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.

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).