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Foldable Noise – Experimental Poster Merch

A budget-friendly, versatile merch concept created with a copy machine for the album Space Is Only Noise by Nicolas Jaar.Printed mainly in grayscale on coloured A3, 80gsm paper — the cheap stock and process introduced natural distortions, imperfections, and visual “noise,” turning constraints into unique features.Stapled sheets unfold into a large-format poster bundle.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Artist/Album: Nicolas Jaar - Sapce Is Only Noise
Font Family: Sinews Sans Pro
Status: Non-commercial
Year: 2012

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Spot Magazine – Signs & Symbols

In the digital age, what does a magazine represent? Unlike its online counterparts, the printed medium offers a unique multisensory experience. The texture, weight, and colour of the paper transform beyond carriers of information — they become integral to the work itself.This single-issue publication investigates the language of signs and symbols while simultaneously questioning the conventions of the magazine format. Non-commercial elements — such as photo layouts presented without photographs, serving as symbolic placeholders — disrupt expectations and highlight the medium’s potential for reinterpretation.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Font Family: TJ Evolette A, Garamond
Status: Non-commercial
Year: 2013

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Kantin – Constructivist Ruin Pub

This project reimagines the identity of a Budapest ruin pub ahead of its refurbishment.The concept envisions the space as if it were reconstructed under the principles of constructivism, after being stripped back to its bare structure. The design language uses red, blue, black, and concrete tones to create clean, abstract, geometric compositions — a modern yet ruin-like aesthetic rooted in an urban industrial environment. Typography plays a central role, with reconstructed letterforms and Cyrillic-inspired substitutions adding a playful edge while reflecting the spirit of constructivism.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Font Family: Myriad
Status: Non-commercial
Year: 2011

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Light Calendar – 2013

This 12-month calendar explores the intersection of typography, design, and time. Each month features a quote from an influential artist or designer — with a particular focus on typographers — paired with an illustration constructed from the initials of the quoted figure.The calendar’s design language balances form and function: the days of each month are encircled by a shifting gradient of rectangles ranging from deep black to luminous yellow. This chromatic cycle visually traces the seasons — December 21 marked by a solid black background, symbolising the darkest day of the year, and June 21 illuminated in bright yellow, the height of summer’s light.
By combining typographic homage with a cyclical play of light and darkness, the project reflects on both design history and the natural rhythms of time.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Font Family: Unknown
Status: Non-commercial
Year: 2013

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Rippl-Rónai Exhibition Concept

This conceptual exhibition campaign introduces bold colours and a clear visual language into a classical urban setting. At its core lies a simple but provocative question: What was his message? The campaign invites visitors to explore why and how Rippl-Rónai developed his distinctive “corn style” and whether his work carries a hidden message—or simply celebrates form and colour.A custom display typeface, Rippl-Corn Regular, was created exclusively for the exhibition. The letterforms are drawn from the painter’s own brushstrokes, echoing the expressive rhythm of his iconic style and transforming it into a contemporary typographic voice.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Font Family: Isocpeur, Rippl-Corn Regular
Status: Non-commercial
Year: 2012

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Hexagoth Experimental Type

An experimental typeface constructed on a hexagon-based grid system. The design explores the tension between rigid geometry and fluid letterforms, using the six-sided structure as the foundation for every stroke and angle.The characters draw inspiration from gothic script and medieval blackletter, but are reinterpreted into a contemporary, minimal form. This creates a balance between historical reference and modern clarity, resulting in a typeface that feels both structured and expressive.Designer: Gellèrt Jänos Szabø
Client: Janus Xyz
Font Family: Hexagoth 2.0
Status: Non-commercial
Year: 2013 / 2025

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Seal of God – Rise!

This project is a resurfacing of a faint memory after twelve years of dormancy. At the time, the world seemed somewhat grim — but today, with division and conflict still fuelled by profit and faith, the message feels more valid than ever.Created during an addiction campaign brief in my final semester at university, the work deliberately broke with conventional addiction topic approaches. I chose to confront religion as a form of addiction — questioning its artificial, man-made roots and its paradoxical power. Religion can uplift, provide meaning, and unite — yet it can also detach people from the present, divide communities, and disrupt everyday life.As the foundation of the campaign, I designed the Seal of God — a symbol that became the base building block for a typeface, which religiously follows a grid system. The typeface was intentionally difficult to read, carrying a sense of secrecy or sacredness, and reflecting the way religious texts often feel inaccessible to outsiders. Alongside this, I created a power object crafted from dark concrete and black glass, embodying a materialistic third dimensional representation of the seal itself.The campaign became both a personal and creative exploration, challenging not just the subject matter but also the boundaries of design itself.Designer: Gellèrt Jänos Szabø
Client: Janus Xyz
Font Family: Rise!
Status: Non-commercial
Year: 2013 / 2025 ongoing

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Experimental in Black and White

An experimental typography project completed during a short university course.
The brief explored the relationship between visual form and linguistic meaning — to express two assigned words through typography while preserving readability.
The final works were showcased at Printa, Budapest.Designer: Gellèrt Jänos Szabø
Client: Moholy-Nagy University of Art and Design
Font Family: Hexagoth 1.0, Isocpeur
Status: Non-commercial
Year: 2012

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Visions of 2025

The Visions Project is an ongoing series of surreal, photorealistic concept images exploring the subconscious through symbolic landscapes. Each vision functions as a visual meditation — a dreamlike synthesis of ancient matter and contemporary abstraction, balancing silence and chaos, void and colour.The world of the project is built on recurring archetypes: endless deserts, black sands, cosmic skies, and monumental geometric artefacts such as octahedrons, pyramidions, and obelisks. These symbols serve as anchors of timelessness, remnants of lost civilisations, or metaphors for dormant forces waiting to awaken.In contrast, sudden bursts of playful glitches — iridescent ribbons, dichroic films, coloured acrylic fragments — intrude upon these apocalyptic stills. They represent the vibrant, curious, and unpredictable side of the subconscious, colliding with the stoic grandeur of ancient stone.Together, these elements create a visual dialogue between the sacred and the absurd, memory and imagination, darkness and light.Each scene is rendered in photorealistic detail and composed in portrait orientation, evoking the scale and stillness of large-format photography.The Vision Project grows continuously as new visions emerge — from The Dormant Force and Chromatic Fracture to The Dunes of Dichroic Memory — expanding a symbolic universe that reflects the dual nature of creation itself: order and play.Designer: Gellèrt Jänos Szabø
Client: Janus Xyz
Font Family: N/A
Status: Non-commercial
Year: 2025 ongoing

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