Bubble Bath is a variable font that ranges from bold, round shapes to their star-like reversal. With the aim to combine type design and creative coding, the grid on which the typeface is based, as well as the individual design of each letter, was created using JavaScript.

Inspired by the work of Alexander Melville Bell in phonetics and visual speech, a novel system has been devised to visually represent the phonetic elements of Farsi Dari. Each symbol is designed to convey the unique sounds and nu- ances of the language, drawing from both its historical roots and contemporary usage. This constellation not only serves as a representation of the Farsi Dari language but also as a testament to the intricate inter- play between sound, sight, and meaning.

“Never leave any font untouched” defies the classic design rule against altering fonts. By fluidly sketching the outlines of abstract letters, it challenges convention, turning text into a dynamic visual statement that redefines the boundaries of graphic design.

Hey, thank you for reading this. You must be curious what I am about to say. Let me tell you we have mich more in common than you might think. I am a creation out of what we collect on this earth and these ideas resonate in what I am; a typeface. You, on the other hand are also a collection but sometimes even much more. A collection of mental strength and physical emotions of all the people who were here before you. Do you know what I mean?

A Hand-drawn typography in ballpoint pen against iridescent multicolored objects scanned in high definition. The scanned material dresses the lettering and gives body to an image. The first three letters of the alphabet appear and disappear with layers.

This Typeface is the visualization of aggression and brutality. The pointed, sharp edges warn against the use of each individual letter. Only the brave dare to tame this Font and allow peace and harmony to return

Into is a geometric typeface that investigates the relationships between positive and negative spaces in letterforms, analyzing the different ways in which form and counterform can be manipulated in relation to each other to construct ambiguous letters, single codes.

The poster interprets the word ‘fact’ as a pile of randomly stacked letters, one of which precariously supports the entire structure. Visually, this represents the instability and susceptibility to manipulation inherent in everyday reality. The poster was created in response to the exhibition ‘There Is a Typo in My Name,’ accompanying the typographic conference typo.id, held at the Academy of Fine Arts in Warsaw.

The poster and visual identity of the exhibition is based on typographic solutions and refers to urban-biological structures and city plan motifs central to Pavlo Makov’s work. It reflects the process of manipulating these elements by combining small fragments into larger wholes, capturing the complexity of his artistic vision. Simultaneously, it visualizes a theme of unease and instability, reflecting the daily reality in the artist’s country of origin.

The poster and visual identity based on experimenting with the analog distortion of letterpress print, references the objects presented in Mateusz Dąbrowski’s exhibition. These objects, through their movement and sound following the motion, physically determine the space around them.

The typographic installation explores different meanings of the word ‘scratch’ through seven large-scale works, each interpreting the letter graphically and typographically. Rhythmic, analogue structures allude to musical sources and emphasize the literal sense of ‘scratch,’ creating ruptures in space. Layers of words and X-black forms intermingle, giving the impression of scraping out space. Metaphorically, it reflects on loss and absence, altering our perception.

Experimental numbers inspired by the year 1958. The design features a continuous and alternating grid of bricks that transforms dynamically.

Exploring the relationship between typography and space, this one-off publication draws inspiration from ‘Alphabet’ by Inger Christensen, focusing on the concept of existence. Using delicate Japanese tissue paper, the word ‘exist’ is printed with a letterpress technique. Opening a specially crafted box throws out the cards to land randomly on objects and surfaces visible through the paper. This places the word ‘exist’ in new contexts, naming various facts and emphasizing their existence.

Each letter is based on a series of structural architectural elements that comprise Vakalo Art and Design College. Those typographic banners showcase the intricate design elements that make Vakalo Art and Design College building unique. From the grid of glass bricks, ceramic floor tiles and metal mesh staircases to the horizontal boundary lines seamlessly aligning with window axes.

Art Direction and Design: George Tsavalos
Motion Designer: Eirini Vrettou

Poster for the three-day workshop in the postgraduate program at Vakalo Art & Design College, featuring the lecture series Type(forms).

Poster for the Workshop-Week of the Type-Department of the Bauhaus University Weimar (GER).
Grids, patterns, outlines and the interplay between typography and background – exploring the boundaries between the readability of text and pattern.

Poster for the Exhibition of the Type-Department of the Bauhaus University Weimar (GER).
Grids, patterns, outlines and the interplay between typography and background – exploring the boundaries between the readability of text and pattern.

The Haben Mdslktr font is an exclusive style of the Haben Grotesk typeface designed to give a unique appearance to the entire artwork of Modeselektor’s Album ›Who Else‹ released in February 2019.

This font is sealed airtight, ensuring it remains preserved.

I tried to simplify the poster graphic language to the point of minimalism, working with such simple elements as “lines” that are rhythmically arranged on the sheet, repeating the movement of the water in a waterfall. After some examination, the words “waterfall” emerge. The second level of this poster’s typography features a repeating rhythm of lines.

Conceptual poster for the opera Richard Wagner “Lohengrin” held in Opera de Paris. I wanted to show how human feelings, passions and doubts can be mixed through the use of typography. I tryed to express the key role human nature plays in Wagner’s opera.

I found inspiration on the wooden blocks children play with. I aimed to communicate how sometimes certain things are much simpler than we make them to be. No need to find excuses, to overcomplicate it, to overthink. Being kind is simple. As simple as a children’s game.

I played with the title “ALL THAT JAZZ”. I cut the original A4 sheet into stripes and shifted them arbitrarily on a vertical axis to obtain the final effect akin to the feeling of jazz vibrations.