Windows display transitory fragments, bridging the inside with the outside, ephemera with the enduring, and intentional with accidental. They provide alternate realities where fantasy and design intersect. When documented, they make public a fleeting moment of chaos. This spectacle, a textural essay, resonates in media res—directly into, while proceeding from—a voluble field.

I started sketching some random monster and it ended up being a very lovely friendly and funny sketch. Then I thought it might be nice to be friends with him, and that’s how all started. Why can’t our sketches become alive? I’d love to hear their voice, touch and interact with them, even if they get crazy. I’ve used two different fonts, both of them are sans serfi. I’ve played with contrast using a high saturated Klein blue. My intention is to create an interesting and attractive Poster so people would come to my crazy sketches Event.

My universe revolves around the combination of plastic researches and typographic editing work. In parallel I design images as sculptures, through a technic of image production : I scan objects, that I recomposed numerically. I present this images in lightboxes as in my solo show at playground gallery in Paris in 2019.

Can we use test charts in printmaking to remind ourselves about the visibility of human values in graphic design?

Within the space of the square frame, Charles wants to share with the viewer his exploration of found art on the walls of the New York subway system. Moving in closely, without too much forethought, Charles grabs bits and pieces of the remnants of torn advertising posters and/or the remains of spaces left bare. By exploring shapes, colors, textures, the photos become pictures in the artistic sense, much like abstract paintings or collages. The images emerge by chance, moving the iPhone gingerly over the horizontal plane, stopping to record a color or shape that catches his eye.

FINF is an original video game, based on a concept by Shachar Freddy Kislev. The game takes its name from the German word for the number five, pronounced with a Hebrew accent. The concept of the game can be described as tic-tac-toe on an infinite board. Players take turns placing colored blocks on the board: the first player to create a row of 5 connected blocks – vertically, horizontally or diagonally – wins. The color-coded characters can acquire different super-powers, that add a manic and comical aspect to the gameplay.

Damage is my take on a simple comic explosion. I’m always intrigued by the abstract compositions of those old comic explosions.

Tanzquartier Wien (TQW) is Austria’s key institution for the sophisticated, inspired and socially committed discourse on contemporary dance and performance. From the start our guiding principle for the design is simple: movement is the motivation. For the campaign (2018/19), the letters TQW are rendered as clouds of hope or mystic smoke.

The installation for MOLITOR Hotel consists of 29 layers with three rows of colored
fabric each that are mounted above the outdoor pool.
The challange was to capture the soul and heart of the historic space.
Especially the light during the evening hours and the atmosphere of the
hotel inspired the colors of the installation.
Since my work is located between concret and abstract art, it has the possibility to do
both: One the one side, the installations affirm the universal energy art brings in our
lives, giving us an understanding of the profound foundation of the world itself, while on
the other hand, my art is a vehicle for the sensory dimensions that art has on the
individual perception.

These illustrations were created for an important music festival in the art city of Ferrara, Italy. The organizers asked me to express the idea of welcome, a hug. I made 3 different images, 3 couples (2 women, 2 men, a man and a woman), whose dancing bodies give life to great faces.

This poster illustrates three different colour modes: CMYK, RGB, and Lab. It’s also double as a type specimen poster for the Aldero™ font family from R9 Type+Design.

This Home Sweet Home typography design was created with Alio™ Pro and Alio™ Decor from R9 Type+Design. We would like to showcase this font family’s hybrid modular design feature, allowing graphic designers to combine the typeface and its decorative counterpart to make stunning art. Just let your creativity flow and enjoy designing with Alio™.

Here’s a type specimen poster for the Alio™ Text font family from R9 Type+Design. The round shape and round stem terminals illicit a friendly feel. That’s why we chose “The Quick Brown Fox” English pangram to showcase such a vibe. Alio Text looks excellent as a display type. It’s also legible and readable in small sizes.

This is a promotional poster for the Augmento™ typeface. The design objective is to showcase the breadth of its three subfamilies: Condensed, Normal, and Extended. Because Augmento™ is one of my favourite typefaces, I paired it up with one of my favourite drinks, the triple berry smoothie.

Span’s visual identity reflects everyone’s individual creative energy, generating a visual system that is equally vibrant. With the direction from Bud Rodecker and inspiration from Man Ray’s surrealist portraits, Leah Wendzinski photographed our portraits using the Hungarian artist Nicolas Schöffer’s cybernetic sculpture, Lux II, as an image manipulation device.

Metronome is a device that produces an audible click or other sound at a regular interval that can be set by the user, typically in beats per minute (BPM). Metronomes may include synchronized visual motion.

I dreamt of a scorching summer day, with strawberry-lime ice cream the other day

I accidentally put expired eyedrops in my eyes, so I was terrified, that my breakfast banana would turn psychedelic. Then I remembered, it would look cool, so everything is fine now. My eyes too!

It’s that fresh, crisp feeling you get, when your toe barely touches the damp grass on a sunny hillside morning

For the Holland Festival 2019 edition, the fifth in the series, the existing typeface was expanded with four weights. In the campaign an overlay of all type weights was used to maximize the mesmerizing effect of bright and contrasting colors that express the multitude of voices and cultures that make up today’s society. Circles turned the logomark into masks to communicate the general theme of identities and identity politics. The design explores the translation of bright colors across different media. Online in RGB, in print in pantone and CMYK. As a result of these experiments one poster used 6 fluo colors and one facade combined full colour prints and solid fluorescent sticker material.

M+ visual identity uses a range of mid-tone colours. These colours are selected to be tonally equal to 50% black. When they are used as backgrounds for text, black or white lettering will always be legible. The M+ colour wheel demonstrates the changes made to the primary colours to make a series of mid-tones to form the M+ colour set. By using this selection criteria, Thonik developed a huge range of colours, equivalent to about 1000 Pantone colours.