Looping Mechanical Objects was initially developed for use in the monograph VELLLLUM, designed to work flexibly across headline and body copy. The typeface itself became a means to explore the temporal themes within the book. It's a font built to

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The “transparent eyeball" is a metaphor introduced by American transcendentalist philosopher Ralph Waldo Emerson in his 1836 essay Nature.

In this work, Emerson describes standing in nature, emptying the self, and becoming a vessel that absorbs the “currents of the Universal Being." His declaration “I am nothing; I see all" encapsulates the paradox of this metaphor—a state where personal dissolution enables total perception. This concept exemplified the larger Transcendentalist belief that divine experience is inherent in everyday encounters with the natural world.

The unusual imagery later inspired Christopher Pearse Cranch to illustrate the concept with a whimsical caricature.

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The Butterfly Effect illustrates how minute changes in a system's conditions can lead to large-scale, dramatically unpredictable outcomes. Mathematician Edward Lorenz introduced this idea in the 1960s, visualizing it through his namesake graph-a pair of linked, oval-shaped figures resembling a butterfly's wings.

While Lorenz initially used the less memorable and awkward analogy of a “seagull causing a storm," by the 1970s he was persuaded to adopt the now-famous image of a “butterfly flap causing a tornado".

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Ikkyu Sōjun was a 15th-century Zen monk whose Buddhist ink paintings and calligraphy masterfully blend the irreverent with the profound, using wry humor and paradox.

His Skeletons (Gaikotsu) series portrays skeletons engaged in quintessentially human acts—dancing, drinking, and having sex—expressing life's absurdities and impermanence.

Zen art has a long tradition of playfulness and irreverence, where humor and even profanity serve as tools to break through conventional thinking.

Time ÷ Money

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Looping Ligatures