This poster deals with the fastest measured speed – the speed of light with 299 792 458 m/s.

Light is one of the most important ressources for life. Humans are not able to touch it. In this poster long exposure is used to capture the light, make it visible and touchable.

The project began with paper cutouts of the Hebrew alphabet. The process had three steps which I repeated for each of the 22 letters. In step one, I printed and cut the letters manually. Step two, I hung the letters on a string to create movement and let them rotate and swing back and forth. At this point, I photographed them using long exposures. In the third final step, I digitally manipulated the photographs. The results of this experimental process were unexpected. Depth, Details and textures that were not visible to the naked eye were revealed and each letter seemed to have its own unique personality.

I am fascinated with grid systems, so I tried to create my own.

Eine Schublade voller Entwürfe oder eher eine Festplatte voll mit Ordner, in welchen Entwürfe, Ideen und angefangenes und doch wieder verworfene als Datenmüll endet. Auch diese Version begann völlig anders und wurde nach unzähligen Stunden dann in die dunkelste Ecke des Müllorderns verbannt; bis diese Finalversion dann doch noch das Licht der Welt enrblickte und ihr Dasein nun als eine Art Lineart-Type fristet.

“To my child’s eyes, which had seen nothing else, Shanghai was a waking dream where everything I could imagine had already been taken to its extreme.” — J. G. Ballard, The Kindness of Women

Poster made for the invitational exhibition shnaghai design 10 x 10.

Typographic posters for two 2020 shows at Audio Rebel, Rio de Janeiro (Chinese Cookie Poets and Frode Gjerstad Trio). The scaling of the artists’ names repeated in inverted layers of colors generates an optical and rhythmic effect that intends to dialogue with their music. Designed as a graphic system for the 2020 season concerts, only two arts were produced due to the suspension of programming at the beginning of the year, due to the pandemic.

TypoElements (working title, still in development) is a game inspired by chiral molecules, their structure and randomness. Five basic components of letters come in two versions, each mirrored and charged differently. They are assigned to the numbers 2-11. It contains one blank element to change the charge. After throwing the dice, shapes are selected and arranged according to the charge. The aim is to create legible letters.

Typographic posters for Quintavant programming at Audio Rebel. The project features artists linked to collective improvisation and experimentation. The posters try to reflect the variety and freedom present in the artists music working with moving typographic experimentation. All information about the show is arranged at the top of the poster, highlighting the date, allowing all remaining area to be free to present the names of the artists in various compositions.

Visual for an exchibition about materiality of digital culture.

The poster was created by Dimitris Lelakis and Maria Tsilomitrou for the Museum of Typography’s 5th international poster contest. Like a window in our world, the word typography is repeated and projected on a marble wall, shaping the light that is coming through, bringing typography into our world for a moment. Blending analog and digital mediums we wanted to show how type can transform the space around us. Using laser-cut cardboard, we wandered around our city, in order to find a place that best expressed our idea. Then waited until the sun was in the right position to take the pictures. An additional graphic element was added in the post process, to show the origins of the initial shape.

This work was insipred by the new building at the MOME campus, where I studied graphic design. The grid represents the facade made of glass bricks and the name of the building ‘two’ placed in a playful way, since this building was the center of the workshops for all the creative majors.

Erebus Grotesk is part of a type system designed for my graduation project. The system was inspired by the mystery, horror and suspence genre, but grew to be used in versatile environments. I wanted it to be quite bold, but since with additional weight comes additional width, the weight is added on the horizontals. It is not a true reversed contrast, the horizontals are emphasized only when needed. To be able to set it with tight leading (e.g. for posters), the extenders are very short. It has a variable Shatter Axis that provides a useful effect for animations and layouts. Special attention was given to diacritics and Cyrillics.

Sometimes what we are trying to express cannot be fully answered. No matter how much we try to tell the other person, we keep some things inside. Sometimes out of kindness, sometimes out of indifference, sometimes out of being understood. This poster aims to be the language of the unspoken.

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.