Poster series for the 15th edition of the Beyond Tellerrand conference, created in TouchDesigner using a deterministic system so each poster is unique to the speaker’s name together with venue posters.

Brooklyn-based indie rock band They Might Be Giants have released their new album, The World Is to Dig. Alongside the album, the music video to “Get Down” was released.

Creative direction by Paul Sahre. Co-directed and animated by Takumi Segi and Anastasia Kharchenko. Driven by bold color palettes, dynamic typography, and a stream of imaginative, offbeat visuals, the piece captures the band’s signature wit and rhythmic spirit in a visually kinetic experience.

Cover for 8th Day of the Week with art by Strega Wolf Eden van der Berg and typography by Luna P.

8th Day of the Week is a game booklet by Amir/Nada Alami, and published by Plus One Experience for their Zine Club initiative.

Variable width typefaces are used for the cover and interior's titles. The fonts’ weight and, most importantly, width axes were progressively tweaked for individual glyphs and lines to reflect the game’s theme of time blindness and dilation. Nickel Gothic v3 by David Jonathan Ross is used in the cover for its blockier features, which lend a calendar-like appearance to the title. The interior headings alternate and combine Organetto and Transducer, as the weight axes allow for a more pronounced widening and contracting effect.

The rest of the interior is set mainly in Polymath Text (a personal favorite from OH no Type Co), utilized in the table of contents and most of the body.

Mister Pixel Regular by Christophe Badani, an open-source font previously shared through Velvetyne (but now retired), was selected for asides and other details. Its Tools weight, comprising of pixelated dingbats, was used for further decoration, along with Plakato’s Game Dingbats.

Poster for an event by Warsaw-based label Zejście at Letnisko Żoliborz in Warsaw, Poland, using the variable version of Nickel Gothic and Eurostile for the details at the bottom. It was made using combined printing and scanning techniques, with a touch of digital editing and color grading, inspired by old rave magazine ads.

The DC19 audio plugin interface

The interface for DC19 — a new audio plugin from Goodhertz — features a number of variable fonts. DJR’s Nickel Gothic was used for the plugin logo and display size text, while HEX Projects’ HEX Franklin was used for static control labeling. A few controls leverage Nickel Gothic’s width axis to pack words in multiple languages into regular rectangles.

HEX Franklin was also used for promotional material, including print ads and this launch video:

All interactive/dynamic type in the plugin is set with Mass Driver’s MD System, which is used throughout the Goodhertz audio plugin suite as our, well, system font.

Also featured are the unreleased Papanek by HEX Projects (used for “[A Little Weirdo]” in the top left), as well as an in-progress custom handwriting font (currently named “Ghz Hand”) by OH no Type Co (used for the word “Free” near the center of the interface).

All static interface text and promotional materials were typeset with Coldtype, while all dynamic/interactive text is set with Skia. Both libraries use Harfbuzz internally.

The full DC19 interface, including the advanced controls

A magazine ad featuring DC19 in the studio

The Korean language version of DC19, which replaces Nickel Gothic with Minjoo Ham’s Dunkel Sans, yet another variable-width face

The French version of the static interface, rendered by Coldtype before interactive elements are added to the interface in the running plugin

The Next F1 Race is a website created by Savas Labs that—you guessed it!—counts down to the next Formula 1 race.

It’s a simple idea, executed beautifully. Nickel Gothic’s expansive variable width axis is used to great effect, and the name of each country dynamically scales to reveal a diagram of the circuit. This animation is implemented as you scroll through or click around the list of races—it’s a simple effect, but makes the website feel so engaging and immersive.

Meanwhile, Figtree is used for labels and meta information, and Unbounded is used when high-impact numerals are required.

Liquid Sky is most likely the oldest active club and DJ collective in Umeå, a town deep in the north of Sweden primarily known for its 1990s SxE hardcore scene. Running an age well into its tweens, Liquid Sky is well-known in the area for the inclusive vibes and an always eclectic mix of DJs and genres; who says you can’t run Italo disco back-to-back with some DnB-laden footwork?

I made this poster series for our events in 2019, printed on cheap online offset and pasted all over town. We drove most of our visitors through word of mouth (and Facebook events), so the imperative for the posters was less about informing and more about making a statement (goofing).

The typographic palette is powered by early Future Fonts – Ohno’s Eckmannpsych, lo-ol’s Civilitate, and CSTM’s Xprmntl 03 – complemented by a backbone of DJR’s Nickel and Nickel Gothic, stretched in true 2019 techno fashion. The backgrounds were created through Illustrator’s Byzantine 3D generation capabilities, cranked to eleven and rotated until everything started to fall apart (including Illustrator itself).

Feed Your Head is a self-edited magazine about arts, design and pop culture. The aim is to highlight local artists and designers through different themes. Here is the very first issue, it is about fan art and focuses on Araknoce's illustrations (you can find him on instagram, twitter and twitch). The magazine includes articles, anecdotes from different random people and an interview of the featured artist/designer. The magazine is written in French and is available on my ko-fi shop

I chose Nickel Gothic (by David Jonathan Ross) for the headline of the magazine because it’s bold and has something that reminds me of Akira and other works about neo-cities and geeky universes. Its large and wide letters are perfect for a title.

Victor Mono (by Rune Bjorneras) is used for the titling inside the magazine. Here I wanted a font that has a kind of handwritten style but not just that. I use Victor Mono a lot and I know well about its different styles and how the regular is drawn as a programming font and the italic is much more round and hanwritten. This was then the perfect match and it fits perfectly with Nickel Gothic on the front page!

Finally, Adelphe (by Eugénie Bidaut) – while writing a magazine, you will want to have a very legible and well-drawn typeface for your articles. I tried a lot of different fonts before settling my choice on Adelphe. This choice is based on several points: firstly, it’s a serif, in other words, perfect for long pieces of text; secondly it is an open source font, and I work mainly with them; finally it’s made by a woman and it has three sets of glyphs that allow for inclusive typography. In this case, some parts of the text use the Fructidor series, which combines the use of an alternative form of e and ligatures in feminine conjugations.

First opened in 1902, Irvington Theater has become one of the cultural hearts of the Hudson Rivertowns. In 2019 the theater commission built new ambitions for their programming. The aim became to showcase the diverse range and wealth of events produced by the theater and their artistic partners, revitalize and centralize their brand identity in a way that could be executed by their newly assembled internal team.

The new brand identity designed by Andrea Trabucco-Campos and Pràctica Design should capture the cultural energy flowing through the theater: inspired by the visual language of 19th century playbills and theater ephemera, the system is based on two main elements: 1. The layering and stacking of elements and colors, giving a sense of the passage of time and a continuity in the output of the theater. 2. The use of vernacular typography, acting as a metaphor for the diversity of the programme as well as the varied cultural personalities passing through Irvington Theater.

Besides the custom drawn typeface Irvington Modern Gothic (based on Modern Gothic by Barnhart Brothers & Spindler, 1897) the abundant typographic palette joins a dozen of typefaces by The Pyte Foundry with David Jonathan Ross’ Roslindale, Nickel Gothic and Rhody (all issued through the infamous Font of the Month Club) as well as Roba by Franziska Weitgruber and Blitz by Out of the Dark.

Since the identity’s launch in 2019, the pantheon of typefaces in use has been constantly expanded in tune with the theater’s aim for diversity and change, dynamically reacting to the current programming.

Logotype in the custom Irvington Modern Gothic by Andrea Trabucco-Campos.

Poster for Women Take Action in Octango.

Seasonal programs featuring a different typeface for each title.
Fall 2019: Errata, Kink, Moloch, Cuneiform, Nickel Gothic.
Winter 2020: Blitz Script, Rhody, Roba, Octango, Alcove.
Spring 2020: Henry I, Galore, Routine C, Roslindale Italic.
Summer 2020: Houdini, Overdose, Syzygy (Inner 1), Potpourri.

Poster for The Lavender Scare in Routine C.

Tickets for Tree of Life ft. Cuneiform.

Poster for Supernatural On The Hudson in Errata.