Tania Mouraud started nearly 30 years ago her work around the writings and plasticity of language. In the late 1980s, while she was documenting the “NI” City Performance 1, Tania Mouraud discovered the neverending power of words in the inversion of positive and negative values. She returned to painting that she had put aside since her 1968’s art burning. Deployed directly on the wall and using the entire surface or via painted canvases, the letters are black or white, forcing the viewer to reverse his habits of decoding words. The « Words » series inaugurated a long series of texts that the artist continues to explore nowadays.

The left side artwork is so old, I can’t remember what it was. What I know is that it was something small which I enlarged by photocopying it, so that I get the structures and forms I am searching for. My friend Bernard Weis wrote the text inspired by the abstract left side. I treated the text the same way to create a resemblance.

Traumatic, As Above So Below, Slice That Sh*t

Legible is a typeface created as a communicational piece of art. The typeface was designed around the way dyslexic people are taught to read complicated words using whole-word shapes. The method entails outlining the shape of the word to help them visualise it better. The purpose is to communicate how creative dyslexic people despite struggles. Not all type has to be legible. Type, in some cases, can break boundaries by being communicated through visuals rather than the context of the words themselves.

Tanzquartier Wien (TQW) is Austria’s key institution for the sophisticated, inspired and socially committed discourse on contemporary dance and performance. From the start our guiding principle for the design was simple: movement is the motivation. For season 2021/22 we redesigned the campaign’s triptych. It’s now composed of a portrait, a 3D rendering and a combination of the two depicting the initials T, Q and W.

Pieces from a series of color-shifting, loosely defined architecture. Each piece represents one character out of 36 total. A-Z and 0-9. Each piece is accompanied by a short 3D animation showing playful motion and digital effects to tell short, architectural stories.

Fukuoka is a fusion of music, art, design, food, festivals, and various other attractions, and a variety of cultures inspire the people of the city. The energy that resides in the souls of the people of Fukuoka is visualized in the form of letters.

HOUGAN is my graduation project from Fukuoka Design College.
The project was based on the assumption that I would run my own type foundry using the typefaces that I had created as experiments during my studies.
We created the overall branding, typeface samples, website, and installation.
I wanted to create a branding of typefaces that would be exciting to look at, without taking typefaces too seriously.

Poster series created for TypeThursday Bucharest a monthly event dedicated to atracting local letterform lovers hailing from all disciplines. Tthe team is very welcoming of all types of experimentation in regards to the visual interpretation of each event’s poster and visuals.

My passion for typography and lettering found a new creative outlet. Creating some of the posters for our monthly events between 2019-2021. I approach every poster design as an opportunity for experimentation, whether it be focused on lettering, on exercising and improving my composition and hierarchy in terms of overall design communication or as very creative way to delve into different aspects of typography.

Lem Variable Fonts Bundle is 11 brand new variable typefaces designed during 2 months long workshops available for free.

We made these 3D renderings of our logo at the launch of our studio last year. We briefed typographer Robin Pitchon to create something with an alien-glyph aesthetic, while celebrating Zünc’s umlaut, which informs the smaller droplets hugging the curves of each letter.
The contrast of the liquid metal form on the dry, compacted earth creates a nice balance.
The logo and this 3D rendering of it is a strong reflection of our studio’s identity: fluid and adaptable to a range of projects, a little bit strange and alien yet still presented in an elegant and beautiful way.

1.On the occasion of the 25th anniversary of Tipoteca Italiana, designers were invited to design a single page of a type specimen book. The poster shows Jumping He’s design and adds some more content about the typeface and his designer Alessandro Butti.
“Veltro” means hound and catch dog and was chosen to represent the speed and elegance of the typeface.
2.„Daydream“ Jumping He’s solo exhibition opened its doors on March 2021, at the Sea World Culture and Arts Center in Shenzhen, China.
3.Poster for the Tokyo TDC Annual Awards 2021.
4.Poster for Cinema Paradiso – Solo exhibition of Li Bin Yuan at Pingshan Art Museum in Shengzhen, China.

description already filled out on a previous submission – this is just an addition

The Brikfont project was inspired in part by the idea that creativity thrives on restriction — and I think the Lego system is that concept writ large. Almost everything imaginable has been created in Lego in some way, but the subtleties and nuance of type design often struggle with the ‘resolution’ – curves and diagonal strokes in particular – so this is kind of a quest to find the perfect Lego typeface and bring some type designer knowledge to the proceedings. 

Created for the @beingmalcolmgarrett led project #yourstruthfully on the theme of ‘truth’, as part of the Virtual Reality Music & Arts Festival @losthorizonfest in support of two wonderful causes @bigissueuk & @amnestyuk.

36 Days of Type is a project that invites designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet.
Our idea for this project was to create vases in the shape of letters and numbers. We asked ourselves what types of vases, what shapes, what colors, what materials, and what textures we would like to have in our home.

We wanted to explore several visual styles during these 36 days while keeping a certain aesthetic coherence. The challenge was to keep in mind the idea of product design but use the freedom and playfulness of CGI.

Found whilst walking the back streets of Worthing with my dogs – experimental typography is all around us.

Experimental typography is all around us, even when we’re getting gas.

“Pra ver o sol” (portuguese for “To see the sun”) symbolizes a moment of great change for Carolina Serdeira, revealing to the public her true musical desires, and also bringing the relief of leaving home after a long time of pandemic isolation.

With plastic letters tied to a tulle, shadows were projected generating dynamic compositions for the album cover and two singles, “Orixá omi” and “Beco da memória”.

Art Direction and Graphic Design: Lucas Blat
Photography: Lígia Blat

Back cover for the Tkay Maidza album “Last year was weird Vol.3”