Using my name as a template, a new alphabet of five letters is being created in 3D.

Various custom type / letterings. (1A) For the little collaboration with The Templates (The Brand Identity). (1B top) For the collaboration with Ecosia. (1B bottom, 1C and 1D) As part of the Weekend crap series, a self-initiated project, displayed on IG.

‘Kill the Beast’ is a poster made out from quotes from William Golding’s novel ‘Lord of the Flies’ (1954). The novel poses a question why some people, having to fight for their lives, become savages, and why the others are able to stay humans.
I’ve reread the novel after the war in Ukraine started, and with this poster I want to remind that classic literature is still up-to-date (in this case, unfortunately). I deliberately made a poster in a contemporary style to draw attention. I didn’t use any recognisable metaphors from the novel (e.g. the pig head), because the text is more important here. The poster was done with hand-cut stencils and spray paint on canvas, 60 x 80 cm.

Focusing on the slogan “We Create Culture” of , we defined the value of the project as a culture, people, tradition/heritance, and visualized the message that wants to convey through three video works.
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To dynamically express the slogan of , which creates culture, connects people to people, and conveys tradition and heritage, Everyday Practice worked on motion graphics optimized for the online environment based on creative coding.

My Desire to Consume was an art exhibition organized as part of Singapore Art Week. Focused around the creation, distribution and consumption of digital art, the exhibition critiqued the rise of NFTs and how it has come to reshape digital art. Designed specifically for this exhibition, the poster features the recombination of existing typefaces to create new forms and compositions that allude to the chaotic nature of the NFT space. The customized pixelization of specific letterforms seek to emphasize the amorphous digital nature of NFTs and their screen bound imagery, while also alluding to the low-resolution fonts accompanying barcodes – a staple feature of consumption in modern society.

Playing with a different canvas than usual, Marte made a typeface that works best for Belgium’s concrete pavement tiles. The letters can be used as stencils to add messages on the street or as actual tiles, giving people the possibility to turn the pavement into a small garden.

Filuresä is a fictional language imagined to be used by the underwater inhabitants
of Jupiter’s moon Europa. It is a language in space – not spoken but written in
real-time in neon colors. Colorful ink splashes from the finger tips of the speaker to create loops and curves indicating different letters. The color of the ink varies and
illuminates the underwater world in green, yellow, red, blue, violet or orange hues thus indicating which vowel accompanies the curve of the consonant. This language system creates beautiful neon sculptures that disappear as soon as the message
is written and received.

A string hangs from a tripod, a brush hangs from the string and a blanc paper lies underneath. Due to the controlled movement of the string, the brush begins to swing.
Playing with the controlled coincidence creates excitement, because the shape of the letter can only be planned to a limited extent. Forms emerge in which the viewer can lose himself. The details bring mixtures of graphic drawings and appearances that seem sensual to us. New possibilities of interpretation emerge that are more familiar from painting. The free, abstract forms stand in contrast to the fonts we are familiar with.

As the war in Ukraine rages on, so continues the plight of millions. Among these, each person has a story to be told.
This project aims to illustrate how stories of each individual ordeal can be drowned in a sea of tragedies. Hundreds of personal stories were sourced from newspapers and arranged in 3pt type. From afar this looks just like lines but can be read under closer inspection.
Fragments of the stories were put under a microscope, vectorized and placed over the stories. This aggressive disfigurement, almost as destructive as the topic itself, reminiscent of barbwire and charred remains, demonstrates
the mere quantity of such narratives vs. the individual tragedies behind each one.

Experimental specimen of a reverse contrast, geometric, angular typeface (as of yet untitled) set in Black, which is one of six total family styles. Currently in the last stage of development, and set to release in the coming month(s).

I’ve designed pages in all six styles (Thin, Light, Regular, Medium, Bold, Black), but since this is a one page submission I’ve chosen one of the extreme styles. It has a tentative name that it will most likely release under so I’d be happy to update you and provide much more detail (font specifications, concept, final name, etc.) if this work is chosen.

This spread is part of an Arabic poetry book.
The spread shows El Khansaa’s lament poetry as she’s mourning her late brother. She’s crying as she writes the verses and remembers her brother so her tears spread on the paper.

Persimmons is an experimental interactive book translating the text of a poem into pattern through linguistic analysis and code. Words taken from each passage of Li-Young Lee’s poem, “Persimmons”, are run through Processing; the reader’s interaction with the book transforms the text’s phonetic structures into generated patterns.

Sayan Wa Shattan is a poster that encourages Arabs at reading Arabic poetry which they’ve neglected in the past decades. Sayan Wa Shattan is an Arabic expression that literally translates to “similar but different” which is the perfect way to describe Arabic poetry genres.

Type Unseen (76 pages, 5” X 9”) is a reader on illegible graphic design and visual nonsense; it analyzes the influence our youth culture has had on experimental typography, all the while exploring the multitude of philosophies that drive us to construct and deconstruct meaning. The title on the cover layers different typographic treatments of the words, in order to become as illegible as possible without altering any letterforms.

Experimenting with arabic Typography and motion and calligraphy

Title lettering for the poster of the musical “Mold”. It symbolically expresses the main character who lives in a difficult environment but shines.

A movie poster of the documentary “احكيلي” or “Let’s talk”. It’s a movie about an Egyptian director and filmmaker explores subjects such as motherhood, identity and ancestry with intimate conversations with her daughter. The translucent paper portrays the unearthing of memories and ancestries and the sewn typography adds to the poetic feeling of the movie and the poster.

A movie poster of the iconic movie”Abi foq al-Shagara“, it is a 1969 Egyptian drama musical romantic film.It is mostly famous with it’s Umbrella song “doqo el Shamasi”. That’s why I added the abstract umbrella cut-outs, and designed a typeface that would match that era, but with a modern spin to it.

A movie poster of the horror movie “Midsomar”. I incorporated the bright embroidery with the eerie photograph, similar to the movie where the videography was pretty and bright, however the content and story were horrific. Whenever I can I like my work to be analogue, in my opinion it gives it texture and personality.

Asterisk is a variable mono typeface inspired by the shape of the glyph called the ✳ eight spoked asterisk. The letters are mapped from a 3×3 grid of the glyph.

Prick was made from the shape of a dental floss stick that pricked my finger, it was also inspired by a real life prick I met.