My work in experimental typography is based on grids, and it’s all about breaking the rules of traditional typography to create innovative, futuristic and impactful letterforms. I believe that typography is an art form that has the power to communicate a message and evoke emotions from its own shapes.

The project “The Alphabetical Room” is a systematic exploration into the boundaries and limits of writing within a strictly calculated mathematical three dimensional grid within the flat digital space. Starting from Josef-Müller Brockmann’s grid proposal for the design of interior spaces in 1961, the perspective of the viewer changes throughout the pages of the leaflet as does the resolution of the three dimensional grids in which the hypothetical letterforms are displayed.

Photographer: Michael Kohls
Guidance: Prof. Pierre Pané-Farré

Peido is an experimental font that goes a bit crazy with circles, even doe, it has only straight edges. Subverting expectations I guess.

Project made with Diogo Assis.

Demian Conrad and Arnaud Chemin have just finalized 3 years of work releasing a new typeface Automatico Family. Producing the specimen inhouse Demian Conrad had an accident and printed an alternate letter R while the ink of the Canon PIXMA TS6420a was running out. This accident produces something exquisitely beautiful, an organic unique gradient from the middle of the glyph until the bottom. The act of printing changes the status of the design, from merely a reproduction to a creative one. This printing effect becomes than a proper creative strategy and adds an aesthetic element but also a narrative one, enhancing the original shape of the glyph to a new meaning.

Flow is a zine, or type specimen, that features a collection of unique glyphs created using Processing. Inspired by the state of flow, these glyphs were captured while reacting to the frequencies of music. The music was specifically composed to enhance and assist the state of flow.

Digital Worlds is an unpublished project that explores the relationship between typography and the Internet. Drawing inspiration from the process of data dismantling and rebuilding that occurs during any communication over the World Wide Web, I used generative tools to create an autonomous script that breaks down and rebuilds the number of pixels a typeface occupies on a screen. The result is a ripple of black and white pixels forming intricate patterns.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.

Cumbre is meant for large display settings to make the most out of the precise outlines and the clean intersections.
The font styles: ‘Sharp’ has straight paths and precise intersections. ‘Round’ has the same kind of outlines but with round corners. ‘Stamp’ has irregular wavy contours and heavy swelling at intersections.

A horrific and multifaceted visual identity created in collaboration with AI systems.

In conjunction with the horrific AI themes within UNINVITED.ICU we created a shifting and unstable visual identity. Consisting of an array of horror-trope inspired logotypes, produced in collaboration with a range of automated tools. From Augmented Reality trigger finders to image enhancement softwares. The visual identity is conceptualised as a collaboration with machines, seeing our role as the producers, providing a service for the fictional Uninvited organism.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic rhythmic structure, movement expression, and intense visual language. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both the name and design got inspiration from mountain peaks. “Cumbre” in Spanish means summit, and that’s the motive for the spiked design and the angular serrated structure.

Cumbre is built by balancing sharp angles and venturous curves. The stems are spiky, and they vary in width. Cumbre is oblique and unicase. It has condensed proportions, moderate weight contrast, spacious counters, pointy terminals, and square ink traps.

The ‘Same Vine’ black and white poster, inspired by David Kushner’s “Daylight,” is an expressive representation of the toxic dynamics that can occur in close relationships. With a symbolic dent/hole at its center, the poster powerfully illustrates the shared destruction that can result when two individuals consume the same ‘poison’. The repeated text above and below the hole further emphasizes the cyclical nature of reflecting one’s own flaws in a partner and the challenge of breaking free from the toxicity of an unhealthy relationship. Ultimately, this thought-provoking artwork serves as a poignant reminder of the importance of recognizing and confronting toxicity in our relationships.

“You Better Remember My Name” is a “scream-into-the-void” poster. With social media constantly exploding with content and an artist’s worth being determined by the number of likes and shares, it’s easy to get lost in the endless flow of work and lose sight of one’s priorities. This is especially true for young individuals who are just starting to establish their practice and find their visual voice. Going unnoticed can be harmful and frustrating, like banging your head against a wall. The poster is a scream directed at the faceless crowd and the author themself. Its visual language is inspired by caution signs and barrier tapes, and is complemented by bold typography that’s barely readable.

Poster inspired by the song Synthesize me by Diorama

The poster is a reflection on the migrant crisis in Europe. The German word “Fernweh” is opposed to the lines from an Arabian poet Kaʿb ibn Zuhayr’s poem. Among the themes of ancient poetry was observation of the deserted, ruined home of the loved ones. A Palestinian poet Walid Khazendar says: “The ancient poet was in a very critical state, living always in the uncertainty between the presence of place and its imminent destruction. Transience is the principal feature of place in the ancient poem, and absence is its dominant theme. Every place has either vanished or is waiting for its inevitable fate of destruction.” It’s interesting to apply same optics of poets to the contemporary situation

This is a concept poster for Diorama band concert

Proposal on the occasion of “36 days for type”
36 Days of Type is a project that invites designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet and share it with the world, as a global and simultaneous act of creativity that explores the limits of typography. .
Letters and numbers arise from the experiment of superimposing geometric shapes while preserving all the lines.

This poster was partially inspired by Virginia Woolf’s quote “I prefer men to cauliflowers” from her book “Mrs Dalloway”. And we were looking for appropriate typographic shape for it