The change is palpable not just in the atmosphere but in people’s hearts. Old grievances were set aside, and new friendships were forged. Children play freely in the streets, their laughter echoing through neighborhoods that had forgotten such simple joys.

Susto’s logo was designed by Maria Helena with a custom typography, which is transformed into different versions, taking on very different textures and expressions between them, such as those assumed by our client’s (a visual artist) work.

It was a trial and error process and a continuous process of refining the shapes until we reached the desired result.

More about this project: https://barbotbernardo.com/journal/how-we-made-susto-identity

A series of letters picked by students from Peter Behrens School of Arts – Hochschule Düsseldorf using found inspiration from my Design Reviewed archive. Recreated as a series of posters the students can take away.

Typography for various music labels, parties and brands.

A tear
Sometimes I read and try to understand
where do the white drops run?
from your fingers
can they get inside?
and burn something valuable…
A yellow garland in the sky seems to
holiday ghost…
But time disappears, fallen
and lonely, the arrows fell off,
demand that they never again..
They didn’t revive…
The ocean is approaching like a shadow
For a forgotten tomorrow…

The Nepal earthquake of 25 April 2015 was a violent seismic event

Words… words, just words

Water shortages will lead to war

War destroys any idea, hope, dream of peace

Women are still considered inferior

In 1938 Orson Welles terrified Americans broadcasting on radio the fake news of an alien invasion.

Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.

Postcards intended for Kindred Spirits or Hostile Associates

A typeface co-designed in 2015 by Shannon Lim (Singapore) and Giang Nguyen (Vietnam) – based on the “WORKING TOGETHER” methodology.

The brief required them to use only written emails for collaboration, designing the upper and lowercase glyphs without visually sharing their progress. Each designer worked on alternated letters in alphabetical orders with one designer working on the glyphs, “A,b,C,d” and the other, “a,B,c,D” to maximise the collaborative nature of the project.

Those type works are sketches from Vlad’s recent collaboration with Polish clothing brand Doom3000. In those works the designer explores Ai as a tool for generating weird, slightly demonic characters, trying to achieve the “uncanny”, nightmare like feeling. While every character was generated individually, the challenge behind this work was to direct a tool into one direction and build a solid type composition.

a.

Chrome letters, enclosed in a glass box, exploring light and reflection.

R.E.A.D. is a letter building block set. Within the grid of 3 x 3 all 26 letters can be formed by rotating the semi circles in angles of 45 degrees.

Connect invites to playfully construct letters. The 3 x 3 system allows the forming of all 26 letters by rotating the discs in 45 degree angles.

Glyphs is a series of high-end letterparfums, based on the historical origin of the Latin alphabet: A is for Ox, B is for House, C is for Boomerang. These parfums are an unique ‘synthetic synaesthethic’ approach to our alphabet.

This approach transforms conventional typography into abstract yet readable forms, providing a new visual language that challenges the perception and interpretation of letters. In other words, for example, we can create an abstract painting like Piet Mondrian’s, but so that it is not made up of random shapes but of legible text.
Patience is crucial in understanding Atypography. What initially appears as difficult legibility is, in fact, a fundamental aspect of this art movement – encryption.

‘Abcus’ is a wordplay on the Abacus, a hand-operated calculating tool which is used from ancient times. This Abcus is not a counting tool, but a letter-forming tool.

The artwork reveals an intriguing blend of flowing fabric and hard metal. The challenge was to make the metal appear so soft that it seems as if it would yield to touch. The indefinable fabric looks like it’s blowing in the wind, yet remains perfectly still. The delicate background suggests the object is very light, showing no sign of giving way.

Andreas Trenker typeset poems in the South Tyrolean dialect, exploring fleeting moments and ephemeral feelings. To visualize the emotions, he created letters from air bubbles in water. By filling an aquarium with fizzy mineral water and treating the surface, bubbles formed words that continually shifted, capturing the poems’ essence. This process was documented in a video, accessible via AR on postcards featuring the poems, merging physical and digital realms in a dynamic visual representation.