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.

Calisz is a experimental, custom type based on simple geometrical shapes arranged on a square grid composed of two lines intersecting at an angle of 90 degrees.

“Welcome to the Machine” explores the potential of 3D software in typography. By using micro and macro typographic experiments, this project aims to investigate the properties and strength of the software and discover new visual worlds.

In her thesis project Stella Kornfeld created an experimental series of images. Over the course of three month she created a variety of images, while working on a different topic every week.

During the project, more than 2300 images and animations where created. These results where collected and summarized in a compendium, to make them accessible to others.

My work focuses on a counterintuitive view of typography and letterforms. It is deeply rooted in our brains to read and pull meaning from written language. My work is focusing on breaking the connection between letters/words and a written message. Is it possible to break that connection?

My intent is to make abstract work that is purely based on aesthetics. There is no deeper or hidden meaning in my collages, the goal is to create something that feels good. I want my art to create a sense of belonging regardless of the environment it is placed in. It is not art for contemplative thought, but for a satisfying feeling that induces familiarity as well as newness.

Typographic research presented on specimens.

Lorna Mulligan’s calligraphy explores the interaction of traditional calligraphic techniques with more contemporary expressions. Words combine with the drawn line creating an interplay of colour, form and movement. She continues to be inspired by the chaos in nature and the beauty of letterforms.

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.