A real poster for a hypothetical movie scenario written by Efthimis Fillipou, designed during a real workshop organized by Vasilis Marmatakis. The custom lettering and cross-like form are inspired by the quirks and details of the Byzantine alphabet, intermixed with the simple shapes of Akzidenz-Grotesk. It was heretically produced by embracing the grotesque accidents of the printing method when combined with the selected heavily textured semi-transparent, cream-colored, Italian paper.

Catalogue about Maria Sanmartí, a mid-20th century painter. Mother of the painter Antoni Clavé, she was highly recognized in Europe and in our country, but was absurdly forgotten. In this project, we have created a dialogue between her work and tipography.

“Spectral Reverbs” is an experimental font that captures the ethereal interplay of light and darkness. Inspired by the concept of ghostly echoes and lasting impressions, it embodies the reverberations of emotions, memories, and stories that linger long after the initial experience. The font’s fluid forms and contrasting elements evoke a wide spectrum of sentiments, resonating with depth and leaving a profound impact, much like the reverberations of a haunting melody.

TheeoTypeface and TheeoSymbols are integral to the brand identity of Theeo, a change design firm and consultancy based in Brooklyn.

The font seamlessly extends the unique logo design, offering glyphs and characters ideal for product design and text initials.

The visual language is further enriched with symbols, colors, and AI-generated artwork and animations to be used on https://theeo.co/ | https://www.instagram.com/theeo.co | https://www.linkedin.com/company/the-eo-company

In this context, the experience echoes the philosophical ideas of Kant, highlighting the gap between theory and practice. While theoretical frameworks provide initial guidance, it is through lived experience and the courage to push beyond limitations that one fully grasps the transformative power of art. The metaphorical glass ceilings symbolize the barriers that obstruct progress, and overcoming them demands a mindset liberated from resentment and negativity, both internally and externally.

Jealousy. The letter J was made in this state from clay.

The designer found a page featuring a B model with a K-shaped mantle. It is unclear if the K-shaped mantle is tailored for the letter B or if the letter B grows under the cover of the mantle. One thing is for sure: the designer shows more interest in the mantle rather than the model.

States grotesque experiments with ever-relevant quirky elements of early american grotesques.  Parts were tamed via variable font technology to the modern spectator.
During reserarch of 19th century specimens, among various solutions, “bitten” letter t caught our attention. At the time lead types experinced big runs & heavy use, so that details got broken off, ink clogged up counters. In order to give a modern typographer full control of impression we added design axis “Pressure” to the family.

Panik / Kalm is a type family for editorial design, inspired by the art of punchcutting. The idea stems from an exploration of how the techniques and approaches used in punchcutting can be used as an experimental tool to create new lettershapes. A process of carving punches in soap, coding, sketching and calligraphy has brought the idea of drawing upright letters with back-slanted counters. The whole design process has been a rollercoaster of states of panic and calmness, hence the name.

Panik / Kalm is a type family for editorial design, inspired by the art of punchcutting. The idea stems from an exploration of how the techniques and approaches used in punchcutting can be used as an experimental tool to create new lettershapes. A process of carving punches in soap, coding, sketching and calligraphy has brought the idea of drawing upright letters with back-slanted counters. The whole design processhas been a rollercoaster of states of panic and calmness, hence the name.

Difraccions is an experimental music festival for which we have designed the visual identity. In 2023, the festival revolves around reinterpretation. Inspired by concrete poetry of the mid-20th century we created dynamic forms that interact with the theme of this edition.

As I near graduation, I am proud to unveil ‘Zamakan’, a reflection of my passion, creativity, and cultural respect. Arabic typography for conventional printing was lacking, so ‘Zamakan’ was invented. Innovation and cultural heritage are symbolized by this typeface.’Zamakan’ explores Arabic letterpress printing’s history and intricacies, blending tradition and innovation. This work blends ancient knowledge with modern sensibilities by carefully researching and honoring the Fatimid Script

PART-TIME is an experimental variable typeface that is based on vintage IBM Punch Cards. The inherent modular structure of the IBM punch cards facilitated the creation of a variable typeface that expands from hairline thin to ultra black font weights. The variable nature of the typeface allows for a broader application of the letterforms across a variety of platforms while reviving a digital era of old. Each of the punch cards were meticulously hand punched using a hammer and chisel.

This is a series of two-color screen prints, freely inspired by the poem “Lua” by Brazilian artist Lenora de Barros, published in the 8th edition of the experimental magazine Código (1983) In the referred poem, the words “collapse”, “climax”, and “eclipse” are present. For this series, these words were processed using the halftone generator software Stochaster. The choice of color pairs for printing also contributes to the prominence of the materiality of the words, affecting their legibility.

OK is a font that explores the fragile balance between some constant, bold, strong forms and some dynamic and soft ones, that represents the essence of the expression “OK”, which meaning and origins you also may find in the poster, so read with attention:)

This set of characters is the result of a logo design that rem owl just recently did for their online presence. Said logo is derived from the letters r and o. A massive version sparked the idea of filling voids (like the o) and crotches (like the area between the r’s stem and arm) for all letters and numbers. Another idea that came from the logo design was letting suitable letters partially wrap around a neighboring letter and thereby create interesting geometric situations

Poster design for Pluk de Nacht, Open Air Film Festival 2024. The festival takes place in Amsterdam and Utrecht every summer, it brings viewers in contact with edgy independent works they might never otherwise explore. Pluk de Nacht (Seize the Night) is one of the largest outdoor film festivals in the Netherlands.

Wounded Type is an experimental typeface that represents the forgotten and abandoned wounds resulting from the development of Rotterdam City. The typeface was created by extracting shapes from the worn and peeling surfaces of the city, showcasing the damaged traces and textures left by rapid urban iteration.

With the series “Kinky, Glossy, Candy” aka the preserve Type, Sascha Simm absolutely took the cake. For the 10th anniversary of 36DaysOfType, he wanted to create something very special, with the idea of not investing too much time, as his second son had been born a few weeks earlier. But when he brought Kris Rampmaier on board, this project became something really big. Typeporn 2 the fullest. With this project it is important to see the video material.

Varia is a typographic exploration of shape synthetization. The typeface unfolds along an axis inspired by the 3D geometry optimisation system ”Level Of Detail“, a system that decimates objects according to the distance at which they appear.
On this parallel axis, Varia’s letterforms are synthesised and de-synthesised. Unlike Adrian Frutiger’s approach to typographic families, Varia was designed in a non-linear way.

NUCLEUS is a typeface created in a 3D environment. Transitioning from 2D to 3D allowed for the development of various font styles from a single base design. The typeface’s design stems from the intersection of multiple circles within a square. The goal was to create a minimalist typeface with as few shapes as possible to represent the letters, resulting in an interpretative perception of the letter forms

Poster addressing the increasing shift toward right-wing and extremist political parties, especially among younger generations. By depicting a transition from “brown” to “colorful,” it illustrates the desired political shift.

This is Sascha Simm’s response to the digitally rendered fancy reflections of recent years. For him, it’s all about the process, studies, experiments, and the journey to the final result.

Welcome to his “analog reflections” series. For more info about his thoughts, the whole process, and some behind-the-scenes, follow @simmbild. Greetings from Heilbronn/Germany. The funny thing is. The best 3D designers worldwide think he is one of them, though he creates everything purely analog.