In the design of the 25th anniversary edition of the poesiefestival berlin, the AG Grafik focused on the essentials: A classic Antiqua font combined with hand-drawn lines, punched dots and typesetting errors are reminiscent of the manual process of writing. The color space is as reduced as possible: black text on a white background stands for the relevance of the written word. The visual concept is irritating, not always legible and explores the possibilities of presenting poetry through design.

The project is dedicated to specific signs of different languages as part of the visual identification of different countries. The project is not finished.

The project is based on real events. In today’s world, many are forced to relocate due to shattered pasts. This forms the core idea, represented by the cracks in broken tiles shaping a random font. Each crack, like each person’s story, makes every letter unique, carrying its own history, character, and form. To enhance the font, volume was added, followed by a time dimension showing letter movements in space, as demonstrated in the video.A key question arose:How to imbue more meaning into letter

Glitch refers to an unavoidable, unpredictable disruption in digital systems. Glitch feminism takes the idea of the glitch and acknowledges that in a social system dominated by exclusionary power structures and marginalization, a glitch might not be a mistake but a systematic error.
reify is a variable typeface that glitches, that can avoid the responsibility of being useful, that can disrupt, that can be an error, but doesn’t have to be.

nomo is a monospace font with variable advance width. The narrowest style is 300, the widest 900 units wide, the whole spectrum possible. This translates to the font being of the same weight within a style (mono), but in total different along this width (nomo).

Who does a system suit and who suits the system? Which characters can show character? What does it mean to occupy space and break through its boundaries? How can we recognize, strengthen and show the beauty in disobedience?

Every season, the Neubad Luzern work commissions a new designer to create 10 illustrations for the monthly programme. The inspiration is based on the tiles of the former swimming pool and the varied and multi-layered programme of the cultural centre. The lively, almost chaotic atmosphere of the Neubad is reflected in the project.

It is interesting to note that many viewers, whether designers or not, recognised or wanted to recognise typography in the illustrations. This is particularly amusing

NeoMech is a font based on basic geometric shapes, exploring the possibilities of creating typefaces with minimal components. It forms a unique mechanical geometric aesthetic that aligns with contemporary digital aesthetics.

By using Hexedit to edit the raw code of OTF font files, unexpected changes and transformations can occur in the typeface through code modifications. This is an attempt to explore the possibilities of fonts using various digital tools, starting from the source code that composes digital fonts rather than the typeface itself.

‘Brief’: This poster is a letter of a woman to her best friend. Fragments of the letter was translated in German, Spanish and Turkish. The original letter from 1993 is the one in handwriting written in Greek (Cypriot dialect).
‘Fedora’: This was a poster fro the movie ‘Fedora’. The sentences were taken from a scene where the heroin was writting her name on the window to remember who she was even though that was her fake identity. Thus, the letters are broken in pieces to resemble her inner state

For the Graduation Show in Hochschule Düsseldorf, animations were Projection mapped in the hallway. Students showcase insights and give perspectives into various aspects of student life through motion. Poster Design for the Projection Mapping course led by Kilian van de Water.

A poster designed for the artistic practice at Wenshi Yunlin focuses on conveying textual information with a powerful bold font. To match the theme, detailed adjustments were made. Inspired by the characters “问石云林” (Ask the Stone Cloud Forest), horizontal lines were added to the upper text to evoke clouds, and notches were made in the lower text to resemble holes in Taihu stones. These modifications align the text’s appearance with the theme.

Chinese Shanshui represents mountains and water.Green is the mountain, blue is the water, and the concept of handover of landscape is the “main theme” of the whole brand. The ups and downs of the lines represent the rise and fall of the moun- tains, and a set of brand visions that are flexible, not rigid, easy to operate, and rich in expansibility come from this.

This book by William Banting, aims to establish a new way of thinking and expressing textual information. By using digital logic and text shuffling, it constructs a new reading and information order. The book is divided into five chapters in the form of letters, each housed in a separate envelope. These five envelopes stack together to form the book’s title, with the numerical order representing the chapter sequence. Each chapter’s content is placed in the corresponding numbered envelope.

This book is typeset in Chinese, English, and Korean. Three colors are used to organize the text, with chapter pages distinguished by graphics based on the concept of time. The words “Ping” and “Sheng” present challenges in translation: in Chinese, “Ping” means both graphic and ordinary, while “Sheng” means life and production. Are we talking about graphic design transforming lives, or becoming a production tool? Is it about accepting the ordinary, or about mechanized graphic design?

Five artists collaborated with Little River Art Warehouse on a T-shirt joint project. We structured the visual presentation of the entire event by interweaving text with the artists’ works.

“Inflammation Guide” is a publication dedicated to exploring inflammation issues in daily life, inspired by the author’s various inflammatory reactions experienced personally. The book provides detailed descriptions of how multiple body parts—including the teeth, tongue, eyes, salivary glands, heart, brain, and lungs—manifest when infected with inflammation. It also offers corresponding relief methods and recommended foods for each type of inflammation.

The event peripherals were created for the graduation exhibition of Chung-Ang University’s doctoral program in stage skills. The Chinese phrase “Saengsaengbulsig（生生不息 생생불식）” means to grow and multiply. We aim to integrate Korean and Chinese in the font structure within a bilingual context. This font-centric approach extends to the entire visual system, embodying the concept of “Saengsaengbulsig”. The sharp font structure ensures information is conveyed in a clear and impactful manner.

Very condensed Fraktur letters that were made in liquid feeling and vibe.

The tool was Copic sketch marker.

It’s a reminder – “Choose a password you haven’t used before”

Vice versa.

The Atlas of Mental Colonies is made up of three typographical constructions: the Atlas, furniture and tales. Each is superimposed on the other in numerous variations which seek to provoke nothing other than visual astonishment by hiding readable parts and committing visual clashes.

Veronika Huff’s latest project in her Communication Design studies is an exploration of form by delving into the geometry of stars. She has crafted an array of mesmerizing patterns, revealing the hidden visual potential of this celestial shape.Veronika Huff’s approach invites viewers to see stars not just as symbols, but as dynamic elements of design.

Entry for 36 days of type 2022. Letters are made on a 3×3 grid using color to overcome the limitions of the very low resolution.

This experiment aims to transpose some aspects of machine knitting on screen. It plays with the idea of a progressive construction and deconstruction in a loop that temporarily forms legible images. The long-colored strokes that emerge on screen and reveal the letterforms quickly intertwine. The strokes mix — like the tangling of threads — making the generated image illegible. But soon, and as if they were knitted, some of the letters start to unravel letting others show through.

This is my first experimentation with an own font. I wanted to do something graffiti like, something en scripture. I scribbled on some paper and digitalized it.
My background is art history which inspired my poster design. I used Houdini, a own photograph of a texture, handwriting and my font. Lastly I put it all together with affinity.