A typographic op art visual composition of the word LOVE. Experimenting with stripes and colour variations and the infinite possibilities to use colour or black and white
ALEODOR
This typographic experimental work is part of a branding project for a science museum and it was developed under the concept “Making the strange familiar and the familiar strange.”
Aleodor Science Center is nurturing a new world of intelligence, by reducing the distance between what’s perceived as familiar and what seems strange in science. It’s bringing science closer to people’s interests, by developing a new way to discover it.
Aleodor Generator.
The symbol generator was created as a public tool for the Aleodor Science Center staff and the general audience as well. It generates graphic elements for all the brand communication materials and it makes possible an interactive dialogue.
Das gewöhnliche Design
Das gewöhnliche Design (The ordinary Design) is a hidden classic of German design history, something the vinyl era would have called a B-side hit. Newly edited by Frank Philippin and Florian Walzel, the facsimile returns the work to a wider audience.
As early as 1976 a group of students and young professors at the Faculty of Design at the University of Applied Sciences in Darmstadt questioned the way design objects were generally perceived, talked, and written about. Frustrated by the contrast of their self-perception as comprehensive designers and the prospect to have future careers as mere product stylists, they were looking for an alternative understanding of what constitutes good design. The group led by Friedrich Friedl and Gerd Ohlhauser started to collect ordinary things such as bottle openers, air pumps, or bus timetables. In an ad-hoc approach these objects, all from anonymous authors, where exhibited at the faculty under the title The ordinary Design. This show, which presented only “boring” everyday commodities, surprisingly received national attention and discussions flared up in the design press. In a comical manner the young designers had used means of traditional exhibition design like velvet covered pedestals, usually reserved for “high art.”
Together with the unspectacular exhibits this provoked or at least irritated the audience. At the same time the absence of any heroic, iconic, or aesthetically refined qualities among the things shown seemed to mock the whole design education. The approach was original enough so that the Rhenish Open-Air and Regional Museum Kommern bought the extraordinary ordinary exhibits, repeated the show, and printed an exhibition catalog. The catalog (104 pages) contained among others contributions by Bazon Brock, Peter von Kornatzki, and Adelhart Zippelius. The 110 black-and-white photographs provide a specific snapshot of what unspectacular product normality meant in the mid-70s.
Although this must be considered one of the earliest attempts to anchor the appreciation of mundane qualities in design discourse, the catalog became a rarity and is now available in only a few libraries. By publishing a facsimile, the editors make a design classic more than just available again; this renews the question: How much of design is owed to the ordinary? In a time that dedicates its cultural attention almost exclusively to novelty and exceptionalism, everyday utility is the silent opponent of “design.”
Das gewöhnliche Design
Publisher: Slanted Publishers
Editors: Frank Philippin, Florian Walzel
Authors: Friedrich Friedl, Gerd Ohlhauser
Design: Frank Philippin
Publishing Direction: Lars Harmsen, Julia Kahl
Format: 15.2 × 22 cm
Volume: 104 pages
Language: German
Workmanship: Softcover with Stitch-Binding, black offset-printing with spot color
ISBN: 978-3-948440-48-0
Price: €15.– (DE)
BUY
BERLIN
Publication made by the Faculty of Architecture of the Universidad del Desarrollo, corresponding to the experience of teachers traveling to the city of Berlin, Germany.
The book was articulated as an atlas of 3 major themes. Circular cuts were made as a guide when consulting the book. The abstract illustration, understanding Berlin as a large park, was a contribution to get away from the classical images of its architecture.
DESERT
Catalog of the exhibition of the photographic work of the artist Roderik Henderson at the Museum of Contemporary Art (MAC), Chile.
In the search for new formats, the proposal was a series of collectible postcards as a book, in which each visitor received a different selection. The work of stereoscopic photography was enhanced with an envelope that allows viewing of the variable content, together with a strong visual identity of the name of the exhibition: Desierto
Design, Populism and Politics
Being populist and political in this polyphonic visual communication environment means trying to say everything for everyone at the same time. This poster does just that. It tries to convey its slogan under the name of “polyphony” in the midst of confusion. The title of the symposium is written in three fonts that have become popular, and all three are superimposed on top of each other. None of these three typefaces can fully reveal its own character; it gets lost in the others or hides behind them. When the three are together, they do not form a coherent unity, on the contrary, they create a crowd.
Digital Me (Or: What the World Wide Web Knows About Me)
Within three weeks, as much data as the internet has about me was requested and collected. The resulting archive served as the basis for further design, all images and codes used can be found in this archive. Several individual works were created. In these, the focus was on an experimental approach to designing and conveying the feeling of powerlessness. One of them is the following book. Dimensions: 14 × 15 × 36 cm, 8.288 pages.
The stones, onto which images from the archive have been mapped, serve here as fragments or even digital artifacts that support the content. These elements are augmented with augmented reality (AR).
ET–ET
ET-ET is a thesis project for a Master’s degree in Communication Design and Publishing at ISIA U in Urbino. The project involved the development of a private website prototype for a multiparametric interdisciplinary system for historical and visual analysis. The prototype was based on the cataloging standards of REICAT and ISBN, and implemented with typical aspects of historical and graphic analysis. The prototype filtered and analyzed a sample of 54 archival posters, providing automatic statistical elaboration of the study data. The book ET-ET presents the entire project, from its theoretical origins to the final prototype, showcasing the analysis results through texts and infographics.
Open Arts Forum Poetry 2019
Open Arts Forum: Poetry 2019 is an anthology of poems aggregated from the online platform Open Arts Forum for Poetry. This collection was sourced algorithmically, according to social engagement: it contains those poems published in 2019 that were the most-liked and most-commented. This subtracts part of the editor’s traditional role in forming a book and instead turns that responsibility over to, first, the crowdsourced opinion of the works and second, the algorithm responsible for assessing engagement. Each poem is published together with its number of likes and comments, allowing the reader to consider not only the poem but also also the context of its social impact.
Not Wanting To Say Anything About This Exhibition
Poster design for the exhibition called “Not Wanting To Say Anything About This Exhibition”. The show is based on these questions: What is the distinction between curated and un-curated content? How can we bring apparently disparate elements together? Is it possible for an unintentional assembly of “things” to build a meaningful whole? Can we make a narrative out of them? In response to these concerns, the typographic components on the poster were created. Inspired by John Cage’s artwork, Not Wanting to Say Anything About Marcel (1969), the title and arrangement of the letters -as if they’d come together by chance- is a tribute to Cage’s original artwork.
Ally
Ally is an expressive but delicate typeface that pushes the boundaries of legibility. Its unconventional shapes emerged from calligraphic experiments with the attempt to design characters with only one stroke and only curves. Ally was initially conceived for display situations and short texts but can also evoke interesting textures in smaller sizes and longer texts. It provides a playground for distinctive and vigorous typography.
Diploma Exhibition 2023—Perspectives
From May 4th to 21st, the University of Arts and Design Karlsruhe presents the graduation projects created between 2022 and 2023 within the Diploma exhibition 2023—Perspectives in the atriums of the school.
The works shown in the exhibition open up a vide variety of perspectives on themes that are paradigmatic of our times. They revolve around themes such as memory, capitalist time structures, contemporary forms of work, the effects of the media on society and the individual, and the relationship between human and nature.
While to some, the exhibited works appear as mere qualification steps necessary for obtaining an academic degree, for the young artists and designers themselves they often stand for much more. As the result of extensive work processes they are testimonies to doubt, experimentation, and collaboration. As threshold between study and working life, they are inextricably linked to memories and plans for the future. By presenting these personal aspects alongside the diplomas, the exhibition allows visitors a glimpse behind the surface of the completed diplomas and perfected CVs.
Diploma exhibition 2023—Perspectives
When?
May 4th to 21st, 2023
Tuesday–Sunday, 11 a.m.–6 p.m.
Opening: Thursday, May 4th, 2023, 6 p.m.
Festival weekend: May 5th–7th, 11 a.m.–8 p.m.
Entry free
Where?
Atrium in the University of Arts and Design Karlsruhe
Lorenzstr. 15
76135 Karlsruhe
Germany
More information here.
Fashion Views
My projects stand out for their narrative force, all my visual work It is a constant search for my own visual language, where I try to imprint a personal vision to each project , always with high aesthetic and communicative values, where the core is to find the story that represents each product, each brand. The final objective is therefore, to conquer the eye of whoever is in front of any of his pieces, be it an image or a visual piece.
METAMO
Metamo is a family of variable fonts developed to test the potential of using variable systems to generate letterforms.
Glass Kluster WKND
Artwork for WKND skateboards. I made this as a nod to the artwork for Zwei Osterei from 1971 by Kluster.
beauty of arabic type
arabic type represents a different kind of beauty
typographic book layout
Typography is powerful enough that a whole book layout would be made out of letters.
Seeing Libraries Differently
Newspaper designed with and for Nick Thurston to support the film Tender Silences, which explores Chetham’s Library in Manchester. Chetham’s was constructed as a college for priests in 1421 and adapted into a library in 1653. It has been free to use as a public reference resource ever since. It’s the oldest public library in the English-speaking world and holds the first recorded account of silent reading. Using film, poetry and great attention to detail, Nick has beautifully captured the essence of Chetham’s, its spaces and its librarians performing their caring practices. The typeface used is Rhymes by Jakub Samek.
Robert La Roche Book
Book Design for Austrian eyewear brand Robert La Roche. The book is comprised of chapters detailing Robert La Roche’s brand history, team, products and design philosophy. It heavily features photography by American photographer Michael Shindler and Austrian photographers Kahriman—Paulweber.
The book was awarded with a silver European Design Award for best product catalogue.
Additional Credits
Creative Direction Client: Anthony Reid and Robert La Roche
Photography: Michael Shindler, Kahriman—Paulweber, Mattia Bello, Gerald Liebminger and Gerhard Heller
Copywriting: Sandra Lux
mask
More and more people are wearing masks, which make us no longer see each other. When can we reveal our original appearance
embroidered E
hand embroidered, with a crossed over circle pattern
Red Button A
hand sewn, with hand embroidered and stitched on buttons, beads and threads. Can be unbuttoned and flipped open.
Sex, but how?
Experimental series of fonts was created exclusively for the publication “Sex, but how?”. “Sex, but how?” highlights the topic of sexual diversity from twelve different perspectives as part of sexual education. Each of 12 chapters answers the question of variety regarding person’s sexual identity. The experimental font is based on the books’ grid and is formed by elementary pixels, changing itself depending on the percularity of each individual topic.
MERCY
MERCY is an analog/digital poster sending a simple message in a chaotic feeling.