The project included designing a film festival poster. “Poetic Realism” was the theme of my poster. There is a lot of social and emotional drama in these films about marginalized people. It’s common for poetic realism movies to end in despair. Lighting played an important role in those movies. Using lighting, for example, the main character’s face is illuminated from the side, or a key location where the character found himself is illuminated, or an object is transformed into a symbol. Lighting became a design decision. To reveal my poster’s typography, I used several lights. Shadows were also used. Through lights and shadows, the typography of the movement’s name was brought to life.

Chutz is an audacious slanted typeface with horizontal contrast and horizontally oriented strokes developed for Jewish brand Chutzpah of the Feisty Foods company based in Brooklyn, New York. The typeface has three purposes – to feel Jewish, audacious, and delicious. To convey the feeling of Hebrew in Latin, Greek and Cyrillic script, such means as horizontal contrast (opposite of Latin) where horizontal strokes are thicker than vertical ones, and horizontally directed calligraphic strokes inherent in Hebrew script which make the letters more square, are used.

Don’t: Postcards of Glitch Feminism is a series of five lettered postcards that expresses the defiant energy of feminism in the cyber age. When society fears discomfort and malfunctions and tells you: “don’t rock the boat”, don’t listen, don’t comply, don’t stay silent.

Quanzoid is a display typeface that explores form-making outside of calligraphic rules yet still maintains an establishment of contrast and motion. I was inspired by the brushstrokes of the ocean — kelps. Rooted in shallow oceans, these large brown algae seaweeds make up underwater forests. They grow as fast as half a meter a day, sheltering thousands of marine organisms near the coasts.

The Earth Overshoot Day marks the day when all the natural resources our earth can regenerate within a year are used up. Thus, we are now living at the expense of future generations. This series of posters is intended to draw attention to the problem and to suggest possible solutions.

I created the ActionType project as part of my diploma thesis at UMPRUM in 2020. It is the result of my long-term interest in typography and the study of animation in the Studio of Film and TV Graphics. This resulted in a set of hand-animated letters, inscriptions and alphabets intended for use in a video presented on the actiontype.xyz website.

Manually processed typography has a special charm and achieves unrepeatable results compared to digital animations. I see this creation as the opposite of the flow of sterile motion design, which is full of eye-popping effects.

DEAR DIARY is a series of more than 150 drawings based on the experience of having a physical space to write emotions, wants, fears, ordinary stuff, trauma or even just to express love … Like a diary itself. This body of works express more than anything the urge of the artist to express his own feelings and emotions in an attempt to connect to the public around him. This takes a bit part of a constant movement of evolution between a graphic language and drawing with the use of the word.

The font with strong reverse contrast supports three languages: English, German and Ukrainian. Has a friendly, positive character. Intended for posters, advertising, book publication and various events. This font allows you to perform experimental searches in typography. It will certainly cheer you up! Created in 2023 in Munich.

Poster made from screensavers for the “RANEPA design school” YouTube channel

Typographic installation inspired by different meanings of the word scratch. Each of the seven large works arranged in the gallery space graphically and typographically interprets a different letter of the word. The rhythmic, analogue structures allude to musical sources. The form and spatial context are based on a more literal sense of the word—intervening in the found space, they touch on the notion of fractures in space. The different layers of words, alluding to X-ray forms, permeate the room and intermingle, creating new formal contexts, giving the impression of scraping out space, make this a story about the loss and lack we experience in life, which affect our perception of reality.

Posters were created by means of various techniques: with the help of computer programs and manually. All these posters were designed for concerts at the “Dom” cultural center and for various poster competitions.

The glyphs of the word contain fragments of decorative elements from the Art Nouveau typefaces of the Klingspor Archive in Offenbach and parts of patterns that result from marbling paper with water and colors. Using a modular principle, a handful of glyphs has been created from a few elements. For me, designing typefaces in the sense of Art Nouveau requires a certain letting go of rules and the will to design emotionally. Maybe it helps to be in love, on cloud 7.

“Shared Drawn Reshared” is a catalog of object graphics, transforming everyday things into typographic resources through an iterative approach.

The work is based on objects from encounters with other designers. I began exploring the objects using pencil drawings and later finalized them as B/W sketches. During this process, the sketches were combined to create intersections in meaning and style, leading to new perspectives in communication design.

The book features 63 sketches and 52 vector graphics, which are also accessible at https://shared-drawn-reshared.com. The catalog is shared with everyone who contributed an object. In return, the graphics can be remixed in their own work.

Found typography of the street – typography with a soul.

Soraiz—née Sore Eyes—is a parametric typeface, the direct output of a complex Python script that generates a multi-axis color font straight out of DrawBot. Its visual grammar is self-referential, reflecting the qualities of type on screen. Its form follows the means of displaying it–the technology of digital type–akin to a digital-on-digital skeuomorphism. The underlying skeleton is itself a type-in-progress by Connor that references Handel Gothic from 1965. Taken as a whole, Soraiz is an impression of a retro-future that is some years away, but won’t come to pass, and has only been made possible because of the technology of today.

‘So, we should make friends with chaos, and in the whirlwind we should look for the superior order that chaos brings in itself.’
– Franco ‘Bifo’ Berardi

SG Sync is a sci-fi display font with contextual alter-
native glyphs. The font was designed by combining a limited amount of different components in various ways. The project was initiated at the saturday type fever event at HfG Karlsruhe in 2019. Meanwhile, the project was developed into a full typeface, including european language support, numbers and punctuation.

This is a visual diary of a short trip to Israel. Experiencing what it feels like to be in a completely foreign linguistic environment, where you cannot read a single character, can be liberating but also suffocating. It’s a free space where characters can be observed purely for their aesthetics, freeing you from the constraints of legibility and linguistic conventions.

I participated in the 16th exhibition of the Korean Typography Society, “The Jindong Bird and the Handwritten Letter.”

The theme was “I took a food from an envelope and gave it to the vibrating bird that just poked at me,” in the new work of science fiction writer Kim Cho-yeop.

In order to express the overall theme, direct images of ‘vibrating bird’ and ‘handwritten letter’ were expressed, and the shape and characteristics of ‘food’ were applied to the letters. I wanted to express the phenomenon of birds breaking irregularly when they peck at their prey to convey the strange and interesting impression felt in the subject.🤪

Experimentation with new artificial intelligence tools led Edoardo to generate possible typographic visualizations reflecting his design thinking. The goal of the experimentation is to demonstrate that artificial intelligence can be a possibility for designers by placing design thinking as the central element and not the high software skills required to generate the visuals, thus allowing the designer to spend more time researching the desired output and less time on the software.

This type was created using melted wax crayons. It has two forms – colour and half tone.

We trained a neural network with the latin F and the cyrillic Ф searching for an intermediate letterform.

This work is part of a series that explores creating typography with Text-to-Image models.