Lettering for the exhibition “Blurring the Lines – Design practice between art and visual communication”. The exhibition explores the interrelationships between visual communication and art: free spaces, grey areas, overlaps, dialogues and collaborations. The intention is to blur the rigid boundaries between the two fields and professional descriptions. Káschem Büro considered cotton wool to be a suitable material for the lettering, which is placed on the poster.

Agrippa (A book of the dead) is a poem written by William Gibson in 1992. Originally stored on a 3.5″ floppy disk, the poem was programmed
to encrypt itself after a single read. When the user types in Gibson’s poem, using the AGRIPPA font, it makes the text disappear into a Ligature.

Confetti is an experimental variable font project composed of numerous dots and circles in varying sizes. This variable font interpolates the size of these dot components, creating a positive-negative effect. The multitude of dots evokes the appearance of a font made from confetti, hence the name “Konfetti.” This project is a work in progress.

For the Artist’s Edition of Compartment Syndrome, books were cast into Pegwell Bay, the project’s location. Immersed in local seawater, the typography and photography degraded to mimic the erosion of time. Photos from a Kent coast village, taken before and during the EU Referendum, explore the elusive characteristics of Englishness. This edition examines the fracture resulting from the vote and meditates on the village as a symbol of both freedom and restriction.

An experimental typographic image spelling “YES WE SCAN” using collected QR codes blends technology and art. Each letter is formed by arranging QR codes, creating a digital texture. The phrase plays on “Yes we can” and hints at surveillance in the digital age. The QR codes, when scanned, may reveal diverse content, adding an interactive element. This piece comments on data, surveillance, and the influence of technology in modern society, inviting viewers to reflect on these themes.

Poster with type experiments. Character’s reflecting traits through letterforms

Letterings created to compose a sticker sheet. All the designs were inspired by informal handwritten posters in neighborhood stores and also items present in São Paulo’s popular culture.

Calligraphic compositions made for Alcião’s poetry book “Vir há”, where the titles “des-cribe” – deconstruction of script- a new order and writing orientation, challenging the reader’s perception of what they are actually reading and/or seeing. The act of rewriting and reorganizing incites new ways of seeing, as John Berger tells us, and thus a new way of reading.

Calligraphic compositions made for Alcião’s poetry book “Vir há”, where the titles “des-cribe” – deconstruction of script- a new order and writing orientation, challenging the reader’s perception of what they are actually reading and/or seeing. The act of rewriting and reorganizing incites new ways of seeing, as John Berger tells us, and thus a new way of reading.

Experimenting with typography burned onto light-sensitive paper, much like a sunburn on skin.

Calligraphic compositions made for Alcião’s poetry book “Vir há”, where the titles “des-cribe” – deconstruction of script- a new order and writing orientation, challenging the reader’s perception of what they are actually reading and/or seeing. The act of rewriting and reorganizing incites new ways of seeing, as John Berger tells us, and thus a new way of reading.

Cara Catastrofe is a project about the fascination of disasters. A data-driven video where the typography is altered by a selection of data relating to the major catastrophes that have occurred in the last 100 years and projected on the wall of the “Alto Forno” during Videocittà Festival 2023 just behind the stage.

Calligraphic compositions made for Alcião’s poetry book “Vir há”, where the titles “des-cribe” – deconstruction of script- a new order and writing orientation, challenging the reader’s perception of what they are actually reading and/or seeing. The act of rewriting and reorganizing incites new ways of seeing, as John Berger tells us, and thus a new way of reading.

Tempos Novos Brasil is a font created by running over the Times New Roman font. The letters have traces of Times New Roman, and their shape is completed with the marker pen.

Custom lettering and artwork for the vinyl with the title «the glasshouse» by the band alpharay from Bern.

This typeface sketch is result of an interpretative feedback loop. From human artists to generative AIs, back to a human interpreter, to image tracing algorithms, to manual typographical fine tuning: The origins of the typeface’s characteristics obscure, leading to disproportions and the typographic mishaps.
The cycles of human to machine feedback loops seem to grow naïve misinterpretations that humans alone could not have come up with. For better or for worse, has yet to be interpreted…

The font is based on the sequences of the Morse code. Each individual character sequence is represented by vertical lines, wich determine the width of the Latin characters.

Submission for the Visual Identity of the Design Department Exhibition:
The design includes various digital and analog formats. The typography focused on an experimental approach, using analog materials to create different letters. These were combined with existing display fonts, reflecting the department’s strong practical and interdisciplinary teaching approach. The type design was developed in the workshop „Typographic Playground” by Laura Hilbert, in the class of Susanne Stahl.

End Massacre, Because Palestine.

This graphic design invokes the usurpation of memory, reproduced and developed through the natural accidents that emerge in each worn stroke. The typography becomes a superficial map of latent sexuality, a skin that sustains and reconstructs the identity of the being flooded with desire and power. The transformation and destruction of the old sensitive thought manifest in the irregularity and rawness of the letters, giving life to another individual, a new typographic descent.

GLOW is a bilingual lettering project that aims to document Hong Kong’s neon landscape. It is a tribute to the city’s fluorescent heritage — a preservation and celebration of the vanishing vibrant cityscape. Each type experiment is inspired by characters found in various neon signs archived by M+, Hong Kong’s museum for visual culture. The witty phrases draw familiar Cantonese slang, forging a pathway for Cantonese American youth to connect with their heritage overseas.

Identity campaign for Roma Jazz Festival 2024 inspired by the relationship between modern jazz and street art. In this case, the project investigates the evolution of language and the letter as a sign. So it generates new signs in a constant dialogue with the texts and the images of the festival.

“Intestine” is a hideous typeface, unreflectively torn from raw pictorial material in an iterative process led by two creatives, who alternated between the roles of illustrator and typographer. The development included synthesizing a visual style, surgical glyph extraction, and establishing the final proportions. This design method was further explored through a lettering workshop with graphic arts students, where the participants created lettering based on their original illustrations.

The “Schittblumen” project addresses the environmental impact and working conditions in the global cut flower industry. It shows how the massive use of pesticides and the exploitation of labour call into question the sustainability and ethics of the industry.