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.

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.

An invite for a friends birthday picnic in the park using a type made from a picnics most unwanted guest. I mapped the beautiful ant from Ouvrières by Laure Azizi and Velvetyne to Honeymoon by Dinamo.

This poster explores inner energy as a personal source of strength and transformation. Through fluid, flame-like forms and intense contrasting colors, the work visualizes emotion in motion – unstable, powerful, and alive. It reflects the idea of embracing one’s inner fire rather than suppressing it, allowing identity to burn, change, and exist freely.

Four poems rotate in a loop. They address the abstraction of written language, terminology, and communication as a visual form. Using Blender Geometry Nodes the typography is distorted procedurally in multiple ways.
AH. FADES CALLING DRIFTING VANISHING FALLING WHISPERS OH.
WE STAY WAITING. DRIFTING LOOSING SLIPPING, GONE. NOW:
COLD BURN TOUCHING; SHIFTING BREAKING FADING LOST-STILL.
COLD CUT! SHARP DIVIDING. FRACTURE BURNING DEEP & WIDE.

“YWCTF” is a photographic poster that attacks governmental and ideological frameworks that oppress and criminalize bodily autonomy. The message is inscribed onto the skin, binding the protest and the body into a cohesive surface to establish bodily sovereignty as an imperative political reality rather than a debate matter. Trans bodies, female bodies, immigrant bodies, and all bodies shall not be coerced to suit any doctrine, including that of the observer as confronted by the pronoun “you.”

The concept of this project was inspired by the philosophy of the absurd — the compulsive search for meaning where there is none. As we vainly seek wholeness, the elements of our reality are abstracted into smaller and smaller parts, until they become pervasive noise. The more we try to make sense of it, the more it becomes unintelligible. This project depicts this spiritual, human process through visual experiment, using the tools of typography.