The project “Dark Matter” is my exploration of the positive connotations of the color Black. The goal of this project is to make people question how the color black has been historically associated with negativity. I love the usage of typography in my work and this project will implement phrases that I have written as layered with abstract patterns of pigment shades exploring Blackness as a rich, chromatic color, not just the absence of light.

The project “Dark Matter” is my exploration of the positive connotations of the color Black. The goal of this project is to make people question how the color black has been historically associated with negativity. I love the usage of typography in my work and this project will implement phrases that I have written as layered with abstract patterns of pigment shades exploring Blackness as a rich, chromatic color, not just the absence of light.

At the annual Werkschau, students from all design disciplines at FH Potsdam present their work. The illustration and typography express the curiosity and joy of exploring the exhibition and discovering new perspectives. The simplicity of the hand-drawn letters symbolizes playfulness and accessibility for all ages.

The poster features a quote from ancient Aramaic and the original inscription: “We sought a quiet refuge for our love, and the road led us to the realm of the dead.” This phrase reflects the realities of modern life of Ukrainian families during the war.
This text was found carved on a stone above the entrance to an ancient Armenian temple in the 9th century.

The Werkschau at FH Potsdam is an annual exhibition presenting the work of all design students. It’s typography reflects the spirit of the university, the fluidity of people with diverse skills and backgrounds coming together, crossing disciplines, and shaping projects collectively.

Field is an experimental typographic system developed in After Effects, transforming any text—across fonts, weights, and styles—into a dynamic, grass-like field. Adjustable parameters such as width, density, thickness, and a noise-driven displacement map control motion and structure, simulating wind. Fully animated, the system generates endless variations and can be used for moving images, generative patterns, and video-based typographic applications.

“The Uncertain Forming of Shapes” is a project focusing on the path of studying communication design. It reflects ups and downs, while representing a metamorphosis of identity and visual expression. In the same way we look back on the mistakes of past projects and search for learnings, this project explores new and unseen shapes hidden in the shadows of prior work, shaping who we are today.

NoTech is an experimental typeface derived from a 5×5 grid system. Instead of discarding the structure after forming characters, the letterforms and most of the framework are removed, leaving only the segments once occupied by the glyphs. Proportions and stroke weight were refined using custom tools and sketches. The design was later skewed and layered to create a subtle 2.5D effect.

The typographic outcome is a fragment of text from Chapter 11 of James Joyce’s Ulysses, aiming to interpret its context and highlight the unique musical fugue structure of this specific Chapter. This inspired the use of a technique called data bending, which converts text into a sound file and then back out as an exported image. No visual aid is available while editing the sound files, which can lead to involuntary design decisions, giving the text a new form of experimental expression.

For this project, a controller from the brand 8bitdo was used to semi randomly draw an experimental typeface. This brand specifically allows for remapping of buttons on controllers, and with the Enjoyable free software, the controller was turned into a mouse with a specific speed, that was then used in Glyphs 3 to draw a typeface with a specific, slightly pixellated aesthetic. Moving the buttons on the controller is difficult, and the result was then semi controlled.

For this project, a controller from the brand 8bitdo was used to semi randomly draw an experimental typeface. This brand specifically allows for remapping of buttons on controllers, and with the Enjoyable free software, the controller was turned into a mouse with a specific speed, that was then used in Glyphs 3 to draw a typeface with a specific, slightly pixellated aesthetic. Moving the buttons on the controller is difficult, and the result was then semi controlled.

ONBOARDS BIENNALE 2025 presented contemporary art on Antwerp billboards, centering on a typographic campaign. Using the letters R and S, intersecting strokes formed a grid-like, relational system. Generated through coding, the design acted as dynamic infrastructure, connective, procedural, and mutable mirroring the biennale’s theme of relationships, continuously reconfiguring across physical and digital spaces in public view.

This project explores latrinalia—toilet wall writings—as raw artistic, emotional, and typographic expression. It examines how anonymous individuals use walls to communicate through spontaneous, imperfect, and honest typography. Inspired by a quote calling toilet writing “the purest form of art” and personal experiences of reading strangers’ stories online, the project views these messages as quiet acts of connection that declare presence, existence, and meaning.

The project explores the intentional misuse of graphic design tools to break habitual workflows. By working against software’s intended functions, familiar tools become unpredictable and shape the visual language themselves. Play, limitation, and friction act as design strategies. The submissions include a poster campaign made only in Illustrator’s path view, a logotype and jersey created with InDesign tables, and an animated poster developed in Glyphs.

This collection of motion type experiments was created during 36 days of type in 2021. The motions were inspired by rhythmic gymnastics ribbon, a sport in which gymnasts perform individually on a floor with an apparatus.

At that time, I wanted to understand more about movement as I was exploring and experimenting with motion type. This sport inspired some of my creative process about motion type experiment. So I began to create this set of type in motion.

This poster juxtaposes a personal handwritten message with stamped letterforms carved from potatoes. While the text communicates directly, the stamps remains unresolved, functioning as rhythm, trace, and form. Abstract ink marks made with an EZA pen and a piece of fabric create a gestural background. Using improvised tools, the work explores materiality, repetition, and the tension between readable language and abstract typography.

Design as a process is rarely linear and is often frustrating, seen as a “mess” or a constant work-in-progress. This project treats the process itself, through multiple iterations of the artist’s modular M, as the work, shifting focus from the final outcome to the beauty and significance of development. The resulting piece playfully acknowledges the long, frustrating journey of the project, turning the evolving letterforms into a humorous dance shaped by this trial and error.

This project explores typographic weight through a textured modular system. The letter M is developed in three weights not by altering stroke thickness linearly, but by diffusing and splitting its modules. Visual weight is expressed through density, rhythm, and colour, allowing the letterform to shift between solid form and textured surface.

Created for a tragic theatrical play, this poster uses embroidery as a lettering technique. The title and subtitle are stitched onto linen with thick cotton yarn, while loose, untied threads suggest fragility, interruption, and abrupt endings. The deer functions as a symbol of enduring love, with textile materiality reinforcing themes of vulnerability and emotional permanence.

This poster is a typographic self-portrait composed of handwritten marks made with four markers of different states and thicknesses. Intimate and diaristic, it resembles notes in the margins of everyday life. The title refers both to the artist’s eye color and to walnut ink as a favored material, merging physical identity with personal practice and affection for the medium.

These posters explore stage magic through material process. Hand-drawn lettering is written with a charred stick, while coal dust and debris become both texture and meaning. Untouched and smeared coal marks reference smoke, illusion, and transformation, playing with visual stereotypes of magic: appearance and disappearance, black and white, and the act of hiding meaning through material traces.

A fusion of Gravity and Typography, gravitype explores the forces governing visual form. Once, letters were metal shards with undeniable mass. Today, they are weightless symbols. This project reclaims that lost substance through digital gravity simulations.

By decomposing a typeface’s vertices, computational gravity creates organic forms beyond control. It is a journey to restore the letter-as-symbol into a “physical object.” In these traces, we find a new sense of touch for the digital era.

NONO is an User and Brand Experience for cacti and succulents. A big part of this branding is the house Mono Type “NONO MONO”, a flexible Type meant to be used as a frame for the cacti. While mirroring the organic shape, the fleshy water filed bodies and the sharp thin spikes in its growth alt glyphs. “NONO MONO” can be used as an irregular pattern or as a single letter in different growth states of the alt glyphs.

The typeface is rooted in an obsession with dice and the search for expressive tools in the everyday. Built by stacking dice, it explores the challenge of balancing legibility while using the smallest possible number of elements. Each face, position, and number of pips defines the construction of glyphs. Variable axes allow adjustments to pips and edges, resulting in robust, double-line letters that invite designers to play.