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.

This poster was created for the play ‘The Little Foxes,’ a classic drama known for its intricate, interconnected themes.

The play is entirely improvised by the viewers, so the idea behind the poster was to mimic improvisation by using the handwritten letter “a” and adding the copy around it as if one thing were tagging another.

The idea behind the poster was to portray Sophocles’ tragedy with straightforward typography, simple forms, and a black-and-white color palette. I wanted to show tension, duality, and how the past affects the present.

I wanted to express the complexity and drama of the story behind Tess’s play interpretation using the physical language of circus by combining handwriting with shapes.

The concept of this poster is to represent a celebration of the shifting galvanized rugby community by the first women players. I used bright colors, brutal disjoined lettering, and cramped composition to show that this story is more than it seems.

It is a play about chicken with a rags-to-riches tale outline. I used chicken combs to create the word “Chicken”, in my view, they represent the superficiality of desires in our materialistic world.

My aim in this poster was to communicate through the “foil lettering” the word WAKO. I wanted to represent the feeling of Nordic jazz through lettering using foil and pencil.

In this chaotic world, amidst the noise and dark nights, I found you.
You, my muse, my salvation and my favorite typo.
Our love, like a dog-eared page in a forgotten book, is both tender
and raw. So let’s write our own story, ink bleeding into passion and
into constellations, leaving it scattered across the universe.

NOTAS DE AMOR

Processed Regular – a collaborative Ai-Generated typeface, result of the first Processed Lab workshop led by Vlad Boyko

Born out of digital tools, Processed-Regular becomes a tool itself; an environment for exploring experimental type forms.

Collaborators:

@lad_boo
@piotrek.chuchla
@kubamatuszczak
@f.gonera
@paulina.lipiecka
@antnkamr
@karuzela9
@overheavenikalgo
@mariacader
@le_petit_eli
@vvveronikika
@sinska.weronika
@aksrazc

Processed Regular – a collaborative Ai-Generated typeface, result of the first Processed Lab workshop led by Vlad Boyko

Born out of digital tools, Processed-Regular becomes a tool itself; an environment for exploring experimental type forms.

Collaborators:

@lad_boo
@piotrek.chuchla
@kubamatuszczak
@f.gonera
@paulina.lipiecka
@antnkamr
@karuzela9
@overheavenikalgo
@mariacader
@le_petit_eli
@vvveronikika
@sinska.weronika
@aksrazc

The name ‘Raiola,’ meaning ‘sunbeam or sunny interludes on a rainy day’ in Galician, it’s the perfect name for the artisanal jam brand Raiola. The labels feature different drawings and shadows, resembling the patterns and forms projected throughout a room as the sun rises. The typography is an exploration of this shadows created when the first warm rays of light peek through the blinds.

To celebrate the 125th anniversary of the publication of the ‘Kelmscott Chaucer’, The William Morris Society reached out to contemporary letterpress printers inviting them to reimagine and print a short extract from the original book. The extract was ‘Google translated’ using every language available in Google Translate. From English to Afrikaans, from Afrikaans to Albanian, and so on in alphabetical order, and from Zulu to English again. The original excerpt is printed under the ‘translation’.