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Jahn Koutrios

@jahnkoutrios

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@ecal_type_design

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Draft is a typeface, an app, and a method for spatial writing.

Developed as a Master Diploma Project in Type Design at @ecal_ch, Draft explores how typography can become a tool for forming thought: an infinite canvas where words, notes, lines, lists, images, and glyphs can be placed, connected, moved, and reshaped.

The project is presented inside a custom terminal-style display, designed and produced by @atelierlomann. The terminal brings the digital tool into a physical form, combining screen, keyboard, typeface, specimen, and interface into one object.

Master Type Design, ECAL, 2026
Mentors: Radim Peško and Alice Savoie
Terminal design and production: @atelierlomann
Photos: @atelierlomann
@ecal_ch @ecal_type_design @atelierlomann @jahnkoutrios

Design / Woodwork / Graphic Design / Artwork / Terminal / IBM / Object / Aluminium / Studio / Masterdegree by @jahnkoutrios

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18 days ago

EPHEMERAL AGENTS — BOOK IN PROGRESS

Ephemeral Agents is a programme developed by @concentricofestival x DISTIGMO
and co-directed by Javier Peña—Ibáñez and Gregory Tsantilas.

The book is the third act of the programme.

ACT 01 — Ephemeral Agents Symposium / Exhibition
Zurich, 2025

ACT 02 — Ephemeral Agents Summer School
Logroño, 2026

ACT 03 — Ephemeral Agents Book
DISTIGMO, 2027

The book brings together 70 contributions
from more than 100 authors:
-20 Articles
-7 contributions from Symposium Speakers
-43 contributions from Exhibition Participants

The publication frames and expands the discussions of the symposium around the relationship between ephemeral interventions and their potential for long-term effects.

Publisher:
DISTIGMO @distigmo

Editors:
Alessia Bertini @alessia_snd
Steffen Hägele @steffenhagele
Javier Peña–Ibáñez @jpenaibanez
Gregory Tsantilas @gtsantilas

Design:
Jahn Koutrios @jahnkoutrios

Supported by agps, atelierburkhaltersumi taken in Zürich, Switzerland by @jahnkoutrios

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23 days ago

Hall, Interpretation & Evidence, a work of research by Profiler, documents the production of Hall lamp designed by @pantertourron and anodized by @bwbsurfacetechnology

Hall is the first Profiler Special Project bringing together designers and the industry into a shared production.

Conceptualized by @concigliery and designed by @jahnkoutrios with photography by @julien_chavaillaz and @jeremy_ayer_studio the publication makes use of moving image and photographic material produced during the lamp’s manufacture. Using custom AI tools developed by @profiler.world key elements are extracted from images and film, timecoded, and catalogued as discrete objects across the opening spreads.

Six scene texts translate the catalogued material into interpretation, each governed by a distinct stage of the coloring process.

Available in 600 copies during @milan.design.week

Get yours for free at Shared Matter @spaziovento @prohelvetia_design
20-24 April 2026
Via Pinamonte da Vimercate, 4, Milan

@capsule.global
20–26 April 2026
Via Achille Maiocchi 8, Milan

Reproductions by @mattia_friso97

#milandesignweek by @jahnkoutrios

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6 months ago

Reset includes four styles: Stencil, Display, Text, and Pixel. The Stencil and Display styles share the same reduced constructions, while the Text style incorporates more classic neo-grotesque forms. This reduced construction gives the Stencil style a modular character, making it particularly well suited as the foundation for a two-axis variable font. Pictures by @liuzhiyueeeeee_ – merci!

Project Mentored by Kai Bernau at ECAL MATD @ecal_type_design taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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7 months ago

Glare is a work-in-progress typeface developed in two complementary styles: a high-contrast, Didot-esque design and a bold slab serif. The project set out to reinterpret a Didot-like model in an unmistakably digital manner, balancing sharp contrast with deliberately soft curves.
The slab serif was introduced to support body text at medium sizes, while the high-contrast style is intended exclusively for large-scale headlines. Particular attention was given to the contrast between inner and outer curves and to the relationship between forms and counterforms. The flat-topped lowercase a creates distinct countershapes when set alongside other letters.
Most of the typeface was drawn during the Christmas holidays, largely while traveling by train between Lausanne and Zurich and I think the typeface will still undergo a lot of changes. The project was mentored by Radim Peško as part of the ECAL MATD program. @ecal_type_design taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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9 months ago

Fragmented Times. A Python script dissects and reassembles 200,000 news headlines through semantic similarity and linguistic rules. The output is absurd yet uncomfortably close to what we scroll past every day.

Mentored by Julia Born at ECAL MATD. Fonts in use are Theinhardt Compact and Riforma Mono. @ecal_type_design taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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9 months ago

Reset includes four styles: Stencil, Display, Text, and Pixel. The Stencil and Display styles share the same reduced constructions, while the Text style incorporates more classic neo-grotesque forms. This reduced construction gives the Stencil style a modular character, making it particularly well suited as the foundation for a two-axis variable font.

Project Mentored by Kai Bernau at ECAL MATD @ecal_type_design taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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9 months ago

Manual for our Dotic typeface, created during the Tools Make Shape class at the start of the first year’s term at ecal.✏️✏️

Mentored by Kai Bernau in 2024/2025
Done at @ecalmatd taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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a year ago

multi.py needs a single line contour as its input. These contours are offset (with a value the user chooses in the UI), respecting stroke alignment, endings, and contour direction in order to create a 2‑line version of the original paths. The script automatically generates 5 compatible masters, whereas the input (the single‑line contour) defines the first master. [This master is set up with a bracket layer, which allows the font to stay compatible even though the first master consists of a singular line while the other 4 are all double‑lined].
— — — — — — — — — — — — — — — — — — — — —
The two outlines will automatically change their weights (defined in the script’s UI) in masters 2–5 in order to enable a two‑axis variable font setup. The scipt generates: Thin–Thin / Thick–Thin / Thin–Thick / Thick–Thick masters.
— — — — — — — — — — — — — — — — — — — — —
Running this script on both a regular and a very wide version of the original single‑line contour and combining these results adds another axis and allows the user to control not only the inner and outer stroke weights but also the width.
— — — — — — — — — — — — — — — — — — — — —
The design decisions for the letters are heavily influenced by figuring out letter constructions that work well in this double‑line setup and, importantly, are able to stay uniwidth across all weight masters in order to facilitate unit‑perfect overlays for both print & animations of the different weights.

semester project mentored by @alice_savoie at @ecalmatd taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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a year ago

Typographic layouts for posters and billboards for @travisscott × @oakley

Art Direction:
@100br
@trvsbrthrs
@studiopending
@cactusjack

Font in use:
Neureal Mono by @cs__laura taken in Time Square by @jahnkoutrios

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a year ago

multi.jahnkoutrios.ch layers three instances of the multi.py variable font, animating the outer and inner stroke weight axes at independent speeds to create dynamic, phase-shifting patterns. Randomized colors, varied animation curves and modes, and user controls for font width and font style (rounded or regular) make the site a versatile tool that expands the potential of the multi.py variable typeface.

A semester project guided by @alice_savoie at @ecalmatd. taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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a year ago

multi.py needs a single line contour as its input. These contours are offset (with a value the user chooses in the UI), respecting stroke alignment, endings, and contour direction in order to create a 2‑line version of the original paths. The script automatically generates 5 compatible masters, whereas the input (the single‑line contour) defines the first master. [This master is set up with a bracket layer, which allows the font to stay compatible even though the first master consists of a singular line while the other 4 are all double‑lined].
— — — — — — — — — — — — — — — — — — — — —
The two outlines will automatically change their weights (defined in the script’s UI) in masters 2–5 in order to enable a two‑axis variable font setup. The scipt generates: Thin–Thin / Thick–Thin / Thin–Thick / Thick–Thick masters.
— — — — — — — — — — — — — — — — — — — — —
Running this script on both a regular and a very wide version of the original single‑line contour and combining these results adds another axis and allows the user to control not only the inner and outer stroke weights but also the width.
— — — — — — — — — — — — — — — — — — — — —
The design decisions for the letters are heavily influenced by figuring out letter constructions that work well in this double‑line setup and, importantly, are able to stay uniwidth across all weight masters in order to facilitate unit‑perfect overlays for both print & animations of the different weights.

semester project mentored by @alice_savoie at @ecalmatd taken in ECAL/Ecole cantonale d'art de Lausanne by @jahnkoutrios

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a year ago