The work was created within the seminar “Can you read me?” by Susanne Stahl at the University of Applied Sciences Potsdam, including a two-day workshop with Giulia Schelm from Studio Burrow. Through analogue and digital experiments with glyphs using unconventional materials and parametric tools, the limits of legibility were explored.

The poster was assembled using analog processes, combining gelli plate/spray paint textures, typography from found printed materials, and abstract photography of light and shadow. Its layered composition captures the spontaneity of tactile methods, reflecting the course’s exploration of experimental image-making through chance operations and purposeful play. A Xerox photocopier was used to manipulate the top/bottom content, adding unique distortion and texture to each letterform.

Each composition takes shape on the translucent stage of an overhead projector, where materials such as glass, wood blocks, colored cellophane sheets, letter stencils, typography printed on transparency film, and various found objects with transparent, reflective, or porous qualities are arranged and intersected. When projected, the assemblage of materials transforms into luminous compositions of light, color, patterns, and silhouettes.

BACK2BASS is a party series founded by friends QT-XTC and DJ DUO BUTTMONEY, creating a space for femme and queer perspectives in their local club scene. The concept showcases uptempo electronic music influenced by contemporary soundscapes, bringing high energy and diverse rhythms to any dancefloor.

I’ve hand drawn a raw, loud, distorted, physical, sweaty, aggressive, anti-polish, anti-corporate font for my creative playground HOLY HARDCORE which crafts narratives that connect people,
products, and places through authentic storytelling.

Graphic for the collaboration between the London restaurant Giacco’s and the Marseillaise restaurant La Ola. Realised with custom lettering.

Graphic for the residency of Ling Ling’s at the restaurant Giacco’s in London. Realised using the extraordinary Harber by BB-Bureau.

Five hounds emerge from the margins of British and European folklore, their names and territories preserved like fragments of a corrupted archive. Myth becomes both legend and data, reactivated through aged surfaces and contemporary typographic language.

We have become captured by efficiency and acceleration. The inaccessibility of the font grants the user to slow down and process the dissonance of our cultural programming. CAPTURED, a variable kerned font between each glyph, critiques the masquerading of swarmmachines enabling the discrimination of humans from non-human intelligences. To reject being captured via a transmission of semio-withdrawal helps breed the cybernetics of re-enchantment within the commons.

VITRO-ASEMIC was cultivated with mouth bacteria and agar. The process was created from three petri dishes that were marked in the forms of the seven Henderson’s typtoms in order to cultivate alternative consciousness that is beyond the human using this artifact of a dingbat font. The rejection of agency within the postnatural world has haunted the (de)sign field and for its betterment the designer shall become beyond their own and towards a collective consciousness of subjectivities.

The human writing system has evolved from hieroglyphs to our modern Latin alphabet. While the Latin alphabet without a doubt allows for more complex language, the hieroglyphic systems of the past were more deeply connected to real-life objects. Humans now prefer quick flashy videos over long text. Therefore going back to an image-based writing system like humans used to thousands of years ago could be the future of typography.

While proofing a typeface, a broken image link in InDesign created distorted, pixelated previews. This unexpected glitch was compelling enough to investigate further. Screenshots were taken and the distorted forms were traced in Glyphs, forming the basis for a new pixel-based typeface. The modular construction made exploring variations easy. Replacing square pixels with circular ones created a different visual tone. ML-25 features three axes, 300 characters, and supports 74 languages.

This Gujarati experimental calligraphy artwork inspired by a poem that reflects on the city’s unforgiving heat, whitewashed silence, and dry restlessness, the calligraphy becomes an urban choreography of shade and intensity. The calligraphic response embraces this raw, sensory landscape. The letterforms are black, bold, matt and dense- like shadows that stretch along the edge of footpaths, lean against crumbling walls, hover beneath balconies, or pool in the patches of sand.

This work reflects on the role of the human hand in the creation of letterforms. Rather than aiming for perfection or automation, it emphasizes touch, imperfection and the physical trace of the maker. The forms emerge through gesture and movement, leaving a visible imprint of the hand. Typography becomes a carrier of presence, intuition and authorship, shaped by human involvement rather than invisible systems.

https://font.fol.com.tr/

Designed to celebrate Fol’s 10th anniversary, Fol 10 is an Experimental typeface family that reinterprets pixel aesthetics through lines and dots. With four distinct styles — Square LIne ThIn Dot — and a total of 112 characters, It offers a digital, modular, and systematic typographic structure.

Gravity is the universal force of attraction between masses, most familiar as the pull toward the Earth’s center. An essential energy grounding all physical existence, it serves as the silent prerequisite for walking and moving. Just as meridians and parallels map the globe to identify specific points, words help as the coordinates of human connection. They lead the individual to develop a dialogue with the other, transforming a physical world into a shared space defined by language.

I am an artist and graphic designer based in Rotterdam. My work explores experimental approaches to typography, focusing on process, play and interaction rather than fixed outcomes.

Draw Type With Type is a digital tool I developed that allows users to draw using letters as a drawing tool. By turning typography into a gesture-based medium, the project invites intuitive exploration and challenges conventional ways of creating letterforms.

The hand-knitted scarf carries a hidden message: “WHEN A WOMAN DOES IT, IT’S CRAFT, BUT WHEN A MAN DOES IT, IT’S ART.” This statement highlights the double standard in how creative work is often judged based on the gender of its creator. The text can only be fully read from a certain perspective—symbolizing how women’s work is frequently overlooked, often overshadowed or even invisible. The project engages viewers, showing how objects carry multiple meanings, visible only from new perspectives.

Experimental 3D poster design featuring the custom Klynok display typeface, part of a shapeshifting type system named Klynok (meaning “saber blade” in Ukrainian), inspired by Ukrainian Cossack Baroque heritage. Winner of the D&AD Awards 2025 Wood Pencil.

Blackwood is an experimental typographic system inspired by the structural logic of traditional vegetal ornaments. Instead of applying decoration, the letterforms are built from branching strokes and irregular tensions, where ornament becomes structure. The alphabet explores controlled imperfection, organic growth, and the balance between legibility and expression, translating natural systems into a contemporary typographic language.

For the Republish exhibition, this installation explores how “static” typefaces shift with changing social contexts. It scrapes Instagram posts tagged #chobenthanh, #benthanhmarket, or #benthanh, transforming each social post into an abstract, climate-reactive visual. Captions become overlay text set in Westgate (Cửa Tây), a typeface inspired by Ben Thanh Market’s gate lettering. Viewers can join by posting with those hashtags.

Created for Vietnam Festival of Media & Design 2018, Ba Đình is a generative typeface built from Hanoi’s typographic remnants: vintage ephemera, ghost signs, and vernacular lettering. Each glyph is assembled from modular illustrations drawn from four Hanoi signatures: architecture, performance, craftsmanship, and folk woodcuts. Layered into a flexible 3-tier system, the code randomly recombines modules and colors, producing coherent letters with thousands of variations.

“Memos to Make Sense of Us” is an online space that invites users to write heartfelt memos to someone in the future, hoping to create small moments of positivity. These messages are reinterpreted through creative coding that responds to emotion, location, and weather. Visualized through Plutchik’s emotion model and geolocation data, each memo becomes a generative typographic piece—both a personal postcard and a fragment of a larger collective museum online.

A series of blooming flowers made from type.