“Shared Drawn Reshared” is a catalog of object graphics, transforming everyday things into typographic resources through an iterative approach.

The work is based on objects from encounters with other designers. I began exploring the objects using pencil drawings and later finalized them as B/W sketches. During this process, the sketches were combined to create intersections in meaning and style, leading to new perspectives in communication design.

The book features 63 sketches and 52 vector graphics, which are also accessible at https://shared-drawn-reshared.com. The catalog is shared with everyone who contributed an object. In return, the graphics can be remixed in their own work.

Found typography of the street – typography with a soul.

Soraiz—née Sore Eyes—is a parametric typeface, the direct output of a complex Python script that generates a multi-axis color font straight out of DrawBot. Its visual grammar is self-referential, reflecting the qualities of type on screen. Its form follows the means of displaying it–the technology of digital type–akin to a digital-on-digital skeuomorphism. The underlying skeleton is itself a type-in-progress by Connor that references Handel Gothic from 1965. Taken as a whole, Soraiz is an impression of a retro-future that is some years away, but won’t come to pass, and has only been made possible because of the technology of today.

‘So, we should make friends with chaos, and in the whirlwind we should look for the superior order that chaos brings in itself.’
– Franco ‘Bifo’ Berardi

SG Sync is a sci-fi display font with contextual alter-
native glyphs. The font was designed by combining a limited amount of different components in various ways. The project was initiated at the saturday type fever event at HfG Karlsruhe in 2019. Meanwhile, the project was developed into a full typeface, including european language support, numbers and punctuation.

This is a visual diary of a short trip to Israel. Experiencing what it feels like to be in a completely foreign linguistic environment, where you cannot read a single character, can be liberating but also suffocating. It’s a free space where characters can be observed purely for their aesthetics, freeing you from the constraints of legibility and linguistic conventions.

I participated in the 16th exhibition of the Korean Typography Society, “The Jindong Bird and the Handwritten Letter.”

The theme was “I took a food from an envelope and gave it to the vibrating bird that just poked at me,” in the new work of science fiction writer Kim Cho-yeop.

In order to express the overall theme, direct images of ‘vibrating bird’ and ‘handwritten letter’ were expressed, and the shape and characteristics of ‘food’ were applied to the letters. I wanted to express the phenomenon of birds breaking irregularly when they peck at their prey to convey the strange and interesting impression felt in the subject.🤪

Experimentation with new artificial intelligence tools led Edoardo to generate possible typographic visualizations reflecting his design thinking. The goal of the experimentation is to demonstrate that artificial intelligence can be a possibility for designers by placing design thinking as the central element and not the high software skills required to generate the visuals, thus allowing the designer to spend more time researching the desired output and less time on the software.

This type was created using melted wax crayons. It has two forms – colour and half tone.

We trained a neural network with the latin F and the cyrillic Ф searching for an intermediate letterform.

This work is part of a series that explores creating typography with Text-to-Image models.

With the help of Stable Diffusion, 36 alphabets with different textures and themes were obtained from the Wiphala color font, which is part of the research project “Visual Chronicles of Abya Yala” by designer Vanessa Zúñiga Tinizaray. This exercise was enriching because it allowed us to learn how to write prompts that meet our requirements, explore the topic of typography using artificial intelligence, and demonstrate its potential to improve results while preserving the essence of the typography used as a starting point.

»Support Your Local Billionaire« is a political poster about the commercialisation of club football.

Do letters leave memories behind? Once a letter is read or disappears from the screen, is there any trace left?
Traces of type is a visual exploration of the interplay between typography, memory, and the passage of time. Like ghosts that haunt abandoned spaces, the letters are faint echoes of a past that is no longer present, yet still resonates with meaning and emotion.
In this project I’ve used ink, paper and Adobe Photoshop to create translucent layers, blurred edges, and faded colours. I create a sense of ambiguity inviting viewers to engage with the ghostly remnants of typography, and to reflect on their on the ways in which they shape our perceptions and memories.

Keeping a war diary since the beginning of the full-scale war against Ukraine helped me to shape the shadows, discovering space for hope. These are some pages from it, based on lyrics by Odyn v kanoe.

Typographic forms, which were generated with the help of an AI by feeding it with information about appearance and shape. The shapes used were created collectively in a workshop on AI and typography by Jannis Maroscheck at the HfG Offenbach.

Using words prompting an AI to generate shapes that remind of letters but resemble nothing, which can be used as inspiration for further design of or with typography. In this case, the pool of forms and molds illustrate and give name to a Riso printed poster calendar.

Copy & Paste is one of the most used shortcuts and processes in digital work and creation. It’s quick, easy, productive … and boring. This poster demonstrates the lost of efficiency. No matter if brain cells, innovation or information. Copy & Paste prevents criticism, though processes and fresh solutions.