Two crafts, one argument: nothing here is decoration. Typography gives language a body: grid, optical correction, hierarchy, and rhythm. Iconography compresses meaning into signs that behave as a family: one construction, one stroke logic, one metaphor language. 16 pieces across both disciplines, 8 in motion, every vector drawn live on this page.
Type is how words sound on a page. 10 studies in scale, axis, voice, object, and tension, each set rather than styled. 5 of them move.
01 — KERN-ING, OUT LOUDAFTER R12 · STATIC
02 — DRAWN, NOT TYPEDAFTER R13 · STATIC
03 — SIGNALAFTER R16 · LOOP
04 — HYPNOSISAFTER R2 · LOOP
A portrait set entirely in type: nine rings of tracked micro-copy stand in for hatching. In motion, each ring rotates at its own period — the obsession is the typesetting.
05 — TEMPOAFTER R11 · LOOP
Type as pavement: the word holds still, the object cuts through it. One diagonal is the only motion the poster needs.
DThe pause is set as deliberately as the word. White space is a glyph.
02 · Iconography
Iconography
A sign must read at a glance and behave as a family. 6 studies in construction, hand, taxonomy, state, mass, and fold, all drawn to 1 stroke logic. 3 of them move.
11 — THE EMPTY CHAIRAFTER R23 · STATIC
One warm filament, one orange chair, one hard shadow against a flat blue field. The whole scene reads before a single word is set.
12 — OPTICAL CORRECTIONAFTER R1 · LOOP
13 — STROKE LOGICAFTER R4 · STATIC
14 — 24 ICONS, ONE GRIDAFTER R7 · STATIC
15 — OPEN MINDAFTER R18 · LOOP
16 — FOLDED, FOR STORAGEAFTER R19 · LOOP
ONE HAND, MANY BODIES
The figures in this section — outlined, brushed, solid, folded — pass the family test because the rules never change: one stroke logic, flat fills, a solid mass to anchor every silhouette, and a joke somewhere in the pose.