Fig. 1. Uniform corrosion; i.e. common but predictable, therefore very manageable and very often preventable.

A typographic yet abstract social commentary on filter bubbles which was selected for CHEAP Street Poster Art Festival’s open call: “Disorder, please” (Bologna, 2017)

Visual interpretation of “Soliflore”, a fascinating triptych by Iris Colomb that had my mind doing somersaults. The individual letters were generated/placed by a little creative code I wrote with basil.js and the rest was manual labour/love.

This piece is part of an ongoing series of collaborative experiments produced by arts collective Colliding Lines, inviting different designers and typographers to reinterpret the work of featured poets. The collaborations are remote and blind. Through this meeting the intention is to explore subjectivity in readings, and create pieces of shared authorship where the writer relinquishes authority over meaning to create something new.

Visual interpretation of “Post-partum”, a raw and absolutely beautiful poem by Hollie McNish that I completely empathise with. The visual elements were drawn with words.

This piece is part of an ongoing series of collaborative experiments produced by arts collective Colliding Lines, inviting different designers and typographers to reinterpret the work of featured poets. The collaborations are remote and blind; neither poet nor visualiser have met or are aware of each others’ name or work. Through this meeting the intention is to explore subjectivity in readings, and create pieces of shared authorship where the writer relinquishes authority over meaning to create something new.

During a parliamentary meeting to discuss Thailand’s national budget for the year 2022, a politician presented a pie chart showing the budget being allocated to the monarchy. The amount of 33,712 million Thai Bath (approx. 1 billion USD) caused a big debate as the country was struggling to fight COVID-19. We split the pie charts in pieces and rearranged them into a lettering that said “sufficiency” and posted it on Facebook. The image went viral because “Sufficiency Economy” is a concept of development approach that the monarchy promoted despite our king being the world’s richest monarch.

We then completed the font and used it on anti-monarchy campaigns, a music video and merchandises.

This typographic poster blends the concept of yin and yang with typography. The word “Yin & Yang” is composed of a variety of different typographic letters, symbols and illustrations that have been crafted to create a visually striking and cohesive design. The artwork has also incorporated elements of the Chinese philosophical concept of yin and yang into the piece, adding an extra layer of depth and meaning.

This poster is also part of an experimentation series, which goal was to take risks and explore new ideas.

Our lives are more and more led by algorithms. Everything is trying to reach the top of the mountain, but there is limited space on the summit. When one thing goes up, another thing must come down. But then it won’t look the same – more like a reflection, with a different background. Love your downs as well.

GrammarType is a type design tool that allows anyone to design modular typefaces. The system allows to design of a typeface by formalising a “recipe” that transforms a set of input shapes into glyphs through a node-based approach. Thus, the user can input a set of shapes that through a set of geometric operations are transformed and recombined. There are three types of operation nodes: move, rotate, and scale. The relationships between the nodes are established by the links between themselves. The output of one node is passed as an input to another creating a flow of shapes from node to node. GrammarType was developed by Tiago Martins and Sérgio Rebelo at CDV Lab.

Composed of a single component that interpolates between a circle and a star, OnX Variable is a modular font about inbetweens. The typeface has two axes—weight & sharpness—and a near infinite amount of variations.

Fax experiments without the fax machine – playing with thermal paper, stencils, and chemical reactions.

Much of my work explores mixing analogue and digital tools as a creative process. When I deploy analogue techniques, it’s about me adding noise and getting some feeling back into the work. Digital can just be so clinical. Sometimes I like that, but at other times I want grit, a depth or texture that’s ‘real’, not a coded imitation. It feels like I’m trying to dirty things up, break them, and get them to a point where they feel used, like an old record or book that shows signs of use.

Musica.OTF was born from an in-depth research into the roots of music and dance, through the most varied cultures of the world. The exploration starts from the dance choreographic annotations of the 1700s, up to the Tibetan musical semiography of the early 1800s Butti rites, gathering elements from the notes of classical music and composition.

It’s just about you and you and you and you,….proposes different layers of « you » in various languages. « You » is multiple, infinite; intangible. 3.14 explores all these hidden dimensions, cycling into circles. The message is clear, out of the orange, yet it remains invisible, lost in superpositions giving birth to an enigmatic stain whispering : It’s all about you and you and you and you…

Diamond Grotesk is a variable font that was born from the idea of creating a revival of the Akzidenz Grotesk font. The initial idea was to increase the contrasts of the font and give it a more contemporary look, however, during development, the contrasts were exaggeratedly increased creating a certain imbalance, which instantly gave us the idea of turning them into inktraps. The result is a variable font for text that allows a variety of dynamic solutions that has a total of 402 glyphs, supporting 80% of Latin Plus languages, has a huge variety of ligatures, inktraps and the diamond shape of the dots that gives the font its name.

A failure movie poster

Early capitalism in polish branding typography.

My work began with my first photographic enlarger. Rather than using negatives, I experimented with putting papers containing typography prints like receipts into it. As the idea evolved, I switched to transparent packaging to allow for shorter exposure times. I intentionally made mistakes like double exposures and unfocused negatives, and even re-exposed the paper during development. The result was a unique and experimental print with no digital retouching involved.

Marbla is an experimental display typeface exploring the possibilities of variable fonts to change the mood and personality of a typeface. Starting with a friendly regular style the letterforms can be modified via the axes “Inktrap”, “Balloon” and “Curve” creating expressive and unusual shapes. The result is a variable font with dynamic and playful display styles which can be combined very well with the legible Regular. The intensity of each effect can be continuously adjusted. The combination of the three axes creates countless possibilities of variation.