NATŁOK is a typographic experiment created through the multiplication of a zigzag-shaped outline. Using special settings, a very wide stroke was configured, composed of smooth, rhythmic zigzags, which was then duplicated and densified. As a result, the typographic sign acquired a heavy, fleshy, slightly abstract, tar-like form with a distinctly material character.

Lingua Arboris gives voice to the silent victims of global warming, presenting an asemic dialogue between trees and climate change — a language beyond words.

A complete art direction was developed to accompany Malfra, from the cover of his single to that of his EP Le Baiser. A custom logo and three original typographies were created: one for the EP and two for the singles, which were also integrated into their music videos. Le Baiser, the title of the EP, echoes a sculpture made by his grandmother and reflects recurring themes of love and human relationships, exploring family heritage and its influence on our own stories.

CT_SANS applies medical CT scan methodology to typography. Letters are treated as a three-dimensional specimen, sliced layer by layer to reveal thier internal structure. The animated version shows this process over time, while static variants capture individual cross-sections as finished letterforms.
Available in Sans, Serif, and Mono, each letter has a unique volumetric & temporal signature—defined by how the scan plane moves through it and the density of information at different depths.

In this project I was discovering the possibilities of the glitch effect in typography. As I was playing with the different opacities, layers and negative spaces of the letter ‘O’, I suddenly realized I also created a shape that resembles an insect, a bug, which is also a common synonym used for glitch.

This work is about attempts, failures, and trying again.
The words NEW YEAR are written with a toothbrush to lose control and make them imperfect.
Each new year of our life is only a series of attempts.
It will not be perfect, and it does not need to be.
It will be special, alive, and it will be a new step forward.

A complex piece which started off as a riso printing project during a workshop with Radek Górniak at Slopi Kopi during fig festival, Sofia.

P |_ /\ Y is an experimental exploration built in After Effects.

Alongside it, I built a simple HTML tool to import video, generate graphic compositions, and introduce subtle typographic details.

Zine publication, graphic elements, and printed matter for Ekko, an electronic and experimental music festival in Bergen, Norway.

Algorithmic plotter artworks, created with a command-line interface: a collection of machine drawn images that involve text based simulations and the aesthetics of the computer terminal to represent associative space. Given that digital information doesn’t inherently exist in physical space, one can use any structure to illustrate relationships between files, folders, thoughts and other conceptual entities.

Custom lettering piece in Cyrillic script. In Bulgarian the word “светлина” means “light” (as in illumination).

Language can be reflected in many ways; in this case, the mix of textures, lettering, and typography aims to be a reflection of the possibilities of expression and making a change of the laws of gravity, we can broke the rules.

Sometimes a beginning can be a light even on the darkest days.

I have sought the opposition between round natural shapes and rectilinear lines, mixing the curvilinear vision with the functionality of language.

Wealth and opportunities are distributed very unevenly. Those in a position of wealth and safety could, without much sacrifice, easily contribute to society at large. Yet, many of the most privileged people seem to be unable or unwilling to create positive change. While morally inexcusable, this seems to be a deeply human trait, raising the question of why.
The iterative creation process, going back and forth between 3D and print, surfaces faultlines and glitches reflecting this contradiction.

My experimentation is based on Concrete Poetry, seeking manual and analogical work

Custom lettering exploration from a brand identity project. Depicted are a rough hand drawn sketch and the final polished version presented to the client.

Custom lettering in Cyrillic script of the Bulgarian word “Обичам” meaning “I love”.

R-M was developed for the launch of Rasoir, a typeface by Giorgos Fyllis. The project uses a custom generative tool to extend Rasoir’s bezier curves into evolving compositions. Glyphs stretch, mutate, and reconfigure in real time, turning typography into a fluid algorithmic system. The work holds tension between past and present, analog and digital, culture and technology—bridging traditional type design with computational aesthetics.

Flextron is a modular font system. Between alphabets and happy display accidents: Monospaced and extremly reduced to a minimum of three to five elements per sign, the typeface explores the limits of legibility. Prepared to contain structured elements, gradients or outlines, the font is dedicated to set various rhythmic patterns. Several transformations and abstractions show the character of this work: A stable grid for an ongoing process – texts as complex images, type as artistic research.

Between spoken and written language: »Phonograph« is an optophonetic typeface for german speech. Made as a tool for experimental typography, its aura opens a wide space for reflections on the connection of acoustic and graphic communication. Aesthetic quality of texts is here based on physical signs, each letter characterized by its soundwaves. The font contains special sound combinations and recognizes pronunciation rules. Ongoing project for publications and exhibitions. Printed voice signals.

Inspired by a lyric, this piece was typeset and printed onto transparency film. The print was then bent, manually manipulated, lit and photographed. The final effect is that the typography is lifting off the page, escaping gravity’s grasp. Created under the guidance of Jennifer Cole Phillips.