Teodor Cristian Matei
Hello, I’m ● Teodor Cristian Matei ●, a designer holding a ✺ BA Hons ✺ in → Graphic and Digital Design ← from the University of Greenwich.
With its innovative design and endless possibilities, Blox. lets you unleash your creativity through the use of geometric shapes. Whether you're a seasoned designer or just starting out, this game offers an engaging and challenging experience for players of all ages. You can experiment with different shapes and colours to create beautiful and intricate designs, tapping into the simplicity of geometric shapes to express yourself in new and exciting ways.
As the famous graphic designer Paul Rand once said, "Design is so simple, that's why it's so complicated." With Blox, you'll discover the joy of using simple elements to create complex and beautiful designs.
"Everyone is an artist. The
potential for creativity resides within each of us, waiting to be discovered."
– László Moholy-NagyLaszlo Moholy-Nagy's
"Vision in Motion" has
greatly inspired my project,
providing profound insights
into the human creative
spirit. It reinforces the belief
that everyone possesses a
natural inclination towards
creativity and imagination.
This universal truth has
been ingrained in human
DNA, enabling us to receive sensory experiences, think critically, and express ourselves.I believe creativity itself is
a language that allows us
to express ourselves as
effectively as written or
spoken words.
It is important to understand
the commonalities of this
language, transcending
cultural backgrounds.
Johana Drucker's
"Graphesis: The Visual
Form of Knowledge
Production" explains that
visual knowledge is codifiedwhen graphic forms, such as triangles, squares, circles, and arcs, are described in drawings and texts. Visual systems are not just tools for designers; they are inherent in our human nature, helping us make sense of the world.
Drawing inspiration from artists like Wassily Kandinsky, who created
visual systems to convey
emotions through colours
and shapes, I explored thepotential of design systems
and symbolism in my project.
Incorporating the concept
of play, I researched similar
projects that served as
valuable sources to ground
my own exploration of
creating a visual language that effectively communicates and
evokes emotions.
By analysing and
deconstructing letters,
I discovered abstract shapes with distinct features reminiscent of the original letters. These shapes became the foundation for a game
I created. I arranged selected letters from the alphabet (a, b, e, g, k, n, p, r, s, and x) in a 6x6 grid, utilising the Neue Haas Grotesk Bold font to enhance their aesthetic appeal.Through this process,
I identified unique aspects
and characteristics of these
letters, which served as
the basis for developing
a systematic approach.
This system can be utilized
in various ways, such as
designing new fonts or
creating different shapes that actively engage and stimulate creativity. The exploration of these letter forms and their subsequent transformation into abstract shapes opened uppossibilities for novel design expressions.
This endeavour aimed to
inspire and encourage
innovative thinking, ultimately fostering
creativity through the
playful interaction with the established shapes system.
In the later stage, I brought
the abstract shapes to
life using MDF material, ensuring precision and durability. Emphasizing playfulness, I carefully designed the shapes
and grid arrangement, resulting in an aesthetically pleasing game. The tactile experience and visual appeal of the MDF pieces enhanced the overall enjoyment and engagement. Participants
found satisfaction in
creating visually pleasingcompositions and exploring
new possibilities within the
system. By incorporating
play and focusing on design
details, the game sparked
creativity and provided a joyful and inspiring experience.Laszlo Moholy-Nagy's"Vision in Motion" has greatly inspired my project, providing profound insights into the human creative spirit. It reinforces the belief that everyone possesses a natural inclination towards creativity and imagination. This universal truth has been ingrained in human DNA, enabling us to receive sensory experiences, think critically, and express ourselves. I believe creativity itself is a language that allows us to express ourselves as effectively as written or spoken words.
It is important to understand the commonalities of this language, transcending cultural backgrounds. Johana Drucker's "Graphesis: The Visual Form of Knowledge Production" explains that visual knowledge is codified when graphic forms, such as triangles, squares, circles, and arcs, are described in drawings and texts. Visual systems are not just tools for designers; they are inherent in our human nature, helping us make sense of the world. Drawing inspiration from artists like Wassily Kandinsky, who created visual systems to convey emotions through colours and shapes, I explored the potential of design systems and symbolism in my project. Incorporating the concept of play, I researched similar projects that served as valuable sources to ground my own exploration of creating a visual language that effectively communicates and evoke emotions.By analysing and deconstructing letters, I discovered abstract shapes with distinct features reminiscent of the original letters. These shapes became the foundation for a game I created.
I arranged selected letters from the alphabet (a, b, e, g, k, n, p, r, s, and x) in a 6x6 grid, utilising the Neue Haas Grotesk Bold font to enhance their aesthetic appeal. Through this process, I identified unique aspects and characteristics of these letters, which served as the basis for developing a systematic approach. This system can be utilised in various ways, such as designing new fonts or creating different shapes that actively engage and stimulate creativity. The exploration of these letter forms and their subsequent transformation into abstract shapes opened up possibilities for novel design expressions. This endeavour aimed to inspire and encourage innovative thinking, ultimately fostering creativity through the playful interaction with the established shapes system.In the later stage, I broughtthe abstract shapes to life using MDF material, ensuring precision and durability. Emphasizing playfulness, I carefully designed the shapesand grid arrangement, resulting in an aesthetically pleasing game. The tactile experience and visual appeal of the MDF pieces enhanced the overall enjoyment and engagement. Participantsfound satisfaction increating visually pleasing compositions and exploringnew possibilities within the system. By incorporatingplay and focusing on designdetails, the game sparkedcreativity and provided a joyful and inspiring experience.
The Doomsday Clock is a powerful symbol of the threat of global catastrophe and the urgency of taking action to prevent it. This graphic design project aims to visually showcase the timeline of the clock, using bold typography, striking black and white images, and a striking orange colour palette. The use of orange highlights the urgency of the situation and the need for immediate action, while the black and white images emphasize the stark reality of the threat. The bold typography not only captures attention but also conveys the gravity of the situation, driving home the message that the clock is ticking and time is running out. This design project aims to raise awareness and drive action, through a compelling visual representation of the Doomsday Clock timeline.
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This project, backed by the Mayor of London’s We Design For The Community Summer School programme, was created for the Church of ‘St Michael And All Angels’ with a vision to revitalise their identity. Their goal was to create a modern logo and website that would perfectly complement the vibrant and dynamic vibe of Hackney. By preserving the church’s timeless traditions, they sought to forge stronger connections with the community. The outcome was a captivating logo and a user-friendly website, thoughtfully blending modern aesthetics with the essence of Hackney’s spirit.
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A formal guidebook has been developed with the intention of being disseminated to students, encompassing a diverse range of advice tailored to assist them in the process of seeking help and guiding them towards making well-informed decisions during their academic time.
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A formal guidebook has been developed with the intention of being disseminated to students, encompassing a diverse range of advice tailored to assist them in the process of seeking help and guiding them towards making well-informed decisions during their academic time.
Liberation at GSU stands as one among a multitude of organisations within the Greenwich Students’ Union (GSU), entrusted with the essential responsibility of advocating for the rights and concerns of marginalized communities and various interest groups. Crafting a fresh logo for this particular entity posed a unique challenge: it required the creation of a design that harmoniously aligned with the overarching GSU brand while encapsulating the spirit and purpose of Liberation at GSU.
The branding for Freshers is the result of a joint effort between myself and another designer affiliated with the Greenwich Students’ Union. During the initial stage, we both contributed by generating several logo concepts, and from that point onward, the creative process took shape. Ultimately, the chosen logo for this branding initiative was crafted by Hannad Dennis, a designer representing GSU at the Medway Campus. The concept behind this branding revolves around the incorporation of sharp angles and pronounced shadows, lending a dynamic and energetic vibe that resonates with the vibrant spirit
of Greenwich.
