32 Typeface is a visual experiment game that combines Buddhism philosophy with typography as its core concept. In this experiment, Type and Face are the main characters that embark on a journey through the 32 chapters of the Diamond Sutra. The experiment utilizes the “self” to control the style changes of the “type”, which emphasizes the importance of self-awareness and self-discovery in achieving enlightenment.

Glossa draws inspiration from the Greek term for “language,” encapsulating the sensory experience of taste, scent, and sound. The packaging design for the mini wine collection seamlessly integrates with the melodic essence of music, embracing the iconic round record label revered by aficionados worldwide. Matching classical wines with timeless music genres like blues, jazz, and latin beats, along with gourmet cuisine, creates lasting memories.

Elektor Pattern System is an experimental tool in form of a font. Elektor works as a pattern language that originated from deconstructed image processing experiment. Its foundation consists of various illustrations of digital circuits recovered from hobbyist magazines from the 70s-90s rotting in the digital archives. I pixelated them and set together as a font. It comes in two styles – Regular & Round. This way they become a language that may be used as a system for creating pixel patterns.

My works are mostly concerned with western font design and combined with Chinese culture’s spirit. I spent my childhood in a peaceful area in the embrace of mountains and rivers. So it makes me rethink what an ideal living environment for a human being is like. I think the mountain and body are a perfect metaphor with which we can explore many topics in artistic and profound ways.

The body experimental typeface is about the body movement. What this projcect want to explore is not only the physical body. but also the visual body. The body can be the design of text, the design of types, and more experimental visual direction.

The body experimental typeface is about the body movement. What this projcect want to explore is not only the physical body. but also the visual body. The body can be the design of text, the design of types, and more experimental visual direction.

Exploring the dynamic vision of the types, capture the structural relationship between the types, grasp the emotional focus of the type, and try more experimental designs. Try more cross-border cooperation.

Introducing the HEY Movement Performance Light series, a cutting-edge typographic design inspired by the fluidity and motion of water and rivers. This series captures the essence of continuous change and dynamic flow, creating a visual representation of movement that is both elegant and powerful.

Fransua is a typeface (WIP) that originates from handwriting experiments inspired by the 1920s French silent film lettering titles.

The poster features a poem by the objectivist poet Louis Zukofsky. The patterning of sound and repetition of the words and letters became the inspiration for the visual language. The meaning of the poem is reflected in the error of the missing glyph “i” in the custom font.

Sharzadian creates sculptural installations that explore the dynamic interplay between light, reflection, and space. Using mirror fragments and intricate designs, Sharzadian captures and transforms natural light, crafting immersive and reflective environments. Inspired by nature and Persian mirror art traditions, these works invite viewers to engage with their surroundings in new and imaginative ways, fostering a deeper connection to both modernity and the natural world.

different shapes of breasts as normal as different shapes of letters and words.

The work “Free Palestine” was created in an attempt to translate the aesthetics of Arabic script and the geometric ornamentation of the Kufiya into a typography that does not copy either in a kitschy form, but rather reflects the essence of both. Form and content were poured into a joint composition that synthesizes protest and graphic work.

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.