A very heavy headline only typeface which should be typeset at rather large type sizes due to its fine counters.

It’s the ideal typeface for building a brick-wall out of letters.

Surprise is in the details, so play it loud and big! It’s fun.

T26 San.

A LIMITED EDITION PROMOTION AND COLLECTION OF SAN-SERIF FONTS FROM T26.

This tabloid format newspaper-size catalog comes in a bag with a variety of other assorted print materials showcasing a packaged set of san-serif fonts available for sale on T26.com

https://segura-inc.com/T26-San

“Successful Failures” was an exhibition celebrating thirty years of intertwined projects from thousands of contributors, featuring publications, programs, festivals, restaurants, breweries, and beyond. Its living logotype was born out of this spirit of collaboration.

For each of the letters in the name, multiple letterforms were illustrated and built into a working font that exhibition designers could combine as they saw fit. On-site and in collateral, the same instance of the mark seldom appeared twice. It was designed to be a “Successful Failure” of sorts—not every permutation worked perfectly, but each embodied the fearless nature of the work it was designed to represent.

T26 IttyBitty.

A LIMITED EDITION PROMOTION AND COLLECTION OF BITMAP, PIXEL AND LCD FONTS FROM T26.

This is a large format poster-size catalog and other assorted print promotions showcasing a packaged set of pixel, bitmap and LCD fonts bundle (or bought individually) for sale on T26.

https://segura-inc.com/T26-IttyBitty

The Romanian Cultural Institute in Vienna organized Hot Romania – a 4 day festival bringing together the very best of Romanian jazz in the heart of Vienna. Because the festival was held in a humid and slightly cold September the design of the poster seemed very reasonable to be visually directed towards an “as hot as possible” visual click.

The cultural heritage of the Higher Artistic and Technical Studios (VKhUTEMAS, aka “Soviet Bauhaus”), laid the foundation for design in Russia. In the 1920s students and professors of VKhUTEMAS boldly reshaped the art education system.
But with all the innovations, such an iconic phenomenon as VKhUTEMAS did not have its own visual identity. 100 years later we decided to fill this void. Inspired by the work of teachers and students involved in printing, we have created a unique typeface. VKHUTETYPE is a key element of the visual identity of the VKHUTEMAS.ACADEMY – a digital project that revives the original spirit and excellence of VKhUTEMAS through new media formats.

I have been designing the JazzTM’s communication materials for 4 consecutive years. In time a concrete visual language surfaced which encouraged the discovery of a structured framework while allowing for the freedom of expression for each jazz festival in itself. Kinda like jazz altogether. In the poster series that I designed for the 2018 JazzTM festival the fluidity of time was chosen to visually deliver that year’s voice.

In this last poster that I designed for JazzTM I searched for the right (visual) language through which I would focus on – as vividly as possible – a “frozen slice of time” from the intrinsically complex and nonlinear process of improvisation. Therefore I wanted this poster to represent all these “little things” that exist, whether we believe it or not, far beyond a grand scheme. They exist – harmoniously shaping, singing and reforming continuously, softly. In the end, like everything else, it is down to the beholder’s eyes – or ears for that matter – to perceive the fluid beauty and the magnificent balance existing within.

Letter N is part of Dan Tobin Smith’s Alphabetical series. Starting with a commission from Creative Review to create the cover for their Annual. The project now incorporates 19 letters, comprising of 93 images, 4 films, a host of supporting material including 10×8 inch polaroids and permanent three dimensional pieces. Each letter is different and incorporates a different visual idea. The project makes use of anamorphosis, otherwise known as distorted projection, helping to build the letters with a high degree of accuracy. This was used in commercial photography, in subtler forms going back over the past 50 years as a way of refining composition in still life photography.

The body works emphasize nature beauties at the micro-level of ‘moist’ and reflect the artist’s playfulness with paint medium. The series is currently a part of BE ** PART INTERNATIONAL EXHIBITION- which is registered as Guinness World Records Exhibition featuring over 1500+ artists and over 45,000+ artworks in Atelier Montez Gallery in Rome, Italy.

Touchdesigner noise displacement experiments for a brand project led to interesting explorations.

Not actually a mistake or an accident but an affliction. I’ve always been blessed with good vision but when I came down with a severe eyelid infection all the projects I was working on, especially the typographic ones, looked frustratingly blurry. The blurred and double vision effect caused by the swelling inspired me to design a poster for one of my favorite British rock bands of the ’90s.

Inspired by ancient ruined architectures, the typeface embodied the mystery and history quality in the abstract form. The weirdness of each letter coincide the untold story behind each architectural structured letter.

What defines a font? Where does a letter end and an abstract form begin? Who is legibility? Using Processing as a tool for type design lead to thinking about font in a new way. Connected dots form lines and build shapes that construct bold, geometric letters. A Hypervariable font. Each click generates a new letterform – and the previous one is gone forever.

The booklet design and cover art for Implant For Denials’ album Otheroot demanded a diffrent stylistic approach as for it’s Germany release the band translated the whole album in English and released it as a special release containing the two CD’s with the album in both languages.

I’ve chosen the theme of translation as the main drive behind the visual language of this album and built it specifically for this release. The glitch the error – all too present within any type of translation – alongside other cliches were used as building blocks for Implant’s visual language.

Sometimes accidents are a good thing. While designing the new Samson EP, Turpitude, I noticed my shredded laser prints in the trash can would make for a more compelling cover than what I had on my screen.

Design and programming of a font that reacts to the speed of typing on the keyboard.

Manon de Vlieger was in dire need of a suiting identity for her eponymous company. Ranging from creative consultancy to interior design, from developing identities to pottery. It’s safe to say Manon’s quite the busy bee.

With typography as a focus point to create a clear and simple logo and identity, we took De Vlieger’s initials to develop a strong, iconic and recognizable logo. Both suiting the work she does as a freelancer as her craft as a ceramist.

https://lennartsendebruijn.com/projects/manon-de-vlieger

Logo and type based on the atypical way the Knight moves across the chessboard.

The Knight’s Move was a series of lectures by eminent international speakers who stand out thanks to their unusual, enlightening and inspirational visions concerning the city, urbanism, the public domain and community.

Being creative often requires protected experimentation processes. Ȧdea is an online evolutionary system for aiding type designers in the exploration of unexpected solutions. An algorithm based on Darwin’s theory of evolution is employed to evolve an initial population of SVG glyphs, from Google fonts, towards a set of glyphs that a given artificial intelligence model, named Tesseract, deems to be different enough from existing glyphs. One might use Ȧdea to find disruptive ideas, download the generated glyphs, fine-tune them using vector graphics software and use them to create typefaces, logotypes or any other graphic design applications. By Danie’Lopes, João Correia and Penousal Machado.

The project „AI graffiti ghost tags“ (formerly: The Amazing Augmented Tagger Machine) explores the potential of artificial intelligence in the creative process of graffiti writing. It employs machine learning (ML) to generate novel street tags that transcend traditional letter forms and inspire new type design. The writer is able to live-generate her own ML graffiti tags in the ghostly belly of a deep convolution neural network and then transfer them to a real surface using spray paint. The result is an interactive installation of ML augmented tags in physical space.

Design for TODAY IS A VERY VERY VERY VERY GUMMY PLACE, a curatorial and publishing project by Ruja Press. 99 artists were invited by Ruja Press and received a unique computer generated doodle map. We had to take it as the starting point of a game in relation with a place. I perceived the map as very jumpy and playful. I saw the form of a fence and this lead me to the common pangram ‘The quick brown fox jumps over the lazy dog’. I felt like connecting the dots and lines and see what would appear. I took the map as a starting point to draw all letters from alphabet.