This book by William Banting, aims to establish a new way of thinking and expressing textual information. By using digital logic and text shuffling, it constructs a new reading and information order. The book is divided into five chapters in the form of letters, each housed in a separate envelope. These five envelopes stack together to form the book’s title, with the numerical order representing the chapter sequence. Each chapter’s content is placed in the corresponding numbered envelope.

This book is typeset in Chinese, English, and Korean. Three colors are used to organize the text, with chapter pages distinguished by graphics based on the concept of time. The words “Ping” and “Sheng” present challenges in translation: in Chinese, “Ping” means both graphic and ordinary, while “Sheng” means life and production. Are we talking about graphic design transforming lives, or becoming a production tool? Is it about accepting the ordinary, or about mechanized graphic design?

Five artists collaborated with Little River Art Warehouse on a T-shirt joint project. We structured the visual presentation of the entire event by interweaving text with the artists’ works.

“Inflammation Guide” is a publication dedicated to exploring inflammation issues in daily life, inspired by the author’s various inflammatory reactions experienced personally. The book provides detailed descriptions of how multiple body parts—including the teeth, tongue, eyes, salivary glands, heart, brain, and lungs—manifest when infected with inflammation. It also offers corresponding relief methods and recommended foods for each type of inflammation.

The event peripherals were created for the graduation exhibition of Chung-Ang University’s doctoral program in stage skills. The Chinese phrase “Saengsaengbulsig（生生不息 생생불식）” means to grow and multiply. We aim to integrate Korean and Chinese in the font structure within a bilingual context. This font-centric approach extends to the entire visual system, embodying the concept of “Saengsaengbulsig”. The sharp font structure ensures information is conveyed in a clear and impactful manner.

Very condensed Fraktur letters that were made in liquid feeling and vibe.

The tool was Copic sketch marker.

It’s a reminder – “Choose a password you haven’t used before”

Vice versa.

The Atlas of Mental Colonies is made up of three typographical constructions: the Atlas, furniture and tales. Each is superimposed on the other in numerous variations which seek to provoke nothing other than visual astonishment by hiding readable parts and committing visual clashes.

Veronika Huff’s latest project in her Communication Design studies is an exploration of form by delving into the geometry of stars. She has crafted an array of mesmerizing patterns, revealing the hidden visual potential of this celestial shape.Veronika Huff’s approach invites viewers to see stars not just as symbols, but as dynamic elements of design.

Entry for 36 days of type 2022. Letters are made on a 3×3 grid using color to overcome the limitions of the very low resolution.

This experiment aims to transpose some aspects of machine knitting on screen. It plays with the idea of a progressive construction and deconstruction in a loop that temporarily forms legible images. The long-colored strokes that emerge on screen and reveal the letterforms quickly intertwine. The strokes mix — like the tangling of threads — making the generated image illegible. But soon, and as if they were knitted, some of the letters start to unravel letting others show through.

This is my first experimentation with an own font. I wanted to do something graffiti like, something en scripture. I scribbled on some paper and digitalized it.
My background is art history which inspired my poster design. I used Houdini, a own photograph of a texture, handwriting and my font. Lastly I put it all together with affinity.

In this piece, I explore the emotions that shape my creative journey. The design captures the duality of experience—how working, living, and creating evoke a spectrum of mixed feelings. Through a blend of clarity and abstraction, it reflects the tensions and complexities faced by creators. By integrating layers and varying levels of detail, the work visualizes the ebb and flow of artistic progress and self-discovery, inviting viewers to engage with the nuanced journey of creativity.

“cyberbrain” is a futuristic monospace font inspired by computer terminals and the displays and user interfaces of science fiction movies like “Terminator”, “Robocop” and “Ghost In The Shell”. The current version contains the complete Latin I character set, sans lowercase letters.

The conventional boundaries of typographic representation should be questioned and expanded by translating and deforming letters into third dimension.

Originally hand drawn artwork saying »FREI« (german for free) that plays with floating and overlapping shapes.

Typography artwork for the feminist slogan »Jin Jiyan Azadi« following the 2022 protests in Iran, sparked by the death of Mahsa Amini.

Mistakes are part of the process of learning and creating new things. Sometimes the strongest designs come from a simple concept and trying things out, leaving room for “errors” to carve new pathways. Mistakes become “happy accidents” when embraced in the process of creating and experimenting with different techniques and processes. These “happy accidents” are what transforms something from good to captivating!

Ursula, master’s degree project at Ésad d’Amiens. Ursula is a single width, variable and random typography. The typography is inspired by various forms offered by nature and by small living beings, such as ants, termites or bacteria. Ursula is composed of characters close to the Latin alphabet and other abstract characters called “traces”. The typography is made up of 6 weights, representing different levels of snacking. The first name Ursula is a nod to the author Ursula Le Guin.

Retracer, Master’s Degree Project – ÉSAD d’Amiens, 2022.

Traditionally, letters are drawn through bodily gestures with specific tools. But what would it be like with a machine? This project explores the creation of letters and gestures using a pen plotter. By physically and algorithmically hijacking the pen plotter, this project examines how this machine can influence the traces it produces. Experimentation with various mediums and gestures results in singular and unique letters.

The typeface was originally created as part of a corporate design for The Hulk. Referencing the transformation of Dr. Bruce Banner growing into the giant creature with his clothes ripping apart, pieces of paper were torn into letterforms and then moved across the scanner. The visual character trait was translated into a bold typeface that conveys power and aggression. It is intended to be used as a display typeface.

This poster was created for the “Fight for Kindness” open call, a project designed to spread the values of kindness through a typographic message. In my contribution, I aimed to raise awareness about the overwhelming amount of money spent each year on war, highlighting how these funds could benefit humanity in numerous other ways. In 2023 alone, 2,443 billion US dollars were spent globally on military activities.

This is a reflection on the different meanings that the word ‘America’ has for English and Spanish-speaking people, both geographically and culturally, as well as how language can profoundly impact identity.