The project “100 Ways to Move an A” questions the results-oriented design and puts the process in the foreground. It was created as a personal project in addition to a semester assignment at the FH Potsdam on the design of a dynamic character set. According to one of the guiding principles of Sister Corita Kent “If you work it will lead to something” the idea was sought in the design and not in the sketch. The result is the indefinite design of 100 moving characters. It invalidates the directly analyzing thoughts in the process and leads to new, unexpected results.

The typeface was created for a poster on the subject of “Monopoly”. The letters consist of two shapes, a square and a shape that looks like a small house. The font is based on a grid and was created using the online modular design and text art tool Glyph Drawing Club. An editor based on a customizable grid that users can “draw” on with a set of geometric shapes or with any typographic symbols.

Poster designed for “Panejamento” (draping) — a mutable sculpture exhibit. The geometric concrete volumes were changed everyday by the artist, like a cloth draped over the gallery space.
The type image made for this poster was 3D printed and photographed with the structures visible, arranging the letters in a composition as if the type were the sculptures themselves.

Wareniki is a draft project. At first it started as a contribution to the 36daysoftype movement, and then turned into something else. In light of the happenings in Ukraine I found myself in the same dilemma, as many other creatives working in the industry. How can I live and work, like nothing has happened? What can I do, as an artist, a graphic designer to do good? The name ‘Wareniki’ is made-up word, consisting of the word ‘WAR’ (because the Russian propaganda wouldn’t call it what it is) and the popular Ukrainian food Vareniki. Wareniki Display has one weight, and is characterized by organic, seaweed-like curves, and wiggly letterforms.

Structural packaging design cover for RARITIES by Lorn. Its cover is made from a single piece of paper folded in such a way to contain a CD. Fragments of the pixelated title can be seen in all stages of unfolding, but are only readable when fully opened, inspired by the way HDDs save data.

The font came to light from the urge for a deeper understanding of technology, which is omnipresent in our daily lives. Therefore, electronic scrap was deconstructed, looked at and ideas began to spark. Several objects have arisen circling around theoretical and practical aspects of humankind‘s extraordinary achievement: to communicate over time and space through type.

The heart-piece of those artifacts is an analog laser using a technique discovered in the process. By focussing sunbeams through a lens on graphite traces on paper, shapes of all kinds can be burned into the material in a distinctive, unique formal language. Following this principle, the PNG-Typeface „Mindset“ emerged.

The animated poster was created as a submission for the Heidelberg Symposium, part of the Heidelberg Art and Culture Prize, with its annual focus on the subject “Keep Restless”. As an independent project as part of the course “The Moving Poster” at the University of Applied Sciences Potsdam, it was supervised by Prof. Klaus Dufke and Prof. Sven Voelker. In “Keep Restless”, self-rotating cuboids try to connect and repel each other, seemingly at random, within a three-dimensional space. In the movement, communication, relation and transformation are thereby depicted in an abstract way. Endless intermediate and transitional images of different configurations are created.

Design for the multi-day art festival Parade Créole — »Eigenkleider« for colonized bodies. An exhibition that brought together a variety of artistic positions to celebrate performative individiuality and and self-expression. Creole is a language that ​​emerged in the context of European colonization in the 17th and 18th centuries and the ensuing slave trade. Créolité is a literary movement that references and champions heterogeneous Caribbean identity. Based on this theoretical background we created expressive, illustrative individual letters to embody the festival’s core purpose: a parade of individual characters, identity and self-expression.

We brought our vvvv-Buchstabengewitter-framework to the next level: Using it as a live typewriting commenting tool for our talks, which marries the old mechanical printing technology with the digital age. With the installation Infinite Typetrooper we are bridging the gap from static metal type to movable lettershapes. Our latest installation enables you to experience the Buchstabengewitter-Typeface with a haptic tactile interface – an old Rheinmetall Typewriter from the 1920s, generates animated glyphs on the screen. We used the Arduino based USB Typewriter Kit by J. Zylkin to convert this machine into an USBkeyboard and give it a long deserved upgrade after almost a century.

The word survivor and colour combination of black/white is a symbolic typographical interpretation of the situation we all went through the past two years and stands for a person who copes well with difficulties in their life and a reminder that after bad always comes good.

This typography is drawn with a lath. The idea came from a photograph of a grocery store where the employee had drawn stick letters with a lath to indicate that he had wifi. Based on this image, which reminds us of the immediacy of the message and the gesture, I decided to proceed in the same way.
This typography is not perfect and contains a lot of proportions and drawings. In some places, the line goes beyond the limit as if to signal the presence of the slat and the line.
It could have been digitally reworked and the manual mistakes corrected, but what is interesting are the mistakes and the uneven filling.

The Koruption typeface is the result of a questioning I have been having about Variable fonts. Rather than using this new technology to navigate with traditional features like weight, width or slant, I wanted to explore how a regular typeface could be transformed into a decomposed, glitched version. This single weight font therefore offer a Variable axis that plays between a regular, straight style and a more expressive, destroyed version. But since a glitch is by nature unpredictable, I decided to also play with substitutions by creating 4 different glyphs for each letter. This creates a certain unpredictability in the letter forms that further enhances the overall effect.

The focus of her typographic work is obviously not on legibility, but on the design potential of the forms in the context of the font concept. She likes the systemic approach in type design, following the grid as organizing principle and experimenting with the emerging forms.

The display font Corpus is designed as three-dimensional typeface, constructed from geometric bodies (Distinction at Joseph Binder Award). Area is a monospaced typeface inspired by the Bauhaus and designed from simple geometric shapes. Both include many different styles, that appear either abstract or legible.

Main title: Girls Love
Girls love is an Egyptian movie about three sisters who never met, but are forced to live under one roof for a year so that they can take the inheritance their father has left them. They then develop a beautiful connection. The
main character is “Nada” whose greatest passion is baking, and so I’ve created the poster using actual baking creme and baking tools such as a piping bag and spreading knife.
Captions Translation:
“Nada is the best thing in my world”
“They are all Mostafa Abu Hagar!”
“Mohib!”: name
“Hazem has a very nice voice”
“With you, I forget that I’m a star”
“Maybe a dad, a mum, a brother, a neighbor, a friend”

My work is an experimental combination of bold colours with a handwritten text ‘Die Qual der Wahl’ which represents my personal struggle to submit the design I was 100 % happy with. I have so many different artworks on my computer from which I could have chosen but nothing felt good enough so I decided to create a new version that combines all the designs I already did in the past combined with a representation of my character and general thought process in one design.

With a set of 1287 alternate glyphs, the Ekko typeface gives you tools to be creative. By combining these alternate glyphs between them, you can design real vertical ligatures. Ekko offers a wide range of graphic possibilities and gives you the opportunity to play, experiment and discover, in order to associate the various vertical ligatures among them, in a balanced and harmonious way. Thus, Ekko provides you the possibility to express the musicality of each word, and to give a specific, original and unique rhythm to each composition. In line with the spirit of jazz music, in which nothing is predefined, but everything remains open.

The word “desire” with a melting effect reminds us of a melting candle. Purple is burning desires that we always crave.

Ongoing Exploration on: How do we perceive form and space as letters ? How to combine shapes to trigger a visual memory?

TYPE MOIRÉ OFFSET / STARWARS is an artistic explorational process about one physical phenomenon, the wave interference; especially the moiré pattern, which is often refered to the unwanted inherent of the offset printing technology. The presented artwork is mainly rooted from the manual details of print based media, but viewed from a different, zoomed in perspective. The essence of this visual experiment is to exchange the pictorial components (e.g. rasterdots) to textual elements, thus gaining new possibilities to release verbal meaning from their syntactic and semantic relations.

I developed my first typeface, without much prior knowledge in 2019, following my own kind of learning-by-doing-process. My idea was to create letter shapes that would have their very own, special character to them, by using as little anchor points as possible. Throughout the process I followed the notion to have the typeface remain super light airy, sharps but delicate at the same time, and have the letters compliment each other, without looking too alike. The main reoccurring shape is inspired by a parabola, integrating the feeling of flying through some sort of visual journey into each letter. The artwork represents my interpretation of how Icarus unfolds its full potential and feeling.

Typographic design inspired by geometric ornamental patterns and textile technique developed by the Wichí community in Argentina. Textile technique of a single element (vegetable fiber “chaguar”) that forms a mesh of loops that connect with the previous row. In the proposal, the strokes of each glyph are built from rectangular modules connected by fine lines. The program includes solid and textured style.

The “Etnotipografías” project (National University of Lanús, Argentina) proposes to collectively develop display typographies from the study of representative iconographic features of the visual expression of native peoples of the Argentine territory.

TYPE CODE / ORIGAMI is an experimental typographic poster. Contains the modified text of a Hungarian cookbook. Every letter’s silhouette removed, only counters and accents (typical of the Hungarian texts) remained. This text-code surface was rotated and reflected as it were on a folded transparent paper sheet.

The letters of this alphabet were constructed using triangles of paper on a set grid.
The shape of the triangle appears in the grid. Due to the selected triangular shape in the grid, the letter is placed on the grid analogously with this shape. The shape of the square and the bisected square and thus the triangle play the elementary role. The geometric shapes create cubist-looking letters. Everyone has different approaches on putting a letter shape on the grid, this creates endless possibilities to experiment with the shapes.

AHORN is an analog variable font created in a seminar with Katharina Köhler at HfG Karlsruhe. Just as the glyphs of digital variable fonts can be manipulated based on different parameters, AHORN can be squeezed to different widths due to its physical properties.

The glyphs were laser cut from foam scraps and scanned in various states of squeezing. They are shaped in such a way that the squeezing creates interesting and unexpected bends. For example the slightly tilted N is first straightened before its interior begins to squeeze.

To make the font easy to use I processed the scanned glyphs and made them available in an online tool: arno-schlipf.info/try-ahorn. Have fun squeezing!