A visual identity was designed for the interdisciplinary studio and exhibition space “Phyllis Johnson” in Leipzig. The basis is a display font whose glyphs are composed of seven basic shapes arranged on a grid of 3×3 elements. In the following year, the angular shapes will be replaced by circles, reduced to six and the grid made smaller. Despite new aesthetics, the character of the appearance is preserved.

In the city of superheroes comon man can do there is nothing and thats his superpower in the city of suuperheroes where sky is the limit.

Experimental type poster for a design lecture. The task was to develop an experimental type with uncommon things or items nearby. By accident i dropped washing powder on the floor and it showed some interesting forms. Following that i created a typeface with a measuring cup out of washing powder and arranged it on paper. To highlight the structure i set up two lights and converted the colors of the image in just black & white (threshold). In my opinion the unique type made an interesting poster.

Half-day workshop designed for high school students, on the occasion of an open day at the academy of design and visual communication Abadir.
The goal of this workshop was to create a first contact with the graphic design but most of all with typography, using an Excel spreadsheet, therefore a modular grid composed of editable and variable cells, instead of professional software which require specific knowledge.
The cell pattern allow to create letters, icons and glyphs. A stimulating exercise that helped the students to discover and train
their own design and creative skills.

A marvel of optical effects, the Plenaire typeface family imagines what the Impressionist painters of the late-nineteenth century might produce as type designers in the twenty-first. Up close its ‘daubs’ appear chaotic and illegible, but at a distance its shapes resolve into elegant and readable italic letters, like the wondrous brushstrokes of Claude Monet or Georges Seurat.
Plenaire Sloppy shows this variable font at its most scattered extreme, taking legibility to the brink. This experiment provides a testing ground for all of the factors that influence tolerance of signal-becoming-noise, prominently including the setting size and viewer distance.

»Brailla« builds a design bridge between the blind typesystem Braille & the Latin alphabet. The connections of the two writing systems facilitates the learning ability & thus creates the possibility to develop common standards. Alternative glyphs are as much part of the concept as the free & open form, which explicitly welcomes further ideas & possible solutions …

Shadowalphabet is an extension of a fashion design method titled Shadowear which I have invented in 2016. The shadowalphabet takes the shadow of the body as stimulus for the development of the typeface. The outline of each shadow casted by the posing body on a surface is captured with a camera. This image serves as source for inspiration and through tracing the imagined garments that the shadow might be wearing the typefaces are formed.

There is beauty in the seemingly mundane — shape and form are an intriguing part of any object.

My typeface was created using my kid’s wooden building blocks. A toy that is normally used for educational fun and is made up of 100 durable wooden blocks in 4 different colours and 9 shapes.

With a bunch of curiosity and play, I started to see what they would look like when combined together and eventually cut out of black card.

Surprisingly, the shapes and form the wooden blocks started to create were playful and really expressive, creating a striking and unique typeface.

Thanks to my little girl Edith, I think I had more fun using these wooden blocks than she did.

“Konstruktive“ is a collection of 16 signs that can be used as individual codes. Those who use the code have to give a meaning to each sign first.

Joseph Conrad’s novella “Heart of Darkness“ contains plenty of quotes that seem to fload into rather unconcrete pictures. This is one attempt to bring both together.

The cold atmosphere of the German autobahn abstracted into lines and signs.

alfabet made with banana-wel

48 Original Fonts is an experimental publication resulting from the typographic research carried out by the Design-Associati studio.
To create these characters we were inspired by the most diverse sources: futurism, cinema, art, music, design, food, etc.
The result is a true cultural pastiche.

CMYK is the reunion of two things that interest me a lot: modular typography and printed things. From a simple grid, the marks of the printing process, usually invisible in the final products, become modules placed randomly in the construction of the font, thus giving a more expressive and experimental aspect to the design.

I created these analog motion graphics to find a different approach to the field of animated typography. Going back to the roots of animation with stop motion and creating frame by frame have an huge impact about the aesthetic of the videos. The animations feel much more lively, rougher, have more character through their imperfection. For me, the right counterpart to the same straight computer-generated motion graphics I made during the last years. It’s very refreshing to work on this growing motion series alongside the commissioned projects and to keep exploring new ways to create analog and typographic animations.

I created these analog motion graphics to find a different approach to the field of animated typography. Going back to the roots of animation with stop motion and creating frame by frame have an huge impact about the aesthetic of the videos. The animations feel much more lively, rougher, have more character through their imperfection. For me, the right counterpart to the same straight computer-generated motion graphics I made during the last years. It’s very refreshing to work on this growing motion series alongside the commissioned projects and to keep exploring new ways to create analog and typographic animations.

BAMA was previously only an internal university code for the joint Bachelor’s and Master’s exhibitions at the end of the semester. But in January 2019 the acronym will become avant-garde exhibition title. The content becomes the topic. And so we communicate the cryptic coding with the audience, the recipient, no – the whole world.

Not only the title is radical reduction, but also the design concept. Because here, too, the content becomes the theme. We present the work of our Bachelor and Master graduates on the largest possible stage. Because they deserve nothing more than the best possible presence. Their works show the diversity of the Communication Design course at Mainz University of