Blended Perspectives is an interactive poster based on my personal manifesto on design. The poster begins folded in the word “Blended” and as you peel back the layers, shifts into a completely new word, “Perspective.” As you are folding the pieces, the manifesto reads: Design is a multi-disciplinary and layered process, design should shift perspectives and heighten your curiosity, design will re-imagine barriers, limitations and mistakes, design should be an intersection of all of your practices. My intention is that while you are physically interacting with this piece, those concepts are something you can tangibly feel. Once the poster is fully open, an entirely new piece is revealed, displ

Cognitive distortions are exaggerated patterns of thoughts or beliefs that are not based on facts, distort person’s perception of reality, usually in a negative way. In short, they’re habitual errors in thinking. This term which belongs to cognitive behavioral therapy suggests that our thoughts, emotions and behavior are all connected, and what we think and do affects the way we feel. Cognitive Distortions Type is a display font with different variants in, inspired by thinking mistakes that are classified as cognitive distortions which we frequently encounter in daily life. Letters have the characteristic features of distorted thinking such as being rigid, sharp,dominant, sensitive etc.

This display focused typeface is designed to pridefully take up space with wide letterforms, generous tracking and lively, multifaceted swashes. It’s about reflecting diverse characters and identities as well as dismantling biases. It offers several types of swashes to express diverse attributes. Drawn from a classical idea of a serif typeface the swashes want to break with an orderly design concept and reveal a more diverse look but at the same time keep a certain coherence to the overall appearance. Extrovert, introvert and everything in between or beyond; every character has a right to exist and be given space as well as acceptance.

Experiment borrowing from calligraphy and typography practices, forcing individuality in each letterform while trying to create a sense of wholeness.

This experiment took place while traveling on an airplane. I tried to push my sense of aesthetics and limits of legibility while drawing these letterforms. Individually, each letter is barely recognizable, yet in context the phrase is easy to read.

experimental typeface

The selection of works here is a collection of type-based experiments, textural or literal, in certain situations metaphorical. Anything becomes type and type might become anything, there’s a special ecstasy in working with visual, symbolic forms of spoken / written language. It shapes moods and messages. It goes beyond words, endless possibilities in shaping ideas equal endless possibilities of existence.
The image set is compound of sketches, layers and experiments with type I incorporated in posters, visual identities or advertising materials.

Extended is a p5.js sketch running on an HTML webpage. The outlines of letters and/or words can be stretched by the user with the cursor. The paths of a letter are traced by dots. Each point’s position is manipulated by the position of the cursor.

The show interprets Ukiyo-e as photographs documenting the everyday lives of Edo commoners, rather than works of art. In the poster, a large area of the print is obscured from view, inviting the viewer to come closer and study the details. Also, Inkjet technology has made it possible to add texture to the obscured area so the viewer can vaguely make out the details of the print. Black shape cropped each Ukiyo-e was based Kanji, linked to their respective themes. Our posters have succeeded in incorporating the essence of the show, by looking at both the details and the entirety of the print, that there is so much more to Ukiyo-e than meets the eye.

We created a visual symbol made by programming and graphic design. The three types of “BIO” typography are inspired by the fact that a proto cell, the origin of life, has a simple lipid membrane structure. The design was aimed to be derived not only from the aesthetic sense of the designer, but also exploring the possibility of a more organic visual with life by incorporating the laws and dynamics of nature and the physical world.
Planning / SHA inc.
Art Direction / Kazushige Takebayashi
Design / Natsuki Isa , Shuhei Yokota
Visual Technologist / Miki Kudo
Programing /
Junichiro Horikawa [Orange Jellies],SHoya Dozono [Qosmo, Inc.],Ryosuke Nakajima [Qosmo, Inc.]

Every fail is an idea, that we didn’t have. Every time something doesn’t turn out the way we imagined, we might have created something completely new. This work is a homage to all the fails out there. Showing the beauty within the error.

This work is referred to the Motion Experience Lab, a creative room to experiment with time and space with design at Köln international school of design. Just like good old MTV channel, the videos of the lab should be added with intros, bumpers, openers and closers. This is my contribution to that aim, this project was hosted by Nina Juric, founder of the MXL. Created with a wonderful extension of processing: Petter, programmed by Benjamin of LAFKON.

CHAOS—ORDER is a screen printed poster, originally designed to be a diptych mural. These letterforms and their legibility are no longer defined by outlines, but appear through the illusion of movement and depth, all thanks to the viewer’s visual perception. As a result, letterforms seemingly raise above the plane, beyond the two-dimensional structure from which it is constructed. Therefore the typography takes shape, via the viewer’s eye and mind, somewhere on the boundary between reality and appearance.

The message is as simple as it reads. Find joy in the everyday, the best things in life are free.
Visually the poster explores illustrated typography and composition, while being true to its message; simple.

This Reactive Type Relief concerns analogue work in which the typography reacts to the movement of the viewer. The typography may appear to be virtual, but in reality makes use of the technology of printing, the viewer’s visual perception and own physical movement. In this way, the viewer translates two-dimensional line structures into the appearance of three-dimensional and transforming typography. The line structures produce a moiré effect that, in this case, produces a moving image and vivid stereoscopic depth. Moiré is considered an undesirable side effect, in both on-screen and in printed matter, which Dijkstra uses to the sculpting of typography.

This Reactive Type Relief concerns analogue work in which the typography reacts to the movement of the viewer. The typography may appear to be virtual, but in reality makes use of the technology of printing, the viewer’s visual perception and own physical movement. In this way, the viewer translates two-dimensional line structures into the appearance of three-dimensional and transforming typography. The line structures produce a moiré effect that, in this case, produces a moving image and vivid stereoscopic depth. Moiré is considered an undesirable side effect, in both on-screen and in printed matter, which Dijkstra uses to the sculpting of typography.

I rework a single photograph several times, always in a different way, until I get the shapes and colors that I like
We are daily surrounded by the same things. We are so used to their presence that we no longer notice them, we no longer see them; even if our eyes are set on them, we do not notice them and it is as if we do not see them.
In the DAILY project I want to represent everyday objects, to decontextualize them, to make them assume their own identity and a new life.
The series I am completing have the refrigerator, the dishwasher and the bed as their subject, and the images I propose refer to the FRIDGE series.

I created this poster for an event at University of Applied Arts called “Behind the looking glass”. I tried in my design to get effect of distortion with different pieces of the glass and bold typography.

Logo design for musician Alexis Sunder. Custom font in 2 weights for branding and visual communication

Finally Things Are Happening is the title of the graduation show of the class of 2021 of Studio for Immediate Spaces at the Sandberg Instituut, Amsterdam. The students contextualised their research around Maison Descartes, the former French Institute of Amsterdam, now an Antikraak building. The graphics were born out of a formal and material research on the aesthetic qualities of papers alien to the typewriter. All the different components were physically typed on toilet paper and later on scanned and reprinted. Toilet paper is a methaphor of the immediacy of the current times. A way to grasp the zeitgeist of the transition that humanity is experiencing. A time of uncertainty.