1999
Typesettings — Typography

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The May Salon Prize
Piran, Izola, Koper, Slovenija, 2005

Modularities

Since I compose material and shapes rather than content, I find the anonymous means of the Character »font« very suitable. It facilitates the infinite possibilities of structural laws, the expandability and flexibility of the system, uniform quantities and relativity of dimensions, all of which determine the final appearance. The whole is based on arrangement and rhythm, just like in music, which expresses itself only tonally.

I am interested only in what I cannot express in any other way. Anything I can present through painting should become a painting. So in order to understand graphics, I must first look at what I cannot express in any other way.

»2000—1«, print, 100/70 cm, 1999

»2000—2«, print, 100/70 cm, 2005

»2000—3«, print, 100/70 cm, 2005

»2000—4«, print, 100/70 cm, 2005

»2000—5«, print, 100/70 cm, 2005

»2000—6«, print, 100/70 cm, 2005

»2000—7«, print, 100/70 cm, 2005

»2000«, print, 100/70 cm, 2005; The May Salon ’05 Award, 2005

»modular—rototype—1«, print, 100/70 cm, 1999

»modular—rototype—2«, print, 100/70 cm, 1999

»modular—txt«, print, 100/70 cm, 1999

typography »modular«

»rototype—1—modular—1«, print, 100/70 cm, 1999

»rototype—1—dotted«, print, 100/70 cm, 1999

»rototype—1«, print, 100/70 cm, 1999

»rototype—2—modular«, print, 100/70 cm, 1999

»rototype—2«, print, 100/70 cm, 1999

»rototype—3—modular—1«, print, 100/70 cm, 1999

»rototype—3—modular«, print, 100/70 cm, 1999

»rototype—3—dotted«, print, 100/70 cm, 1999

»rototype—3—dotted—2«, print, 100/70 cm, 1999

»rototype—3«, print, 100/70 cm, 1999

»rototype—4—modular—1«, print, 100/70 cm, 1999

»rototype—4—modular«, print, 100/70 cm, 1999

»rototype—4«, print, 100/70 cm, 1999