On the occasion of the Leteo Prize awarded to the Palestinian writer Adania Shibli, Un Mundo Feliz holds an exhibition and designs a series of posters as a tribute. The work uses the experimental Impact(o) font redesigned in 2005 for the Political Types project. The idea behind the redesign is that the superficial appearance of the alphabet is used as a gateway to deeper reading. The reworking of these fonts starts from letters, minimal elements of language, as a potential basis for creativity.

1. Gestural calligraphy captured in a three dimensional projection.
2. Abstracting calligraphic lines and rearranging them into a new composition free of meaning.
3. Brush calligraphy with a double negative space, achieved by cutting out the background with a scalpell.
4. Does calligraphy need to be legible? The piece challenges this perception and invites the viewer to look more closely and research the original text.

In contemporary Japan, the appreciation of imperfection is fading. Geert Hofstede’s (2016) studies highlight Japan’s high value on perfection and success, seen even in design. Growing up in Japan, I felt the suffocating nature of strict societal expectations. My project explores ‘distortion’ in typography, inspired by Okakura’s The Book of Tea (1961) and the Shino Tea Bowl, celebrated for its imperfect beauty. The Yugami typeface, with its bumpy forms, aims to revive Japan’s historical appreciat

In a scenario where humans and nature are disconnected, misunderstandings may emerge, creating a sense of distance. To bridge this gap, a machine combined typefaces from the Google Fonts Library with slime mold simulation images. An AI was trained to produce unrecognizable letters, revealing hidden elements. The visual result, curated and sorted, offers new perceptions of letter shapes, emphasizing form over readability. Can these symbols be an alternative language? Are they imaginary logotypes?

Knit Hello is the second Typeknitting Font by Rüdiger Schlömer made especially for hand knitting. Knit Hello is for beginners: knitters with little knowledge in typography, and graphic designers who have just picked up the needles. The Knit Hello Infinite Variation Scarf is a wearable protocol of your exploration process in Typographic Knitting. Starting with simple layout grids, it invites you to bring your Typeknitting skills to a next level, segment by segment, stitch by stitch.

‘Everyday Forms’ is an ongoing drawing project that delves into the boundaries of shapes. Inspired by the ‘prototype theory’ from linguistics and cognitive psychology, the project examines how central examples define categories. Prototype theory suggests that objects are classified based on a typical form rather than rigid rules. This is evident in how cultural backgrounds influence interpretations of graphics, such as pictograms and Japanese characters.

Spoiler involves framing abstract forms within the context of manga, altering their perception. Despite juxtaposing seemingly unrelated elements, placing them in a manga context imparts a deliberate appearance. The title is derived from online manga spoilers. By imagining the cognitive activity of filling gaps in fragmentary Japanese spoilers, the production of ‘Spoiler’ aligns with this process, albeit at a higher cost.

The Sala Bar at the Santa Mònica arts center has adopted a new graphic identity to communicate its weekly activities, inspired by movie credit titles. The underground touch and cinema reference recall the anomalies of antenna TVs that distorted the image. The Redaction typeface allows for the use of different styles that gradually lose definition. A specific color code has been assigned, with each color linked to a day of the week.

Scacco Matto is part of Federico’s bachelor thesis project. It’s a typeface divided into three styles inspired by chess (Cavallo, Torre, and Alfiere, also known as Knight, Rook, and Bishop). Each letter in a style is constructed on an 8×8 grid, mirroring a chessboard, and traces its path from the starting square of the chess piece, adhering to the allowed movements of each chess figure. The result is a total of 165 glyphs for each style, with compatibility for Western European languages.

The poster is dedicated to complex feelings about one’s memories and past. Out of hundreds of dusty film photos depicting relatives and unfamiliar people, a photo of two children playing in the sea used for work — the sea of one’s memories, fragmented and blurry. The text on the poster refers to the rare conversations with the mother about the photos. Despite attentive listening, it is easy to forget who is photographed along with all the other details.

Tweaker is a high-contrast sans serif typeface inspired by Figgins’ 1845 serif typeface, Zig Zag. It modernizes the concept, pushing the bending style of the letters to a 45-degree angle. As a variable typeface, users can adjust the bending degree from 0-45 on either side. The typeface includes the Latin alphabet with accented letters and OpenType features like ligatures. This project was done as part of the Alphabettes Mentorship Program, under Fabian Dornhecker’s mentorship in 2021-22.

Growing up in a household of sisters, Alma Egeskov became attuned to beauty as a surface that disguises complex internal experiences. In “Interference,” she isolates moments that exist in the space between exteriority and interiority, exploring the tension and underlying dynamics of these in-between moments. While there is an underpinning of beauty in her work, there is also an underlying feeling of being trapped.

The ordinariness of paper as an object introduces complexity in content, material, and format. The 26 paper-folded alphabets challenge the relationship between the ephemeral and the ethereal, demonstrating how a mundane object can be transformed into a meaningful state. The folding technique serves a dual purpose: it embodies conceptual duplicity and allows modulation to dominate the realm of paper-based thought. Engaging with the fold reconnects us with the fundamental tactility of paper.

A collection of 36 alphabet and numeric motifs based on the idea of using just ellipses and the square shape of the border to form the letters. This resulted in two series, each with an interpretation of negative ( VOID FORM ) and positive ( SOLID FORM ) space for each letter form.

Getting inspired, we process contexts and meanings around us and produce an outcome, influenced by our personal vision, taste and reflection. Anyway, in a world so overloaded with everything, most likely any noise we perceive is already covered in layers of processed contexts. That’s probably what Processed Lifestyle means. I’m not completely sure anyway, hihi✌🏻🤭

Getting inspired, we process contexts and meanings around us and produce an outcome, influenced by our personal vision, taste and reflection. Anyway, in a world so overloaded with everything, most likely any noise we perceive is already covered in layers of processed contexts. That’s probably what Processed Lifestyle means. I’m not completely sure anyway, hihi✌🏻🤭

This research project explores the relationship between the human and typographic voice. When words are spoken, read out loud, or performed, they expand beyond their semantic meaning. Unlike uniform digital text, speech is inherently human and chaotic. What if typography could capture these layers of expression? Can the human voice be a design tool? Studio Pointer* use code and tools for sound and speech analysis, envisioning variable typography’s potential to transform communication.

Experimental typography made using the reaction between ferrofluid and neodymium magnets for Stefan Sagmeister’s class “Can Design Touch Someone’s Heart” at School of Visual Arts MFA Design Department.

Tag line of the assignement is “A Thing I Have Learned in My Life So Far”.

The work is a text and math game centered on Experimental Type, aiming to visually depict today’s communication gaps. In a room, nine objects serve as the dialogue’s protagonists. The letters of “EXCHANGED,” crafted and hidden, correspond to the nine objects spatially. Each letter’s form is taken from different classic typefaces. Viewers decode hidden connections across screens to reveal “Exchanged,” the puzzle’s answer and the work’s title, reflecting fragmented modern conversations.

Laxis is a lexical-axis variable font designed for artist Elizabeth Lee’s website (coded by OKOK Services). Formed by a system of 4 circles and 8 squares moving on a 7 × 12 line grid, the font contains basic alphabet, numerals, and punctuations lexically sorted into one glyph in a continuous interpolation, through variable font axes.
Between all the recognisable letters are non-letters, not-yet words, meanings that never arrived.

This poster was created for the play ‘Paper Swans.’ The lettering represents the main character’s experiences of trauma and oppression.

This poster was created for the play ‘Lady ADHD,’ a one-person show that combines stand-up comedy with commentary on the author’s life with ADHD.