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.

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.

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.

Humans are bombarded with senses every day: touch, sight, and sound. Becoming senseless is the only method for a person to protect their individuality, to reject foreign stimuli and retreat into one’s inner being.

The work is a guide into meditation; we see a ruined world, distorted beyond understanding. By concentrating on becoming senseless, we dispel the distortion. With enough concentration, our will can force change into the world. To become senseless, to master life. To live.

The exhibition “Experimental Design – Our Way to Typography” showcases first-semester student poster designs from the 2025-26 winter semester of the “Experimental Design” module at Rhine-Waal University of Applied Sciences along with original posters from Wolfgang Weingart. The exhibition poster design follows the students’ collaborative as well as iterative design process and is simultaneously a homage to Wolfgang Weingart’s design method.

The theme of my work is human gestures and their varied expressions in individuals. The poster was created using techniques I have been experimenting with recently – 3D renders, textures, and reflections – which have come to characterize my artistic style and creative gestures.

Very cool, super fresh, and free fonts created by secondary school students using ordinary objects such as mustard, spaghetti, and Play-Doh. Because of our infinite relationships, potentialities are there. The shapes of form are not yet exhausted, and there are no miracles beyond living matter, they said.

Fonts created by Lena, Lilli, Mira, Paula, Ilian, Joel, Tanel, Jonas, Jonas, Ana-Maria, Camila, Aaron, Max, Ben, Ben, Eric, Fiete, Amalia, Lilia, Vlad, Darlin, and Liia.

This illustration uses learnings from basic public signage. The composition is arranged to allow the viewer to capture what’s essential at first glimpse.

The lettering uses these learnings as well. However, it takes a few gestural detours, bringing the basic stroke-based font closer to impulsive handwriting.

As stated, that extra effort does not pay off: all the decoration brings a font — that could have been constructed with a just a few anchor points — closer towards illegibility.

Randomness plays a key role in the studios’ design practice.
As do grids, which are guardrails for construction, meant to be broken at a certain point to avoid flatness.

The dice allows disruption while within the grid, yet sticking to its rules having 6 paths to go from here.
This font was created on a fixed grid with basic elements, challenging traditional typographic paths on the verge legibility.

[The additional poster is a recent risography print of the vector illustration]

Basel Reversed defies typographic norms with a consistent 21.5° backslant. Rooted in my left-leaning handwriting and Basel’s industrial architecture, this display font merges humanist italics with harsh, geometric stems. The lowercase-only design emphasizes a fluid, rhythmic gesture within a rigid grid. It functions as a concept-based system, translating a personal idiosyncrasy into a systematic, architectural framework that explores the tension between organic flow and structure.