Exploring the Boundaries of Recognition, Readability, and Modular Letter Constructions.

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Moth uses metaballs that blend to form character shapes, which are remeshed for detail. Adjusting parameters like count and positions generates unique versions of each character.

Desfeita is a tribute to the homonymous novel by Camilo Gonsar in his hometown, Sarria. Set and published in the 80s, it recalls the investigation of a murder perpetrated during the fascist uprising of 1936. Through 11 concrete tiles and 2 manhole covers commissioned to the artist Rubén Grilo, excerpts of the book become an exercise of collective memory in the public space. Designed to be outlined on fresh concrete, the font includes a digital version shifting from clean paths to rough contours.

Ciudadela_LC is a display typeface. The letter shapes and behaviour is inspiration by the artistic blacksmith work found in doors, windows and balconies of Buenos Aires. The main premise when building this typeface was: how would a “reja” write? Reviving a “letra” or typeface found on fences was not the goal but rather deciding which shapes and techniques could be translated into a system. The result are letters that overlap and connect in four styles: Open, Closed, Casted and Forged.

Inspired from brutalist architecture & specifically a Russian type specimen from 1927, CE100 is an experimental stencil block type.

‘Chudak’ means eccentric in some slavic languages. Chudak is an experiment of vernacular type inspired from art nouveau architecture in istanbul and the back slanted aesthetic in type.

Weirdo started as a hommage to 36 days of type but ever evolved since then. It is an experimentation of letterism & typography trying to expand a square space which might be called as a ‘glyph space’.

Experimental font designed for usage in the exhibition »Kafkas Echo« (Literaturmuseum der Moderne, Marbach), interpreting Franz Kafka’s themes. It reflects existential change and alienation by distorting letters and formats, visually mirroring the unsettling metamorphosis of Kafka’s characters.

An unquenchable desire, …
One strives to experience a specific feeling, that certain high, over and over again. Control over one’s mind and behavior fades away. And instead of feeling that (happy) positive experience again, free expression and one’s own personality are destroyed bit by bit.
Just as an addict strays from the norm, in my work the letters also deviate from the norm. The letters form the foundation, and around them, they are entwined by addictions.
An experiment in 8 letters.

‘bauhaus serif’ is an editorial type experiment exploring the inter disciplinary pieces of industrial design, designs and architecture of the 20th-century design school and movement, celebrating its centenary in 2019.

Crafting is a hobby which revolves around making something, often with the help of instructions or other kinds of small tips and tricks. Decorating living spaces and surroundings are the core objective of crafts, using material that are laying around, giving them a new purpose and getting results that are pleasant or even surprising.
Making Conversation Pieces is a guide for crafting typography.

The title of this poster is GRAPHIC PICNIC WORKSHOP, which aims to disseminate and popularize the knowledge of design and typography in the local community.
The inspiration for the type design came from the food market in the community, echoing the theme of “picnic”, with abstract distortions of various vegetables, meat products, noodles and fruits, trying to reproduce the rich and even chaotic scene of the food market on this poster.

Type made with locks of hair from the designer, assembled in hand and scanned.

The text “I cut my hair now I don’t remember anything” in Icelandic, playing with the idea of hair holding its owners memories.

Every year, Doxs Ruhr hosts a festival with a new theme, for which a special lettering design is created. For the title “Rebels & Realities,” the word “Rebels” was designed experimentally with simple curves and connections between the letters. It was important to keep the lower part, “Realities,” simple to maintain balance in the design and create a good typographic contrast.

Little joke about life & death.

We create monstrosities—like in a laboratory. We awaken dead, lifeless forms to life. We give them grotesque names. We teach them to speak, so that we can understand what they are trying to say. We precisely document our bizarre experiments. We create figures with our own hands and our own techniques—bringing them to life with machines. Creatures that are distorted to the point of unreadability, causing traditionalists to cover their faces in fear and run away screaming–like in a horror film

An experimental poster exploring the nature of what could be classified as a type specimen created as a display for an upcoming typeface named NT Datum. NT Datum is a transitional typeface characterized by its distinctively edgy and rigid design. It features pronounced, angular serifs and a geometric structure that impart a sense of modernity while retaining the classical grace of transitional styles.

Iryna Baranova’s work for Ester Digital features blog article covers with a dadaist, experimental approach. The creative method, designed to produce covers efficiently within just one hour due to heavy workloads, can be adopted by others if needed. It blends random photos, the studio’s brand font, analog-inspired techniques like dithering and pixelation, and a muted palette extending the brand colors. This approach balances playful visuals with serious article topics, adding irony to the series.

This is a poster printed with photochromic ink, entitled GRAPHIC PICNIC Workshop 02, with the aim of spreading the knowledge of design and printing to the local community.
Outdoors, one sees the first image, with the 0 and 2 cleverly hidden within the P and I of PICNIC; indoors, the Chinese word “picnic” appears; and when overprinted in both Chinese and English, the text is not only readable, but also creates unrecognizable visual effects with the application of photochromic inks.

Two posters from a larger series for the presentation of the “Pomizh” magazine.

“Pomizh” is a printed magazine about Dnipro, a metropolis in the center of Ukraine, unified by numerous bridges across the Dnipro River, which has the widest channel in this region.

Each poster (as well as the magazine itself) is bilingual: in Ukrainian and English. The vertical posters have no “top” or “bottom,” and can be placed in any orientation, depending on which language quote you want to read more easily.

1 color silkscreen (printed in two layers)
Edition of 25, signed and numbered
40 x 30 cm / 15.75 x 11.81 in
Paper: De Geerts cotton Paper 500g/m2

2 color silkscreen (silver pigment)
Edition of 16, signed and numbered
51 x 36 cm / 20.08 x 14.17 in
Paper: Meta Paper Extra Smooth Recycling 270g/m2

Poster design for Monoh playing at Neubad Luzern.

Jonas List leverages WebGL and custom shaders to create 3D typographic animations. His focus is on the randomness and engagement offered by interactive sketches, as well as unpredictability introduced through code. He uses materials, light, and post-processing, along with animated particles, to discover new shapes and expressions. Each piece stands as a unique experiment, pushing the boundaries of traditional typography and reshaping it in the digital realm.