creativity comes from outside/von draußen

To translate the layered, atmospheric nature of trip-hop into a physical, typographic form, there is an emphasis on density and overlapping to reflect Massive Attack’s immersive sound. Through analog processes and material layering, the design mirrors how the beats and vocals drift in and out of the main focus, allowing meaning to emerge gradually from the noise. Materials/tools used :: Gelli Plate, Velum paper, Epson Scanner.

Experimenting is a way of allowing yourself to start again.

Created as part of the Posters x Gaza solidarity initiative, this poster contributes to the collective effort to support Doctors Without Borders through graphic design promoted by ADG-FAD The composition centers on a tree of life constructed through language. Words are woven into form, spelling out a single message: Life for Gaza. Drawing from Palestinian tatreez, the piece reinterprets this ancestral embroidery as a contemporary graphic system, where repetition functions as an act of resistance

No Body Knows uses process-led typography to explore distortion and
truth. A tape-pull technique creates a warped reflection of the type,
drawing on grunge and punk-inspired aesthetics. An ink scrape
highlights the tape as a natural ink repeller, acting as a window through
the distortion. While language appears fractured and unreliable, the
work suggests the body itself remains honest and instinctively truthful.

solit is a sound-based writing system and typeface for the english language aiming to close the gap between spelling and pronunciation.
taking advantage of the fact that when reading, we only perceive segments of letters and our brains fill in the rest from memory, solit leverages the readers’ familiarity with the latin alphabet by combining segments of those letter shapes to new characters that represent sound units.

Interaction with typography on a screen using a stylus, where meaning and motion influence each other through direct touch.

Interaction with typography on a screen using a stylus, where meaning and motion influence each other through direct touch.

Interaction with typography on a screen using a stylus, where meaning and motion influence each other through direct touch.

Interaction with typography on a screen using a stylus, where meaning and motion influence each other through direct touch.

It started with a blob of water on a kitchen countertop that resembled the letter “a”. Later it raised questions: could different letters be formed, how long would they last, how would they transform, and could their behavior be controlled? Using simple tools — a black plate, fingers, napkins, and light — within limited time, the process was explored and documented. In a world full of uncertainty and rules, curiosity and exploration can create space for freedom.

Dukat is an experimental display typeface inspired by the modular logic of Vyaz — an ornamental script rooted in Byzantine tradition. In vyaz the amount of white space between stems is equal to the stem itself which can create a “barcode” effect.

Another key source of inspiration comes from PVC signs, which, after long exposure to the elements, begin to delaminate — lifting at the corners or peeling away entirely. As the letters “disappear”, they gradually transform into more abstract shapes.

Lux Et Linea is a custom typeface created for the exhibition of Jozef Česla (father & son). Its two complementary variants — Lux & Linea — reflect the practices of a photographer and a engraver. Lux explores light through halftone structures, while Linea draws on printmaking. The styles can be layered, echoing the intertwined lives of their authors.

The project is based on a plastic spiral made from everyday waste. By transforming it into a flowing typographic structure, the object loses its original function and becomes a dynamic form in space. Through repetition and distortion, the boundaries between object, letter, and movement dissolve. The work reflects on impermanence and the idea of “living for today” by reactivating disposable material as temporary, expressive typography.

My contribution to the Mut zur Wut 2025 competition. The whole phrase & composition is aiming to support those who protest until the good times come.

The poster is designed by invitation for the “Home” first international poster biennial in Suzhou, China

The poster is designed for the Bursa Uludağ University 50th anniversary (1975–2025) and related exhibition held in Bursa, Türkiye.

The poster “Oripeau, Oripeau, Pripeau” was designed out of love and in support of the “Oripeau” project and put on display in Montréal at the end of November 2025. The shape was made of paper and scissors.

Experimenting is a way of allowing yourself to start again.

The idea behind this work is to see how simple shapes convert into a typeface. A small set of modular forms is used as building blocks, coming together to create letters in a playful yet systematic way. The project explores how repetition, rhythm, and small variations can transform basic geometry into a cohesive and expressive type system.

These typographic experiments investigate form and distortion though grids, spatial structures, and three-dimensional systems.
Set within generous white space, the works allow type to shift between signal, interference, and abstraction.

The A sculpture is a free typographic project that combines sculptural design with light painting photography and led to the final result of a colored longtime-exposure . The abstract letter A is made of styrofoam which are originally inspired by leftover segments from a stencil (cutouts) which I adapted from a painting of Victor Vasarely. The 1,5m high sculptures´ setup was a complete dark studio, only lit by a handheld RGB LED light and I was manually changing the color during the capturing.