A rich heritage of human curiosity.
A journey towards a unified view of the world.
An exit strategy,
from one reality to another.
A constructed nature of authenticity.

Use Artivive app to see the animated content. 😉

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 typeface designed to be stretched.

Dot.Font is a futuristic animated-gif typeface for the generation that doesn’t read.
It’s letters are reduced to as little elements as possible, rapidly appear on the screen (and disappear from it).

We Are Family is an interactive, typographic installation that make use of unsettling images and fragments from found on-line political, brutal, pornographic and other videos to create a new kind of typographic visual language.
Replacing traditional typography with image-based typography re-infuses the letter with endless meanings. Viral, available and widespread images, particularly those viewed by millions of people, focusing on violence, sex and politics, now comprise a new typography. The image functions here as a type of Ready-made that serves as a platform for the new design.

Art vs. Design is a typographic installation that make use of certain elements from known artworks to form letterforms.
This work addresses the complex interaction between imagery and typography. How do we handle reading without reading, or deal with typography without typography? In the virtual war that transpires between type and imagery, it appears that the latter wins the battle by knockout. In this aspect, the work demonstrates that, akin to the rumour of the end of books, speculation as to the demise of typography is apparently premature.

The Acrobat is a series of posters experimenting with space, letterforms and feelings, in lockdown times.

Middle E. is a series of screen-printed works of the letter ‘E’ that has absorbed the spirit of a beaten and murderous Middle East.
The E is not (just) a letter; it is an entity, a mood, it is a sponge that has absorbed the spirit of the times. It is the soul of the Middle East, ‘photographed’ at a particular moment. It is my Middle East, that of my ancestors – but now it is battered, burnt, beaten, murderous. Russia and America, Iran and Turkey, what remains of ‘Iraq’ and what remains of ‘Syria’, Kurds, the ‘Islamic State’ and Hezbollah, Shiites, Sunnites, Alawites, Christians and Druze all act in the tragedy that once was called ‘the Arab Spring’… how ironic.
More: https://bit.ly/33h991J

Veining is a design fiction comprised of a 3d text surgically implanted, integrated into the body’s circulatory system and enhanced via a UV injection of a fluorescent liquid to create a ‘living neon sign’.
In the Veining project I invite you, the viewer, to dream about an alternative future for type – one where text is not confined to a two dimensional existence, viewed merely as an external record of human culture. Instead, I imagine type as an integrated part of ourselves and the living systems that surround us.
These typographic transgressions fuse letters to animate, changeable and embodied systems in ways that give words a whole new communicative power.
More: https://bit.ly/3GskA54

The challenge of this experiment was to generate random compositions using six craft sticks painted in the colors red and white; black and white; and black and red. Each set of sticks was cast a hundred times at random on five different backgrounds, in a total of five hundred images.
Black and white images were chosen to compose the word “pandemonium”. The letters were formed following the alignment of the sticks.The process of photographing the images, tailoring them and positioning them, took a few weeks; the pauses between each activity did not mean the end of the project, but the continuation of a new phase of experimentation.

Creation of visual compositions that presented the word “pandemonium” from the juxtaposition of letters and symbols identified on posters, leaflets, packaging and objects found on the street.
While working beyond the limits of image resolution, noise and distortion started to appear and were incorporated into the compositions.
Creation is not just about trying to conceive something totally new. Placing elements borrowed from different universes together can result in the creation of new ideas.

The adidas brand department asked for an analog letter set inspired by handwritten notes. They wanted a letters for a brand communication toolkit, to be used on posters and for web designs. They specifically asked for a feminine style. So I decided feminine is round, bold, strong, loose, dynamic and exiting. A real woman is not perfect, which is the most interesting about her and so are the details (lines overlapping, splashes) of the letters.

Palinopsia (Greek [pælɪˈnəʊpɪə]: palin = again and opsia = seeing) is an animated typography experiment that challenges commonly held notions of legibility.

In this exercise the circular shapes animate along paths to complete the form of known glyphs, leaving visual artifacts. Since individual letters will never appear complete at any given moment the viewer is required to focus in a way that is foreign to the usual act of reading.

A new kind of “reading” however can be achieved with a rapid succession of individual letters where the viewer remembers the previous letters to form the intended word. Resulting in a process similar to when a child first learns to read.

To develop the letters of the word “pandemonium” using the collection of bar codes.
Letters were made manually, from a scanned page, printed and cut into small pieces. Joining these parts resulted in the letters.
An experienced look made it possible to identify what would be left out. Identification of opportunities to be explored occurred in several stages of the creative process, from the page with bar codes to the tests with the letters in motion.
Such identifications occurred during the process and not before. The visualization of ideas arises from the manipulation of form.

Egon Schiele believed that hands had the power to express feelings more effectively than the face; hence, the wide variety of highly expressive hands in his production.
Copying Egon Schiele was the beginning of a creative process that involved copying his drawings and understanding the artist’s references trying to imagine how Schiele would view or imagine a photographic production. The photos are not an accurate presentation of his works for in the trajectory of creating something identical, something new came up. The act of copying worked as a knowledge-seeking process.

An audio-visual installation where a projection on the wall is displaying a variable typeface which reacts to the volume (from a simple rectangle to a distorted extrapolation) of five tracks originated from a series of sound recordings of the printing presses housed in Archivio Tipografico. The concept is to valorize the soundscape of a printshop, familiar to the printer as the voice of a friend and to paradoxically compare noises to voices. The music tracks were dubbed on cassette and literally packaged within a book, printed with the same machines that were recorded. The dustjacket is the poster that was printed live during the first performance. https://tinyurl.com/2p9cb7xj

The initial problem was to manually produce, with a black marker, different designs for the letters that make up the word “pandemonium”, within the limits of a punch card, consisting of 96 rectangles. For each letter, 20 cards were created in a total of 220 cards, which include variations in thickness, size, serif, sans serif, uppercase and lowercase.
Some designers mistakenly assume that breaking the grid will make the project look astounding; nonetheless, a creative solution might lead to the task of finding something surprising within the narrow limits of a problem.

This is a series of screenprints titled “Character Count”. They are the result of continuing visual research exploring combinations of technological and conceptual layering.

This video is part of an extended research project exploring visual rhetoric through motion design, print design, typography, photography, and videography.

This recent motion work is the product of an exploration and dialogue focusing on the contradictory nature of race relations on a personal level.

Poster series for Chelsea Thompto’s Transcode Manifesto, Produced by CODELab (KT Duffy + alejandro t. acierto), and designed by Jonathan Sangster.

“Transcode is numerously trans, meaning it enacts and explores trans in its, subjects, methods, themes, and forms”