It’s a statment, a visual journey with an experimental typographic language, trough the mental rhythm of a workaholic.
In this journey, the word “work” is not only related to its formal meaning, but also to the subject‘s desire to remain focused on producing something.
For this to happen, it‘s necessary to embark on a course that is sometimes methodical, repetitive, confusing, noisy and a little psychedelic.
The fickle morphology of this cloud of feelings is felt through the intensive and exploratory use of the word “work” represented in various ways, creating a frantic and exhausting rhythm. Work is the key, keep working in what makes you a creative being.

Poster designed for Neubad Luzern for Luzius Schuler’s and Samuel Leipold’s double concert.

Christian Dietz work circles around a mixture of digital design tools and analog printing techniques, what he likes to call NEOANALOGUE. Modern typography is rooted in analogue letterpress printing. Experimental type design, in particular, opens an historically based playground for today’s hyper-digital design tools in harmony with analog printing processes. To do this, Chris designed a typeface based on circles only, sawed 20 ct coins, glued them on a wooden block and printed them by hand. The technique of analogue printing was involved in the entire design process not only as a background idea, but also as a style-defining factor for an experimental design approach.

An interactive typographic exploration of the text ‘myu’ written by Thomas Sharp. myu is a hypnogogic surrealist recording of the thoughts of the universe over one second in 1913. It’s about prophecy and shamans and revelation. myu was seen and transcribed by Thomas Sharp in a series of Active Imagination sessions between January and June 2020. Visualised by MATA at tobebeginningless.com

LOVE YOU is a graphic design student’s exploration of computer processing. The experimental type of LOVE YOU evokes wondrous and expressive forms via the open-source program Processing. LOVE YOU aims to break the rigid and clean design rules of both graphic design and computer coding.

Typographic manipulation is central in graphic design process. Letters as printed can be in motion anyway.

The Typo „Kyra“ is characterized by its rounded details, which give it a soft, organic feeling. Every curve and bend has been carefully crafted to evoke a sense of fluidity, playfulness and grace. Kyra is in general made for headings, adding a touch of elegance and playfulness to any project it graces.

Do22i we Abbaza are their names, if you don’t know what that means, then thats a good thing. Ur welc.

But doesn’t stop you from saying Hi. or Hello.

it’s an inside joke.

Trying out new techniques to help me find my personal style.

Collecting the wasted/used paper left out at the printing studio and recombining them in a random manner, the idea of ‘INTENTIONAL MISTAKE’ creates a system of making mistakes ‘on purpose’, as a way to encourage the unexpected, to find a balance between something already existing and something unexpected. In the end, the system of rules that can be used or created to invite accidents into a positive role, and the outcome produced by the system becomes something beyond oneself. As a result, it encourages the unpredictable. The work was inspired by the approach of the Dadaist poem, thinking of these invented systems as something which encourages a kind of ‘self-less’ creative process.

While Bloom began as a study of floral forms and floral typography, the fragmented and clustered nature of the floral design led to the idea of impermanence. Bloom visualizes the nature of flowers and of all living things: To bloom spectacularly for a moment, before time carries the fragments and petals away.

This type is a study on nature and algae forms. Formed entirely from bezier curves, the lines stack upon each other against a dark background to invoke a glowing effect reminiscent of bioluminescence, as if one is looking at bacteria bloom at the bottom of the ocean floor. The name of the work itself is derived from cyanobacteria, blue-green “algae” that has become synonymous with life.

I created Lily for a project in my Coding for Graphic Design course with the objective of combining type and a flower we previously designed. I used Processing, an open-source programming language created by Ben Fry and Casey Reas, to generate the flowers. I created the layout in Adobe Illustrator and imbedded it in Processing to combine flowers and type.