Visual identity for a collection of books written by African authors created by the publisher Companhia das Letras. To create the covers, a geometric typographic pattern was created that refers to the idea of ​​weaving and the fabrics made by some African people such as Manjak and Shoowa / Kuba. Each cover contains a pattern based on the author’s name (Paulin Hountondji, in the example sent).

The “Archiv 8. März” project analyzes the media presence and visual communication of the German Women’s Day protests. It encourages everyday feminist protest through an interactive poster generator. At the heart of the project is a custom typeface made from 159 out of 3413 unique letters, written by original protesters and extracted from media images.
The font spans three styles, representing three expressions of modern protest. Each style features 26 feminist symbols.

Montage of modular compositions with words printed on folded foil, photographs of various fold and shadows arrangements.

‘Mantras’ is a pattern collection that reflects on the intrapersonal effects of lockdowns. Using my diaries as a starting point, I assigned a word to describe my weeks for a year; each prefixed by ‘re’ as a nod to the repetitive nature of both the patterns and life during quarantine. I chose calligraphy as a way to turn these words into an exploration of patterns, type and legibility, as well as a tool for processing this period. These patterns serve as a subjective timeline of 52 weeks.

Seven words printed on folded foil, photographs of various arrangements of folds and shadows.

Seven words printed on folded foil, photographs of various arrangements of folds and shadows.

In this experimental design, typography visually represents the initial letterforms of the words “roots” and “bread in arabic.” The letter for “roots” is designed with branching, organic shapes to symbolize growth and stability, while the letter for “bread” features rounded, textured elements that evoke warmth and nourishment. This approach enhances the understanding of each word by reflecting its meaning through its visual characteristics.

One sentence “what remains in motion” printed on folded foil, photographs of various fold arrangements.

Ten different words printed on folded paper, photographs of different fold arrangements.

Ten different words printed on folded paper, photographs of different fold arrangements.

Spilnosti maty (in ukrainian) means to have a human connection, having an affinity. The poster is a sublimation of feelings, an exploration of emotions, confusion, and love.

Lauta is a german font where lip-reading becomes typeface. Tied closely to sound, Lauta encourages speaking and experimenting. By mimicking the respective mouth shapes, one can easily determine the sound it represents. Instead of traditional letters A to Z, each glyph in Lauta embodies the mouth shape for specific sounds, transforming “lauter” to “lauta.” This approach makes Lauta a font for vocal exploration and discovery.

AI tools for image generation and manipulation are developing very fast. Yet, their utility for designing typography remains limited. ‘Latent Type’ explores different ways of working with Text-to-Image models – as one of the most recent additions to said tools. It analyzes available settings, inputs and finetuning options, both with the aim of creating experimental letter shapes as well as fonts. It moreover explores the role of human and artificial intelligence in a shared design process.

In this Arabic typography design, the quote “Rumi said, ‘Love is not written on paper, Love is inscribed in the heart'” is rendered through white paper folds and cuts in origami and kirigami. The sharp-edged, monochromatic letters underscore the fragility of physical mediums contrasted with the enduring nature of love inscribed in the heart, emphasizing the purity and lasting impact of Rumi’s message in a diptych design.

We designed the communication campaign, motion graphics, social media posts, promotional materials, and exhibition graphics for the Sarının İzi event, which turns iconic yellow Ytong packaging into canvases and construction sites into open-air galleries.

Sarının İzi begins as an urban art intervention with works by artist Meltem Şahin, illustrator Burak Beceren, and the versatile design studio Piknik Works spreading across Istanbul, all based on Ytong’s iconic yellow packaging. The creative con

This matrix-printed collective booklet documents the letters created in Google Sheets by the participants of a Betűklub workshop.

We, as designers, constantly strive to improve our skills, tools, materials, and workflow. This is a normal part of our work in the capitalist market. But what if we consciously downgrade our own tools?

This visual poetry is created on a simple thermal printer using only two non-letter symbols from its limited basic glyph set. By abandoning content and message, we gain the opportunity to focus more on sensations and form creation.

Custom lettering for the IntegrArt Project

Riso poster for the seminar “Image Making” by Robert Franke. The design is based on analogue photograms of ice letters and water in a petri dish. The project was created in the printing workshops at FH Aachen under the direction of Robert Franke. Student assistant: Franka Riesterer.

“Salam,” the Arabic word for peace, is depicted through Arabic typography using dots and lines. This design approach contrasts the simplicity of the elements with the profound concept of harmony. Dots and lines, basic yet powerful, transform into a symbol of hope and resilience. This visual metaphor emphasizes that true peace emerges not from the absence of struggle but from the ability to transcend and reshape the barriers that divide us.

In the play, the theme of parallel universe and simultaneity was created with a visual expression on the poster where the typography was positioned in the center and the reflection behavior was heroized. Thus, the audience, who encountered the poster before coming to the play, was given a small clue about this parallel world and simultaneity.

Thernon (Θερνόν) is a nomadic short film festival featuring Greek directors, traveling to unique remote locations like small vineyards, ancient ruins, and secret gardens. Inspired by Odysseus’ journey, its identity emphasizes topos, the locality. The title uses Apla, an old Greek serif typeface, while Monument Grotesk, a sans serif typeface, highlights the contrast between poetic locality and neutrality. Blurry, noisy typography symbolizes cinema’s essence and the festival’s constant movement.

Stravastraat has a total distance of 13,6 km, it’s appearance defined by 26 runs within a city structure. Lines represent the route and dots represent turning points. Looking from above, looking at the city as a two-dimensional surface, a neighbourhood determined a baseline and height, the individual characters then designed by way-finding within the pre-designed street grid. This typeface was run in the year 2022, based on the grid of the streets of the neighbourhood De Baarsjes in Amsterdam.

“Salam,” the Arabic word for peace, depicted through barbed wire Arabic typography, powerfully contrasts the harshness of conflict with the longing for harmony. The barbed wire, often a symbol of division and pain, transforms into an emblem of hope and resilience. This visual metaphor emphasizes that true peace emerges not from the absence of struggle but from the ability to transcend and reshape the barriers that divide us.