to give nature a voice of its own.