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.

This is an excerpt from the typographic work “BLOOM,” a collection of variable fonts designed from various component shapes. At its most fundamental, this typeface is a Tuscan serif with bifurcated serifs, inspired by the fleur-de-lis. It is an experimental display typeface reminiscent of a field of flowers, blossoming and spreading its petals.

How would a typeface mark the passing of time? Since before antiquity, humans used light and darkness to tell the time—buildings throw shadows that grow and move and morph over time, sundials point to numbers on a surface, and engraved letters change with the sun. Relief is a variable font with an axis for controlling the angle of the light. When blurred, the fine lines that shrink and grow run together into differently shaded areas.

A score within a score. A poster, with multiple functions, cut and folded into an instant publication, holding texts that were born by the writing group “unmoored and adrift and alive.” It serves as a launch invitation, a cover, a chapter divider, a gatherer of writing. Making public what has been an experimental space for collective explorations into writing as a performative practice distinguished by unstable boundaries between bodies: bodies of texts and bodies of writers and readers.

This poster is a reflection of the year 2020, which allowed us to pause, reflect, and look within. Designed in response to the La Bienal del Cartel Bolivia BICeBé brief, No Course to the Interior Space. The texture in the background and linear typography symbolize roots and our journey. The fragmentation of the type is a reflection of ourselves and the many sides we have.

Poster for the 2024 spring edition of Fiction Tuesdays – a film screening series organized by the Czech Centre Bucharest.

Its first publication was in 2022-2023. It is based on the basic principle of visual literacy to create glyphs with different reading possibilities from the same base. Using morphological tables (which are a tool used for creating isotypes), this grid is assembled or decomposed, forcing the mind to interpret recognizable glyphs. In addition to that, he also used the technique of variable sources to create different forms, framed in the same concept of experimental types.

Factory Street in Lviv gathers many different people around it, from creative people. I looked at this street as a ready-made identity, collected all its signs, traces of its inhabitants, collected its cracks and smell and fit it into this identity. I was an observer, I just looked carefully and turned what I saw into an identity.