From a set of posters for local cinema movie screenings of the film “Phfft” by Mark Robson, 1954.

From a set of posters for the local cinema movie screenings of “A Complete History of My Sexual Failures” by Chris Waitt, 2008.

A door is a hinged or otherwise movable barrier that allows ingress into and egress from an enclosure. Based on this I decided to create a typeface using this mechanic of an moving door and an static frame. The typeface is created in three different styles (closed, ajar and open) which can be mixed to create an variable animated letterset.

„ox“ is an experimental typeface, attempting to create a stencil font without interiors. Adding a waist in the curves reduces the blackness and therefore forms a homogeneous impression.
The Typeface is stubborn, headstrong and takes the space it needs, while being friendly and playful like an ox. It’s thickness is variable and also got an outline style. This display font can be used in different contexts and is a creative tool for designers.

Nationalism has proven to be a grievous tool that has led to more violence throughout the course of history. It is a vicious circle of hate which is constantly afflicting and devastating society.

The Homebound magazine was created in the pandemic and is a design collaboration of various designers. The reason for mixing the letters was that there were several type designers who wanted to create headlines with custom fonts. I had to realize that all the fonts were good and I didn’t want one or the other to feel bad about it if their font wasn’t chosen. So I created this style that is used throughout the magazine and on the posters. The individual letters were designed by Leonhard Laupichler, Clémence Russeil, Lorenzo Poderini, Christos Georgatos, Antoine Zucconi, Fabian Dornhecker, Sebastian Dietel and me.

Bumpy is a variable font designed as a result of research focused on the relationship between gender stereotypes and typefaces.

The typographic project grew out of the impossibility of the individual to be unaffected by the persistence of stereotypes in society: considering a parallelism between typography and society the letter becomes a metaphor for the individual inside the complex surrounding system. These limiting aspects of society translated in the decision of designing a very condensed typeface that immediately expresses a sense of outer pressure.

The choice to design a variable font was in contrast to the discriminatory limitations of gender binary.

The eggcellent idea came to me in a frying pan when I was cooking up two eggs sunny side up. The eggs accidentally created the shape of the letter C. I took a photo of it and used the as a real life template for recreating the character digitally. Based on that I started designing the rest of the alphabet using Illustration on an iPad with a pen. When drawing the shapes of the egg white basis of a character I did not look at the display to let the shape float as freely as possible and only made smaller adjustments to some of the vector points afterwards. This project is all about coincidental typography and having fun with it.

Image that is part of a personal project gravitating around the ongoing creative creation of unique visual pieces centered on intuition and free association. The images are created mixing personal images, designs and typefaces. The creative limits or work frame are only format and time creation: All images are created in a simulated film format and must be created in very small periods of time (personal free time)

Image that is part of a personal project gravitating around the ongoing creative creation of unique visual pieces centered on intuition and free association. The images are created mixing personal images, designs and typefaces. The creative limits or work frame are only format and time creation: All images are created in a simulated film format and must be created in very small periods of time (personal free time)

Future Display is a variable serif typeface which works better at a larger scale due to its decorative assets. It plays with the contrast between a thin stroke and thicker more decorative aspects, which allow a more traditional serif approach and a more abstract one, making it variable.

A typographic series for Foundry 852 – A new WPP Campus, in Hong Kong. It’s a “Space to Create”, with each poster illustrating a different value for the new space, such as create, play, dream, experiment, etc. The type is written in both English and Chinese to reflect the multicultural workspace. Spanning multiple creative techniques as design, illustration, 3D animation, clay sculpting, & augmented reality. The designs where decorated throughout the space as both poster prints and videos on displays.

Agency: Ogilvy Hong Kong, Creative Direction: Michele Salati, Design: Daniel Brokstad, 3D Design: Edu Torres

Composed using a Mecanorma Caravelle dry transfer folio, then photographed and photoshopped.

String Theory evolved from a grad school workshop with visiting designer Hansje Van Halem. Yarn was used to create letterforms on the wall, then a digital version was created in Illustrator. Later, I moved the design over into font software and have been slowly layering the ‘string’ into each weight, each letterform unique from the previous weight. It is an experimental typeface, playing with legibility, form, and function. This typeface is a WIP, not yet published and the weights continue to grow/morph.

‘RAYO. A Expanded Visual Arts Festival’ is committed to expanding the limits of the screen and connecting various disciplines, fostering collaborations between visual, scenic and sound artists to produce brand new projects. Thinking about these multidisciplinary intersections we explored optical illusions inspired by the op-art of Bridget Riley and Victor Vasarely and the typographic games of Robert Brownjohn, creating a visual narrative through interference patterns where motion and multiple formats play an important role in making the identity memorable but at the same time, opened to different visual perceptions.

Little Litter.

THE LEFT-OVER LITTER OF THE LITTER WE PRODUCE.

This project, in the form of a book, poster and promotional postcards, documents my collection of random byproducts of everyday life’s consumption.

https://segura-inc.com/Litter-Litter

Loft is a san-serif and reversed contrast typeface. It has a large x-height and capital height, shorter ascenders and short descenders. The typeface looks condense, narrow and tall. It features more horizontal stress.The typeface has high contrast while also maintain the simplicity and the readability.

A play on combining the imprecision of manual hand stamping technique with a structural and modular typeface.

A play on combining the imprecision of manual hand stamping technique with a structural and modular typeface.

Experimenting type distortion with photography.

Experimenting type distortion with photography.

An illusion showing the struggle and containment of a monster within. The distortion of the Chinese characters adds an eeriness to the piece.

The lettering was done for the Danish contemporary r&b group, formerly named KhalilH2OP, today solely H2OP. The typographic style explores the theory of asemic writing and universal language systems, cultivating extreme organic letterforms with low legibility and excessive ligatures. The lettering questions our innate desire for readability and challenges the observer to explore and discover characters that, like water, seem to be in constant flux.