In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules. “To boldly go where no one has gone before”

My illustrations are inspired by a long-standing fascination with cyberpunk aesthetics and various science fiction narratives.

In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules.

Help Others Understand Dyslexia uses typography as a tool for empathy. By intentionally breaking the traditional rules of legibility, I aim to disrupt the reading experience in a way that mirrors the frustrations many dyslexic people face. Through this experimental typeface (Flux), which distorts and manipulates letterforms, I hope to spark conversation and build greater awareness around dyslexia and challenge conventional design.

Conceptual poster developed for the stage production Bacchae, shown at at Olivier Theatre in London

Conceptual poster developed for the stage production Scorched Earth, shown at St. Ann’s Warehouse in Brooklyn

Conceptual poster developed for the stage production Man and Boy, shown at at Dorfman Theatre in London

Conceptual poster developed for a theatrical production Hamstrung, shown at at Pleasance Theatre in London

Remembering Veronika is a tribute to our late friend, visual artist Veronika Bažaliková (*1978 — †2023). It recalls friendships formed during summer art symposia in eastern Slovakia. The typeface used, Anonym, originated in this shared context. Created by digitising anonymous scratched inscriptions found on the walls of an old mill in the village of Košarovce during the OpenSpace symposium in 2014, it bears raw traces of presence, absence, and memory.

Typography exploration based on a modular grid of cubes. Pushing between structure and movement, transforming letterforms into sculptural compositions.

Conceptual poster for a theatrical production Metamorphoses staged at at La MaMa ETC in New York

Conceptual poster for a theatrical production Now Here staged at Traverse Theatre in Edinburgh

Experimental visual poster for the theatrical performance Natalie Palamides: Weer, presented at Traverse Theatre in London

The custom typeface “Real” is an expressive display font and, as a variable font for a selection of characters, can be adapted to a wide variety of end formats. As a monospaced font with around 180 letters and accents, numbers, and punctuation marks, it allows for concise visual presentations. Heavy, physical forms with deep white spaces and changing contrast points create a sense of movement and depth, light and shadow, refraction and distortion.

websites and tools ive used:
https://www.tooooools..app
https://effect.app
photoshop, indesign,, illustrator, procreate

This poster is the result of experimenting with outlines, repetition, and digital distortion. I explored different online tools to manipulate typography, breaking down letterforms into fragmented lines and textures. The process focuses on pushing type beyond readability, turning it into a visual pattern and atmosphere rather than pure information.

Counterfeit is a type design exercise with the objective of using the least amount of modules for the letterforms. What resulted is that at large scale it becomes display, hard to read and decipher each glyph, but at small scales the gaps between modules close and becomes more readable.

This risograph print is composed using a wide range of typefaces that spell out the track titles from the rap album Temps de Flors by Mallorcan rap artist Pode. The piece has been translated into black and white for this magazine edition, while preserving the characteristic texture and material quality of risograph printing. The diversity of typographic styles, shapes and visual rhythms reflects the album’s own spirit: a varied, vibrant body of work full of life, contrasts, and expressive energy

holding, (shift)ing is a textile installation about care work, mental load, and domestic labour. Seven white aprons become a tablecloth through stitching and embroidery; a cyclical poem and childhood drawings surface in thread and print. An archive book gathers tests, samples, and foils from production, held by eyelets and safety pins, while a translucent flyer uses rotation and layering to make hidden weight perceptible.

Communication. Strength builds up like a muscle. Phrases are projected as texture onto a continuously pulsating structure. The beauty of language becomes visible through the visual abstraction of letter forms.

This custom lettering draws inspiration from the shape of a heart, which dictated the construction of all the letters. Custom lettering created for the Type Campus 2025 call for entries.

How should Singlish be perceived in our society today? Is it an incorrect form of English? Or a unique language that is deserving of greater respect?

Standard Singlish challenges viewers to reconsider the status of Singlish by introducing a new Singlish typographical system together with a set of educational materials that reimagine a future where Singlish is formalised.

Maaster Sanz is a variable font family of three styles that uses deliberate interpolation “errors” as a visual language. By researching technical failures, the designer developed methods – reversed contours, changed component order, and incorrect path directions – controlled via Weight and Glitch axes. This turns technical flaws into a generative tool, allowing users to decide how far letterforms “break,” bridging conventional type design with experimental deformation.

The work was created within the seminar “Can you read me?” by Susanne Stahl at the University of Applied Sciences Potsdam, including a two-day workshop with Giulia Schelm from Studio Burrow. Through analogue and digital experiments with glyphs using unconventional materials and parametric tools, the limits of legibility were explored.