CHOOSE YOUR WEAPON
DUMP HIM
…
they just hit different written with a font made of Sextoys.

This typeface is based on stone-carved letterforms used for an 1871 gravestone for Jean Jacques Lallelment, located in a small cemetery in Orqueveaux, France. The designers were inspired by the deterioration and disconnection of strokes of the upper- and lowercase letterforms, resulting from temporal and environmental forces acting on the material surface of the carved stone.

(this was mistakenly sent under the wrong name Droit, resubmitting here…)

The glyphs in this typeface, comprised of over 100 handprinted monoline characters, were created during a residency in France. The designers were inspired by the many decorated iron gates and fixtures seen in Paris and throughout the northwestern region of France. The forms gesture towards a systematic symmetrical structure but find pathways that are unusual or challenge the legibility of specific letterforms.

Droit is a distinctive display typeface characterized by its straight, fragmented lines that form round and diagonal shapes. The typeface creates a unique texture and rhythm through the interplay of wide and narrow letters, resulting in an unconventional look rooted in the application of a narrow set of parameters.

Julia Skopnik uses classic as well as experimental photographic methods in her color darkroom to create graphic images. She is currently using various light sources to paint on photo paper. This process takes place in absolute darkness. For her, mistakes during the process are sometimes annoying and sometimes surprisingly inspiring.

»Letter S« illustrates the essence of paper. Flexible, tear-resistant, absorbent – versatile for graphic design. Fragile individual sheets develop changed properties through binding. Coloured separator sheets, held by a strong strap, form an object under tension: a dynamic block, a book open on all sides. On the scanner, a letter made of thin layers was visualized, like fine drawn lines.

This is an ongoing project exploring the possibilities of using a pen plotter, a type of drawing robot, for typographical purposes. By physically intervening in its rigid drawing process, and/or not bothering to fasten the pen in its holder, the design can be intentionally “messed up” in unpredictable ways.

NOF4 is a display font based on the graffiti of Fernando Oreste Nannetti, a patient at the Psychiatric Hospital of Volterra, etched on the wall of the pavilion where he was hospitalized. It is a font with interesting technical and stylistic features, aiming to revive interest in this artwork through a digital medium. NOF4 is an irregular and variable font that replicates the nature of manual engravings, also recalling their composition and structure.

Artificial intelligence helped me find solutions that aid the viewer in searching. Searching and observing closely.

How might typography look at the biological level? I played around with this idea a bit using artificial intelligence.

The “Felsen” font or rather its character set consists of six basic forms that are programmed to compose each character. Random parameters were programmed into the font to create the font’s unusual characteristics. There are different random details in each font style. In addition, a theoretically unlimited number of font styles can be created. The font was not subsequently reworked in order to preserve its unique character which has an unmistakable appearance especially in the extreme weights.

All the works I present here are a blend of human creativity and artificial intelligence. The rhythms and forms are the result of human exploration, with AI as the tool.
This piece is called “Flow.” We exist in it, with our movement, dynamics, and accents — in one word, in the flow. Yet, there is an element that inevitably seeps into your routine, and you might not notice it right away. But it is there. This work reflects the everyday life of Ukraine today.

To highlight the sharp decline in lichen populations, five asemic sign systems are created to give them a voice. These systems are modular and inspired by various species. By experimenting with these signs and mimicking their growth, a unique visual language is developed. This artistic approach not only draws attention to the ecological issue but also emphasizes the beauty and significance of these often-overlooked organisms, encouraging deeper engagement and awareness for their protection.

»Flextron« is a modular font system for experimental use. Monospaced and extremly reduced to a minimum of three to five elements per sign, the alphabet explores the limits of legibility. Prepared to contain structured elements, gradients or outlines, the font is dedicated to set various rhythmic patterns. Several transformations and abstractions show the character of this work: A stable grid for an ongoing process – texts as complex images, type as artistic expression.

The poster about selfish in the modern world. Typographical explosion, controlled chaos, and unconventional censorship using Latin alphabet letters.

Design allows me to break, unlock and create barriers. Digital, analogue, three-dimensional, two-dimensional, meaningful, meaningless.

This experimental typeface was inspired and shaped by cross-stitch embroidery. The aim was to use this traditional method and integrate it into the contemporary art world. The design is implemented within a grid system, thus mixing embroidery and pixel-based techniques. Embroidery is an old art form that carries values from the past, while the pixel-based approach and the irregular lettering are kind of a modern rebellion.

This is a series of illustrations I created for Road & Track Magazine to accompany a special feature on iconic 90s supercars, titled ‘The Unloved’. I made three full-page illustrations to open each section, each centered around one of the cars: the Ferrari F50, Porsche 996, and Lamborghini Diablo. The assignment was to make the illustrations abstract, giving away only small hints of the respective cars, with each featuring an almost hidden headline that requires some effort to unveil.

The designer used Google Spreadsheets as a canvas to create a clockface that addresses the issue of climate crisis. By utilising the entire width from A to Z as a grid, she crafted the shapes of numbers, making a statement through the tool itself. She explains that in a capitalist world, the fight against consumerism and climate change often boils down to a numbers game on a profitability spreadsheet. This work was shortlisted in the ‘Time is Running Out’ competition by studio OMSE.

Each artist communicates with the outside world in their own way. They strive to express their thoughts, ideas, and emotions through colors, shapes, and compositions. In the era of Abstract and Concrete Art the creation should refer to nothing other than itself. No external meaning was left, just as in asemic signs. This work examines various artists and their visual language. Unique and unmistakable systems of asemic signs are created.

Numerals: A language that weaves the fabric of time. A figure that captures the first met, making the days and months in a repeating cycle. A symbol that breaths on manuscripts for the passed years and history.

“Repetitive Tricks” is inspired by training sessions with Chen’s dog, TOTO. It captures the repeated gestures and vocabulary used in practicing the same tricks. This font explores the deep emotions and connections that transcend the boundary between animal and human. Such interactions are embodied through a unique set of font patterns, experimenting with both legibility and hieroglyphics.

I created an illustration based on the hand-lettered word ‘Yes’. I then scanned this drawing, printed it, scanned it again, printed it again, and repeated this process multiple times, resulting in very rough textures that give the final piece a raw, analog feel. This process has imbued the artwork with a unique appearance and a great deal of character.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic and rhythmic structure, movement expression, and a dexterous personality. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both name and design are inspired by mountain peaks. ’Cumbre’ in Spanish means summit, hence the jagged style with sharp angles combined with venturous curves and its angular, serrated structure.