Parameter A is an experimental typographic system using audio as an active input to generate letterform abstractions. Sonic qualities are translated through code into audio-reactive typography that continuously evolves. As a hybrid print-digital publication, printed pages act as visual triggers for AR extensions, activating sound-driven typographic animations. Focusing on a single letter reduces complexity and explores how sound shapes typographic behavior.

Typographic images inspired by water and waves utilize compositions of letters stripped of their textual meaning. The fragment from the graphic series “Wave Observations” presented here can, in a sense, be perceived as a holiday postcard, intended to convey a narrative through words, but preferring instead to convey the atmosphere of the observed location.

This experimental alphabet is based on the idea that progress inevitably leads to either growth or decay. The typeface originates from curved elements inspired by a stylized plant flower cross-section, which form a flexible base and are gradually transformed. The alphabet is divided into two independent halves that expand, decay, or combine both tendencies, causing the letters to grow beyond their boundaries, interfere with one another, or gradually lose legibility.

This typeface, built on grotesque traditions, prioritizes readability while carrying a playful, free, and whimsical character. Its flexibility follows rules yet rests on solid, unshakable foundations. With its forms, it subtly pushes the boundaries of typography, experimental and innovative, and will soon be expanded with Ultra weight, available in 10 styles.

The project explores legibility as an exchange rather than a given. Conceived as a typographic installation, it responds to the murder of George Floyd and the phrase “I can’t breathe” by using breath as both material and condition for reading. An excerpt from the publicly released transcript of his last words is applied to a glass surface using a stencil and water-repellent spray. Text appears briefly through condensation and disappears again. Reading becomes effort, time, and loss.

Poster for TVVO:id concert, type reflects disappearing message (some written messages in (melting) ice cubes and written on the bathroom mirror)

Type for the grant program to support performance art called PerForma

The work explores typography through physics using metal shavings and magnets. Magnetic fields shape a tactile, physical typeface in which organic material behavior creates textures defined by intentional imprecision.

Mithilfe des Open-Tools Gradientor wurde Typografie als dynamisches System untersucht. Durch die Überlagerung von Gradienten und Schrift entstehen instabile, sich wandelnde Formen. Der experimentelle Entstehungsprozess verweist sinnbildlich auf die Verletzlichkeit und Gleichzeitigkeit von Sichtbarkeit und Ausgrenzung in der Gesellschaft. Mit der Plakatserie möchte ich dazu aufrufen, eine Änderung des Artikel 3 (3) im Grundgesetz vorzunehmen zum Schutz der sexuellen und geschlechtlichen Identität

Froth is intended to be a display font that deconstructs the organic movements of milk frothing and transforms them into an experimental modular system of procedurally generative overlays. Circles and parallel shifts are used to construct a typeface that combines process, tool and form into a dynamic design concept.

“Casse-croûte” is a variable font whose shapes and concept stem from a simple observation: how can letters and typographic rhythm be used to represent the behavior of food inside a sandwich? Begun in 2023, this font is still in development and currently features two variable axes and 300 glyphs for its base weight.

Tkanika is an experimental typeface that recalls a time when writing could be touched. Rooted in weaving, it treats letters as patterns, knots, and gaps rather than neutral carriers of text. Built on drafting diagrams used in the design of weaving patterns on looms, its three cuts explore structure, ornament, and material irregularity.

“Lettres Mutatiques” is a project that aims to visually represent what letters might look like if they became organic living beings. Created during the 36 Days of Type in 2023, 72 glyphs were drawn, as for each letter there is a regular and a mutant version, which takes up as much space as possible. Research was then carried out on After Effects to find the best way to reproduce this organic mutation, originally inspired by the animation of Tetsuo in Akira, by Katsuhiro Ōtomo (1988).

Inspired by things you like to touch like rubber, finger games and buttons, the #BB BubbleButton font shifts glyphs into three-dimensional space. In the designed system, each letter fills a circular area and the letters merge with the background. The focus is on the resulting surface structure, which can be applied both digitally and analogously: Their materiality makes the letters seem tangible. You can imagine how they feel.

Typographic experiment, based on a vintage distressed long-sleeve found in front of my house. Hand drawn letterforms are distorted with layer styles, showcasing depth of distressed clothing through type. The letterforms draw inspiration from heavy music merch, such as Hardcore Punk. Standing up against norms, like wearing used clothing. Finally the base letterforms were spray-painted onto the long-sleeve with a stencil, bridging digital experimentation with physical and well known techniques.

inside cologne is a fictive all-city music festival in cologne. Using the city, with its various clubs and locations as festival ground and combining various genres, an adaptive branding was created. Year 2027 was created by Felix Darius, as seen here. Ceylan Aksu (2025) and Paula Geisen (2026) visualized other years of the festival. 2027 is focused on expressive use of typography and distortion, celebrating the the variety of people coming together, expressing themselves and enjoying music.

Panzersperre was created for the “Westwall Geschichten” exhibition late 2025. It draws inspiration from tank barriers, which are part of the Westwall (Siegfried-Linie) from WW2. Only capital letters are available, with various alternatives, representing the various forms and sizes of the real tank barriers of the Siegfried-Linie.

This work analyzes the informational content of digital characters. Using established methods, data is extracted from existing characters to create new ones. A reproducible process is developed in Processing, enabling clear visual representation. The study explores methodological approaches for data collection, transformation into typographic forms, and generative programming as a means to teach algorithmic structures.

CTM25 is a typeface designed for CTM Festival in Berlin. It combines sharp, angular forms with a gothic–fantasy sensibility, creating a bold and distinctive visual character. Its dramatic letterforms and subtle ornamental details suit music- and art-driven contexts. Recently, 3D effect and deformers have been applied to the typeface to generate new variations and sculptural interpretations.

Icelandic has changed remarkably little since the time of the Vikings and still uses special characters found in few other languages. Archiving Icelandic Special Characters explores a period in the 1960s when printers lacked access to these letterforms. Forced to experiment, designers developed creative solutions to preserve them in print. This little documented era reveals a fascinating chapter in Icelandic graphic design, where limitations sparked innovation and renewal.

A generative lettering tool where rotating line graphs orbit letter skeletons to create animated forms. Parameters can be tweaked to explore how the shape behaves in real time. The project was created during Vladimir Anosov’s “Bukving” course.

Spike C is a custom typeface made for a jazz festival. This typeface is available only for bulgarian cyrillic.