The workplace has evolved from an office cubicle, to the home. With the rise of prioritising self-care, work-life balance, and home office aesthetics, the Ride embodies this new lifestyle. Designer Guy Skerman’s playful concept invites us to explore how we sit and share space. The unique tubular steel frame flexes according to where you sit. Upholstered in a carbon-neutral leather, there is plenty of room for sharing.
The mark is a redrawn rotated version of the frame creating an ‘r’. The logo
The designers created a number of bespoke typographic ‘BIKE’ tracks. The tracks were made into ‘rollergraphs’.
The letterforms form the squares themselves. The designers aimed for the type to be abstract, allowing it to be perceived as squares first and then as the notation. The typefaces are constructed from a grid of 64 pixels, reflecting the board. Two cuts, light and heavy, were designed to create the black and white squares, named Notation Black and Notation Light. The black and white squares are oriented in each direction for each player to read, leading to the name “Notation Rotation.” This concep
Custom font family developed for a narrative game. The different variations gave players a clearer understanding of how the conversation was shifting during the game, and what emotions the speakers were going through.
Lettering embossed by hand on re-used aluminium. This is time-wasting and inefficiency translated to the design process. An experiment and speculation about if the slowness of craft can open up for re-valuing time and imperfections, rather than prioritising effectivisation and optimisation within design and production.
A poster for Thomas Sharp’s talk at The Typographic Circle about his adventures in writing. The words morph into each other – reflecting the flow of his ideas. The full stop also morphs into the Typo logotype.
The font was developed as a means of displaying the written language of digital systems and algorithms that communicate without human participation. The main task of Algoitmo-8 is to create the illusion of typing a text that is meaningless from a human point of view, to make it hard to read, to disguise the content of the message. The font is inspired by the works in the field of experimental typography, first of all by Wim Crouwel’s New Alphabet.
This typography for the music group Cachou, merges childish carelessness and adult audacity. Like a coloring overflowing with spontaneity. Each line represents the mistakes and scars that are part of us, it is through these experiences of life that we are formed.
This approach is made to exceed conventional limits, refusing to be conditioned. The lines are variable and they embody the dynamic performances of the group on stage.
“Space-Typeface” explores transforming flat letter forms into three-dimensional shapes. It emphasizes legibility and aesthetics in spatial and temporal dimensions. The project offers an experience of transferring flat letters onto 3D volumes. Letters are created from virtual ink—light, projected onto protruding and inverse cube volumes, transforming their appearance through spatial changes.
“Bubble Type” is a bilingual legibility spectrum exploring the transformation of letters from a liquid state to bubbles, pushing visibility and legibility boundaries. Beginning with fluid, formless letters, it emphasizes motion and abstraction. As they solidify into defined bubbles, the design tests manipulation limits while maintaining recognition. This spectrum challenges traditional typographic notions and examines legibility across languages, creating a unique bilingual visual experiment.
A study investigating how the process of an analog material changing over time can affect Arabic/Latin letterforms.
solit is a sound-based writing system and typeface that bridges the gap between English spelling and pronunciation. It uses segments of Latin letters to systematically create new glyphs representing sounds, enhancing intuitive comprehension by balancing the desire for novelty and familiarity in type design.
The project explores the experimental use of analog tools repurposed for new graphic outputs. A laser cutter was modified to act as a writing instrument, but it cannot lift the writing tool, often crossing through the text. Thus, a new typeface was designed to meet these constraints. The project „Plot“ demonstrates how technical limitations can be leveraged to create typographic solutions.
We all sound like letters. Letters form into sounds, sentences, everything is very distinctive. AI helped create a connection in these worlds.
The graphic explores music notes and graphic notation, using existing elements to create new graphics with the principle of Making “M”aking to create Things.
How can type, layout, and shape add additional meaning to a piece of text?
While climate change is real and the challenges are significant, there are numerous opportunities to transition to a more sustainable and resilient world.
óneiro / όνειρο [greek]: dream
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She kept prompting and prompting the AI to write in a language that was both familiar and unfamiliar. The analysis of artificial intelligence and the special effects of Photoshop are presented in this work.
A visual study that employs the grid and typography to convey and illustrate the transgression of social boundaries.
Exploring how the form of letters changes due to sounds by capturing the vibrations that occur using a plastic bag, water, classic music, and a camera. Diving into playful typography, both literally and metaphorically.
Weightlessness? Lightness? Metal? Close or far? On the surface or in space? Writing something or flying? AI helped me create these interesting and strange searches.
This piece of experimental type is the title illustration for an editorial piece about a drag queen exploring the relationship between internet virality and a positive HIV diagnoses. The piece will be featured in a new publication called Physical Release and will be distributed by ASHwell, a sexual health and wellness organization based in Austin, Texas.