To ensure easy recognition and understanding for diverse language groups, the brand has adopted a multi-language design strategy incorporating Japanese, Chinese, and English. A modular design has been implemented, dividing menu categories into different sections to allow customers to quickly find the information they need. The irregular shape of the menu breaks free from the traditional, monotonous style, offering a more experience.

Digital art is rapidly transforming how we perceive the world and reshaping our interaction with art itself. The design’s core, built from pixels, creates a visually striking image, serving as a powerful metaphor for the digital realm. These pixels, akin to living cells, hold limitless potential. The pixelated pattern, reminiscent of early computer graphics, acts as a microcosm of digital art’s evolution, capturing the advancement of technology and the revolution of art.

At the core of the design lies a letter of interconnected dots, each rendered in a bold and vibrant hue. These dots, like individual voices coming together, symbolize the unity and diversity of the Esperanto community. The dots dance across the canvas, creating a sense of movement and energy, representing the dynamic nature of the event and the ongoing evolution of the language itself.

This design for the Congress presents a vibrant and playful reimagining of the alphabet, inviting us to explore a world where communication, human connection, and environmental consciousness converge. It is a visual exploration of the Congress’s theme “Lingvo, Homo kaj Medio” (Language, Human, and Environment), evoking a sense of hope and possibility for a brighter future, grounded in the universal language of childhood and the power of Esperanto.

Each dots representing a distinct voice, a unique perspective, and a different language. These dots, scattered across the canvas, symbolize the unity and diversity of the Esperanto community. The field of dots, with its seemingly random yet interconnected arrangement, reflects the adaptability and dynamism of Esperanto. The language itself, like the dots, is constantly evolving, incorporating new ideas and expressions, and enriching its capacity to connect people from diverse backgrounds.

Drawing inspiration from late Art-Nouveau typefaces, the likes of De Vinne and Louis Jou (alongside a healthy dash of alien goo), Jérémy Landes brought the Success Titling sub-family to life, packing the Display typefaces with an absolutely insane amount of ligatures (280 to be precise), for both the Latin and Cyrillic scripts.To that end, welcoming its own wonderful absurdity, Success embraces its role as an out-of-the-box tilting machine, doubling down on the title with the inclusion of inno

These lines, symbolize the interconnectedness of art and design, the collaborative spirit of the festival, and the web of creativity that binds them all. As viewers engage with the design, a subtle element emerges – the words “ArtPulse Festival” are hidden within the lines. This method encourages active participation, inviting viewers to delve deeper and uncover hidden meaning, much like they explore the depths of art at the festival itself.

In life (and in font design), we are confronted with a choice our survival depends on. NaN Tresor’s designer, Christoph Koeberlin, for his own survival, made the innovative decision to make no final decision at all. Instead, he offers an anachronous revival, side-stepping natural selection (sorry, Darwin! You snooze, you lose!), where every possible glyph variation flourishes in one font.

Visual identity for the 11th edition of the LGBTQIA+ community festival “Równe Prawa do Miłości” (Equal Rights for Love) held in 2017 in Warsaw, PL. The edition leitmotif “Płeć nie gra roli” (Gender doesn’t play a role, but also as gender doesn’t matter) focuses on gender identity, its fluidity, and subversive acts.

Artificial Type Design explores the possibilities and impacts of AI in typography. Will algorithms soon take over the work of creative professionals? Can machines generate new creative ideas? Where are the boundaries between AI and human creativity?

A collection of 22 AI-generated fonts provides insight into the vast field of typographic possibilities with AI.

Training custom LoRA models with Stable Diffusion enables diverse fonts and future design innovations.

I`m attaching a poster on which I show my sharp font, which I tried to convey the pain, anger and rage that every person in my country feels. I wanted to convey thinner letters with a wider shape and sharp corners. Between the letters you can read the name of my country, to which this poster is dedicated

The font conveys the idea of fireworks. Just like fireworks that spread out from a central point and become more detailed as they expand, my font is designed to provide an experience that requires patience and perseverance from the viewer. As you watch the graphical forms, you will discover the information hidden within, all while being entertained by the visual spectacle.

This font was created with a self-made tool.

Take an unbalanced motor // Glue it to the cap of a spray can // Tape some markers to it //
Attach four strings to control the device // Find a partner to operate the device together // Power it

Slusalke is one of four experimental typefaces that were created with typographic apparatuses. Typographic apparatuses are experimental objects with movable parts that serve as a template for the design of typographic characters. Each apparatus was based on an everyday object, this one being headphones. These typefaces are concerned with the question of legibility in an alphabet that is not based on existing scripts.

Chelas nha Kau, means: Chelas my place. The entire visual identity for the film, communication supports and title design was taken from Chelas architecture, from the walls of the people who inhabit the neighborhood. Raw material to design letters, ornaments and illustration, and build a sense of belonging

Typeface made with collages of pieces of glasses created in Ai. The poem composed with drawn letters is part of a poster by Poets & Painters.

Out.fest is an Exploratory Music Festival that takes place in the city of Barreiro. This year’s edition is based on typographic exploration inspired by shapes linked to the culture of the city railways that have existed since 1857. On a visit to the railways workshops, I found panels with joints from locomotive engines, panels rich in shapes, or interior covering foams, textures, etc. That served to create an visual language for the Festival that is based on the exploration of sound.

Vinyl edition by artists who recorded music on magnetic tape under the Iron Curtain between 1979 and 1990. The typographic work for the vinyl artwork was done manually with magnetic tape from old cassettes, cut, shaped and glued to make the letters, which were then photographed and assembled in photoshop.
The process and aesthetics of this artwork reflect the magnetic origin of the recording and the DIY resilience of these artists in their editions.

Title for an exhibition at Works/San José, an experimental community art space, depicting the stresses on ecosystems. Fresh (green) and dried dead leaves are arranged to mimic Akzidenz Grotesk.

Type illustration for an exhibition at Works/San José, and experimental community art space. The exhibit explored relationships between the natural world and humans. The type—human made—is melding with and dissolving into natural forms.

study information day at the design department – make synapses pop!

Announcing Poster for the first edition of the “Elke Twiesselmann Preis” – an award with the intention to support female actors of the degree course in acting at the Folkwang University of the Arts in Essen, Germany.
Screenprinted in two signal colors.

Announcement poster for a screen printing workshop with Stefan Guzy and Björn Wiede (Handsiebdruckerei Kreuzberg / Zwölf) at the Folkwang University of the Arts in Essen.
Screen printing in two colours: Golden Yellow and Indigo Violet.

Announcement poster for the film series at the Department of Design, which in the summer semester of 2022 will deal with all kinds of provocative subculture sins and experimental underground nonsense from film history.
Screen print in bright red, anthracite grey and deep black.