The shape of the letters is based on the leaves of different indoor plants.

Interpretation of geometric grotesque.

Stiva Kornfeld’s project “Nucleus” delves into experimental typography inspired by his fascination with organic cell structures. By pushing the boundaries of digital design tools, Kornfeld generates new, unexpected forms that challenge traditional design norms. “Nucleus” shows how accidents and imprecision can lead to innovative designs, offering a fresh perspective on type creation. This project highlights the fusion of technology and creativity, embodying experimental graphic design.

BT Flimmer is a distorted display font developed by photographing letters through a textured vase filled with water. By turning the vase slightly after each photo, a series of multiple versions of the same letter were created. This process created flickering and restless looking characters. Each letter and number offers 4 variations (including the standard version) wich are swapped automatically using contextual alternates, leading to variation in the look of the written text.

BT Linienwerk is a variable display font encompassing rectangular shapes that appear and disappear based on the value of the FORM axis. The Font combines a constructed angular font skeleton with rectangles overlapping and interacting with the shape underneath.

Chimera is an incredibly bold and unique display typeface inspired by the Rorschach test, a psychological tool known for its inkblot patterns used to analyze perception and imagination. This typeface captures the essence of these abstract, symmetrical forms, resulting in letterforms that are both striking and enigmatic.

The sensitive gaze collects and archives visual residues from everyday life; these are then digitally processed to achieve homogeneity among them. Afterwards, they are manipulated using code (via Processing) and what appear to be pieces of an infinite puzzle are obtained. These pieces are interpreted individually and associated with numbers and letters. Finally, they are played with as a whole, constructing letters of different typographic categories.
Throughout the construction process, error

Scattered among our folders and hard drives, often unnoticed, are pretty glyphs. This specimen has been conceived and designed as a collection of attractive characters. Beyond the usual typographic signs, it deploys a constellation of heterogeneous signs that tell stories. It’s a question of taking the time to observe these decals, out of fascination, obsession and adoration. Let their original meanings disappear and turn them into independent entities among which one can now navigate.

A material study exploring fire as a material and how its use in an analog typographic process can visually impact meaning.

This typeface was designed with biological and monstrous forms as its motif. The organic and chunky stems paired with sharply truncated sans-serif forms visually discomfort while capturing attention. When viewed in long texts, this typeface can cause discomfort due to its distorted visual flow. Through these difficult and bizarre forms, the intention was to break free from the constraining standards imposed on women and express a raw and liberated representation of femininity.

Droit is a distinctive display typeface characterized by its straight, fragmented lines that form round and diagonal shapes. The typeface creates a unique texture and rhythm through the interplay of wide and narrow letters, resulting in an unconventional look rooted in the application of a narrow set of parameters.

CHOOSE YOUR WEAPON
DUMP HIM
…
they just hit different written with a font made of Sextoys.

This typeface is based on stone-carved letterforms used for an 1871 gravestone for Jean Jacques Lallelment, located in a small cemetery in Orqueveaux, France. The designers were inspired by the deterioration and disconnection of strokes of the upper- and lowercase letterforms, resulting from temporal and environmental forces acting on the material surface of the carved stone.

(this was mistakenly sent under the wrong name Droit, resubmitting here…)

The glyphs in this typeface, comprised of over 100 handprinted monoline characters, were created during a residency in France. The designers were inspired by the many decorated iron gates and fixtures seen in Paris and throughout the northwestern region of France. The forms gesture towards a systematic symmetrical structure but find pathways that are unusual or challenge the legibility of specific letterforms.

Droit is a distinctive display typeface characterized by its straight, fragmented lines that form round and diagonal shapes. The typeface creates a unique texture and rhythm through the interplay of wide and narrow letters, resulting in an unconventional look rooted in the application of a narrow set of parameters.

Julia Skopnik uses classic as well as experimental photographic methods in her color darkroom to create graphic images. She is currently using various light sources to paint on photo paper. This process takes place in absolute darkness. For her, mistakes during the process are sometimes annoying and sometimes surprisingly inspiring.

»Letter S« illustrates the essence of paper. Flexible, tear-resistant, absorbent – versatile for graphic design. Fragile individual sheets develop changed properties through binding. Coloured separator sheets, held by a strong strap, form an object under tension: a dynamic block, a book open on all sides. On the scanner, a letter made of thin layers was visualized, like fine drawn lines.

This is an ongoing project exploring the possibilities of using a pen plotter, a type of drawing robot, for typographical purposes. By physically intervening in its rigid drawing process, and/or not bothering to fasten the pen in its holder, the design can be intentionally “messed up” in unpredictable ways.

NOF4 is a display font based on the graffiti of Fernando Oreste Nannetti, a patient at the Psychiatric Hospital of Volterra, etched on the wall of the pavilion where he was hospitalized. It is a font with interesting technical and stylistic features, aiming to revive interest in this artwork through a digital medium. NOF4 is an irregular and variable font that replicates the nature of manual engravings, also recalling their composition and structure.

Artificial intelligence helped me find solutions that aid the viewer in searching. Searching and observing closely.

How might typography look at the biological level? I played around with this idea a bit using artificial intelligence.

The “Felsen” font or rather its character set consists of six basic forms that are programmed to compose each character. Random parameters were programmed into the font to create the font’s unusual characteristics. There are different random details in each font style. In addition, a theoretically unlimited number of font styles can be created. The font was not subsequently reworked in order to preserve its unique character which has an unmistakable appearance especially in the extreme weights.

All the works I present here are a blend of human creativity and artificial intelligence. The rhythms and forms are the result of human exploration, with AI as the tool.
This piece is called “Flow.” We exist in it, with our movement, dynamics, and accents — in one word, in the flow. Yet, there is an element that inevitably seeps into your routine, and you might not notice it right away. But it is there. This work reflects the everyday life of Ukraine today.

To highlight the sharp decline in lichen populations, five asemic sign systems are created to give them a voice. These systems are modular and inspired by various species. By experimenting with these signs and mimicking their growth, a unique visual language is developed. This artistic approach not only draws attention to the ecological issue but also emphasizes the beauty and significance of these often-overlooked organisms, encouraging deeper engagement and awareness for their protection.