“[H]and-made a to z typographic” reads the inside cover of this experimental booklet by Portuguese design studio Musa WorkLab. With the most basic vector shapes, they created letterforms that are just barely recognizable. The letters themselves are secondary to the composition, which bears a striking resemblance to the Suprematism of Russian artists Kazimir Malevich and El Lissitzky. The Suprematist movement emphasized “pure” art: relying on geometry, using minimal color, and rejecting representational forms. While not quite to that extreme, Musa’s booklet focuses on the basic elements of design, which allows the viewer’s interpretation and feeling to define what he is seeing.
But, this is not to detract from the clear intention of this design laid out in the title: “a to z typographic.” The abstraction of the type highlights the fact that letterforms can be reduced to simple lines, squares, and circles. The concept of a finished letterform is made less stable, forcing us to see the pieces of the whole.
>> See more of Musa WorkLab’s work at musaworklab.com.