Disruptive Type is a new virtual exhibition space showcasing the amazing variety of letterforms within the disruptive culture amongst contemporary type designers. Because of his deep fascination for letterforms and their variety, Copenhagen based designer Jonas Baun Andersen initiated the project in order to create a new community amongst designers highlighting the disruptive nature of contemporary type design. “I felt this urge to do something different,” says Jonas, “I noticed all this great work being produced by contemporary type designers. All of them working hard to push the boundaries, to be innovative and re-define what type design could be.”

Handmade decorative font

This alphabet is the offspring of an experiment. I wanted to create letters whose forms derive from the extremes of a motion. As I wanted to animate the motion sequence analog using only a pen and a ruler, I decided to forgo curves of all kinds to economize. A mostly horizontal pushing and pulling within a grid formed the glyphs on the motion’s respective limits. The resulting eccentric high contrast alphabet is composed of three variants: the bulky “push”, the modest “laze” and the lean “pull” with serifs.

Le Festival Invisible takes place since 16 years in Brest, France. It is a highlight spot for all the underground music (national and international). The idea was simply to create a type that allows me to hide the name of the festival in a resembling graphisme. So that the Festival Invisible would be invisible in his own poster.

NF swim is an abstract typeface, which focuses on emotional expression in form of waves. It’s based on a theoretic concept of a model for way finding through our inner system of emotions, intuition and self defined values. Just like our emotions it’s not always easy to read or understand. Especially the numbers have a language of their own, you need to take some time and a closer look to be able to read them. Inspired by Roman numerals, they express themselves in a hidden way.

HAL Vincent is a monoline script font, which exists in two states: filled and empty (outlined). Each character is a closed shape, composed of one continuous line drawing. The letter forms are inspired by a script font designed by naval scientist Dr. Allen Vincent Hershey. The Hershey fonts were a collection of early vector fonts released in Hershey’s report “Calligraphy for Computers” (1967).

Type Distort Decay is an experimental typeface workout where I try to work on a series of three

First is creating the design poster using the typefaces that I love.

“Distort” is when I try to break the design grid by randomly distorting the layout.

“Decay” is to repeatedly deconstruct everything until it generates a random pattern.

Depending on complexity, I may use it as a texture for the next exercise. In a way, my next poster always has a DNA of the previous layout.

I custom made this typeface for a small two-player game called ‹Book Nooks›. In the game the characters need to solve puzzles revolving around word inventories. I wanted the letter forms to relate to each character’s abilities. The first character can conjure up objects through nouns in its inventory, so I assigned the uppercase letters to them and made them bulky and massive. The second character can manipulate in-game objects through adjectives in its inventory. To reflect this connecting, associative ability in the typeface I used geometric shaped sans letters in conjunction with high-contrast serifs for the lowercase alphabet.

Attention deficit hyperactivity disorder (ADHD) is a mental health disorder that can cause above-normal levels of hyperactive and impulsive behaviors. People with ADHD may also have trouble focusing their attention on a single task or sitting still for long periods of time. Both adults and children can have ADHD.

This poster seeks to communicate the feeling of having ADHD through clashing, complementary colors, and repetitions of the acronym ADHD. The visual disorientation of the poster mimics the loss of control that many sufferers of this condition feel.

A poster promoting the 30th anniversary of the Moscow Golden Bee Global Biennale of Graphic Design. The typographic texture, metallic palette, and layered visuals pay homage to the experimental voice of the Golden Bee.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

Dora Balla is a graphic designer and university professor at the MOME, member of the AGI. As a designer she focuses on personal and experimental methods in typography, type design and editorial design. She has been working on a research project since a decade, based on finding the relationship between visual research and contemporary graphic design history, primarily Hungarian cultural heritage.

This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.