These typographic experiments investigate form and distortion though grids, spatial structures, and three-dimensional systems.
Set within generous white space, the works allow type to shift between signal, interference, and abstraction.

The A sculpture is a free typographic project that combines sculptural design with light painting photography and led to the final result of a colored longtime-exposure . The abstract letter A is made of styrofoam which are originally inspired by leftover segments from a stencil (cutouts) which I adapted from a painting of Victor Vasarely. The 1,5m high sculptures´ setup was a complete dark studio, only lit by a handheld RGB LED light and I was manually changing the color during the capturing.

In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules. “To boldly go where no one has gone before”

My illustrations are inspired by a long-standing fascination with cyberpunk aesthetics and various science fiction narratives.

In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules.

Help Others Understand Dyslexia uses typography as a tool for empathy. By intentionally breaking the traditional rules of legibility, I aim to disrupt the reading experience in a way that mirrors the frustrations many dyslexic people face. Through this experimental typeface (Flux), which distorts and manipulates letterforms, I hope to spark conversation and build greater awareness around dyslexia and challenge conventional design.

Conceptual poster developed for the stage production Bacchae, shown at at Olivier Theatre in London

Conceptual poster developed for the stage production Scorched Earth, shown at St. Ann’s Warehouse in Brooklyn

Conceptual poster developed for the stage production Man and Boy, shown at at Dorfman Theatre in London

Conceptual poster developed for a theatrical production Hamstrung, shown at at Pleasance Theatre in London

Remembering Veronika is a tribute to our late friend, visual artist Veronika Bažaliková (*1978 — †2023). It recalls friendships formed during summer art symposia in eastern Slovakia. The typeface used, Anonym, originated in this shared context. Created by digitising anonymous scratched inscriptions found on the walls of an old mill in the village of Košarovce during the OpenSpace symposium in 2014, it bears raw traces of presence, absence, and memory.

Typography exploration based on a modular grid of cubes. Pushing between structure and movement, transforming letterforms into sculptural compositions.

Conceptual poster for a theatrical production Metamorphoses staged at at La MaMa ETC in New York

Conceptual poster for a theatrical production Now Here staged at Traverse Theatre in Edinburgh

Experimental visual poster for the theatrical performance Natalie Palamides: Weer, presented at Traverse Theatre in London

The custom typeface “Real” is an expressive display font and, as a variable font for a selection of characters, can be adapted to a wide variety of end formats. As a monospaced font with around 180 letters and accents, numbers, and punctuation marks, it allows for concise visual presentations. Heavy, physical forms with deep white spaces and changing contrast points create a sense of movement and depth, light and shadow, refraction and distortion.

websites and tools ive used:
https://www.tooooools..app
https://effect.app
photoshop, indesign,, illustrator, procreate

This poster is the result of experimenting with outlines, repetition, and digital distortion. I explored different online tools to manipulate typography, breaking down letterforms into fragmented lines and textures. The process focuses on pushing type beyond readability, turning it into a visual pattern and atmosphere rather than pure information.

MULTIVERS is about modular letters that can have many variants (for fun) but keep their basic structure (for function). It’s like wearing different clothes while remaining the same person. The letters are based on a 3×7 grid. The modules for corners, T-junctions, inner lines and end lines are based on straight lines and arcs to keep the overall look somewhat coherent in this early stage of the project. The letter A has over 40 million variants, so the simple components create extreme complexity.

Counterfeit is a type design exercise with the objective of using the least amount of modules for the letterforms. What resulted is that at large scale it becomes display, hard to read and decipher each glyph, but at small scales the gaps between modules close and becomes more readable.

This risograph print is composed using a wide range of typefaces that spell out the track titles from the rap album Temps de Flors by Mallorcan rap artist Pode. The piece has been translated into black and white for this magazine edition, while preserving the characteristic texture and material quality of risograph printing. The diversity of typographic styles, shapes and visual rhythms reflects the album’s own spirit: a varied, vibrant body of work full of life, contrasts, and expressive energy