Plakat und gleichzeitig Key Visual für die Wiedereröffnung des Ladens »Banana Boot« in Aschaffenburg am 08.04.2022. Spielerischer Umgang mit dem Firmennamen als hoch kontrastige Hintergrund-Typografie durch die Binnenflächen entstehen, die ein spannendes grafisches Muster ergeben — lesbar erst auf den zweiten Blick: »BA-NAN-NAN-NAN-ABOOT« — Nutzung des großflächigen hohen Schwarzanteils für die spielerische inverse, dezente Anordnung von Typo & Produkt-Liniengrafiken für die Web-Daten und für die Vielfalt der Produkte des Ladens. Skalierte Hintergrund-Typo »BA« & »ABOOT«: asymmetrische gelbe Freiflächen links oben und rechts unten für Hervorhebung der Veranstaltung und Firmierung des Ladens.

experimatal type

Post-posters. Souvenirs. Menus. Art. Indian Standard Time, a pop-up dinner series pairing home-cooked Indian food with German craft beer ran from 2014 to 2019. This is an attempt to create souvenirs of each of these events– one, different from the next– not as they were planned, but rather how they turned out. An ode to not just the menus we painstakingly put together, but the quirks, the ambience and even the things we forgot. For example, the pumpkin centerpiece, the borrowed GDR Zwiebelmuster crockery and the block-printed pouches. Then, the newsprint and wurst plate of the second dinner– and the leaves for the 11th dinner in, with a play on the Telugu script for the word “Ugadi”.

Our work pairs popular pandemic phrases with illuminations from Persian and British manuscripts to explore how repetition can participate in both the generation and the destruction of meaning. Using a custom writing machine built from the frame of a vinyl cutter and an Arduino to repeatedly write these phrases down the length of sheets of paper, the letterforms are programmed to procedurally break down and dissolve. The phrase transforms from a seemingly simple sentiment into a field of abstract markings. The visual deterioration of the words points to the complex relationship between the words, the digital methods of transmitting communication, and the act of repetition itself.

In order to learn how to scan, model and print 3D objects my students in the Creative Coding class at Communication Design at Hof University are creating Typographic Cyborgs. They are remixing a 3D scan of themselves and a selected letter into a hybrid between human and font. In different variants the letter becomes part of their body, they are becoming a part of the letter or the letter will be the environment, architecture or furniture.

In my works, I try to break the rules, experimenting a lot with typography on digital and analog way.
The main goal is discovering the potential of letters with the help of new technologies, real materials and searching for new forms of expression while shaping own style.

Bandiera is an experimental typeface, inspired by flags and their shadows in the streets of Faenza, Italy.
To promote a local event, the streets of Faenza were decorated with flags and banners. The wind would move the fabric, casting abstract shadows onto the streets. These shapes inspired a type system with twisted outlines and fluid weight distribution. Bandiera is the result of an experimental approach to designing a typeface, focusing on form finding rather than a potential application. The project is also about taking inspiration from objects in our immediate environment and translating them into a working display design.

“The weather” follows the experimental approach of a font through which the weather can be read. The writing is arranged in a certain order and can then be read as a small diagram that shows the weather conditions of individual days. With the help of ligatures, the individual components are put together to form a letter.

Playing around with type and creating a collage made out of paper cut outs, representing Cairo and its city vibes

This is an artist book I created during 2020-2021, to collect my experimental poetry writing and playful typography sketches. There are 6 poems in the books, and I created 6 original typefaces as their visual interpretation. The cover, also serves as the catalogue, is the specimen of all font faces that are in use.

Inheyar/انهيار which means breakdown, so I tried to play with the letters so that I visually represent the breakdown, I made it so that its read from top to bottom to indicate that every fall is nothing but a new beginning .

Peter Saville’s iconic cover for the band Joy Division’s album “Unknown Pleasures” is a source of endless inspirations for remixes. Unknown Letters takes the original’s stacked plot of radio waves from a pulsar and creates line based typography for pencil plotters. The tool, written in Processing’s p5js, translates letters into horizontal bezier curves and the plotter’s pencils are drawing them on postcards. A set of sliders enables a lot of variations in font size, line height, depth, blur and noise.

Our passion for typography leads us to approach visual projet in a physical way: letterpress is an answer to our wish of experimentation on letters. The limits of the tools force our creativity to seek solutions when we draw alphabets.

I noticed that paint consists of Pain+t which explained why it soothes my pain 😉

Inspired by a narrow pixel font I saw on a train in Helsinki, I wanted to give it more utility by spacing and kerning it, as if it were a usual sans. The character shapes themselves adhere to the pixel grid, but the spacing and kerning has a different, finer division, which eliminates the undesirable gaps typical for traditional pixel fonts.

The weight is implemented by scaling the individual pixels, which gives interesting effect especially in bolder styles.

Pixel fonts had always fascinated me, maybe because when I was a kid, that was what digital typography looked like. They break down the traditional letter structure made of strokes of the pen, to more granular units. These units

«Zewa Just-1»

Toilet Paper Font, 2020.

This font was inspired by the fantastic increase in demand for certain consumer products due to the anticipation of a long-lasting quarantine. In Russia, toilet paper sales went up by 47% in March 16th – 19th, 2020 compared to the same period in 2019. This font is a reference to the idea of a hype around the most mundane items.


Es begann tatsächlich als Experiment und mit einem simplen A bestehend aus einfachsten Linien, worauf alles andere aufbaut und ursprünglich die Einfachheit der Dinge widerspiegeln sollte. Trotz dieses simplen, klaren und naiven Konzepts entstand am Ende etwas, das trotz aller minimalistischen Bestrebungen mich unweigerlich an eine Art opulenten Gatsby-Style (20er Jahre) erinnert.

This is a series of Risograph print I made, with experimental typographic graphics, to explore my identity as part of the Chinese diaspora, my personal memories and how the family issue can project onto a queer body. The texts are sound of the words in Chinese: mama(mom), shushu(step father), baba(father), laolao(grandmother), and were interpreted through a exploratory method of typeface making and texture manipulation.

Pexi pexi is a tool made with code where the user can create type, shapes and illustrations made from pixels where the pixels can have many forms like circles even emoji.

Pexi pexi is a tool made with code where the user can create type, shapes and illustrations made from pixels where the pixels can have many forms like circles even emoji.

A typographic poster created using the two sounds boom +takh the challenge was to use only type!

This poster was done in a workshop called trial and error, conducted by 100 best Arabic poster given by Erich Brechbühl

Recodic is typeface created with Processing. Seven vector drawings of records form the building blocks of each letter. The code randomly selects the amount and positions of records to formulate a character, producing a unique look in each iteration. By taking advantage of the mathematical randomness, it creates a different result every time executing the code. Thus, the letterform is every changing yet constant. This headline typeface exists in regular and italic.

H is one of the letters created for the 36 days of type 2022 a challenge where you push the boundaries of type.