Nugget-sized N set in NaN Spaceland Bold (designed by Jack Llewellyn and released by NaN) at 308 pt on a Neptune Horizon background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female typographers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

O set in Orkyd (designed and released by Anna Sing) at 1,205 pt Outlined in Off White on an Orchid background

P set in PicNic (designed by Mariel Nils and co-released by Velvetyne and NoFoundry) at 880 pt on a PNG Pale Gray and Paper White background

Quoted Q set in Quarantype Hopscotch (designed by Cosimo Lorenzo Pancini and released by Zetafonts) at 670 pt on a Quiet Time background

R set in Ready Active Light (designed by Lucas Descroix and Benjamin Dumond) at 1,655 pt on a Royal background with Round corners

Subtly-Striped S set in Sabre Black (designed by Gareth Hague and released via his Alias foundry) at 1,665 pt on a Sunset background

Turned-over T set in TT Geekette Muscles (designed by Viktoria Usmanova and available from TypeTrends) at 1,213 pt on a Tobacco background

Symposion – Ein Tischgespräch über die Kulturarbeit (“A round table about cultural work”) is the title of Jana Vogt’s thesis in Communication Design made at MSD – Münster School of Design in 2023.

The five people who speak in this symposium are mosaic-like assemblages. They are perspective rather than person. Catalysts who were allowed to “feed” on ten personally conducted interviews and ten literary and academic discussions from the field of cultural work.

Jana Vogt gave each of the different perspectives their own voice by using one of the nine styles of VARIANZ. Thus, the tone of the conversation varies and corresponds to the spoken word without creating disharmony or visual clutter.

The Aureum font by Anna Sing is used in initials, interjections and headlines. VARIANZ by Viktor Zumegen is used for subtitles, body text and footnotes.

Jana Vogt writes:

The symposium is a table talk, a playful exchange about the value of cultural work. It is a literary buffet of facts, personal hopes, and concerns of cultural workers. Coming from different places, yet sitting at the same table, those working in culture negotiate realities, share and listen, and feel a sense of belonging. Can this practice, and the feeling it creates for the fictional guests and readers, give rise to a better understanding and appreciation of the process behind cultural production? In my creative process, I combine ethnographic and creative methods. I have organised real voices from the cultural sector in a fictional way on paper and formulated prominent common demands and messages. The table setting is both an invitation and a call: to enter into conversation about what culture creates and what we could create together; to value the efforts it takes to cultivate occasions for encounter, for collective and sensual consumption.

A super modern, colorful and powerful corporate identity for the newly founded feminist club. Various logo variants for different channels are designed by Studiokwi for disruptiF – Feministisch bilden & beraten e.V. (“disruptive – feminist education and counselling”) to represent their identity:

A loud design based on the philosophical concept of rhizomatics: a metaphor for a postmodern, post-structuralist model of knowledge organization and world description that replaces hierarchical structures. Centric. A root system without a main root. A system of reciprocal exchanges between equal communicators. Not self-contained and always in relation to others.

Set in a mix of Prune (Anna Sing, free for personal use) and Boris (Giulia Boggio, open source), the typefaces are paired with pastels, neon and 3D shapes.