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”

These pieces were designed as visual commentary regarding the continued and pervasive state-sponsored violence against BIPOC people in the United States.

Largely informed by typography, my work often deconstructs letterforms with the intent to reconsider the relationship between message and viewer, encouraging a viewer to not simply read and consume a message but engage with the piece to seek out the message. I believe a message isn’t about reading, but about finding meaning. This abstracted approach presents the viewer with an opportunity to pause and reflect on the piece while considering their own relationship to the meaning through a more visual language.

Largely informed by typography, my work often deconstructs letterforms with the intent to reconsider the relationship between message and viewer, encouraging a viewer to not simply read and consume a message but engage with the piece to seek out the message. I believe a message isn’t about reading, but about finding meaning. This abstracted approach presents the viewer with an opportunity to pause and reflect on the piece while considering their own relationship to the meaning through a more visual language.

Poster utilising my own experimental script font fshine.

Typographical installation at KASK, Gent. Made by applying two colours of round neon stickers in relation to each other on a wall. Inspired by dystopian sci-fi anime and linked to a publication telling the narrative of the “genetic peasant” through collages of different existing anime stills.

The personal manifesto wants to provocatively challenge censorship and social norms, claiming ownership of one’s body and consent to show it.
The typography plays with the body parts it interacts with, in a teasing conversation between censorship and the willingness to disrupt it.

Studio New Year’s greetings for a sweet 2022!

A font called Tools built from actual tools.

Krzaki is a micro gallery founded by Jacek Rudzki and Radek Sadlik. Every month we invite two local designer with different styles to create a poster specialy for our gallery.

Yumm… ASIT! dates back to my first attempts at illustration and merges the shape of a heart with the typographical silhouette of the name. The icon used to be my very first logo, and I would use it in every artwork I made.

This particular work is inspired by the hot Italian summer days I spent daydreaming about all the lovely ragazze I didn’t have a shot with. 😉

A typographic exploration of the word “selfish.”

“Crisis” is a Greek word that describes a critical situation and the process of evaluating. “Critique,” “criticize,” “critic,” and “critical,” all derive from the same root. This project is a retrospective of the word “crisis,” documenting its various shifts in meaning throughout history. Large posters (5×8 ft) were cut and folded to form a 156-page, unbound book. In its own unstable state, the book communicates that a crisis may have several perspectives that require acknowledging, engaging, and accepting it as a temporary situation that will bring about the new and unfamiliar. “The crisis consists precisely in the fact that the old is dying and the new cannot be born.”

logo and dingbat font called “ana”.

I had the chance to design this shirt for the german band KYTES. I was super thrilled when Tim, the drummer of the band contacted me and told me about his idea for a shirt design that should be part of their new merch-collection. The lettering is inspired by my original handwriting, which I painted with watercolours and digitilized afterwards to get it printed on the shirt.