Project Boobs Font is an experiment with letterforms, the context of the visual part and the idea of the physical differentiation between men and women. Also it shows how equal and similar we are.

Intentional text scanning error applied.

Merging design features from different times is always an exciting thing. Like in this case with an experimental reinterpretation of a traditional typeface classification, the Rotunda. The characteristic constructions are translated into the present day of grotesk fonts in a reduced and no-frills formal language. In addition, the font family comes in styles that are unusual for the genre but recently popular: Besides the Regular, there is a variant with angular curves (Squared), with striking Inktraps (Inktrap) and even a soft version (Rounded).

Font created on 2×4 block.

I found myself taking some wire I found on my desk and creating the letter ‘a’ while I was participating in a very long Zoom meeting. I did it unconsciously but as soon as I realized I had formed a letter I kept pushing it to see if I could recreate the whole alphabet with that little piece of wire. It was refreshing to see how routine can be intercepted by creativity so easily, almost involuntarily – we only need to be present enough to catch that glimpse and make something out of it.

Distortion of a font through a random process. The basic idea of my work was to create a typeface in which the designer has no influence on the final shape of the glyphs. The random process is supposed to generate the shapes itself. The tool I chose to visualize and execute the random process was the pantograph. The name Pantotype is composed by the words Panto (representating the pantograph) and Type (representating the result of the random process). I determined the position of the pantograph using four-sided dice. The units of the four axes (A,B,C,D) were also determined by dice rolls. I chose the Ursonate by Kurt Schwitters to reproduce it with my typeface, so I could test it in use.

Announcing Poster for the first edition of the “Elke Twiesselmann Preis” – an award with the intention to support female actors of the degree course in acting at the Folkwang University of the Arts in Essen, Germany. Screenprinted in two signal colors.

Announcing poster for the university-public trial lectures for the professorship of philosophy at the department of design at the Folkwang University of the Arts, Essen.

Named after American writer and philosopher Susan Sontag my typeface represents (as I see it) the essence of “Camp”. Sontag typeface is visual speculation about phenomenon of love of artifice and exaggeration the writer discusses in her well know essay “Notes on “Camp””. The idea of letter forms originates from engraving typefaces principles and combines the simplicity of shape (having no stroke contrast) with excessiveness of fake swashes. “Sontag” has two styles Italic an Regular.

Announcing Poster for a concert in the series „fresh sounds“ of the master´s program New Music at the Folkwang University of the Arts, Essen. Ensemble BRuCH performs pieces of music composed by students. Fragments.

I like to think about my Typeface rorschach regular in more of an illustrative way, that transports not just the idea of transmitting information in the first place but using a font as an image. Rorschach regular is loud and as soon as one uses the font, a pattern appears for the eye which effect reminds of the psychological Rorschach procedure. Similar according to that the single letters mixed together are mirroring or even completing themselves, so one might recognize a whole new picture in it depending on the order of the letters.

Announcing poster for a screenprinting-workshop in collaboration with the artists´ collective „Palefroi“ (Marion Jdanoff and Damien Tran).

I create new alphabet font; illustrator, 3D, stripes.

It’s Chinese word, it means “I”; illustrator, 3D.

Random white stripes on black background create some letters (N, H, A, E…)

Typographic experimentation based on a modular construction. Each letter and each number are built from a single module. Each module has a different filling rate to create a game of contrasts and transparency. This reveals the initial construction of the character, its skeleton. For the filling, I used the dot technique. The sentence is inspired by an anecdote by Jean-Paul Rouve, French actor and director, interviewed on February 7, 2022 in a French television program: Quotidien, hosted by Yann Barthès.
Original drawing
Rotring 0.18mm
Black ink
40x50cm
Velin d’Arches paper 250 g

Every day we need to make decisions – easy and hard ones.
My work explores the relationship between the words “Yes” and “No” and shows that the difference might not be as distinct as it seems.

Linha de Fuga is a biennial of performing arts. To create the image of the 2020 edition we typeset the title in Phantom Sans by Phantom Foundry, laser cut the letters in MDF, painted them neon green, then photographed them out on the streets of the city so that they could perform various typographic compositions.

BKR reimagines the form of a type specimen as its own fictional landscape filled with bold catchphrases and amusing stories. Using the medium as a peephole into the three individual worlds, the reader is more than welcome to examine and reflect on the similarities and differences in the atmosphere of each typeface. BKR aims to celebrate as well as represent the experimental nature of the student-made fonts developed during the Advanced Typography course at Berlin International. Bucato typeface by Beatrice Costa; Kuku typeface by Erika Indra; Restruct typeface by Israa Abouelkhair.

A few years ago I came up with the idea of drawing letters with hands and feet. On the occasion of »36 days of type challenge« I started to create a whole alphabet and even numbers that way, which I shared on Instagram. My work »We wanna have fun« shows a few of those humanized letters on a playground. Their hands and feet enable them to skate, draw or listen to music. The typography itself shows and calls for fun. In times of life- and future threatening crises this demand takes on a different scope.

Bespoke typeface designed during the workshop One Language at the Vans Store in London.

Participants were invited to design letters with tapes and stickers on pre-printed sheets of paper with some basic shapes.

“The dancing in the Rite of Spring is agitated and uneven with performers cowering, writhing and leaping about as if possessed. Often, the dancers are not one with the music but rather seem to struggle against it. Nijinsky instructed them to turn their toes inwards and land heavily after the jumps, often off the beat. For the final, frenzied scene, a woman dances herself to death to loud bangs and jarring strings. The ballet ends abruptly on a harsh haunting chord.”- Iseult Gillespie

FFF (an acronym from “Form follows fiction”, Ole Scheeren) is a work in progress typeface that aims to encapsulate the atmosphere of The Rite of Spring ballet composed by Igor Stravinsky.