This experiment further explored randomness by throwing physical paper folds (9m 30ft long) to create various shapes, resulting in forms that resemble those made with parametric design.

During the process of experimenting with punched and folded paper using a 3D-printed gadget, the long paper strip was transformed into a letterform. The study of the letterform, material, and process culminated in a series of explhttps://www.instagram.com/p/Cz6R2oxO-Yd/
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This work captures a 3D-printed, unfired clay object inscribed with the word “LOVE.” Initially legible, the object has been submerged in water, causing it to crack and distort. The once clear letters have become difficult to read, adding a poetic aspect to the letterform and the meaning of love. The cracks and imperfections introduce a sense of fragility and transience to the artwork.
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Overwhelmed visualizes thought triggers in an oversaturated medium/mental state.
A modular, dot-based letter system was created with sodium acetate crystals. The crystals expand from single points and merge with others until the basic letter shape is completely engulfed/consumed in the crystalline structures, depicting rising intrusive thoughts taking over an oversaturated mind, the Petri dish. The chemical reaction creates arbitrary forms within the characters, a feature this project embraces.

Language, normalized in daily interactions, isn’t neutral; it’s a symbol system that creates an illusion of understanding between what we know, think, speak. “Las Vagus,” a variable font, emerged from research into communication gaps faced by trauma survivors. It addresses the mind-body gap by translating sensory methods used in trauma-coping, such as activating the Vagus nerve with clay, origami, yoga, Rorschach illusions, breathing, and vibration. “Las Vagus” enhances diverse communication.

The fascination with bubble butts, or rounded and prominent buttocks, has grown due to cultural influences, media and celebrity promotion, fitness trends, and social media. Celebrities like Kim Kardashian and Beyoncé have popularized curvier body types. The fitness industry focuses on glute-targeting exercises, and platforms like Instagram amplify these trends. Historically, beauty ideals have shifted, and the current trend is part of this ongoing evolution.

Colibri is a typeface family inspired by 90s rave flyers, created by Julie Doriath. Available in three weights with two encoded, which is inspired from animal mimicry and rave culture codes for confidential communication hypotheses. BPM stems from the deconstruction of the character through techno vibrations (130 to 200 BPM), while Fluid explores the fluidity and the wrapping of electronic music. Its name references the hummingbird’s heartbeat, ranging from 250 bpm at rest to 1000 bpm in flight.

The project aims to design a simplified,modular Arabic typeface inspired by the simplification reforms of the 1930s and 1960s, as well as Linotype’s ‘Simplified Arabic’ from the 1950s.Developed in a master’s seminar at FH Aachen,it seeks to ease learning of Arabic script by reducing standard letter forms from four to two per glyph.The goal is to create simpler forms while retaining essential features of Arabic script.‘Geo Kufi’ is designed as a display font suitable for headlines or short texts.

MORPHOS is a experimental typeface that exemplifies the potential of AI in design combined with CGI.

By combining CGI precision, spacial morphological fluidity, and the timeless beauty of marble textures, it offers a unique blend of contemporary style and organic elegance using AI tools to morph the characters.

This font encapsulates a contemporary aesthetic while maintaining an organic touch, making it a perfect choice for modern digital and print designs that seek to blend organic-digital.

The Hofmann Grid Type Tool is based on a grid system by Armin Hofmann and the digital display font Hofmann by Hoang Nguyen and David Gobber. It enables the analogue printing of graphic shapes and outline letters in a calligraphic style on the printing press. The tool was developed in the printing workshops of the FH Aachen as part of Robert Franke’s Type Tool seminar.

Modular pixel font created in the ‘Working Type’ course at Hochschule Mainz, supervised by Anna-Lena Würth and Johannes Bergerhausen. The task was to find a different ‘type’ of pixel – one that doesn’t necessarily have to be a square or a dot. To prepare for the workshop, we were asked to find grids in our everyday lives. So I came across the metal blinds for closed shops and created an ornamental font family with the cuts quarter, half and fully 🎀

Letters are a construct as is society. In order to read and understand we need a certain perspective and tools. With the POV cube a modular typeface was created that plays within the grids but forces the reader to adjust the perspective. The letters are created by a combination out of 6 modules, that if arranged correctly show a letter similar to the ones we are familiar with. There by the modules always covers 2-3 sides, two around a corner and one at the top or bottom of the cube.

Katharina Sophie Mumme’s project “AI Shapeshifting” explores the intersection of AI technology and type design. Using an image-to-image process, she generated letterforms inspired by the millipede and scorpion. She provided images of letters to the AI and incorporated insect shapes through specific prompts, emphasizing nature as her greatest source of inspiration. As a communication design student, she developed this project in the Creativekitchen course at HAW DMI, led by Prof. Peter Kabel.

Abstract layers of textual clouds seem to hover past each other and gain or lose concreteness in their form as if in the process of becoming clear and meaning-conveying or entirely fading away into nothingness. A typographic visualization of the meaning-making process of communication known as “semiosis.”

The typeface MT-SHIFT brings motion in typography to life. Utilizing over 6000 individually calculated ligatures and the variable font property, it enables every possible morph between two glyphs. This experimental font challenges traditional limits, offering a unique blend of technical sophistication and visual engagement.

A variable font with experimental nodes.

This project draws inspiration from Adrian Henri’s poignant poem, ‘Holcombe Poem/Poem For A Girl I Didn’t Meet’ from the late 1950s. Originally expressing ‘thinking of the girl I never met,’ I tailored the wording to resonate with a broader audience. By replacing ‘about’ with ‘of’ and ‘girl’ with ‘one,’ the piece aims to connect with individuals who harbor affection for someone they’ve never encountered—much like myself.

The 3D-printed embosser design can cut and score paper. In the process of experimenting with paper and 3D-printed embossers, I noticed that when embossing was a little too strong, it could rip the paper, and I wanted to use it for something beyond printing or folding. The study of the letterform, material, and process ended with a series of typographic explorations.
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In the process of experimenting with punched and folded paper using a 3D-printed gadget, the long paper strip could be turned into a letterform. The study of the letterform, material, and process ended with a series of explorations.
https://www.instagram.com/p/CtNL_6RBpbu/?img_index=4

The type for this poster was created by forming letters with real hair, which were then scanned and digitized. This design for “Be A Good Girl,” a film by Louiza Zouzias, was inspired by a scene where the protagonist plucks out her white hair to avoid upsetting her captor.

As part of a series these letter sculptures blew up to reveal certain parts inflated by force and others pinned to keep the shape. This letter “J” is also projected as a texture on the surface which adds a second layer of abstraction through deformation. [J]uggernaut – a massive inexorable force.

“A mistake is an invitation to do something else.”

Experimentation often includes mistakes, errors, and other “happy accidents” that occur in design. How would one effectively communicate the concept of a mistake? With this project, I used the “error” message that used to occur with older computer programs with strikethroughs, overprinting, annotations, text errors in formatting and alignment, and other methods of traditionally highlighting mistakes.

As a small niche brand it’s hard to get attention with a 2qm booth on big trade show being one of many. The title is there to provoke what we actually love and get some attention.

Split, cut, slice, slit apart. This project focuses on the abstraction of typography through the technique of repeatedly dividing objects and thus breaking up its materials in 3D space. The glyphs are increasingly cut up experimentally, reassembled and brought into perspective. New terms and creations can be recognized through newly evolving edges. It is the conceptual transformation of language.