The Lot of Mistakes poster is a bold exploration on typography. Through the skillful use of ink-like techniques, text transforms into a visual element, challenging conventions of legibility and composition. The background, obtained from scanning ink on paper, echoes the typographic theme.The work stands as a personal testing ground for new experiments. It is an invitation to find beauty in something raw and non-canonical. 

AUTO is short for automation. Automation is the current level of human evolution. Little robots do repetitive tasks in our daily lives.
The letters with arms and legs represent these little robots, letters living automats.

There’s a saying in Hungarian: „Egy sör, nem sör”. Which translates to something like “One beer, no beer”.

The poster is a reflection on the theme of alcohol and the role it takes in our personal lives and Hungarian culture. I see this work as a definitive step in my personal path on conciously reflecting on, and reframing my relation with alcohol.

Made in relation to the community theatre play called 1,5 ezrelék in Örkény István Theatre, Budapest.

Typographic experiments on the world’s most absolute truth.

EAST is about speculative landscapes, the hauntology of AI-generated, reduced, reshaped images of my home. EAST refers to Eastern Europe, and the letters of the word build up from photos of my surroundings fed to AI. In an attempt at regaining control over these landsapes, I reshaped them into familiar letters which can be understood as an act of reclaiming the meaning of them in the face of the volatility of my memories.

The project presents a non-human perspective on typography: the featured text was found in the wild, and it was carefully created by Ips Typographus, an insect which got its latin name from its calligraphic approach to altering its environment.

Experimental ink lettering made during INTL workshop.

Experimental lettering made from deer horns.

The poster for the movie “Burning,” where I created the letters with burnt palm wounds as a metaphor for the scenes from the movie.

MORFO is a font produced by Pépite for its exhibition on generative art that has been shown throughout the year 2024 in Toulouse. The font explores the rastering outline and its potential to evolve. It is a direct reference to the first weaving looms, which is considered as one of the first editing machines in the industrial era. The construction of each letter is like a canvas of dot that evolves, glitching together, challenging the legibility of the structure.

Experimenta Typografica sets itself as a new ecosystem of experimental graphics that focuses on type, taking past and contemporary ideas as inspiration. In this project, which embraces the editorial and digital world, the desire to build an environment free from traditional canons therefore becomes definite. The project consist in a group of 10 experimental typefaces designed through various ideas explored in the physical magazine and downloadable on the official site: experimentatypografica.it

Hinko Smrekar, a Slovenian painter and illustrator, was renowned for his caricatures, political drawings, book covers, and theatre posters. Born in 1883 in Ljubljana, he was killed by Italian fascists in 1942. Known for his political caricatures, he often used hand-drawn typographies in his posters. Influenced by Viennese Secession, his typography also represent an unique style. Font Hinko, based on his exhibition poster, predates WWII yet resembles the vibe of 1980s black metal bands.

Nightscape. A portrait is revealed in the light from the street lamps through the windows. A glimpse in the dark. Confronting, one experiences the intimate moment although it’s not directed at the viewer. For a moment will the light last in this instance and give it its form. The aim of abstracting the portraits is to represent the essence of the place, the temporal aspects of emotions, and the intangible momentum of time through colour.

Poster design with a bespoke lettering for filmmaker Vincent Dieutre’s talk event hosted by Istanbul Foundation for Culture and Arts as a part of 36th Istanbul Film Festival.

I’m highly observant, curious. I’ve always stopped to observe what happens around me; I’m deeply attracted to human behavior. The small things in everyday life, workers, ordinary people who go unnoticed, are a source of inspiration for me.

I enjoy telling stories full of visual meaning and conceptual construction. I aim to express the protagonist’s reality through rhetoric. I use chromatic contrast to replicate life’s dialectics: light and darkness, good and bad, happiness and its opposite.

On the occasion of the Leteo Prize awarded to the Palestinian writer Adania Shibli, Un Mundo Feliz holds an exhibition and designs a series of posters as a tribute. The work uses the experimental Impact(o) font redesigned in 2005 for the Political Types project. The idea behind the redesign is that the superficial appearance of the alphabet is used as a gateway to deeper reading. The reworking of these fonts starts from letters, minimal elements of language, as a potential basis for creativity.

1. Gestural calligraphy captured in a three dimensional projection.
2. Abstracting calligraphic lines and rearranging them into a new composition free of meaning.
3. Brush calligraphy with a double negative space, achieved by cutting out the background with a scalpell.
4. Does calligraphy need to be legible? The piece challenges this perception and invites the viewer to look more closely and research the original text.

In contemporary Japan, the appreciation of imperfection is fading. Geert Hofstede’s (2016) studies highlight Japan’s high value on perfection and success, seen even in design. Growing up in Japan, I felt the suffocating nature of strict societal expectations. My project explores ‘distortion’ in typography, inspired by Okakura’s The Book of Tea (1961) and the Shino Tea Bowl, celebrated for its imperfect beauty. The Yugami typeface, with its bumpy forms, aims to revive Japan’s historical appreciat

In a scenario where humans and nature are disconnected, misunderstandings may emerge, creating a sense of distance. To bridge this gap, a machine combined typefaces from the Google Fonts Library with slime mold simulation images. An AI was trained to produce unrecognizable letters, revealing hidden elements. The visual result, curated and sorted, offers new perceptions of letter shapes, emphasizing form over readability. Can these symbols be an alternative language? Are they imaginary logotypes?

Knit Hello is the second Typeknitting Font by Rüdiger Schlömer made especially for hand knitting. Knit Hello is for beginners: knitters with little knowledge in typography, and graphic designers who have just picked up the needles. The Knit Hello Infinite Variation Scarf is a wearable protocol of your exploration process in Typographic Knitting. Starting with simple layout grids, it invites you to bring your Typeknitting skills to a next level, segment by segment, stitch by stitch.

‘Everyday Forms’ is an ongoing drawing project that delves into the boundaries of shapes. Inspired by the ‘prototype theory’ from linguistics and cognitive psychology, the project examines how central examples define categories. Prototype theory suggests that objects are classified based on a typical form rather than rigid rules. This is evident in how cultural backgrounds influence interpretations of graphics, such as pictograms and Japanese characters.

Spoiler involves framing abstract forms within the context of manga, altering their perception. Despite juxtaposing seemingly unrelated elements, placing them in a manga context imparts a deliberate appearance. The title is derived from online manga spoilers. By imagining the cognitive activity of filling gaps in fragmentary Japanese spoilers, the production of ‘Spoiler’ aligns with this process, albeit at a higher cost.

The Sala Bar at the Santa Mònica arts center has adopted a new graphic identity to communicate its weekly activities, inspired by movie credit titles. The underground touch and cinema reference recall the anomalies of antenna TVs that distorted the image. The Redaction typeface allows for the use of different styles that gradually lose definition. A specific color code has been assigned, with each color linked to a day of the week.