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.

Can AI ironically revive the excitement for manual crafts? Which one would be more liberating to do? A series of experiments questioning the concepts of time and evolution. The Arabic letters or lettering pieces for the words “amal/hope” and “horra/free” were drawn first then the exploration with embroidery or lace followed facilitated by AI tools. These images wish to carry messages: they speak of time, human values and cultural changes, they hint at personal stories and memories.

ACM is a bilingual modular typeface initially designed to be generated by a grid inspired from arabesque. It was part of a research project for the Arabic Calligraphy Museum in 2008 aiming at connecting alphabets and cultures, and facilitating learning. Almost two decades later, it is revisited and revived with new possibilities explored through experiments in embroidery and lace-making celebrating traditional crafts, facilitated by modern technologies like 3D printing and AI.

This project combines typographic structure with the natural spreading and little explosions that come from working with water. The process leans into chance, unexpected material interactions, and the interplay between control and release, allowing letterforms to drip, grow, and react to the space around them. This is an ongoing experiment.

This poster showcases the Flow typeface, an ultra-condensed display font defined by its extreme verticality. Elongated strokes and rounded terminals create a rhythmic, liquid-like movement across the alphabet. Each letter feels interconnected, with lines that appear to melt into one another with organic grace. The style balances geometric precision with kinetic energy, resulting in a composition that feels architecturally tall yet effortlessly fluid in its overall execution.

“Dotted” was created through an analog experiment with drawing ink. The analog originals for the digital version were produced by dipping the head of a nail into drawing ink and tapping it onto paper. All glyphs are constructed from different, imperfect dots, each varying in size. This process can also cause the ink to bleed, causing individual dots to merge together. Even in its digital form, this imperfect character and the sense of dripping ink remain.

The posters feature sentences that question reality, inviting the viewer to consider whether the moment is real or a dream. The concept is inspired by lucid dreaming, in which you are aware that you are dreaming and can consciously control the dream. The lines were first drawn by hand and then digitized. Text was added afterwards, and the entire composition was digitally distorted. This approach merges the digital and analog worlds, leaving room for unexpected designs.

Myco is a variable typeface inspired by the myccorhizal network, an underground fungal network that connects plants to each other, and an exploration of replicating organic growth patterns in digital spaces. The project was created for Variable Type taught by Kelsey Elder at Rhode Island School of Design.

During a workshop led by creative director and designer Ana Criado, we were challenged to reimagine the opening titles of some cult films. We chose Fight Club by David Fincher, where soap becomes a symbol of duality, purification, and disorder. We explored this transformation through typography, subjecting the main title sequence to analog processes that would leave it looking bubbly, worn, and eroded, as if dissolving under its own chemistry.

Pangrams from the Colossal Clean Crawled Corpus is a multimedia interactive installation that examines artificial intelligence and the implications of these technologies on language and typography. The basis of this project is a working typeface created with the assistance of AI, rendering a typographic specimen that leans into the “hallucinations” we’ve come to associate with AI-generated images. The piece “trains” itself, constructing form in real time in a live browser-based composition.

I HAVE NO IDEA HOW TO LIVE THIS LIFE is a project about trying to live as if you knew how to do it. Its aim is to normalize feeling tired, scared, lost, or lonely.

The slogan is placed in different contexts to explore its shades. Would it feel more relatable in symbolic form? How would it sound on crumpled paper or stretched fabric? What if it were said by a medieval knight or a modern pop star?

This is what Nautilus the Human explores through the provided images and many others.

This hand knit tapestry was made using an original typeface, designed using a combination of gothic and modern styles, to create a piece which shows how women’s rights worldwide can still be considered medieval in their practices. The project was inspired by the ongoing unpoliced issue of FGM (Female Genital Mutilation) which is still widely practiced in African Countries. The piece measures at 95cm x 120cm.