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.

Motion design poster

This identity for the fictive Cosmic Trips Festival was conceived as a student project in the Graphic Design program (4th semester) at TH Nürnberg.

In 3024, the innovative team at Orbit Horizon partnered with Future Sphere to launch a groundbreaking event unlike any other: Beyond – A Cosmic Trips Festival, immersive journeys around our universe.

Beyond offered visitors a glimpse into the future of art, technology, and exploration. Highlights included an inspiring flight presentation with AR-reality flight tests, introducing visionary concepts that left the crowd buzzing with excitement.

Designing the identity for Beyond – A Cosmic Trips Festival, I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

For the typography, I used Editorial Old from Pangram Pangram, Rene from Fedor Abroskin Typefaces (via tomorrow.type.today), and Suisse Int’l from Swiss Typefaces.

I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

Web design

Logo design

Poster design

Banner design

Turnpike is a brand base in the Netherlands focused on selling barbecue tangent products: sauces, spice mixes, charcoal, etc. Agency Nattevingerwerk rebranded Turnpike mid 2025 and created a cohesive identity for their product line.

The logo is set in the textured brush script font Edo, echoing craft / grunge notes that are also present in the set of pig illustrations that serve as the backbone of the brand visual language. Then the whole languages uses the duo NaN Rage Poly and NaN Rage Slab in different weights and widths for all texts.

I have included a generative AI image created by the agency for their portfolio for the sake of documenting and archiving this use in the graphic design field today. Which leads to another question: are the pig illustrations maybe also generative AI?

Generative AI image created for the agency portfolio. Note the hallucinated brush script on the left character bra.

Kuturar: Live at the Mammoth Museum consists of a recording of a performance by Yakutsk-based stoner rock band Kuturar in the P.A. Lazarev Mammoth Museum, interspersed with videos about the museum collection.

The typography concept is grounded in the idea of weight – both literal and symbolic. The music of Kuturar, a Sakha (Yakut) metal band known for blending ancestral themes with experimental heaviness, embodies raw mass and density. This visual identity translates that sonic gravity into typographic form.

The design employs Alte Haas Grotesk and Apple Garamond Light, creating a tension between a solid, utilitarian grotesque and a refined serif. The pairing reflects a dialogue between the primal and the cerebral, echoing Kuturar’s fusion of ancient echoes and modern distortion. Wreckage Grotesque is mixed in for its tactile, fibrous quality reminiscent of mammoth fur.

In the final credits sequence, typography becomes the gravitational anchor of the composition, organized around a photograph of mammoth bones – a visual counterpart to the band’s thematic core. The same sense of heaviness is mirrored in the video thumbnail, where the shadow of the lettering physically “presses” on the typography, reinforcing the concept of weight and permanence.

The lettering was generated using AI tools Midjourney and Firefly, merging technological precision with organic texture to create a hybrid typographic expression – one that feels both ancient and futuristic.

Album cover

Raw Data Feel is the sixth studio album from English art rock band Everything Everything. The quartet has once again teamed up with Adult Art Club – comprising Charlotte Audrey and Jonny Costello – for its art direction. GT America Black Extended was used for all titles on the album, singles, and website. The body text and captions were set in Aperçu Mono. On the tour posters, the band name is set in caps from Korolev.

[More info on Discogs]

Website

Instore poster

US tour poster

Prisme is the graduation project of Laurine Houessou made at ECV Aix-en-Provence. The publication merges scientific research with creative exploration to reinvent our perception of myopia.

The text was written by Houessou and is set using Panama Monospace Regular, with Panama and the White Wild style of Boogy Brut Poster for headings. Images were created experimentally with AI using Midjourney, then refined in Adobe Photoshop.

The main part measures A3+, with A5 green inserts dedicated to the scientific section. Printed on textured off-white + Colorplan Forest papers and bound using Japanese binding.

A forty-page, large format algorithmic broadsheet publication to mark twenty-five years of brendandawes.com.

Since 2000 brendandawes.com has been my corner of the web where I share my work, code, process and observations to the outside world. It’s a place of 
experimentation and place which I own and control without the external 
interference of corporate algorithms or the pressures of social media.

 This publication is a celebration of that space, hi-lighting some of the work I’ve 
created over the years. 



This forty-page broadsheet publication features algorithmically made “sculptures” which act as visual souvenirs of some of my projects over the years. Rendered over the top in the Warbler typeface are haikus, made by feeding the project text into a locally running large language model. The compositions are created in TouchDesigner.

I use both Warbler and Lab DJR on my site and love them equally. There's something about Warbler which seems to speak of a softer, calmer time.

The 2025 album Passagen takes ZEMENT’s sonic exploration to new heights, offering more disco, punch, glitter, motorik beats, lyrics, and even more jazz.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combine psychedelic illustrations and weird AI generated images with bold and playful typography: Glyphs from Dinamo’s Maxi Round and Maxi Sharp form the band’s name while ABC Connect delivers Baustellen vibes, nodding back to the Rohstoff artwork from 2021. The lyrics and liner notes are set in GT America.

[More info on Discogs]

Right: Riso-printed inlay featuring liner notes by Tobias Lindemann

Limited golden edition of the LP containing a Riso-printed inlay with liner notes and a sticker

Left: LP inner sleeve featuring the lyrics. Right: Shirt design based on the LP artwork

LP back cover

Left: cover artwork for “Station to Station” single

Experiments change our perspective. This experiment serves as a starting point for discussing the role of language and letters. The show HAHAHA / AHAHAH: Practical and Impractical Typographic Exercises show is part of the Bydgoszcz Design Days 2024 that took place at Młyny Rothera.

Through a series of algorithm-generated posters, the show reflects on the evolving nature of language and the interplay between artistic expression, technology, and unpredictability. The posters were created using p5.js and AI and are based on statistical data about various aspects of languages.

The designers and authors of the show (Pola Małaczewska, Marian Misiak & Honza Zamojski) have used all typefaces from the Threedotstype library for the posters, along with an unreleased font.

From Eye magazine’s website:

Eye is the world’s most beautiful and collectable graphic design journal, published for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture.

In Eye 105, Brian Collins offers an energetic take on artificial intelligence, while Marian Bantjes provides a more critical perspective in “Artificial idiot”, investigating the process of working with Midjourney. Rick Poynor’s “The Creative Anarchist” examines Dennis Gould’s fusion of the personal and political in his letterpress practice, and Elizabeth Resnick profiles the quiet yet influential work of Tomoko Miho.

Art-directed by Simon Esterson, Eye 105 is completely typeset in Chassi L and S, from headlines to body text, with Usual used for paragraph titles and captions.

I – Michael Leonhartsberger – used my three typefaces Gomer, Furut and Cain for the lyrics in my music video “Sick Sick Sick”. The video is completely AI generated.

Song, design and lyrics are by me. 100% human. Instruments and vocals were recorded in my home studio and the percussion added via drum computer. Mixing and mastering by Lewis Kelly.

For making the video, I used various tools: Midjourney, Runway, Lumalabs, Procreate and Premiere. Here’s what I learned:

For me, Midjourney is the best tool for image generation. With the -‌-p personalization function in the prompt, you can fall back on the previously trained style. I think this function has only been available since late summer/fall. This has helped me to design the scenes better and to standardize the image aesthetics.

I then turned the generated images into videos using other tools. Lumalabs proofed to be super great for combining two different scenes with a transition. Easier, but also more limited in handling. You can enter the start and end frame and it animates the transitions. I miss that in Runway – which in turn delivers results of the highest quality. Sometimes it’s not so easy to get what you want. Not every idea works well. Also, credits cost much more compared to other tools. But the results are impressive.

In my case, the AI errors, deformed limbs and other bugs were enough for a really “sick” video. It is definitely exciting to see how generative AI will develop in the video sector for DIY artists. The workload amounted to approximately 26 hours in editing, generating, cutting etc. (without songwriting) I invested just under €100 in subscriptions, tools and credits.

I tried to incorporate huge typography and match the visuals with the spikey Cain and the bold Gomer. It was a lot of fun combining type, music and AI visuals.

You can watch the full music video here or on YouTube.

Retronova is “a fusion of past and future fashion”, and wants visitors to explore the “curated collection of retro-inspired clothing and accessories with a modern twist.”

The interactive platform was created by Amsterdam-based designer Niccolò Miranda, with design by Italian web designer Nicola Romei. It was originally developed as a teaching tool as part of the Awwwards Masterclass led by Miranda, titled “Building Interactive Websites: From Design to Development”.

Free Faces is a curated collection of free and open-source typefaces available under various licenses. Although it offers a more limited selection compared to larger font repositories, it provides enough options to meet a range of design needs.

The Free Faces website, created by Simon Foster, features a variety of font styles, including sans serif, serif, slab, monospace, display and cursive. Each typeface is sourced from different parts of the web and is available for commercial use.

The site design emphasizes simplicity, featuring clean aesthetics and significant contrast. Free Faces has been online since at least April 2016 and underwent a redesign before the current version was launched in March 2023. The website is set exclusively in Manrope Extralight and most of its visuals are generated using Midjourney, an AI image creation tool.

The book EI G (Egg Image Generator) presents 2,100 stunning visuals spread across 500 pages, all centered on AI-generated eggs. This unique book explores the history of art and the evolution of design, tracing iconic symbols and powerful imagery through the lens of a single object: the egg. From the earliest artistic expressions to modern design concepts, it delves into how one simple form can carry profound meaning and influence across time.

Maryna Zevako designed and created this A1 poster titled “Animal Vision, Part 2”. It was silkscreen printed with custom-made ink infused with UV-reactive powder, mixed in the printing workshop of Gerhard Müller at ABK Stuttgart State Academy of Art and Design.

The content and images were generated with ChatGPT, Dalle-2, and Dreamstudio.ai to illustrate the differences between binocular and insect vision, with fun facts about bees, flies, and other insects. These creatures can identify objects by detecting UV-glowing patterns. The poster is printed “white on white,” requiring a UV lamp for reading.

The “Animal Vision” project has been exhibited at the exhibition IMAGINE it’s 2050… by the communication design class of Professor Lucienne Roberts at the State Academy of Art and Design Stuttgart, which took place in February 2024. The poster will also be exhibited at this year’s ABK Stuttgart Rundgang. It was typeset in Arial Narrow by Monotype and HAL Timezone, published by HAL Typefaces.

Nya Ekonomikompetens (“New Economic Competence”) is an accounting service in Karlstad, Sweden. For their newly launched website, the company uses Dapifer as the headline font.

Darden Studio’s unbracketed “Old Style” serif offers six weights (plus italics and Stencil styles). The website at nyaek.se uses the heaviest weight of the family, Dapifer Black, supported by Alegreya Sans and Sanchez.

In some graphics, headlines in Dapifer Black are paired with text in a lighter weight from the same family.

A poster series made by Arthur Seguin and Marvin Merkel for the ECAL Open Day, November 26th, 2022, at ECAL, Lausanne.

The visuals are the result of a close collaboration between the ECAL graphic designer and the photographer, producing four impossible objects merging photography and CGI. The sans used on posters, leaflets and signage is the earliest version of AL Linea, a revival started by Alex Lescieux in 2020 at ECAL. It stays very close to the original FTC Linea by Umberto Fenocchio launched in the sixties. AL Linea is available on request, and the complete original collection (including condensed version) is currently under development.

Words from ECAL:

On Saturday, November 26, from 8:30 am to 6:00 pm, ECAL opens its doors and invites you to discover its programs (Foundation Year, Bachelor's degree, Master's degree, Master of Advanced Studies, Continuing Education) through presentations focused on the programs and professional perspectives. During lectures given by the heads of programme in our three auditoriums, renowned graduates will talk about their career paths, job opportunities and their integration into the working world. You will be able to explore the building and its infrastructures (workshops, printing and technology centers, photo and film studios, etc.), and browse the Diplomas 2022 exhibition.

Tapestry Asteroid is a site experimenting with the latest in AI technology to generate album titles, artwork and music samples inspired by the musician Sun Ra.