No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

The project explores typography created through mechanical error. An imperfect stamp impression distorts the logo and letterforms, revealing accidental shifts, overlaps, and losses of shape. Error becomes a design tool, generating new typographic structures and alternative versions of the mark. The work treats failed reproduction as an autonomous typographic process driven by chance and intentional imprecision.

This experiment is part of a project called Action Cleaning. The typeface is created on thermal paper using cleaning tools and alcohol-based products. It was made for the 14th anniversary of the International Day of Domestic Workers in 2024 as a provocation. The specimen shows scans of the typeface forming a text that explains the concept and demonstrates its readability. Each cleaning tool draws a glyph, shown in the example on the front where the coloured object was used to make the number 3.

Inspired by public-space artworks—primarily sculptures—from the Normalization period (1960s–1980s) in Czechoslovakia, the typeface derives each letterform from a specific object. Archival research was used to identify sculptural shapes resembling individual letters, drawing from the Aliens and Herons archive, a project dedicated to documenting and preserving these artworks.

Experiencing a new digital dark age, Arc Grotesque rediscovers medieval letterforms for contemporary use. Uppercase letters act as initials. Based on manuscript letters, but constrained by a strict grid. The lowercase letters follow the same grid, which is a width-unit system distilled from patterns used by old master punchcutters. Unlike historical models, a narrow sans-serif is forced into this pattern. The project uses the LeMo software as a base to apply the logic of self-spacing type.

This project was created at Potsdam University of Applied Sciences during a workshop with Giulia Schelm of imBurrow. We worked with a digital type tool, experimenting with form and legibility. The publication brings together the experimental outcomes of all workshop participants. Ben Raisic and I designed the publication, including the cover shown here.

A fleuron is a flower-shaped ornament used in typography and lace knitting, connecting both worlds. Following this overlap, the experimental typeface Fleuron is based on a grid system composed of diamond shaped units. Its form is inspired by the traditional textile weaving of letters while the font itself is purely digital. It was designed with the recently published online tool GRID-TYPE.COM.

Between Echo and Resonance is a bachelor thesis exploring typography as a tool for visualizing digital echo chambers. A custom ellipse-based type system transforms each letter’s outline into point clusters, progressively dissolving legibility as content becomes more polarized. The installation displays Reddit posts across four screens, with typographic parameters—shape, density, color—mapped to an “echo chamber score.” 68 visual dialects emerge: they can see each other, but never understand.

“Forms of Protest” explores the power of the printed word as a medium of empowerment. The typeface “Protest Mono,” developed specifically for this project and crafted as a printable font from pear wood, combines aesthetic diversity with accessible application.
The workshop is understood here as a site of manual thinking, exchange, and revolt. Through participatory workshops, the project invites participants to give expression to diverse forms of protest and to position them within public space.

The work is generated with the Dynamic Design Instrument, a custom openFrameworks tool developed by Dina Silanteva for live visual performance. DDI includes a custom modular typeface, where each letter is built from a grid and animated in real time. Typography is approached as a flexible, performative system rather than a fixed form. The work is shown as static poster, animated GIF and video animations.

Excerpt from a series of typographic works revolving around the “Earth” as a living organism: Type becomes landscape, characters become cells. In labyrinthine structures, organic-geometric systems, and seemingly irrational paths, the earth is reflected as a complex structure between chaos and order. Typography no longer functions as a carrier of language, but as a material that expands, branches out, condenses, or erodes — analogous to geological, biological, and cultural processes.

An interpretation of the Polish writer and playwright Witold Gombrowicz.

Math of Time is an alternative clock system that visualizes the hidden mathematics behind everyday time perception. Instead of showing fixed numbers, it translates real time into shifting geometry, movement, rhythm, and sound. Each moment generates its own geometric configuration, with a constantly transforming triangle forming a unique signature of the present. Programmed in Processing, the work explores how time becomes deeply personal through perception

The result of a synthesis of geometric and italic grotesk influences, evoking an aesthetic of speed, movement, and dynamism. Initially developed through an uppercase light-weight study, its core structure and expression remain consistent across heavier weights, ensuring versatility. Its architectural letterforms allow for complex interactions through spacing and kerning, generating distinctive ligature-like connections. Diagonal forms underpin the design philosophy, conveying rhythm and motion.

Inspired by Roland Barthes’s The Death of the Author, this small interactive installation explores the viewer’s role in creating meaning. Soap bars carved with the word author are placed beside water and used by visitors to wash their hands, gradually erasing the word. Referencing both Barthes’s theory and Pontius Pilate’s symbolic hand-washing, the act invites viewers to “kill” the author while simultaneously destroying the artwork itself.

As designers, we constantly strive after finding the shapes of the future. We look ahead while our past is following, being present in every step we take. What if we lean in and explore the things from our past? Inspired from historic building inscriptions in The Netherlands and Germany, the lettering 2026 reshapes medieval forms with the tools of the present.

Cellular Transfigurations is a generative font family built with Processing (p5.js), inspired by biologically immortal organisms such as Schmidtea mediterranea (planarian flatworm) and Turritopsis dohrnii (the “immortal” jellyfish). Imitating processes that allow these species endlessly regenerate, the code reshapes letterforms—stretching, mutating, and sometimes erasing legibility—treating typography as a living system and asking whether meaning dissolves when life persists without end.

Typography in motion telling stories without words. Order and chaos merge as structured lines dissolve into fluid forms, inviting exploration of the balance between precision and spontaneity.

Weekly opening-hour posts from bananaboot.de are sampled, cut, and reassembled. Animation frames freeze mid-gesture, still images lose function. Time collapses. Order is refused. Across three A4 pages, typography shifts from information to interference—raw, repetitive, resistant. The collage converts time-based announcement type into static noise, testing repetition, rhythm, and refusal as typographic strategy.

The state of the Earth is fragile and dynamic. We are all fragments of the problem or the solution. With these thoughts in mind, I approached the design of the poster. I tored equally sized rectangles from old paper and drew various shapes on them. These shapes collectively form the lettering of the poster. When a rectangle is moved, the lettering on the poster changes. Since the shapes are modular, they can be used to experiment and form letters in infinite ways.