This project investigates bilingual experiences between English and Korean as experiential typographic forms. Hangul alphabet is an English typeface designed using Korean consonants and vowels for the trans-languaging experience created by Taekyoem Lee. Type Portrait: Hangul explores generative self-portrait photographs. It portrays the typographer’s linguistic and typographic identity using the typeface as a Korean-American. This project transdisciplinary typographic research from typeface design to a contemporary medium such as computational selfies. It brings a new bilingual and trans-languaging experience between Korean and America.

An animation, made with Processing for the “Experimental Type”-issue of Slanted

This poster is designed as a boarding pass. During the pandemic we (like so many others) were naturally unable to travel, and as time went on this was one of the things we wanted to do most. In that sense the boarding pass represents this ticket to freedom and the idea of being able to escape from your everyday reality—something we’ve probably all wanted to do a lot during the pas year! So when we started thinking about the Weltformat Festival we ended up talking a lot about this idea of being unable to travel, and hence the idea of the boarding pass as a poster—a way for us to come to Lucerne. On top of this lies the idea of playing with media and formats and to intentionally “misuse” them.

The cold fact popsicle is an awareness appetiser. It’s not meant to sweeten your day. It’s not meant to point fingers at you either. It’s a simple serving of ice cold facts, giving you a heads up on our planetary situation. And hopefully, a reminder to take part in cooling down the Earth together.

[Photos by: David Stjernholm]

The Damascus Modular Typeface is based on the characteristics of the Umayyad Mosque in Damascus, Syria. The ancient mosque is particularly known for the columns in its courtyard. For the type project, the shapes of these columns were deconstructed and turned into a modular grid system. As a result, positive and negative forms reflect the domes of the mosque, while ornamental letter connections create the impression of arcades.

While the mosque is surrounded by chaos of war today, the typeface is intended to give an idea of what the city of Damascus is truly about: the majestic splendour of Islamic architecture.

Achtung: hochgeladen von Slanted > credits müssen noch erfragt werden.

~COLLINS Ideas
ED: Paul Jun

This poster shows an extract of digitally generated variations of the letter X using Processing. The tool is built on the principles of parametric design with which an infinite number of variations can be created. Each of these experimental letterforms is created from the same origin by changing the existing parameters of the base form. The functionality of the letters was not the focus of this exercise, the focus lay rather on the changeability of the letter’s form and therefore its expression. The beauty of generative design is that it will always surprise you with unexpected results.

typographic reinterpretation of the iconic pink floyd cover

The studio was commissioned to design the new visual identity of the Art publisher Entercourse of the New Age.
The graphic system fits itself in a modular logic, playing with architectonic figures, in response to fundamental operations mobilised by the publisher : reproduction, exhibition-space, and reinterpretation of their uses.

Is the mind located inside the brain or as some mystics and visionaries throughout history
believed, it exists outside and beyond the brain’s neurological activity? This is one of the most fundamental questions and a definitive answer to it – as impossible as it may be – would have overreaching consequences for many parts of our philosophical understanding of the world. There are many pieces of evidence which when carefully and openly examined, would point to the notion of the mind’s fluidity and expansive nature.

Shape Grammars is a study on generative shapes, asking: how can unique pieces be mass produced? Based on the work of Sol LeWitt Jannis Maroscheck designed and programmed production systems that are able to draw an unlimited number of individual graphic shapes. Each of the simple rulesets explore a geometric principle. The result is a systematic catalog – a kind of dictionary of shapes – for browsing forms and their underlying formulas. With over 150.000 shapes, sorted from the strictly geometric to the organically free, the book is a useful manual for Designers, Architects and everybody working with shapes, showing the nature of infinite variation through automated design.

Level Quatre is a series of unique screenprint on fabric. 120 cm x 80 cm. 2016