Przemek Bizoń celebrates high art and “trashy” aesthetics through experimental type design

What would it look like if the famed functionalist architecture of Le Corbusier was crystallised into experimental type design? Przemek Bizoń has got the answer. The graphic designer and co-owner of Bisoñ studio spends his free hours creating “type impressions” inspired by his favourite elements of art, architecture and space. “But what is a type impression?” we hear you ask. “It is an impression of a type in a specific context,” says Przemek, “it has a subjective feeling.”

Before delving into the subjective sensibilities of letters and words, the designer began his creative training at the Academy of Fine Arts in Kraków. During his studies he busily gathered practical experience in various creative agencies. Here he mainly focused on brand design, a path which he has continued to develop as art director at Bisoñ studio. Through these endeavours, Przemek has become skilled at adapting typography for different contexts. But recently, he has been looking beyond type-design purely as an eye-catching component of successful brand-design. He has been thinking about letters in more esoteric contexts and imagining them “as a part of abstract creation”. This was the seed of inspiration which grew into his current project, moreless.type which uses letters “as a starting point to search for a different means of expression.”

In this series, groups of lettering are inspired by the work of architects and artists that Przemek admires. His first experimentation, HAS, draws on the work of Polish sculptor – Władysław Hasior. Taking the first three letters of the artist’s surname he heavily abstracts them into thick angular lines which recall the striking sculptural forms of Hasior’s assemblage sculptures. Taking abstraction a little further in his latest piece DOM, Przemek explains his fondness for the piece as: “a combination of pure graphic design and abstraction, typography and art. It is a pure moreless.type.”

Le Corbusier gets a similar treatment to Hasior in Przemek’s piece CORBU. In the work, the architect who was known for his involvement in the modernist movement which favoured function before form, gets a moreless.type makeover. Here the modernist tag-line is flipped – form definitely wins over function. Paying homage to the pleasing synthesis of curvilinear and angular lines in Le Corbusier’s architecture, the letters of his name collide, capturing a sense of dynamism. With all his sincere endeavours to elevate typography to a form of art, Przemek takes a good-humoured view of works like CORBU. “It is a bit annoying, a bit illegible this is the statement,” he says. “This art should be a bit annoying, maybe a bit trashy.”