For this project, they experimented with AI and typography, creating an abecedarium of nature-themed letters using AI. They then significantly reduced the size of these images, resulting in various abstract, pixelated letters initially created by AI. These pixelated images were converted into letters, culminating in a new font.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with tape by hand.

Parco Studio designed a campaign focused on the word “weak” that, spreading like a tag on walls, quickly invaded urban spaces – almost like a temporary graffiti. The lettering has a handmade and rough character, in order to give an organic and human feeling to the communication. The visual project is inspired by the importance of vocabulary in conveying messages and the communication is based on key words presented on a large scale to create a provocative shouting effect. 

Maite Oswald, a design student, felt compelled to create a piece on the last day of submissions for Experimental Type 3.0. She set a one-hour timer, worked with various analog materials, and digitally refined the results. Guided solely by instinct and without prior inspiration, she completed this poster when the alarm went off: her “last chance” for a final submission.

HV 100 font redesign glitch experiments. My aim is to transform my rigid geometric digital typeface into a unique and unrepeatable version.

This work is my typographic experiment. I searched for a balance between decorative and functional typography. The current look was an accidental result of transforming the word “GUM.” The final look illustrates the rhythm of chewing gum as a metaphor.

We are exposed to a flood of information. Constant sharing and copying takes this information out of context and changes it.
This project aims to visualize this problem in the form of a font. We are not talking about fake news. Rather, it is about unintentionally “falsified” and altered information. If information is reproduced in an altered form and this process is repeated, the change runs through all subsequent copies of this information and can be reinforced or expanded by further changes.

Split Flap is a charismatic, variable Grotesk with sweeping terminals, a high x-height and minimal descenders. It’s the result of research into the history and functionality of split flap displays, which became widespread in public transport in the first half of the 20th century as a reaction to an accelerating society, replacing manual, analogue display boards. Based on the two-part flap mechanic, Split Flap mimics the visual distortion of the glyphs and offers a variety of italic variants.

During this summersemester I designed a pixelfont called “Mosaik”. Inspired by my trip to Morocco and Portugal I wanted to create a ornamental font where it would be possible to tile it. This font was created in the course “working type” by Anna-Lena Würth and Johannes Bergerhausen at Hochschule Mainz. The specimen conception was designed by Fabio Hafner and Sarah Heerlein.

Every day, we read hundreds and thousands of characters from the Latin alphabet. But when do we ever take a closer look?
Each letter has a clearly defined DNA. Its components are pieced together for us in a way that seems completely natural.
But what happens when we rearrange the elements?
Deconstruct.
Where is the boundary of legibility, and how important is it?
Are new interpretations possible?
The Latin system represents immutability.
The goal of this work is to question and ret

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with wire by hand.

The author analyzes how the distinctive, uniform structure of monospaced typefaces shapes the visual and communicative impact of selected posters. By exploring complex design layouts, the author investigates the balance between aesthetic appeal and readability within these font types.

An ongoing series of type posters announcing the 6 guests for the annual communication design workshops and talks of the design department at the State Academy of Art and Design (ABK Stuttgart). Focusing on their names, the letterings highlight each guests commitment of attending and hosting a 2-day workshop.

Schlegel Kultur Club, located in the basement of the former Schlegel Brewery, hosts regional and international artists in Bochum. Through concerts, listening sessions, and exhibitions, the club promotes a diverse and inclusive culture. Monthly events feature unique posters with custom lettering.

The font “Type Treasury” was created in a dialog between Fanny Liebhardt and Tessa Darimont.
Using a sticker set of simple geometric modules, they pushed the limits of the modular system.
The result is a collection of diverse characters that functions as a modular font and can be combined with each other as desired.
The “Type Treasury” combines a readable basic style, 10 expressive sets, an experimental initial set and a set with a wide variety of arrows.

Radio (z)Onderdak is a creative workspace and radio show in Antwerp for homeless and undocumented people. Independent and focused on connection, they highlight participants’ talents. “Radio (z)Onderdak” means “Radio (No)Roof.” The experimental, hard-hitting poster were printed 1,000 times and placed in areas where the homeless are often overlooked, reflecting their harsh conditions and creativity.

Propaganda, media censorship, and literature played the central role in the Russia-Ukraine war. As stances hardened, cultural bonds faded. Deconstructing and reconstructing Cyrillic letters highlight the corruption of truth, identity, and culture. Trauma is nonverbally conveyed through over 1,000 new characters. “Zensura” is a publication and system that portrays the loss of communication and truth through image distortion and an homage to USSR propaganda posters.

A visual interpretation of Soliflore written by Iris Colomb, published in Colliding Lines’ anthology HOME which invited various designers and typographers to reinterpret the works of featured poets. The individual letters were generated using a script written in Basil.js to randomise the point size and angle within Adobe InDesign, while the additional details were crafted manually.

This typographic artwork, created with LEGO and printed by hand, features letter designs inspired by organic shapes. The project involved designing letters using LEGO Dots pieces without the aid of technology, manually arranging different configurations off-screen. This blend of rigid plastic pieces and softer final forms adds a meaningful dimension to the word “mother.”

Visual interpretations of I Don’t Feel Capable by Amber Renee and Exit Sign by Gem Blackburd published in Chronic Poetics, an anthology by Point Positive Publishing and Colliding Lines. Both designs called for creative coding to build the initial design structure. The first utilised Basil.js to generate a randomised cluster of shapes within Adobe InDesign, while the second employed a JavaScript code by Christian Marques to produce a glyph rendering. The actual words were then manually placed.

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.

A poster design for the Tea Break Collective x Yuliya Ra party and exhibition that took place in July at an arcade bar in Peckham, London.

The idea for the poster and experimental typography was inspired by the 3D Tetris that I’ve used to play as a kid.

The Grill House Stencil font is a project dedicated to exploring alternative digital vector tools. While working, the designer tries to follow the logic of the tool and explore new typographic styles. Kind of a typographic rodeo. To tame the tool and bring out its wild nature.

The Grill House Stencil font includes two types of capital letters and collection of ligatures. Support Latin Basic, Western European, Central, and South Eastern European languages.

The graphic covers the process from the design of the font “angular” to the experimental typographic processing. It depicts the journey of life and its confusing and surprising paths.