The font “Krepost” is a branded display font created for the Vladivostok Fortress.
Its geometry is based on the unique architectural forms of this object, and thanks to the “laconic” serifs, it exudes the spirit of the late 19th century, the era of the industrial revolution, armored trains and, of course, fortresses.
This project contains collages featuring selected letters from my upcoming font titled “nothing but lines.” The collages showcase the different phases of my work, including sketching, drafting, tracing, and eliminating ideas. Much like the process of designing the font itself, I transitioned back and forth between analog and digital methods to create these collages.
Only those who have experienced firsthand what it means to lose a loved one to murder, to lose a loved one in an execution, or to be imprisoned for decades waiting to die can truly understand the complexity of the death penalty.
All those affected—incarcerated people and their families and friends, as well as the social environment of victims—speak openly in this book. These people are given a voice; a voice that is allowed to speak of grief, pain, love, remorse and forgiveness. A voice that can open our eyes to the fact that the death penalty only causes more suffering and offers no chance of healing for either party.
AI generated type experiment based on an image of grass
—the phrase touch grass is “used when someone is doing something weird, stupid, or pointless. it means they need to come back to reality, they need to get some fresh air and get back in touch with how the real world works.”—urbandictionary.com
This project was on view @ Tate at the Cyborg Futures digital display.
print: Digitalpress
type: Neue Montreal
paper: Cromatico Extra White 180gn
Ai is frightening as much as it’s fascinating. This is an accidental graphical attempt that created a warning symbol for the potential threat of artificial intelligence.
The exclamation mark inside a triangle is a widely known symbol for danger and caution, flipping the exclamation mark to form an “i” while simultaneously making the negative space in the triangle form an “A, created a distinguished symbol that is descriptive and informative to the topic with familiarity to anyone.
Recently, I started experimenting with photographic paper in a darkroom. In analogue photography, a contact sheet is produced by placing the film on photographic paper and exposing it to light. I modified this technique, so I could expose photographic paper using my desktop screen.
I wanted to explore what this technique does to typography – where does the type get distorted, fractured, blurred, or illegible when I bend the paper, cut it, crumple it, or splash it with water or photographic developer.
excerpt of the analog created, experimental series “ED°01”.
various complex properties of ephemeral substances are captured
and build the foundation of this project.
ED°1 is an improvised analog set up, to capture divers materials in its movement,
either reacting chemically/physically or in combination with sound vibrations.
the goal of this project was to close the gap between analog & digital and to get a new perspective on working with typography & illustration.
Dieser Font resultiert aus der Disziplin der Line-Art bzw. One-Line-Art in der Zeichnung bzw. Illustration und ist von dieser inspiriert und so entstand diese Lineart-Type.
Algorithms controls and dictate many aspects of our lives and decisions. Bit by bit we are losing ourselves to the technology we invented, chained by its directives of a new evolving narrative of zeroes and ones.
Capitalism could not exist without the coins, notes, documents, graphics, interfaces, branding and advertisements; artefacts that have been created by graphic designers. Even anti-consumerist strategies such as social design and speculative design are appropriated to serve economic growth. It seems that design is locked in a system of exploitation and profit, a cycle that fosters inequality and the depletion of natural resources. CAPS LOCK uses clear language and striking visual examples to show how graphic design and capitalism are inextricably linked.The book also features examples of radical design collectives, that work towards alternatives between design, community and reciprocity.
Neon design.
Calligraphic Experiments with Processing.
To explore new shapes and letterforms.
The process of creating always generates a bunch of visual reminders. Every piece of the poster is an unused part of another artwork.
I made a personal experiment to visually represent the numbers of the year 2023 as fireworks.
Die Reduktion jedes Zeichens auf eine abstrahierte Outline Variante; welcher in einer zweiten ergänzenden Version – einem weiteren Schriftschnitt – zur Hälfte sodann und im Kontrast zu der vorher so vereinfachten leichten Optik, ein schwerer „schwarzen Balken“ addiert wurde.
Der Arbeitstitel wurde stillschweigend, aufgrund seiner Einfachheit und natürlich auch seiner Passgenauigkeit, zum Namensgeber.
My visual experiments are created within #36daysoftype 10. Each letter is an attempt to explore yourself and your visual language through different tools, practices, form, material, color and concepts. An attempt to explore how letters can reveal character and influence context and vice versa.
What the future holds for us? The best way to predict the future is to create it. The work was part of the 4th Emirates International Poster Festival EIPF.
In its 4th edition, EIPF draws inspiration from the “UAE Centennial 2071“, a future-oriented and human-centric plan that calls for investments in the future and improving quality of life. The future is no longer what we wait for, but rather what we make, through innovative ideas and scientific planning to improve life conditions for future generations.
“Jazz washes away the dust of everyday life.“
– Art Blakey
The idea was to make a poster to celebrate international jazz day.
Jazz is a constant flow, flow of music in the soul. A connection of the senses in an indescribable way, merging them into a unique feeling. It is a genre that continues to evolve and innovate, with artists constantly pushing the boundaries and experimenting with new styles and sounds to keep the music fresh and relevant.
My approach was to create a multidimensional bridge composition by connecting the letters of the word “JAZZ”.
Performance, like typefaces, has a long history and vivid expression and is always evolving.
Montage Display is a typeface designed based on a specimen published by Hamilton Wood Type in collaboration with William Caslon. The original typeface was labeled No.629. The goal is to recreate this wood type and make it suitable for film and theatre titles. Developed from the original specimen, this typeface is
now improved to include a full alphabet and punctuation marks.
I am looking for new visual possibilities for handling typographic elements. I started in the direction of the interplay of black and white, these are vibrant, positive-negative forms like “op-art”, where the letter is formed by shifting and sliding areas. The end result is reminiscent of the path of light rays, or the disintegration of light rays.
Silvana is a contemporary display serif typeface with sharp and dynamic strokes, strong contrast and delicate pointed serifs. One of Silvana’s core traits is its 82 functional and experimental ligatures including stacked ligatures like www and xxx, making the typeface is a refreshing and playful addition to the designers tool kit.
Doppler is an all-capital variable display typeface with a mechanical letter construction where every letter has a different width depending on its position between the letters A and Z. This approach is inspired by the Doppler effect which refers to the change in wave frequency during the relative movement between a wave source and its observer. In this case, the letters A and Z are taken as the two extremes thus the two source points (aka wave source and observer) for multiplication. The width of each letter between A and Z is then calculated depending on its position in relation to the source resulting in an organic letter width across the typeface.
A message poster against war and to enjoy Jazz, a poster work based on a hand-drawn ambigram, which can be rotated 180° to show the same design. It expresses strongly that we should oppose war no matter what side we are on; the smaller poster size or the leaflet size makes the effect of the design even more apparent.