The artist deconstructs intuitive drawings into an abstract typographic system. While standard fonts are processed effortlessly, the raw, uncontrolled shapes demand “harder work” from the brain. The work questions if these erratic fragments evoke a deeper resonance by disrupting learned patterns. It is a visual experiment where reading becomes a conscious search for meaning within complex, abstract lines, exploring the boundary between artistic intuition and functional communication.

DOTTEXT treats text as both message and material. By converting typographic images into .txt files, deliberately corrupting the data, and then converting it back into images, the poster uses chance as a design tool. The resulting errors call into question the concepts of control and legibility. Building on these random phenomena, DOTTEXT shows how meaning is transformed when text loses its usual function.

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, pushing Latin forms to extremes.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream.

Imprint is an experimental typographic tool inspired by industrial printing techniques, where a visual language emerges from imperfection. The tool transfers text onto a digital canvas through an interactive printing process. The way users interact with the canvas directly shapes how type appears, making each imprint a unique result of both human input and machine-like behavior. By shifting functional, utilitarian type into an expressive space, Imprint explores typography as a physical form.

My contribution to the exhibition “Revolution (Typography for Change)” at the Wschodnia Gallery in Łódź, Poland.

ORNACLINK is a pinball-inspired art tool that brings historic typographic ornaments back to life through hands-on interaction. By treating typography as modular shapes, it invites experimentation through movement, chance, and rhythm. Participants tilt and shake the box, guiding marbles and paint to create unique abstract compositions. An accompanying booklet showcases the different outcomes and possibilities that emerge through interaction with the tool.

This (not) type specimen is the result of an experimental light-painting process using a scanner and a flashlight. I developed this technique accidentally, I wanted to take a selfie in my scanner. The flash created interesting textures making me able to create type out of them. In the specimen the letters work as symbols in an alternative world.

During their internship at Raquel Quevedo’s studio, Clara and Eulalie (Centre de Formation Professionnelle des Arts, Geneva) developed work within the Algorithm Vegetal project. They experimented with the grid as a coded system, reworking it through vegetal and algorithmic logics to generate hybrid typographic forms.

Marrying analogue and digital type as an act of positioning in between. Digital design and fabrication are brought into letterpress. Intentionally combining touch, imperfection and traditional craft with the precision and experimental potential of contemporary tools. Modular, digital type sketches were translated into physical, 3D printed letterpress forms. Creating a dialogue between digital flexibility and analogue tactility, while simultaneously engaging critically with letterpress history.

A cassette design concept for Exiles Electronics, created for Natalie Szende’s EP, Vacuum. The project explores the potential of typography to act as a key visual for experimental sound. The composition reflects the duality of the tracks: a tension between accidental vibrations and strict, mathematical structures, translated into distorted letters.

“Anxious balance” is a poster about anxiety and keeping balance in our lives.
No matter how difficult it may be, no matter how much events may disrupt our balance, we maintain it, just as the letters maintain balance on this poster.
First, the letters were created out of tape and photographed. Then the work was completed using Photoshop, Illustrator, and the Mosh Lite website.

In a design process, mistakes are inevitable and often lead to new ideas. The exhibition becomes a space of “errors” that helped shape the final result. Mistakes are seen not as deficits, but as opportunities to take risks and experiment. For the HSLU DFK poster contest, this concept was explored through risograph, digital, and screen printing tests that deliberately provoked errors. The poster presents a selection of these results and was printed in two-color screen print.

FRAK – Reclaim the Fraktur!
Ein typografisches Experiment inspiriert von der Freude an gebrochenen Schriften, der Arbeit mit der Breitfeder, japanischer Kalligrafie, dem Duktus des Graffiti Writing und stark von Berlin.

This piece translates Moholy-Nagy’s ‘Kinetic Construction’ into a typographic system. By layering basic geometric forms, the letters create a static feel of movement, bridging the gap between structural stability and dynamic process.

Str4 translates principles of experimental music notation into a typographic system.
Letters function as sound modules, while deformation reflects rhythm, tempo, and tension.
The project combines modular notation structures with deformable score grids associated with Brian Eno and Steve Roden.
Str4 exists as an open typographic study where form remains readable while continuously shifting in time.

Bones is a variable typeface breaking like bones.

Playing with the idea of Asia’s image increasingly being associated with technology and artificial intelligence, the work experiments with the 3D tool in Adobe Illustrator to turn the word ‘亞’ (short-form for Asia) into a cyber sculpture built from east Asian architectural elements and motifs.

Work in progress by Laia Serrano (Experimental Type Workshop, Escola Massana, professor Raquel Quevedo). From sauce dispensers to volumetric ink letters—moving between 2D and 3D, analog mess and digital form.

Typographic poster for the LocalLineup Festival 2025. Local hip-hop culture at Sedel Lucerne under this year’s motto „beach kiosk“. Experimental font design inspired by the Swiss classic ice „Gasparini chocolate raspberry” and garlands in a round arch shape.

The phrase “to be or not to be” is taken from a famous line in William Shakespeare’s “Hamlet” and symbolizes life or death. This expression is also used more generally as a symbol of difficult decisions, dilemmas, and existential anxieties.

Ridn is a grid based multi layered geometric Latin Arabic Japanese Katakana display type loosely inspired by Wim Crouwel’s radical typography.

Orig is a grid based multi layered geometric display typeface loosely inspired by Japanese origami fold.

Aith is a monolinear geometric display typeface loosely inspired by Thai typography.

Minal is monolinear curveless strict angled cursive display typeface.