Yoga Studio Branding and Custom Typeface
Branding, Logodesign and Custom Typeface for "YogaKollektiv". www.dasyogakollektiv.com
Happy New Year Cards 2014-2020
Greeting Cards
Aby Warburg (Typeface)
Part of my Final Project at the RCA was the design of this typeface. See the Rhetoric of Typography for more information.
Animal Alphabet
This project was my response to a class visit to the Horniman Collection in South London. I took many photographs and was intrigued by the pastel colors and the low artificial lighting of the cabinets where the stuffed specimens were. The stark contrast of black frame and animal seemed to merge and create a new layer of information. I am trying to blur the lines between image and form. As many letters in our alphabet are already derived from organic forms but have become abstracted in time I want to freeze this transition between hieroglyphs and symbol. These animal/letter hybrids can be used for general signage or communications for the museum. Dieses Plakat und Schrift entstand nach einem Besuch im Horniman Museum in London und für den Adobe Design Award. Die Pastell töne der Räumlichkeiten des Museums und die dunkle Beleuchtung der Tierkollektionen war sehr aussergewöhnlich und skurril und nach einigen Überlagerungen habe ich festgestellt das ich die Tiere nur minimal mit Photoshop bearbeiten muss. Das Tiefere Konzept geht zurück auf den Ursprung Lateinischer Buchstaben Formen. Die Idee spielt mit Formen die wir vereinfacht als Symbole wahrnehmen und auch wieder dekonstruiert werden können.
Shadow Font
Gradient Typography
Salon 63 - Art Group Show along the Bus 63 in London
Fourteen artists have been paired with twelve hair & beauty salons along the route of the number 63 bus (Clerkenwell to Peckham) to make site-specific works that reflect upon these vibrant institutions and their crucial role at the heart of the local community. Artists Including: Larry Achiampong, Nick Bashall, Gabriele Beveridge, Ellen Gallagher, Gery Georgieva, Beatrice Hasell-Mccosh, Tyga Helme, Daniel Kelly (Dkuk), Paul Kindersley, Eloise Lawson, Andrew Logan, Isaac Olvera, Paloma Proudfoot, Hans Rosenström, Stasis, Freddy Tuppen, Kirsty Tuner Jones Hairsalons: Barbara Streisand, Diamond Nails, Divine Destiny, Dkuk, Fab Uk Unisex Salon London, La Bodeguita, Manuel Guerra Skin Care & Sylvio’s Juice Bar, Miami Health Club, Old Kent Barber Shop London, Sam’s Barbers, The Lewis Barber Shop http://www.salon63.co.uk/
Greek Alphabet
This experimental collage font was created by photographing broken ancient greek sculptures in Athen Museum of Archeology and in the Heraklion Archaeological Museum and around the Acropolis and Pantheon of Athens. I used the fragments of sculpture to piece together stems and columns in make letter shapes. This Typeface was created for the new years cards I've sent out in early 2017 and now I completed a poster with the inspirational quote by Bernie Sanders "Despair is not an Option". In Athen und Heraklion habe ich diese antiken Skulpturfragmente mit der Kamera gesammelt und archiviert um daraus einen Baukasten zu kreieren. Eine art Readymade Typography. Mit dieser Arbeit versuche zu Testen ob eine Schreibweise aussagekräftiger sein kann als ein Text. Gleichzeitig habe ich an das Sprichwort „ein Bild sagt mehr als 1000 Worte“ gedacht und was das in diesem Beispiel bedeuten würde. Der Spruch „Despair is not an option“ hat Bernie Sanders nach dem Verlust an Hilary Clinton gesagt.
The Graphic Design Reader by Bloomsbury
This entry was part of a cover design competition issued by the Bloomsbury Publishers for Teal Triggs and Lesie Atzmon's new book on Graphic Design History. Also I created a bespoke typeface for this project called "Born Grotesque". Any feedback is welcome!
Identity for RCA SoC Work in Progress show
As the title says, this is the proposed visual identity for the Work in Progress show at the Royal College of Art, which happens in the middle of the 2nd year. Using a font that I designed, I was trying to highlight the possibilities of something being unfinished and still in flux.
Made of Motion: GIF Font
This is my entry for Neville Brody's Fuse Brief in 2014 at the Royal College of Art.
Snapshots Typeface
Snapshots Animation: This project was for the visual research course at the Royal College of Art, I collected my own images that happened by mistake or accident. Seemingly unrelated geographical locations, I then combined by my own personal selection rule to find interesting compositions.
Coercion Typeface
Coercion Brief: I looked at consumerism in terms of Lacan’s version of Freud’s Theory of the superego and that it commands the individual to enjoy. The animations reads “The more you have the more you want, as with coca cola, the more you drink the more you are thirsty.” The vertigo effect here is symbolic of consumption.
The Rhetoric of Typography
Experimental typography has fascinated me for a long time, already before coming to the RCA. In various projects I had tentatively looked for new ways to explore typography as a form of self-expression. Then in my dissertation “Authenticity in a Visual World” I was interested in a seemingly very different topic, namely the omnipresence of the term "authenticity" in contemporary culture. I wanted to find out, how designers in different fields handle the phenomenon that I called "authenticity pressure" and how it affects their approach to visual communication. By interviewing professionals who face these dilemmas regularly, such as successful designers, but also a tribal tattoo and a commercial street artist, I tried to figure out their strategies to authenticate their work. I then identified four different ways of coping with this pressure: Reinvention of Tradition; Underground, Subculture, Tribal Structures; Tools of the Time; The Cult of Selfhood. Our everyday environments are visual worlds, all the time we are confronted with an abundance of pictures without reference or context. One can only respond subjectively, following inherent (unconscious) selection and aesthetic rules. But to what extent are these decisions made randomly or are rather embedded in our cultural memory? This question led me to the work of Aby Warburg – and then back to experimental typography. There is substantial evidence that type design has a great impact on the reader and that designers and non-designers perceive typography differently. Therefore I looked at existing psychological research that attempts to quantify the effect of typeface designs. I designed a typeface that is equal in its expression by combining traditionally separate categories of typography. “Sans-Serifs” for traits such as Consistency and Logic (Logos), “Humanist” for emotions, imagination (Pathos) and “Serifs” for credibility and trust (Ethos). In Aristotle’s theory of Rhetoric: Logos, Pathos and Ethos are the key dimensions for speaking and communicating effectively. I think that also typefaces communicate and have a kind of rhetorical ability. Therefore I felt the need to investigate to what extent the reader can be influenced by typography. I looked through psychological studies to find three typefaces that can be representative of Logos, Pathos and Ethos and then took their unique qualities in order to design a typeface called Aby Warburg that would be equally unique in it’s persuasive character.
Frankography (ISTD Award)
International Society of Typographers student awards: The brief was to typographically express the spoken words of two film scenes. Therefore, I designed two typefaces for Blade Runner and Frankenstein.
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