Typographic sample for our variable type Broker.

Typographic sample we created for one of our newest variable types, named Brinca.

Part of the sample work we created for one of newest variable fonts, named Brinca.

Typographic experiment to celebrate the new year, 2024.

Experimental typographic artwork to celebrate this year as a leap year. We only get one every four years!

Antiphony is a type family that explores typographic extremes and orchestrates commonalities through opposites. Antiphony is a dualistic system that challenges the viewer as well as traditional models for typographic systems. Because of the extreme angle of the forward and reverse italics, Antiphony is suitable for setting type at 45° in either direction. Additionally, the fluid nature of the design allows naturally setting the type on curved paths.

Affection (1) is a sculpture. It is made out of wire, concrete, plaster, acrylic paint and a reflective stainless steel plate, measuring approx. 300×400×600 mm (D×W×H). It needs a wall to lean on. Affection (2) is a state of mind and body. It is a come together of two different beings or forces under good will and tenderness. Aff. (1+2) is the sum of Affection (1) and (2). It also is the realization, that one half is leaning on a reflection, that is leaning on something else.

YO, street style with the help of AI

Metabolic Type is a typography inspired by the Japanese architectural movement Metabolism. What would the movement be like if letters changed shape like living creatures and adapted to their surroundings? This typeface is characterised by a wave-like movement, with the serifs changing according to the letter that comes next.

This experimental lettering is one of the results of visual experiments conducted for the “ARRIVEDERCI E GRAZIE” publishing project. It is a letterset created by blackening receipts exploring the thermal paper properties. Many letters show residues of other words contained in the receipts themselves. This practice is inspired by the work of M. Duchamp who used ready-mades to create art by giving them a second life. Following the same principle, even the receipts can reveal something unexpected.

This experimental lettering is one of the results of visual experiments conducted for the “ARRIVEDERCI E GRAZIE” publishing project. It is a letterset created by blackening receipts exploring the thermal paper properties. Many letters show residues of other words contained in the receipts themselves. This practice is inspired by the work of M. Duchamp who used ready-mades to create art by giving them a second life. Following the same principle, even the receipts can reveal something unexpected.

“unform actress” is a geometrically constructed typeface that tries to jump between classical latin and abstract forms. all letters are related to each other in their form and at the same time are independent in their expression. in large formats, the perception between letters and organic forms becomes blurred

Analogously created letterforms were digitally captured and interpreted by an image-generating AI. Influences such as transparent foil, Y2K product design, X-ray images, and anatomical visualizations shaped the process. The sketches were interpreted and refined using a real-time image-to-image model and repeatedly blended to create new perspectives and expressions. Through the process, static forms transformed into more abstract and organic shapes.

A play on Backgammon, Snap!Gammon pushes the iconic format of the game into a new visual field and narrative. The starting point was turning the board into a crocodile’s mouth, with the pieces – Egyptian plovers – moving along the teeth. The typography is made of triangles/circles. They reference cuneiform lettering – from Sumeria, like the game itself.

The workplace has evolved from an office cubicle, to the home. With the rise of prioritising self-care, work-life balance, and home office aesthetics, the Ride embodies this new lifestyle. Designer Guy Skerman’s playful concept invites us to explore how we sit and share space. The unique tubular steel frame flexes according to where you sit. Upholstered in a carbon-neutral leather, there is plenty of room for sharing. 

The mark is a redrawn rotated version of the frame creating an ‘r’. The logo

The designers created a number of bespoke typographic ‘BIKE’ tracks. The tracks were made into ‘rollergraphs’.

The letterforms form the squares themselves. The designers aimed for the type to be abstract, allowing it to be perceived as squares first and then as the notation. The typefaces are constructed from a grid of 64 pixels, reflecting the board. Two cuts, light and heavy, were designed to create the black and white squares, named Notation Black and Notation Light. The black and white squares are oriented in each direction for each player to read, leading to the name “Notation Rotation.” This concep

Custom font family developed for a narrative game. The different variations gave players a clearer understanding of how the conversation was shifting during the game, and what emotions the speakers were going through.

Lettering embossed by hand on re-used aluminium. This is time-wasting and inefficiency translated to the design process. An experiment and speculation about if the slowness of craft can open up for re-valuing time and imperfections, rather than prioritising effectivisation and optimisation within design and production.

A poster for Thomas Sharp’s talk at The Typographic Circle about his adventures in writing. The words morph into each other – reflecting the flow of his ideas. The full stop also morphs into the Typo logotype.

The font was developed as a means of displaying the written language of digital systems and algorithms that communicate without human participation. The main task of Algoitmo-8 is to create the illusion of typing a text that is meaningless from a human point of view, to make it hard to read, to disguise the content of the message. The font is inspired by the works in the field of experimental typography, first of all by Wim Crouwel’s New Alphabet.

This typography for the music group Cachou, merges childish carelessness and adult audacity. Like a coloring overflowing with spontaneity. Each line represents the mistakes and scars that are part of us, it is through these experiences of life that we are formed.

This approach is made to exceed conventional limits, refusing to be conditioned. The lines are variable and they embody the dynamic performances of the group on stage.

“Space-Typeface” explores transforming flat letter forms into three-dimensional shapes. It emphasizes legibility and aesthetics in spatial and temporal dimensions. The project offers an experience of transferring flat letters onto 3D volumes. Letters are created from virtual ink—light, projected onto protruding and inverse cube volumes, transforming their appearance through spatial changes.

“Bubble Type” is a bilingual legibility spectrum exploring the transformation of letters from a liquid state to bubbles, pushing visibility and legibility boundaries. Beginning with fluid, formless letters, it emphasizes motion and abstraction. As they solidify into defined bubbles, the design tests manipulation limits while maintaining recognition. This spectrum challenges traditional typographic notions and examines legibility across languages, creating a unique bilingual visual experiment.