In my work, I dramatize improving the appearance of women. However, in most cases, patients do not have real aesthetic problems that need to be corrected surgically. Just because they think it’s beautiful, because they don’t like their body. And they go to the cosmetologist for injections and operations. It becomes an addiction.

Inspired by the geometric clarity of the graphic design of the GDR, the work represents an attempt to translate the old into the new. The play on words “Social-is-muss” translates into both “Socialism” and “Social is a must”. The ornamental structure refers to the elementary simplicity of the message and forms a synthesis of striking conciseness and a form that offers itself to the eye as a rhythmic dance instead of choosing a blatant mode for an otherwise very contentious statement.

I designed this innovative typography inspired by our performance HEY at the Melbourne Fringe Festival last year. It explores the concepts of ‘Becoming Water’ and ‘Embodying River’, capturing the fluidity and dynamic nature of movement within the typography itself. The HEY Movement Typeface work transcends traditional typography, using visual rhythm and emotional impact to convey complex ideas and evoke reflection on the transient.

Family, as the foundational institution we all inherently belong to, holds immense symbolic significance. It encapsulates a myriad of diversities, spanning gender, age, race, complexion, size, language, culture, religion, and beliefs. The impact of interconnected families extends to various facets of national life, including patriotism, the preservation of history and culture, economic prosperity, and the strength of diverse institutions.

WT Battleships is a font-generator based off the popular board game Battleships. The generator takes a font-file and a set of glyphs as an input and generates a set of game boards for the player(s) to solve. The glyphs are randomised in order, so the player does not know which glyph they are trying to “sink”. WT Battleships is ideal as a party game sitting in the corner, allowing all attendees to have an attempt at sinking a glyph, and providing a unique font-file at the end of the night.

Enjoy my new experimental custom type set named “CIAO”.

It’s not jet an editable Font, anyway every letter is hand made with my Wacom Intuos tablet and powered by the insane real time generation tool in Krea AI.

The entire alphabet is inspired by my own signature style.

Here is the full project. Ciao! 🙂

https://idro51.myportfolio.com/ciao-type

Scatterplot is a variable slabserif made out of dots, organised on a geometric structure. The result is a font with a Weight axis is decisively brutalist with dots increasing in diameter – with no optical corrections, while a Random axis spreads the dots randomly across the bounding box, so that the letters are perfectly legible at one end, while they become increasingly illegible in the opposite direction.

Typographic note: each letter has an essential characteristic in its design that differentiates it from the others. If only that part is visible, it is still possible to read.

“Abolition of privileges” calls for eliminating social advantages. All people should be treated equally. The text was given a 3D look for the poster with rounded edges and light reflections, creating an effect between solid and fluid. Letters were arranged in a circle, starting top left and moving clockwise, to make reading more challenging and extend viewing time. This design encourages viewers to spend more time examining the poster. The color palette is limited to blue and black.

The change is palpable not just in the atmosphere but in people’s hearts. Old grievances were set aside, and new friendships were forged. Children play freely in the streets, their laughter echoing through neighborhoods that had forgotten such simple joys.

Susto’s logo was designed by Maria Helena with a custom typography, which is transformed into different versions, taking on very different textures and expressions between them, such as those assumed by our client’s (a visual artist) work.

It was a trial and error process and a continuous process of refining the shapes until we reached the desired result.

More about this project: https://barbotbernardo.com/journal/how-we-made-susto-identity

A series of letters picked by students from Peter Behrens School of Arts – Hochschule Düsseldorf using found inspiration from my Design Reviewed archive. Recreated as a series of posters the students can take away.

Typography for various music labels, parties and brands.

A tear
Sometimes I read and try to understand
where do the white drops run?
from your fingers
can they get inside?
and burn something valuable…
A yellow garland in the sky seems to
holiday ghost…
But time disappears, fallen
and lonely, the arrows fell off,
demand that they never again..
They didn’t revive…
The ocean is approaching like a shadow
For a forgotten tomorrow…

The Nepal earthquake of 25 April 2015 was a violent seismic event

Words… words, just words

Water shortages will lead to war

War destroys any idea, hope, dream of peace

Women are still considered inferior

In 1938 Orson Welles terrified Americans broadcasting on radio the fake news of an alien invasion.

Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.

Postcards intended for Kindred Spirits or Hostile Associates

A typeface co-designed in 2015 by Shannon Lim (Singapore) and Giang Nguyen (Vietnam) – based on the “WORKING TOGETHER” methodology.

The brief required them to use only written emails for collaboration, designing the upper and lowercase glyphs without visually sharing their progress. Each designer worked on alternated letters in alphabetical orders with one designer working on the glyphs, “A,b,C,d” and the other, “a,B,c,D” to maximise the collaborative nature of the project.

Those type works are sketches from Vlad’s recent collaboration with Polish clothing brand Doom3000. In those works the designer explores Ai as a tool for generating weird, slightly demonic characters, trying to achieve the “uncanny”, nightmare like feeling. While every character was generated individually, the challenge behind this work was to direct a tool into one direction and build a solid type composition.