In this type design project the boundaries between result and process are fluid. Inspired by a lettering piece by Hans Findling, the creation of a complete alphabet was initiated. The project explores the process of designing a font using both analog and digital tools alternately, from which an independent visual language emerged. Through editing and layering in various image editing programs, new, sometimes abstract image layers emerge, opening up new compositions and spaces.

The glyphs of the word contain fragments of decorative elements from the Art Nouveau typefaces of the Klingspor Archive in Offenbach and parts of patterns that result from marbling paper with water and colors. Using a modular principle, a handful of glyphs has been created from a few elements. For me, designing typefaces in the sense of Art Nouveau requires a certain letting go of rules and the will to design emotionally. Maybe it helps to be in love, on cloud 7.

This experimental setup is a winking commentary on the 3D, glossy, blubbery, chrome-type aesthetics increasingly generated by designers using the latest software. In ‘under pressure’, the shapes are created by applying welding wire to a metal printing plate, which ultimately serves as a stamp to emboss letters into anodized aluminum sheets. It is a process where imperfection, spontaneity, and openness to results are key, leading to a unique visual language. Stay tuned for more …

Letters were alienated and deformed using mirror foil. Abstract shapes and spaces were created that are reminiscent of letters. The experiments were carried out as part of a workshop entitled “Unruly Repairs” with Jian Haake.

Camille is a typeface inspired by the French sculptor Camille Claudel. She was an emancipated but penniless artist who was far ahead of her time and ultimately failed because of her circumstances. The tragedy of her fate is also reflected in her works. Always dynamic, powerfully striving, hard, firmly rooted to the ground, but equally soft, emotional, free and dramatic. These characteristics can also be found in the typeface.

Typographic posters using NT Voice, a neo-grotesque typeface which was created for Ntsal Design Chamber. The typeface explores the the limits of the Neo-grotesque for it to stay functional, yet retain a strong character on its own. The posters express this through different typographic experiments using the paper as form of pushing and warping limits.

The experimental typeface “Blackwall” by Tarik Schindler was created during his first semester in the typography course of Mediadesign at the IU Frankfurt and is based on photographs of objects in an old warehouse (such as cables and steel beams), from which the modules of the typeface were formed.
The background consists of letters that have been heavily distorted by effects, while a fragmented song lyric (Slow Dancing i. t. D.) and all the glyphs of the typeface can be seen in the foreground.

Commissioned by Galeria Ocupa! and Sput&nik the Window, for the exhibit “Folha de Sala” by Rui Mota (meaning exhibition “Room Sheet”). The exhibition is made up of what the artist called “extroverted objects”. That is objects that can expand the concept of Sculpture beyond their limits, by using their surroundings as plastic material. The brief was: to create an image that, like the exhibition, could expand the concept of itself beyond its limits.

The communication created tried to match the in

“A Various Artists Album that traverses a wild tapestry of genres and emerging sounds from the Middle East & North Africa. ‘Manshaa’ (which translates to ‘Genesis’ or ‘Origin’) features 13 singles from an array of cutting-edge established and up-and-coming artists from 10 countries” Giving a musical spin to traditional Arabic ornamentation using typography, inspired by the region’s visual language. Each track was visually expressed through custom letterings in its corresponding language. While t

This typeface goes back to the analog world. While much is generated by AI and similar aesthetics may be created there, nature remains an endless resource of inspiration. The stones I collected for this experiment were found in the river right in front of my house. On my journey to becoming a designer, it served not only as a place for relaxation and swimming but also as a source of ideas for my work.

Fauna was created by modularly assembling elements from the art nouveau fonts of the Klingspor Archives, as well as typographic elements created with the help of an AI. Originally, one element of each letter wrapped around a circle which is still evidenced by the round dynamic swirls that create a circular recess. Although the glyphs of Fauna are so varied, the recurring shapes, curves, and peaks create a uniform typeface of letters dancing together.

The poster communicates an overview of all the Arab countries, celebrating their typographical heritage using stamps crafted for each; with the brand’s slogan ‘breaking boundaries’ lettered in bilingual and reflected, as an ode to Arabic typography and its usage in aesthetically occupying a space

To create a corporate design, Káschem Büro played with different visualizations and approaches for lettering on the theme of water, radio and art in order to approach the topic.

Celebrating Ntsal’s journey over the five years since its establishment, this poster commemorates the key marks of those ca.2000 days. Documenting the different offices, international expansions, team growth, and even pet visits to the office, all these come together and tell the story of Ntsal.

Visual identity for the first graphic design event “Design Talk” during the Romaeuropa Festival 2024. The graphic project in this case exists as a spin-off of the identity of the entire festival based on the alteration of the artists’ images, here replaced for this occasion by typography which becomes the real protagonist.

Modifications of the “ProFont” by Andrew Welch, used as design accompaniment of the artworks of Boris Petrovsky. As the art installations deal with the overarching concept of communication and machine, the type mutants also attempt to control perception, at best reflecting the respective aesthetics of the installations. The brute geometric basic approach of the typeface allows a sometimes almost painful distortion of the characters in the sense of the artworks to be described.

This font is based on one of the many engraved stone inscriptions found in Palermo, Italy. Based on traditional, even outdated techniques, the aim was to create a contemporary font rather than a revival. Through constant digital experimentation and modification, the typeface evolves with varying and often unexpected forms. Kept intentionally raw and imperfect, it has not been publicly released but is used within the studio for both client and personal projects.

Lettering for the exhibition “Blurring the Lines – Design practice between art and visual communication”. The exhibition explores the interrelationships between visual communication and art: free spaces, grey areas, overlaps, dialogues and collaborations. The intention is to blur the rigid boundaries between the two fields and professional descriptions. Káschem Büro considered cotton wool to be a suitable material for the lettering, which is placed on the poster.

Agrippa (A book of the dead) is a poem written by William Gibson in 1992. Originally stored on a 3.5″ floppy disk, the poem was programmed
to encrypt itself after a single read. When the user types in Gibson’s poem, using the AGRIPPA font, it makes the text disappear into a Ligature.

Confetti is an experimental variable font project composed of numerous dots and circles in varying sizes. This variable font interpolates the size of these dot components, creating a positive-negative effect. The multitude of dots evokes the appearance of a font made from confetti, hence the name “Konfetti.” This project is a work in progress.

For the Artist’s Edition of Compartment Syndrome, books were cast into Pegwell Bay, the project’s location. Immersed in local seawater, the typography and photography degraded to mimic the erosion of time. Photos from a Kent coast village, taken before and during the EU Referendum, explore the elusive characteristics of Englishness. This edition examines the fracture resulting from the vote and meditates on the village as a symbol of both freedom and restriction.

An experimental typographic image spelling “YES WE SCAN” using collected QR codes blends technology and art. Each letter is formed by arranging QR codes, creating a digital texture. The phrase plays on “Yes we can” and hints at surveillance in the digital age. The QR codes, when scanned, may reveal diverse content, adding an interactive element. This piece comments on data, surveillance, and the influence of technology in modern society, inviting viewers to reflect on these themes.

Poster with type experiments. Character’s reflecting traits through letterforms

Letterings created to compose a sticker sheet. All the designs were inspired by informal handwritten posters in neighborhood stores and also items present in São Paulo’s popular culture.