Visual identity for the Exhibition “Invisible Until It’s Broken” at Künstlerhaus Dortmund.

A mix of digital and analogue technics.

This poster is dedicated to jazz and features a playful vector font. The light and dynamic typeface reflects the free spirit and energy of jazz music, conveying its improvisational nature and emotional richness. Each letter dances like jazz notes, creating a lively and captivating visual composition.

The shimmering font reflects the grandeur and sophistication of Chopin’s music, reminding us of his remarkable contribution to the world of classical music. Each letter gleams like notes played on a piano, creating an unforgettable visual composition.

This poster showcases the delicacy and transparency of a watercolor font, capturing the lightness and elegance of classical music. The semi-transparent letters seem to dissolve into the air, creating a sense of fluidity and harmony. Each word flows like a musical melody, drawing the viewer into an atmosphere of art and beauty.

The experimental brush-written font conveys the rhythm and harmony of musical compositions, reflecting their elegance and emotional depth. Each letter seems to dance to the sound of music, creating a unique visual symphony.

The experimental brush-written font conveys the rhythm and harmony of musical compositions, reflecting their elegance and emotional depth. Each letter seems to dance to the sound of music, creating a unique visual symphony.

This poster is part of my personal project. It’s about how the time passes away, it’s unpredictable and for the creatives is particular hard to manage. Worked over this idea to create a layout that express how time works in my personal experience.

This poster is part of my personal project is about the creative process of looking for new shapes to express, communicate. I’ve worked on a layout that illustrates this process, with is not lineal, it’s kinda messy in a way and unexpected.

“24” is an experimental typographic lettering influenced by Chinese calligraphy.

This work is part of an ongoing project which aims to be presented in the future as an independent self-publication.

Considering the graffiti background of the artist and his path in the field of visual communication, this work is a way of direct expression and stress release after work.

Quick naive lines compose words and under the sounds of music, soothe the mind and wrist from the pressure of daily routine.

Le Tartare is a typeface inspired by the shapes found on butterfly wings.

Experimental lettering “KO” draws its influence from Chinese calligraphy.

experimental lettering engraved on a glass.

Fangs Out is a typeface that originates from the digital realm. This font stands out from the usual generic appearance by incorporating a calligraphic element, thus bringing an artistic and unique touch. The characters of Fangs Out blend the precision of digital design with the elegance and fluidity of calligraphy, offering a contemporary and refined aesthetic. This combination allows Fangs Out to stand out and bring an expressive and visually captivating dimension to the texts it composes.

In dem Projekt Diversity liegt der Fokus darauf, eine neue Schrift aus dem japanischen und lateinischen Schriftsystem zu entwickeln. Dies sollte dadurch erreicht werden, dass Hiragana und Katakana unverändert als lateinische Zeichen gelesen werden. Durch die überlappende Darstellung der einzelnen Striche sollte der Charakter und Aufbau der japanischen Zeichen veranschaulicht werden. Die Textwahl viel auf ein Zitat des Musikers Tunde Olaniran, welcher sich mit seiner Musik für Diversität engagier

You know these mornings with big breakfasts and fried eggs — everything is a bit stressful but in a good way? »Eggcellent« is inspired by those warm and pure moments and shows that every little thing could inspire your life ant that coincidences often start the funniest trains of thoughts. Everything you need is creativity, fun and some eggs in your basked.

«Bass» is a generative approach to typography, coded in processing. It manipulates an existing fontface using circular cut-ups that are rotated following different parameters. These are some samples that use as source the fontface League Spartan, by Matt Bailey and Tyler Finck.

“I SEE NOTHING.” The poster questions the inability or failure to perceive certain societal or cultural phenomena.

Scotch Biplex rigorously exhibits extreme stylistic contrast, mixing roman and italic of Shinntype’s Scotch Modern in the Contextual Alternates feature, tick-tock. This genre is perfectly suited for blending the two styles, with their pointed disparity of construction (not least being 20° of slant) anchored in the even colour pertaining to both the similarity of widths between the said styles, and the enormous pot-hook serifs of the italic lower case, which fill out the mid-x area quite nicely.

If the essence of the Contextual Alternates feature is to provide two or more different glyphs for the same character, just how different might they be? Prompted by the death of Jamie Reid and informed by his ransom note typography for the Sex Pistols, Polypraxia is a single font design that mixes four full typefaces to create a similar kind of pseudo-random effect. Dozens of genres could well have been represented, but this is an invention of keenly structured disfluency, with just the four.

This work examines the issue of text legibility in the domain of graphic design – a field of art that has had a significant influence on the development of contemporary social communication. Due to the functional character of the letter, the aspect of legibility is a basic requirement for the realisation of the superior function of text, which is to convey content. For centuries, however, the letter has been entangled in a relationship between the message it carries and its visual representation

A series of works made from materials (boards, plywood) that were already in use and thrown away. The project emphasizes the importance of finding new characteristics in yourself and looking at them as your strengths, rethinking old experiences and looking for both positive and negative things in them, and learning from mistakes.

“Diffusion Canvas” shows the results of two workshops where type systems and layouts were generated using an image-generating AI. The AI does not understand the semantic content of typographic systems or layouts, but attempts to decode, imitate, and expand them based on the data set. By overstraining the AI, the results are free of design standards and intuition: type and layouts on the threshold of coherence, recognized and interpreted by human understanding of type, semantics, and composition.