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.

This typeface explores modular design through the deconstruction of a bird symbol. By extracting and reworking its details and components, the project builds a cohesive typographic system—rich in texture, structure, and visual potential.

Typographic Narratives is an ongoing experimental type workshop that explores the relationship between analogue techniques and digital tools, focusing on a specific piece of text as raw material to create a visual language through various systems and iterations.

Ben reimagines the 2025 wall planner at the moment of its expiration. Once its functional job of tracking the year is finished, the discarded grid is given an unexpected second life through a process of visual rearrangement. By isolating specific dates across the now-defunct calendar, Ben reveals the word “DONE.” This work marks one final event for the year, celebrating the quiet satisfaction of completion and the transformation of a spent object into a typographic tool.

Unconditioned World is timeless and placeless. Nothing stands at the center, and no meaning remains at the edge. Freed from determinations, it begins nowhere and ends nowhere. Time collapses into continuity; space folds into relations and echoes. What connects us is not a shared language or territory, but our passage through languages and our intersections in space. Topology replaces geometry: the world is defined by shifting proximity, composed of difference, and always still becoming.

Ben explores the cross over between temporal structure and letterform by deconstructing the standard monthly calendar. Through a process of subtraction and visual rearrangement, the functional grid of the year is transformed into a typographic tool. By isolating specific dates, Ben reveals the word “MAKE” within the passage of time. This work celebrates the constant, rhythmic nature of the creative process throughout the year

Ben explores letterforms as the accidental byproduct of the printmaking process. These characters are formed by the residue of another action; the white of the font is the area being inked, while the black forms the background as ink bleeds over the edges. By defining the letter through what surrounds it rather than a solid stroke, Ben reveals a “negative” typography. This approach celebrates accident-driven processes and the intentional imprecision of the roller’s grain.

This experimental type is part of a project called Action Cleaning. The typeface is created on thermal paper using cleaning tools and alcohol-based products. It was made for the 14th anniversary of the International Day of Domestic Workers in 2024 as a provocation. The specimen shows scans of the typeface forming a text that explains the concept and demonstrates its readability. Each cleaning tool draws a glyph, shown in the example on the front where the coloured object was used to make the #3

Each month of the year is approached as a character, discovered through unusual calligraphy tools and raw, unrestrained lines. In contrast to classical calligraphy, the work favors instinct, movement, and experimentation over elegance and control.

While searching for a phrase for an art notebook cover, the artist defined the purpose of the piece: to capture the moment when creativity strikes. The phrase “Art attack in progress” became that signal. A syringe was chosen as the writing tool to express urgency and intensity. After exploring multiple forms, the final lettering was debossed into leather, turning the notebook into a marker of active creation.

This work is an attempt to melt, re-cast, and re-value typography, transforming concrete characters into a liquid substance. It seeks to discover new material forms, allowing language to be reconfigured beyond its conventional constraints.