For my master’s thesis, I dove deep into the ways that artificial intelligence represents identity. After conducting hundreds of studies utilizing generative AI, what I found was that the nuance of the human experience is flattened, and that stereotypes and bias found in the real-world get amplified and distorted by the machine.

To bring these results to life I developed a pop-up exhibit and talk, as well as a book summarizing my findings. Typography played a crucial role distinguishing the human elements from that of the machine. Mixing typefaces and hindering legibility became a tool to get visitors to engage with the exhibit studies more closely.

Developed as part of ArtCenter College of Design MFA in Graphic Design program.

A Designer at the End of the Dream Career is a self-published book reflecting on the non-linear paths designers face as they begin their professional journeys. Developed in the final semester of the Communication Design degree at the Faculty of Fine Arts Lisbon, it explores the symbolic and practical weight of reaching the end of academic life.

The project began with a prompt: “A Designer at the End of…”. Each group completed the phrase in their own way, contributing an eight-page chapter that expressed personal and collective reflections. The task was then to bring them together under a shared theme, The Dream Career: the thrill of starting out, the disillusionment that can follow, and the hope that keeps us moving forward.

A unifying visual identity was created to connect all contributions, drawing from diagrams, maps, and charts as a nod to the soul-searching that shapes every designer's path.

Physically, the publication itself is divided into three interwoven chapters, inviting readers to choose their own entry point—mirroring the unpredictable nature of creative careers. Printed with the faculty’s Risograph machine and fully produced by hand—folded, stapled, and trimmed in the design lab—it was released in a limited run of 100 copies, each with a distinct, tactile quality.

Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Cineforum Rivista celebrates its first 65 years of editorial activity with Cineframed – The Exhibition, unfolding across two venues: the first at Roma Smistamento, the second at Frab’s Magazines & More.

Cineframed features a gallery of 16 framed works: a selection of the most iconic covers from the Serie Collezione (1961–2020), curated to trace the magazine’s graphic evolution, its changing formats, and the shifting tastes and aesthetic sensibilities of different eras. At the same time, the exhibition offers an invitation to revisit the history of cinema through a sequence of images destined to remain forever part of our collective viewing imagination.

ABC Oracle is one of the typefaces selected for all of the magazine’s texts, as well as for the poster-manifesto and the gallery handout for both exhibitions.

Loyalty programme and identity for the Paul Smith's Collectors Club, designed by agency Limesharp.

A stamp-collecting loyalty programme for British fashion brand Paul Smith, where members build a digital album of over 100 bespoke illustrated stamps earned in-store and online across 20 countries.

The Collectors Club logo is set in Kalice from Claude Type, designed by Margot Lévêque, in both Regular and Italic. It is paired with Paul Smith’s brand typeface Mint Grotesk by Lift Type. Diatype from Dinamo is used for text on the stamps.

The corporate design for Die Mehlwerkstatt is a modern interpretation of baking craft. The focus is on sustainability and quality: no artificial flavors, no additives, no baking mixtures – baking art in its purest form. The taste of the past meets today’s zeitgeist. This look and feel is carried forward in the social media concept and is also reflected in the product photos.

The design was made in collaboration with Dominic Brandt.

Büro Bungalow redesigned the visual identity and website of Germany’s first unisex online magazine BEIGE in 2022. From organic shapes and warm colors with contrasting accents to characteristic typography using Frukt, Swear, and ABC Marfa, the mix of retro looks and contemporary elements creates a corporate design with high recognition value.

Packaging for a haircare line by Michael Ahlmeyer, featuring Cosi Azure (Nikolas Type) in large display settings, accompanied by ABC Favorit (Dinamo) and an unidentified serif typeface.

Across the cartons, stacked type compositions form the phrase “The Aesthetics of Chemistry,” establishing the primary graphic element of the series. Vivid product colors vary throughout, while the typography remains the constant.

Book design for Vom Spazieren, Gehen, Reisen und Unterwegssein, published in 2025 by Transhelvetica.

The author, Walter Hoffmann, is in his 80s and lives with his wife Nagako in the Swiss Alps. Their mindset at this age is simply inspiring. It was such a nice and meaningful project to work on. 180 pages full of humor, life wisdom, and little stories about walking that make you smile (and think).

Printed by Finidr, Ltd.

A weekend of sound experiments: In 2023, musicians, tinkerers, and sound researchers gathered at the Rotunde Bochum for concerts, workshops, and discussions on ambient and drone music. A festival for open ears—and a place for exchange, networking, and new perspectives in electronic music. We developed a visual identity for the second edition of modus festival in collaboration with Eurorack Ruhr. With the exception of the pre-existing modus wordmark, all typography is in ABC Whyte.

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

In graphic design, the focus is rarely on the spontaneous stroke of genius—it’s rather about a process-oriented approach to design. Digital tools, algorithms, and systems increasingly shape not only the final outcome but also the process itself. As a result, the role of the designer is changing: instead of crafting every detail, they increasingly design the framework in which design emerges.

Over more than twenty years of teaching, Heike Grebin has developed an approach centered on this shift. Its main appeal lies in developing dynamic systems that both guide and inspire the design process. Design is generated by a set of specifications whose effects can be explored, varied, and used creatively—this is parametric design.

Play the System demonstrates, through selected examples from design history and academic teaching, how even minimal changes to individual parameters such as size, color, spacing, or movement—driven by input values, chance, or external influences—lead to different outcomes and open up space for variation, experimentation, and surprise.

Conversations with designers, programmers, and researchers such as Luna Maurer, Anja Groten, Frieder Nake, and Tom Bieling address key questions: How do systems foster—or limit—creativity? How do tools influence aesthetic decisions? And how can design respond to the structures of society itself?

As a hybrid publication, Play the System operates systemically itself. The website complements the book with additional content and serves as the central data source for all projects published through an automated web-to-print process.

Play the System is a reader, an introduction, and a richly illustrated archive—all in one. Bringing together theory, education, and practice, it makes system-based and parametric design accessible to readers beyond the design discipline. ISBN: 978-3-948440-97-8.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).

Familial Lexicon explores words that exist only within a family – private expressions that outsiders don’t understand. These intimate terms form a micro-language, showing how language grows through shared experience, closeness, and everyday life.

The cover is made from aluminium with an embossing effect.

Designed by Enzygal at Kunstuniversität Linz, making early use of DGM Saffron. Arabic and Armenian text are added in ABC Diatype.

Baby Please Come Home (BPCH) is a homeware brand rooted in craft, materiality and thoughtful living. It transforms everyday household objects into pieces that feel intentional, functional and quietly beautiful. Working closely with local artisans, BPCH celebrates traditional techniques while presenting them through a contemporary lens.

This project uses ABC Maxi Sharp and Futura as the primary typefaces for Baby Please Come Home. ABC Maxi Sharp is used for key brand expressions, bringing a contemporary sharpness and subtle eccentricity that gives the identity character without overwhelming it. Its distinct forms add personality while maintaining structure.

Futura supports the system as a grounding counterpart. Its geometric clarity provides balance across packaging and print applications, ensuring legibility and consistency. The pairing allows the brand to feel expressive yet restrained, with a clear hierarchy between display and functional text.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

In 2024, the Ministry of Culture of Slovenia issued the Resolution on the National Programme for Culture in Slovenia (Slovenian: Resolucija o nacionalnem programu za kulturo) for the period between 2024 and 2031. It is the main document outlining the program and development goals that the Ministry aims to achieve during this and possible future mandates.

MAISON Ë is a contemporary magazine celebrating design, culture, and craftsmanship through carefully curated content. Positioned at the crossroads of design, architecture, fashion, and culture, MAISON Ë explores spaces, objects, and ideas that shape a thoughtful way of life.

With a timeless aesthetic, its visual identity is defined by the prominent use of the Rizoma typeface, from R-Typography, on the logotype and for the headlines. Text typefaces include Chamberí (Extratype) and Suisse Int’l (Swiss Typefaces), with some sprinkles of Dinamo’s ABC Honeymoon.