The London Design Festival commissions designers & architects to produce site-specific installations. For Finsbury Avenue Square, by Liverpool Street Station, we designed a playground of 26 coloured chairs.

We wanted to design an installation with which the public could interact, exploring unconventional relationships between the human body & the material environment.

Our talking furniture was an exercise in making the alphabet concrete. First we designed a typeface: each letter was made from two folding lines. We turned the typeface into three-dimensional drawings, based on human measurements. We then worked with a production company, drawing on their knowledge of metal folding & welding.

My project consists of experiments with letter shapes inspired by coding in Drawbot. All the posters are united by the idea of pushing boundaries of recognisability and emphasizing unique parts of letter constructions.

Most of these videos are the result of my collaboration with Type Today. In series of works I tried to unfold the potential of creative coding in type animation and interactivity.

Emblematic typeface for Itelyum, a chemical group operating in the circular economy offering environmental services for the management of industrial waste.
The font is unicase, it contemplates only capital letters and numbers, with uniform proportions and constant line thicknesses.
The design is derived from the company logo, where the sign matrix is composed of a geometric modular grid.
The alignments of each glyph have been designed so that the typesetting can generate variable, compact and graphically abstract images.

Bespoke font for Breton Group, manufacturer of industrial machines. The typeface was designed for the logotype company and the composition of short texts and titles. The proportions of the letters are guided by a square module grid to form a compact text, bordering on legibility, in favor of a geometrically visual communication, as a metaphor for the company’s engineering background.
The ‘BretonType’ – which has its roots in the rationalist typography of the early twentieth century inspired by Theo van Doesburg’s mono-alphabet “square” – integrates uppercase and lowercase letters into a unicase type (175 glyphs), introducing the use of ascenders, descenders and 144 automatic ligatures.

Beer mats are usually seen as a profane everyday object and advertising material for breweries. They keep tables clean, encourage procrastination and help bridging boring conversations. These typographic coasters don’t only look different, they deliberately celebrate diversity. None of the characters corresponds to the norm, each has its own expression, its own intention, its own roots. Each one is allowed and supposed to be different—together these seemingly contradictory variations form a bigger picture, the “House of Type”.

It goes beyond the stereotyped realities that exist in the world and design. The
resulting chaos represents reality while pretending to stay away from reality.

This work is a transcript of a dialogue on generative, written language. Through a process of human embodiment of the algorithm, this project has gradually taken form by investigating the borders or blurring the lines between oxymorons such as Type vs Image, Static vs Motion, Rational vs Irrational, Reflective vs Reflexive and Human vs Machine. By giving a voice to each of the extremes, this arbitrary thesis aims to explore the thresholds and conventions between text and language through a vernacular typographic system of calibrating and corrupting a range of meticulous, yet erratic, processes in the search of the unexpected. 

We had the opportunity to design a poster for the album launch of Elian Zeitel at Neubad Lucerne. Together with her band, Elian creates worlds of sound that can range from massive density to chamber music clarity, complemented by light and buoyant grooves. We tried to capture this spherical soundscape in our poster.

The text has been written with a pen attached to the solar-powered vibration motor.

Pestifero is a uniquely hand-drawn display typeface that gives infinite customizable options and a fully authentic look. Pestifero’s idea originates from an urge to combine type design with graffiti. Almost like using a sample for making a beat. So I focused on a familiar font and melted it with a typical spray can stroke. I’ve started designing Pestifero in 2021 and I still work on it. Through experimentation, I have found that the larger the font is used, the more you feel the raw energy that I love so much in graffiti. Peace

Layout (size 210 x 297 mm) for a calendar (year 2022) with customized typeface (numbers) for an electricity company. This typeface is based from geometric shapes, with variations of size (and hatching).

Dusseldot has three main styles, one of which is a classic font as we know it, and two are abstract forms, which represent the movement of a person walking through Düsseldorf, recorded through GPS tracking. Variability allows one style to flow into another smoothly; this deformation can be stopped at any point, isolating the movement within phases. It enables the creation of twisted glyphs. Dusseldot supports most European languages ​​and Cyrillic.

Wood letters (from customized typeface) with red plastic support glued over it. This sentence offers two levels of reading because of the hidden word “Move” (hachured letters). Another way to present typography outside of print medias. With integration of these letters in an environment (and other pictures for making-of).

For a billboard in Hamburg Eppendorf, a poster design was created that deconstructs the individual components of the term spring and reassembles them into a typographic pattern.

For the stamp design competition with the theme “100 Jahre deutscher Tanzsportverband”, three designs were created that illustrate the concept of dance using typography. Curves, twists, repetitions and the movement of individual body parts are translated into geometric shapes that form as part of a lettering. (not realised)

For the stamp design competition with the theme “100 Jahre deutscher Tanzsportverband”, three designs were created that illustrate the concept of dance using typography. Curves, twists, repetitions and the movement of individual body parts are translated into geometric shapes that form as part of a lettering. (not realised)

For the stamp design competition with the theme “100 Jahre deutscher Tanzsportverband”, three designs were created that illustrate the concept of dance using typography. Curves, twists, repetitions and the movement of individual body parts are translated into geometric shapes that form as part of a lettering. (not realised)

The „SEKT AUF EIS“ type was born during a cold winter night with cold drinks! To still be able to drink cold drinks during wintertime, there was a need of a scarf. The type is based on champagne-Bubbles. Stretched and positioned on a grid you can read the type. If you are very close, you are not able to read it and its only a pattern which is decorative element for the scarf as well. We also wanted to play with the tipsy feeling while you have some glasses of champagne.

The design was created for a competition to mark Beethoven’s 250th birthday,
it combines the typography with the notes of Beethoven’s popular piano piece „Für Elise“ into a pattern. The colour and individual components of the notes are repeated in the typography and allow image and text to merge.

George regular is a custom type design playing with irregular blocky letters. A personal poster project series as a specimen produced to experiment and illustrate the possibilities of an irregular design. Type for the future. A tribute to George Constanza, the most irregular character.

I have recycled a photo of a synthesizer modul to make it become the foundation for building typeface family.
I have stripped this image down to a grid on which to design aesthetically coherent glyph systems.
After this «semantic shift», the DNA of the initial image continues to resonate in every letter deriving from it, as well as in the words these letters form.
Although the process is codified, it is the designer’s subjectivity that ultimately prevails: he is the one who selects the elements of the image on which to trace the grid; it is he who defines the glyphs that will compose, in a coherent way, the new alphabet.

I have recycled a photo of a trellis to make it become the foundation for building typeface family.
I have stripped this image down to a grid on which to design aesthetically coherent glyph systems.
After this «semantic shift», the DNA of the initial image continues to resonate in every letter deriving from it, as well as in the words these letters form.
Although the process is codified, it is the designer’s subjectivity that ultimately prevails: he is the one who selects the elements of the image on which to trace the grid; it is he who defines the glyphs that will compose, in a coherent way, the new alphabet.