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

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. The process is similar to a child learning to read, wherein they read each letter rather than scan words for memorized visual cues.

Sarah Wild promises a dynamic club night with energetic music between acid basslines and piano elements. Such an event needs a poster with wild and playful typography – obviously!

An excerpt from a short video series exploring of the visual language between video game dungeon maps and 8-bit lettering. I use the drawing of a (mostly) single line to transmute the conceptual space between lettering and maps into a single digital object by equating the process of drawing a line with the through navigation of all this dungeon map’s nooks and crannies. In the case of this drawing, I immerse myself in the merged role of micro-cartographer and 8-bit letter to explore these visual cues as a way to hopefully provide a moment of respite, escapism, or ‘visual ASMR’ to the weary internet traveler.

Devastated that Slugs ate my Cabbages, I turned their work into mine. A typeface entirely formed from the natural shapes created by pests.

An exploration of form and material.

The show Tungumál by aliEn Dance company explores language and every child’s right to be heard, no matter how they communicate. To create the logo, the performers were asked to print out the letters in the show’s name on sheets of paper and dance with them while taking photos. The design process became a form of curation: instructing the dancers, sifting through the photos, selecting ones with legible yet blurry letters, and combining those letters into a logotype showcasing both the elastic nature of language and the movement of dance.

Exploring the idea of ‘home’ through an experimental Arabic type. Bayt —home in Arabic— is drawn in a modern geometric style to create abstract houses upside down.

The Young Ones identity champions “Young,” embracing the spirit and irreverence often associated with youth. While most identities rely on a single type family, our visual language—our seemingly infinite typographic palette—celebrates the diversity of our audience. The design system is a playground for experimentation and discovery, rooted in principles that encourage creative risk-taking.

The font was inspired by a children’s metal constructor. The first metal constructor (Meccano) was created in 1901 by Frank Hornby (1863-1936) from Liverpool (Great Britain).
The elements combine perforated shapes, layering of elements and destructiveness.

A poster with a saying by Naval Ravikant

A series of promo posters for the psychology course “Strong People”.

The font was inspired by the zodiac sign virgo. Intricate, multi-layered shapes smoothly flow into one another.

Black is heavy and bold color. It has no light in it. It consumes all the space. But if you add opposite to black color which is white, you can create the strongest compositions that can deliver strongest messages. B is for boldness. B is for Black.

My work in experimental typography is based on grids, and it’s all about breaking the rules of traditional typography to create innovative, futuristic and impactful letterforms. I believe that typography is an art form that has the power to communicate a message and evoke emotions from its own shapes.

The project “The Alphabetical Room” is a systematic exploration into the boundaries and limits of writing within a strictly calculated mathematical three dimensional grid within the flat digital space. Starting from Josef-Müller Brockmann’s grid proposal for the design of interior spaces in 1961, the perspective of the viewer changes throughout the pages of the leaflet as does the resolution of the three dimensional grids in which the hypothetical letterforms are displayed.

Photographer: Michael Kohls
Guidance: Prof. Pierre Pané-Farré

Peido is an experimental font that goes a bit crazy with circles, even doe, it has only straight edges. Subverting expectations I guess.

Project made with Diogo Assis.

Demian Conrad and Arnaud Chemin have just finalized 3 years of work releasing a new typeface Automatico Family. Producing the specimen inhouse Demian Conrad had an accident and printed an alternate letter R while the ink of the Canon PIXMA TS6420a was running out. This accident produces something exquisitely beautiful, an organic unique gradient from the middle of the glyph until the bottom. The act of printing changes the status of the design, from merely a reproduction to a creative one. This printing effect becomes than a proper creative strategy and adds an aesthetic element but also a narrative one, enhancing the original shape of the glyph to a new meaning.

Flow is a zine, or type specimen, that features a collection of unique glyphs created using Processing. Inspired by the state of flow, these glyphs were captured while reacting to the frequencies of music. The music was specifically composed to enhance and assist the state of flow.

Digital Worlds is an unpublished project that explores the relationship between typography and the Internet. Drawing inspiration from the process of data dismantling and rebuilding that occurs during any communication over the World Wide Web, I used generative tools to create an autonomous script that breaks down and rebuilds the number of pixels a typeface occupies on a screen. The result is a ripple of black and white pixels forming intricate patterns.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.

Cumbre is meant for large display settings to make the most out of the precise outlines and the clean intersections.
The font styles: ‘Sharp’ has straight paths and precise intersections. ‘Round’ has the same kind of outlines but with round corners. ‘Stamp’ has irregular wavy contours and heavy swelling at intersections.

A horrific and multifaceted visual identity created in collaboration with AI systems.

In conjunction with the horrific AI themes within UNINVITED.ICU we created a shifting and unstable visual identity. Consisting of an array of horror-trope inspired logotypes, produced in collaboration with a range of automated tools. From Augmented Reality trigger finders to image enhancement softwares. The visual identity is conceptualised as a collaboration with machines, seeing our role as the producers, providing a service for the fictional Uninvited organism.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.