»Flextron« is a modular font system for experimental use. Monospaced and extremly reduced to a minimum of three to five elements per sign, the alphabet explores the limits of legibility. Prepared to contain structured elements, gradients or outlines, the font is dedicated to set various rhythmic patterns. Several transformations and abstractions show the character of this work: A stable grid for an ongoing process – texts as complex images, type as artistic expression.

The poster about selfish in the modern world. Typographical explosion, controlled chaos, and unconventional censorship using Latin alphabet letters.

Design allows me to break, unlock and create barriers. Digital, analogue, three-dimensional, two-dimensional, meaningful, meaningless.

This experimental typeface was inspired and shaped by cross-stitch embroidery. The aim was to use this traditional method and integrate it into the contemporary art world. The design is implemented within a grid system, thus mixing embroidery and pixel-based techniques. Embroidery is an old art form that carries values from the past, while the pixel-based approach and the irregular lettering are kind of a modern rebellion.

This is a series of illustrations I created for Road & Track Magazine to accompany a special feature on iconic 90s supercars, titled ‘The Unloved’. I made three full-page illustrations to open each section, each centered around one of the cars: the Ferrari F50, Porsche 996, and Lamborghini Diablo. The assignment was to make the illustrations abstract, giving away only small hints of the respective cars, with each featuring an almost hidden headline that requires some effort to unveil.

The designer used Google Spreadsheets as a canvas to create a clockface that addresses the issue of climate crisis. By utilising the entire width from A to Z as a grid, she crafted the shapes of numbers, making a statement through the tool itself. She explains that in a capitalist world, the fight against consumerism and climate change often boils down to a numbers game on a profitability spreadsheet. This work was shortlisted in the ‘Time is Running Out’ competition by studio OMSE.

Each artist communicates with the outside world in their own way. They strive to express their thoughts, ideas, and emotions through colors, shapes, and compositions. In the era of Abstract and Concrete Art the creation should refer to nothing other than itself. No external meaning was left, just as in asemic signs. This work examines various artists and their visual language. Unique and unmistakable systems of asemic signs are created.

Numerals: A language that weaves the fabric of time. A figure that captures the first met, making the days and months in a repeating cycle. A symbol that breaths on manuscripts for the passed years and history.

“Repetitive Tricks” is inspired by training sessions with Chen’s dog, TOTO. It captures the repeated gestures and vocabulary used in practicing the same tricks. This font explores the deep emotions and connections that transcend the boundary between animal and human. Such interactions are embodied through a unique set of font patterns, experimenting with both legibility and hieroglyphics.

I created an illustration based on the hand-lettered word ‘Yes’. I then scanned this drawing, printed it, scanned it again, printed it again, and repeated this process multiple times, resulting in very rough textures that give the final piece a raw, analog feel. This process has imbued the artwork with a unique appearance and a great deal of character.

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

Both name and design are inspired by mountain peaks. ’Cumbre’ in Spanish means summit, hence the jagged style with sharp angles combined with venturous curves and its angular, serrated structure.

This experiment further explored randomness by throwing physical paper folds (9m 30ft long) to create various shapes, resulting in forms that resemble those made with parametric design.

During the process of experimenting with punched and folded paper using a 3D-printed gadget, the long paper strip was transformed into a letterform. The study of the letterform, material, and process culminated in a series of explhttps://www.instagram.com/p/Cz6R2oxO-Yd/
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This work captures a 3D-printed, unfired clay object inscribed with the word “LOVE.” Initially legible, the object has been submerged in water, causing it to crack and distort. The once clear letters have become difficult to read, adding a poetic aspect to the letterform and the meaning of love. The cracks and imperfections introduce a sense of fragility and transience to the artwork.
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Overwhelmed visualizes thought triggers in an oversaturated medium/mental state.
A modular, dot-based letter system was created with sodium acetate crystals. The crystals expand from single points and merge with others until the basic letter shape is completely engulfed/consumed in the crystalline structures, depicting rising intrusive thoughts taking over an oversaturated mind, the Petri dish. The chemical reaction creates arbitrary forms within the characters, a feature this project embraces.

Language, normalized in daily interactions, isn’t neutral; it’s a symbol system that creates an illusion of understanding between what we know, think, speak. “Las Vagus,” a variable font, emerged from research into communication gaps faced by trauma survivors. It addresses the mind-body gap by translating sensory methods used in trauma-coping, such as activating the Vagus nerve with clay, origami, yoga, Rorschach illusions, breathing, and vibration. “Las Vagus” enhances diverse communication.

The fascination with bubble butts, or rounded and prominent buttocks, has grown due to cultural influences, media and celebrity promotion, fitness trends, and social media. Celebrities like Kim Kardashian and Beyoncé have popularized curvier body types. The fitness industry focuses on glute-targeting exercises, and platforms like Instagram amplify these trends. Historically, beauty ideals have shifted, and the current trend is part of this ongoing evolution.

Colibri is a typeface family inspired by 90s rave flyers, created by Julie Doriath. Available in three weights with two encoded, which is inspired from animal mimicry and rave culture codes for confidential communication hypotheses. BPM stems from the deconstruction of the character through techno vibrations (130 to 200 BPM), while Fluid explores the fluidity and the wrapping of electronic music. Its name references the hummingbird’s heartbeat, ranging from 250 bpm at rest to 1000 bpm in flight.

The project aims to design a simplified,modular Arabic typeface inspired by the simplification reforms of the 1930s and 1960s, as well as Linotype’s ‘Simplified Arabic’ from the 1950s.Developed in a master’s seminar at FH Aachen,it seeks to ease learning of Arabic script by reducing standard letter forms from four to two per glyph.The goal is to create simpler forms while retaining essential features of Arabic script.‘Geo Kufi’ is designed as a display font suitable for headlines or short texts.

MORPHOS is a experimental typeface that exemplifies the potential of AI in design combined with CGI.

By combining CGI precision, spacial morphological fluidity, and the timeless beauty of marble textures, it offers a unique blend of contemporary style and organic elegance using AI tools to morph the characters.

This font encapsulates a contemporary aesthetic while maintaining an organic touch, making it a perfect choice for modern digital and print designs that seek to blend organic-digital.

The Hofmann Grid Type Tool is based on a grid system by Armin Hofmann and the digital display font Hofmann by Hoang Nguyen and David Gobber. It enables the analogue printing of graphic shapes and outline letters in a calligraphic style on the printing press. The tool was developed in the printing workshops of the FH Aachen as part of Robert Franke’s Type Tool seminar.

Modular pixel font created in the ‘Working Type’ course at Hochschule Mainz, supervised by Anna-Lena Würth and Johannes Bergerhausen. The task was to find a different ‘type’ of pixel – one that doesn’t necessarily have to be a square or a dot. To prepare for the workshop, we were asked to find grids in our everyday lives. So I came across the metal blinds for closed shops and created an ornamental font family with the cuts quarter, half and fully 🎀

Letters are a construct as is society. In order to read and understand we need a certain perspective and tools. With the POV cube a modular typeface was created that plays within the grids but forces the reader to adjust the perspective. The letters are created by a combination out of 6 modules, that if arranged correctly show a letter similar to the ones we are familiar with. There by the modules always covers 2-3 sides, two around a corner and one at the top or bottom of the cube.

Katharina Sophie Mumme’s project “AI Shapeshifting” explores the intersection of AI technology and type design. Using an image-to-image process, she generated letterforms inspired by the millipede and scorpion. She provided images of letters to the AI and incorporated insect shapes through specific prompts, emphasizing nature as her greatest source of inspiration. As a communication design student, she developed this project in the Creativekitchen course at HAW DMI, led by Prof. Peter Kabel.

Abstract layers of textual clouds seem to hover past each other and gain or lose concreteness in their form as if in the process of becoming clear and meaning-conveying or entirely fading away into nothingness. A typographic visualization of the meaning-making process of communication known as “semiosis.”