The project explores growth and decay through experimental typography. Using nutrient mediums in Petri dishes and laser-cut wooden letters from Neue Haas Unica pressed into yeast culture, mold growth was documented. This blend of nature and design highlights the transient nature of forms and materials, challenging traditional typography and reflecting on ephemeral beauty. Created in my 3rd semester, 2022, under Professor Uli Braun’s guidance.

The “Machine View” experiment, part of a master’s research, analyzed typefaces for readability from both machine and human perspectives. A font from OffType Foundry was selected, and its character anchors were converted into letters using AR image feature recognition. Decoding requires the same AR technology used to create the typeface. Custom-built AR software with open-source tech enables decoding by scanning the letters.

This work is my typographic experiment. I was looking for a balance where a letter can be part of a graphic and be more decorative than functional while not losing itself and still being readable. This letter is part of an experimental modular font I am currently working on.

During the pandemic, the Museum of Modern Art in Warsaw created a virtual space for artists, called Home Office. This is an illustration of one of the slogans appearing in the manifesto of the event’s curator: Be careful with each other, so we can be dangerous together.

Working with the Cyrillic historical heritage and various sources, I found forms that inspired me to create the letter “Л” that would have the serifs of the past, but at the same time fit into a modern context. The letter is complemented by a graphic that complements its accentuated forms and enhances its contemporary vibe.

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

This typographic work was created using an experimental modular typeface. The typeface is constructed from simple geometric shapes, giving the final work a bright personality. The poster itself reflects on the importance of what we say and the fatal consequences it can have.

This work is part of a B.A. Thesis entitled „the sin of decoration“, in which the gender constructions inherent in modernism and the role played by the rejection of the decorative in relation to this, is revealed. By analyzing design-theoretical texts from a feminist design-historical standpoint, the positioning of the term decorative was revisited in a critical way. „[…]Typography and decoration – is nonsense.“ is a quote by Max Bill from 1953, directly inspiring the Liga Typeface.

Parco worked on an ad-hoc lettering for the new students campaign, fluo colors and gradients are used with the aim of pushing the message with young and fresh vivacity. The main goal is to show to potential students, the potential of an experience at the Academy. It is designed to be used on different campaigns and supports, both animated on social networks and static on printed matters.

As one of the oldest beverages, beer has endured throughout font history, making it fitting for “Paarbierus” to cap it off. The name is a play on Papyrus and sounds like “paar Bier noch?”, meaning “a few more beers?”. Following the principle that ‘everything is a grid’, used beer bottles in crates have been upcycled into a font. The phrase “Kein Bier vor Vier,” meaning “Don’t drink beer before 4:00,” reflects German drinking culture and promotes responsible consumption.

Svitlana explores the influence of various analogue mediums on the character of letters. She works spontaneously and intuitively, embracing failed, accidental, and imperfect shapes as the foundation of her letterforms.

For this project, they experimented with AI and typography, creating an abecedarium of nature-themed letters using AI. They then significantly reduced the size of these images, resulting in various abstract, pixelated letters initially created by AI. These pixelated images were converted into letters, culminating in a new font.

This project visualizes mouse dynamics as biometric data, capturing the mouse’s position, drag-and-drop actions, and clicks. The visualization represents an indirect form of writing through the interaction between human and machine, where commands, opinions, and thoughts are communicated. This data-driven, generative pattern of communication explores the subtleties of our interactions with technology, transforming seemingly accidental mouse movements into a cohesive narrative.

test um zu schauen ob formular funktioniert (grüße von slanted)

For this project, they experimented with AI and typography, creating an abecedarium of nature-themed letters using AI. They then significantly reduced the size of these images, resulting in various abstract, pixelated letters initially created by AI. These pixelated images were converted into letters, culminating in a new font.

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

Parco Studio designed a campaign focused on the word “weak” that, spreading like a tag on walls, quickly invaded urban spaces – almost like a temporary graffiti. The lettering has a handmade and rough character, in order to give an organic and human feeling to the communication. The visual project is inspired by the importance of vocabulary in conveying messages and the communication is based on key words presented on a large scale to create a provocative shouting effect. 

Maite Oswald, a design student, felt compelled to create a piece on the last day of submissions for Experimental Type 3.0. She set a one-hour timer, worked with various analog materials, and digitally refined the results. Guided solely by instinct and without prior inspiration, she completed this poster when the alarm went off: her “last chance” for a final submission.

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

This work is my typographic experiment. I searched for a balance between decorative and functional typography. The current look was an accidental result of transforming the word “GUM.” The final look illustrates the rhythm of chewing gum as a metaphor.

We are exposed to a flood of information. Constant sharing and copying takes this information out of context and changes it.
This project aims to visualize this problem in the form of a font. We are not talking about fake news. Rather, it is about unintentionally “falsified” and altered information. If information is reproduced in an altered form and this process is repeated, the change runs through all subsequent copies of this information and can be reinforced or expanded by further changes.

Split Flap is a charismatic, variable Grotesk with sweeping terminals, a high x-height and minimal descenders. It’s the result of research into the history and functionality of split flap displays, which became widespread in public transport in the first half of the 20th century as a reaction to an accelerating society, replacing manual, analogue display boards. Based on the two-part flap mechanic, Split Flap mimics the visual distortion of the glyphs and offers a variety of italic variants.

During this summersemester I designed a pixelfont called “Mosaik”. Inspired by my trip to Morocco and Portugal I wanted to create a ornamental font where it would be possible to tile it. This font was created in the course “working type” by Anna-Lena Würth and Johannes Bergerhausen at Hochschule Mainz. The specimen conception was designed by Fabio Hafner and Sarah Heerlein.

Every day, we read hundreds and thousands of characters from the Latin alphabet. But when do we ever take a closer look?
Each letter has a clearly defined DNA. Its components are pieced together for us in a way that seems completely natural.
But what happens when we rearrange the elements?
Deconstruct.
Where is the boundary of legibility, and how important is it?
Are new interpretations possible?
The Latin system represents immutability.
The goal of this work is to question and ret