Artificial intelligence helped me find solutions that aid the viewer in searching. Searching and observing closely.

How might typography look at the biological level? I played around with this idea a bit using artificial intelligence.

The “Felsen” font or rather its character set consists of six basic forms that are programmed to compose each character. Random parameters were programmed into the font to create the font’s unusual characteristics. There are different random details in each font style. In addition, a theoretically unlimited number of font styles can be created. The font was not subsequently reworked in order to preserve its unique character which has an unmistakable appearance especially in the extreme weights.

All the works I present here are a blend of human creativity and artificial intelligence. The rhythms and forms are the result of human exploration, with AI as the tool.
This piece is called “Flow.” We exist in it, with our movement, dynamics, and accents — in one word, in the flow. Yet, there is an element that inevitably seeps into your routine, and you might not notice it right away. But it is there. This work reflects the everyday life of Ukraine today.

To highlight the sharp decline in lichen populations, five asemic sign systems are created to give them a voice. These systems are modular and inspired by various species. By experimenting with these signs and mimicking their growth, a unique visual language is developed. This artistic approach not only draws attention to the ecological issue but also emphasizes the beauty and significance of these often-overlooked organisms, encouraging deeper engagement and awareness for their protection.

»Flextron« is a modular font system for experimental use. Monospaced and extremly reduced to a minimum of three to five elements per sign, the alphabet explores the limits of legibility. Prepared to contain structured elements, gradients or outlines, the font is dedicated to set various rhythmic patterns. Several transformations and abstractions show the character of this work: A stable grid for an ongoing process – texts as complex images, type as artistic expression.

The poster about selfish in the modern world. Typographical explosion, controlled chaos, and unconventional censorship using Latin alphabet letters.

Design allows me to break, unlock and create barriers. Digital, analogue, three-dimensional, two-dimensional, meaningful, meaningless.

This experimental typeface was inspired and shaped by cross-stitch embroidery. The aim was to use this traditional method and integrate it into the contemporary art world. The design is implemented within a grid system, thus mixing embroidery and pixel-based techniques. Embroidery is an old art form that carries values from the past, while the pixel-based approach and the irregular lettering are kind of a modern rebellion.

This is a series of illustrations I created for Road & Track Magazine to accompany a special feature on iconic 90s supercars, titled ‘The Unloved’. I made three full-page illustrations to open each section, each centered around one of the cars: the Ferrari F50, Porsche 996, and Lamborghini Diablo. The assignment was to make the illustrations abstract, giving away only small hints of the respective cars, with each featuring an almost hidden headline that requires some effort to unveil.

The designer used Google Spreadsheets as a canvas to create a clockface that addresses the issue of climate crisis. By utilising the entire width from A to Z as a grid, she crafted the shapes of numbers, making a statement through the tool itself. She explains that in a capitalist world, the fight against consumerism and climate change often boils down to a numbers game on a profitability spreadsheet. This work was shortlisted in the ‘Time is Running Out’ competition by studio OMSE.

Each artist communicates with the outside world in their own way. They strive to express their thoughts, ideas, and emotions through colors, shapes, and compositions. In the era of Abstract and Concrete Art the creation should refer to nothing other than itself. No external meaning was left, just as in asemic signs. This work examines various artists and their visual language. Unique and unmistakable systems of asemic signs are created.

Numerals: A language that weaves the fabric of time. A figure that captures the first met, making the days and months in a repeating cycle. A symbol that breaths on manuscripts for the passed years and history.

“Repetitive Tricks” is inspired by training sessions with Chen’s dog, TOTO. It captures the repeated gestures and vocabulary used in practicing the same tricks. This font explores the deep emotions and connections that transcend the boundary between animal and human. Such interactions are embodied through a unique set of font patterns, experimenting with both legibility and hieroglyphics.

I created an illustration based on the hand-lettered word ‘Yes’. I then scanned this drawing, printed it, scanned it again, printed it again, and repeated this process multiple times, resulting in very rough textures that give the final piece a raw, analog feel. This process has imbued the artwork with a unique appearance and a great deal of character.

Cumbre is a slanted display type with unorthodox anatomy, a dynamic and rhythmic structure, movement expression, and a dexterous personality. An eccentric rebel with ribbon-like moves, a balanced extrovert that makes meticulous use of ink traps.

Both name and design are inspired by mountain peaks. ’Cumbre’ in Spanish means summit, hence the jagged style with sharp angles combined with venturous curves and its angular, serrated structure.

This experiment further explored randomness by throwing physical paper folds (9m 30ft long) to create various shapes, resulting in forms that resemble those made with parametric design.

During the process of experimenting with punched and folded paper using a 3D-printed gadget, the long paper strip was transformed into a letterform. The study of the letterform, material, and process culminated in a series of explhttps://www.instagram.com/p/Cz6R2oxO-Yd/
https://www.instagram.com/p/C0WxSLSOOqq/

This work captures a 3D-printed, unfired clay object inscribed with the word “LOVE.” Initially legible, the object has been submerged in water, causing it to crack and distort. The once clear letters have become difficult to read, adding a poetic aspect to the letterform and the meaning of love. The cracks and imperfections introduce a sense of fragility and transience to the artwork.
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https://www.instagram.com/p/Bi0bDcFjZaH/

Overwhelmed visualizes thought triggers in an oversaturated medium/mental state.
A modular, dot-based letter system was created with sodium acetate crystals. The crystals expand from single points and merge with others until the basic letter shape is completely engulfed/consumed in the crystalline structures, depicting rising intrusive thoughts taking over an oversaturated mind, the Petri dish. The chemical reaction creates arbitrary forms within the characters, a feature this project embraces.

Language, normalized in daily interactions, isn’t neutral; it’s a symbol system that creates an illusion of understanding between what we know, think, speak. “Las Vagus,” a variable font, emerged from research into communication gaps faced by trauma survivors. It addresses the mind-body gap by translating sensory methods used in trauma-coping, such as activating the Vagus nerve with clay, origami, yoga, Rorschach illusions, breathing, and vibration. “Las Vagus” enhances diverse communication.

The fascination with bubble butts, or rounded and prominent buttocks, has grown due to cultural influences, media and celebrity promotion, fitness trends, and social media. Celebrities like Kim Kardashian and Beyoncé have popularized curvier body types. The fitness industry focuses on glute-targeting exercises, and platforms like Instagram amplify these trends. Historically, beauty ideals have shifted, and the current trend is part of this ongoing evolution.

Colibri is a typeface family inspired by 90s rave flyers, created by Julie Doriath. Available in three weights with two encoded, which is inspired from animal mimicry and rave culture codes for confidential communication hypotheses. BPM stems from the deconstruction of the character through techno vibrations (130 to 200 BPM), while Fluid explores the fluidity and the wrapping of electronic music. Its name references the hummingbird’s heartbeat, ranging from 250 bpm at rest to 1000 bpm in flight.

The project aims to design a simplified,modular Arabic typeface inspired by the simplification reforms of the 1930s and 1960s, as well as Linotype’s ‘Simplified Arabic’ from the 1950s.Developed in a master’s seminar at FH Aachen,it seeks to ease learning of Arabic script by reducing standard letter forms from four to two per glyph.The goal is to create simpler forms while retaining essential features of Arabic script.‘Geo Kufi’ is designed as a display font suitable for headlines or short texts.

MORPHOS is a experimental typeface that exemplifies the potential of AI in design combined with CGI.

By combining CGI precision, spacial morphological fluidity, and the timeless beauty of marble textures, it offers a unique blend of contemporary style and organic elegance using AI tools to morph the characters.

This font encapsulates a contemporary aesthetic while maintaining an organic touch, making it a perfect choice for modern digital and print designs that seek to blend organic-digital.