“What would happen if I transformed letters into wearables?” This question lingered in Soledad’s mind the day she learned about the 36 Days of Type challenge. There was only one way to answer it, so she decided to bring it to life – digitally.
Each piece of work, from conceptualization to design, clothing modeling, and avatar customization, was completed in less than a day. The result is a faithful reflection of her thoughts and mood throughout those 26 days of non-stop creation.
Due to a machine error during dyeing process, the materials prepared for the clothing line became defective and unpredictable when washed. Thus, garments deform every time regardless of washing method. This reflects AI’s unpredictability as altering images with AI yields vaguely predictable results. Utilising the Machine Learning Font by NaN on an unpredictable medium, such as this, introduces the font to new, random iterations driven by simpler technology than ML algorithms.
ART IS DIFFERENT IN EVERY WAY AND KIND. I DECIDED TO USE A RECYCLED CURTAIN AS A BASE OF THE CLOTHING. OVERLAID BY AN ORGANIC SELF-CONSTRUCTED FONT. I HAVE
CHOOSEN A RED LOOK TO SYMBOLIZE THE POWER OF ART BUT ALSO THE DANGER IN ITS FORM.
CREASE EVERYWHERE. THE SURFACE IS NOT SMOTH NEITHER IS YOUR FACE, BODY OR PERSONALITY. YOU ARE SPECIAL! THE OVERLAYED TYPOGRAPHY IS DARKENING THE PHOTOGRAPY,
SYMBOLISING THE WORRIES OF YOUR OWN PERSONALITY.
REAL IS SUBJECTIVE. WHAT IS REAL AND WHAT IS FAKE OR JUST A SCENERY. BASED ON THE DARK, SOMEHOW MYSTERIOUS OVERLAY : KNOWN AS THE UNKOWN FACT ABOUT REAL OR FAKE VIEWS. THE HAND LAID LETTERING IS UNDERLINING THE TOPICS OF THIS PRESENTATION.
YOU ARE IMPORTANT. IT IS IMPORTANT HOW YOU CAPTURE YOURSELF AND NOT THE OTHERS.
THIS SELF – PORTRAIT IS ILLUSTRATED WITH AN MIX OF LAID OUT HAIR AND SELF – FORMED COTTON – BASED FABRICS BUILDING THE WORDS IM – ART ( I´AM ART).
A, B OR C. WHY ARE WE LABELING THE SOCIETY. YOU SHOULD BE FREE. FOR ILLUSTRATION I USED AN DARKENED SELF – PORTRAIT WITH AN OVERLAY TO CREATE THE EFFECT OF A BLACK
HOLE. THE FONT IS SELF – CREATED WITH A COTTON – BASED FABRIC.
SELF PORTRAIT – SERIES OVERLAYED WITH HAND – FORMED LETTERING MADE OUT OF COTTON – BASED FIBRES SPELLING BLURR. THIS BLURR EFFECT IS ALSO REPRESENTED IN THE
STRUCTURE OF THESE NATURAL FIBRES.
A SCENERY SHOWING MYSELF IN DIFFERENT ANGELES, PRESENTING MY HAND SEWN CLOTHING MADE OUT OF A RECYCLED LEATHER JACKET. THE LETTERING IS MADE OUT OF
SELF-MADE COTTON BASED FIBRES.
TRASH recycles routine. The concept of the jewelry brand lies in reimagining trash. The brand identity is rooted in reimagined utilitarian design: technical information and marking aesthetics combined with a bright color scheme which is closely linked to what people see daily on the street. The monospaced font upholds the utilitarian aesthetic of technical information. The barcode as a marking element complements the brand’s visuals, with numbers on the barcode encoding the word “trash”.
These text works were made through an experimental process, including plaster castings, embossment and collage.
Utilising texture and light primarily, words, against the prompt of FASHION, try to make themselves visable in playful arrangements.
Fashion is more than just clothes; it’s a form of communication. Outfits reflect inner values and the own perception of oneself.
Phrases were created to summarise what thoughts could result in a person with this attitude, and can be read individually or by reconstructing them. The Photography displays this aspect visually, capturing the model in unconventional angles, initially appearing as a combination of objects but recognisable as a person upon closer examination.
Custom type and kit design for an amateur basketball team KK Joonis. The typeface is an interpretation of technical lettering instructions compiled by E. Targo (1974).
Isn’t it totally crazy that there are still fashion labels working with real fur these days? We live in 2024 and this is the harsh reality. It seems so far-fetched, but it’s so real.
There are many great organizations that fight against fur production every day and are often successful in doing so. That’s why we can’t raise awareness enough about how horrible fur production is to hopefully reach every fashion designer one day and abolish fur production.
Influenced by social and cultural tensions, the topic of prejudice regarding Arabic/Persian typography remains as important as ever. To counteract these biases, we aimed to expose Persian typography on garments, offering people the opportunity to experience the beauty and detail of Arabic typography in a playful context.
This project is the outcome of a workshop with Golnar Kat Rahmani at the State Academy of Fine Arts in Stuttgart.”
This collection of scarves is inspired by a meme which states: “if you see this [object] in your neighborhood your rent is about to increase”.
This series of scarves aims to humorously expose the fact that the work of designers in Western societies benefits from a strong value of authenticity. Design pieces are most often accessible to those who have sufficient financial and/or cultural capital to acquire them, thus creating an element of exclusivity.
Accidental typeface research, initiated within the framework of the international evening school for working and studying youth ‘BAUHAUS/VKHUTEMAS’ in 2021.
Subsequently, the study of the Constructivist era through the font developed into an author’s project in which the font acts as a basis for further design.
In this project, the font is at the heart of a jewellery ring. The word ‘RING’ girdles the finger closes in on itself. The ring is made of sterling silver with subsequent blackening.
My works is a symbol of the devaluation of language and words in the modern world. Inspired by Picasso’s painting “Guernica” and posters by Petar Bankov, my graphics convey the experience of war, where the language of visual expression becomes more powerful than words. These works do not contain phrases or inscriptions.
The graphics are printed on plastic clothes, creating the effect of a transparent layer. This symbolizes the imprint of chaos and suffering on our daily lives.
Accidental typeface research, initiated within the framework of the international evening school for working and studying youth ‘BAUHAUS/VKHUTEMAS’ in 2021.
Subsequently, the study of the Constructivist era through the font developed into an author’s project in which the font acts as a basis for further design.
In this project, the font is the basis for the pattern of the scarf. On one side is the word Bauhaus, on the other side is VHUTEMAS.
The soles of our feet are an intimate spot – grounding us while holding us. They are rarely public, covered by socks and tights and shoes. Here, fragile words are stored, born out of doubt, insecurity, vulnerability, frustration and anger, hidden away from peeking eyes, allowing to only be seen by those closest to us. Printed on white tennis socks with anti-slip ink, the words carry the one who wears them without slipping away.
This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece plays with the double-sided nature of knitting. An ambigram was designed so that both the word ‘recto’ (front) and the word ‘verso’ (back) can be read depending on the side of the fabric.
This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece takes its inspiration in the LCD screen and its subpixels. Vertical stripes of bright colors create optical vibrations giving an overall sense of motion to the piece.
This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. This piece explores relief knitting. A technique used in sock making is employed to form 3d pixels, thus taking advantage of some of the possibilities offered by the knitted fabric.
This work is part of a series that draws a parallel between the screen and knitting. Through a set of typographic experiments, the project questions the effect produced by using one or the other. Each piece is the occasion for the evocation or transposition of images from one media to the other. Here the fabric mimics the aspect of LED displays such as commonly found in buses. The piece takes the shape of a very long ribbon echoing the scrolling of the text on this kind of displays.