Iryna Baranova’s work for Ester Digital features blog article covers with a dadaist, experimental approach. The creative method, designed to produce covers efficiently within just one hour due to heavy workloads, can be adopted by others if needed. It blends random photos, the studio’s brand font, analog-inspired techniques like dithering and pixelation, and a muted palette extending the brand colors. This approach balances playful visuals with serious article topics, adding irony to the series.

This is a poster printed with photochromic ink, entitled GRAPHIC PICNIC Workshop 02, with the aim of spreading the knowledge of design and printing to the local community.
Outdoors, one sees the first image, with the 0 and 2 cleverly hidden within the P and I of PICNIC; indoors, the Chinese word “picnic” appears; and when overprinted in both Chinese and English, the text is not only readable, but also creates unrecognizable visual effects with the application of photochromic inks.

Two posters from a larger series for the presentation of the “Pomizh” magazine.

“Pomizh” is a printed magazine about Dnipro, a metropolis in the center of Ukraine, unified by numerous bridges across the Dnipro River, which has the widest channel in this region.

Each poster (as well as the magazine itself) is bilingual: in Ukrainian and English. The vertical posters have no “top” or “bottom,” and can be placed in any orientation, depending on which language quote you want to read more easily.

1 color silkscreen (printed in two layers)
Edition of 25, signed and numbered
40 x 30 cm / 15.75 x 11.81 in
Paper: De Geerts cotton Paper 500g/m2

2 color silkscreen (silver pigment)
Edition of 16, signed and numbered
51 x 36 cm / 20.08 x 14.17 in
Paper: Meta Paper Extra Smooth Recycling 270g/m2

Poster design for Monoh playing at Neubad Luzern.

Jonas List leverages WebGL and custom shaders to create 3D typographic animations. His focus is on the randomness and engagement offered by interactive sketches, as well as unpredictability introduced through code. He uses materials, light, and post-processing, along with animated particles, to discover new shapes and expressions. Each piece stands as a unique experiment, pushing the boundaries of traditional typography and reshaping it in the digital realm.

This is an excerpt from the typographic work “BLOOM,” a collection of variable fonts designed from various component shapes. At its most fundamental, this typeface is a Tuscan serif with bifurcated serifs, inspired by the fleur-de-lis. It is an experimental display typeface reminiscent of a field of flowers, blossoming and spreading its petals.

How would a typeface mark the passing of time? Since before antiquity, humans used light and darkness to tell the time—buildings throw shadows that grow and move and morph over time, sundials point to numbers on a surface, and engraved letters change with the sun. Relief is a variable font with an axis for controlling the angle of the light. When blurred, the fine lines that shrink and grow run together into differently shaded areas.

A score within a score. A poster, with multiple functions, cut and folded into an instant publication, holding texts that were born by the writing group “unmoored and adrift and alive.” It serves as a launch invitation, a cover, a chapter divider, a gatherer of writing. Making public what has been an experimental space for collective explorations into writing as a performative practice distinguished by unstable boundaries between bodies: bodies of texts and bodies of writers and readers.

This poster is a reflection of the year 2020, which allowed us to pause, reflect, and look within. Designed in response to the La Bienal del Cartel Bolivia BICeBé brief, No Course to the Interior Space. The texture in the background and linear typography symbolize roots and our journey. The fragmentation of the type is a reflection of ourselves and the many sides we have.

Poster for the 2024 spring edition of Fiction Tuesdays – a film screening series organized by the Czech Centre Bucharest.

Its first publication was in 2022-2023. It is based on the basic principle of visual literacy to create glyphs with different reading possibilities from the same base. Using morphological tables (which are a tool used for creating isotypes), this grid is assembled or decomposed, forcing the mind to interpret recognizable glyphs. In addition to that, he also used the technique of variable sources to create different forms, framed in the same concept of experimental types.

Factory Street in Lviv gathers many different people around it, from creative people. I looked at this street as a ready-made identity, collected all its signs, traces of its inhabitants, collected its cracks and smell and fit it into this identity. I was an observer, I just looked carefully and turned what I saw into an identity.

“Svit i molod”. Republican Art Exhibition of 1985.

I felt inspired to create a font based on this discovered typeface. To me, it’s a real find. Over time, I want to build a complete font that can be used in projects and reflect all the letters that could exist.

For now, I’ve displayed the letters that are available – this can be seen in the poster. A pixel font based on a completely different typeface looks.

Distort and decay art challenges us to confront our obsession with perfection, inviting us to embrace the transience of life and the allure of imperfection. It encourages us to appreciate the inherent beauty in the flawed and the ephemeral, offering a fresh perspective that goes beyond our conditioned desire for flawlessness.

In augmented reality, two-dimensional text leaves the screen and is displayed spatially. The readability of this text is influenced by the viewer’s perspective and the surrounding real-world environment. Adaptive Type demonstrates how variable font technology can change the use of text in three-dimensional space. The properties of variable fonts are simulated by generating static font files and displaying them sequentially based on the mobile device’s viewing angle, distance, and ambient light.

HV 100 font redesign glitch experiments. My aim is to transform my rigid geometric digital typeface into a unique and unrepeatable version.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with iron-on beads by hand.

Biuro (“Office”) is a periodical published by BWA Wrocław Galleries of Contemporary Art. The latest issue is titled “Glossary of Institutions” and comes in the form of a case-bound book.

The dictionary is the result of discussions about the current situation and issues of art institutions in Poland among representatives of the art world. More than 120 slogans and their definitions assign goals for the future of the cultural world. The publication was curated by Maryna Tomaszewska and Anna Mituś

NO Plytype is a typeface designed for the identity of Project 14.9, a furniture workshop specializing in working with plywood. As Renzo Piano once said, “The beauty of plywood lies in its simplicity & versatility”, it allows to experiment with new forms. Non-Objective asked the Project 14.9 team to cut out some plywood modules to experiment with. Using an ink pad, these modules became letters, the letters became words, and then an entire font was created.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with beads by hand.

Imagination describes the ability to create mental images and recall them in the mind’s eye. This ability varies and can sometimes be absent. Aphantasia refers to this: limited or absent visual imagination. Visions remain abstract, with no word-to-image translation.
In “Without Image”, Rhoda Herold explores the visual translation of this phenomenon. The result is code-based deconstructed type that metaphorically represents imagination with aphantasia.

Feel the Burn is an experimental typeface made from discarded waste produced by a mechanical machine tool. A day-to-day working laser cutter uses selective burning away of material to create precision-cut artwork. The surplus produced is saved in the leftover tray. The offcuts, embers and detritus are collated, digitally scanned and constructed into letter forms. The use of byproducts and speculative production techniques makes the works an ambiguous piece of visual communication.