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.

In the Shadow of the Red Intellect is a cross-print and web-based typographic book, a poetic response to constraint, that explores the intersection of mystical philosophy, experimental type, and the edges of legibility where language becomes both visual and metaphysical.

In the Shadow of the Red Intellect is a cross-print and web-based typographic book, a poetic response to constraint, that explores the intersection of mystical philosophy, experimental type, and the edges of legibility where language becomes both visual and metaphysical.

Morning Bite is a typeface inspired by apples, which stand for freshness, health, and energy.
The name refers to breakfast and a fresh start to the day.
Apples are the main visual element, designed to look cute and appetizing.
The typeface was made by cutting and photographing real apples, then turning them into letterforms using Adobe Photoshop.
As many people choose coffee in the morning, Morning Bite encourages choosing apples as a healthier and more natural option.

Each year art and design schools in germany come together in a football tournament called “Kunstrasen”. Teams are mixed genders and the priority of the tournament is having fun and getting to know students from other universities. A big part of the tournament is the design of the teams’ football jerseys. The football team from “Hochschule Düsseldorf” had a green/yellow jersey, detailed with a unique star-generated type.

Trace is an experimental typeface born from overlooked patterns in the urban environment. Developed through photographic walks in Berlin, it translates pavement cracks into letterforms, exploring typographic mimicry, pareidolia, and visual recognition. Each character is traced from a real crack in asphalt or concrete, inviting the audience to find language hidden in the everyday landscape of the city.

This logotype was developed for Sharks Management, a creative management studio. Inspired by the founder’s roots in techno culture and tattoo aesthetics, the lettering emerged through playful distortion and mirrored, tribal forms. Legibility was intentionally secondary, allowing the mark to function more as a symbol than a name. A butterfly icon appeared as a happy accident and later became a meaningful reference to the founder’s first tattoo.

Using the serif typeface Rasoir which was designed for the accompanying R-M thesis publication, experimental imagery was generated by a custom tool developed to illustrate the interaction of two opposing directions; the past and present, analog and digital, culture and technology. The glyph’s bezier curves are broken down into points that extend to ultimately form an alternate digital impression of a letter that was once drawn in physical.

This variable font was designed for a rock- and metal oriented youth house decorated in viking theme, called Asgaard.

The typeface is inspired by the runic alphabet and viking-styled elements. When a heavier feel is required, the typeface can evolve into something loud, wild and reclaimed by nature – reflecting the atmosphere and interior of Asgaard itself.

Created using an original typeface, this project explores then negative side effects of women’s birth control which are often not disclosed in person, and how women are treated in a healthcare setting. Birth control is often prescribed as an ‘easy fix’ without full investigation, leading to future health problems. This 75cm x 85cm tapestry has been hand knit using a combination of garter stitch and stockinette stitch and is then mounted on a wooden protest board frame.

Title design for the dystopian short film “Nimmerland” by filmmakers Niklas Hugo & Daniel Hager.

The custom title and the four chapter titles consist of a combination of a pixel font and custom-made Japanese-inspired letters. In addition, a wild mix of distortion filters was applied to create the glowing and rough retro-futuristic style.

As part of our research project ‘Letters as an Image’ we designed this typeface. It’s a symbiosis where the characteristic modular and geometric style of designer Christophe Heylen meets the organic style of designer Els Bauwelinck. The result is a captivating exploration of the tension between clean geometric form and organic form, between legibility and illegibility, between static and dynamic. It explores the boundary where a typeface communicates more as an image than as text.

Poster designed for the 50th anniversary of Bursa Uludag University.

The heat of the moment fades as quickly as that of melted wax, something that became abundantly clear in the making of this poster. Dripping away like seconds, this artist wondered: What ARE we waiting for? From the instant humans are born, they are running out of time. The present is not a test run. As artists especially, we cannot wait to make something. There is simply no time. Feel the heat. If not now, when?

Hand lettering done with hot wax on a baking tray, edit and typeset digitally.