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.

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.