This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

This series of work is a rally cry against the American economic system that concentrates wealth and power in the hands of so few while leaving so many at the mercy of an uncaring government. It demands justice for the proletariat. It demands freedom from the American oligarchy and the stranglehold they have on our ability to lead lives of health, education and happiness. It uses symbolism reminiscent of the Norse God Loki and his fight against the Aesir of Asgard while overlaying broken type on top of Hamilton Nolan’s powerful essay on making the rich uncomfortable. The broken type provides a weak structure to the overall design while attempting to story tell at the same time.

In my work I experiment with the recognition and understanding of forms we commonly accept as letters. The criteria for visual symbols conveying visual language prioritizes unambiguous communication. In this work however, I capitalize on connotational power of letterforms to create various readings of a type-image that conveys altered visual messages. The objective is to make the viewer pause, disrupt expectations, and to spark ambivalence. Words of insignificance assume an existence of their own. I utilize and experiment with “found” text fragments that are derived from the everyday. Deconstructing these helps to reconceptualize an idea of a convention we heavily rely on for communication.

The types came along in the experiments in creating identity and campaign for a hypothetical experiential NFT art creating studio named www studio. The brand stated as a challenge and questioning to what is ‘art’ and the establishment of ‘identity’ in modern society. The name ‘www’ stands for ‘who owns what?’ and ‘who we are in this world?’, it’s also widely known as the short for ‘world wide web’ on the Internet thus also as a meaning connecting to the virtual network. Anyone can enjoy customised merchandise and produce art works that directly coded as NFT to sell or self owned as a ‘profile’ in virtual world with simple sketch in the studio.

BLOW is a variable, monospace, dot matrix typeface, playing with the hypnotizing effect of contrary growing and shrinking dots. It includes 3 axes, one for the unique shifting effect, called shift-axis. Furthermore, one axis for the weight and one axis for spacing, which makes smooth spacing and interesting intersections between letters possible. BLOW also includes an OTF stylistic set alternative to the standard monospaced space, called “Alt Space”, which contributes to its legibility in larger texts. The combination of all 3 axis changes its appearance in many ways, which makes its typographical expression very dynamic. BLOW is still work in progress and not published yet.

Should legibility and function be the main type design’s issue?
Are they only letters because we can read them?
Weg is a type system focused on the study of how latin glyphs are constructed and how their ducts can be modified. I’ve explored how far I can move the limits if I don’t worry about the legibility. The letters are perceived more than readed.
Weg is built by a single line that connects all the characters, along with words and paragraphs while they set text page or pattern page.
When weight decreases, legibility increases. If you get used to “reading” it, it becomes legible. The aesthetics put a strain on the beholder, who wants to read the text.

Exploring artificial intelligence to inform lettering and typography by injecting a random seed of chaos into the letterforms.

I created my designs for a uni course around experimental typography. The intention behind the posters was to use typography and make them illegible, however, without losing the design and aesthetic aspect.

2020 with the outburst of the pandemic was a strange year for everyone. And it still is.
We decided to sum it up and give it it`s own soundtrack. We tried to bring in a tiny sense of humor for weird times with weird typography and animations. Which one is your favorite song of the year?

For the official Exhibition of the Tokyo TDC 2020 Awards in Ginza/Tokyo we designed the Poster-Duo. It is printed in a double deep black with 2 Pantone Colors on each poster.

The font runs from one line to the next but separates individual letters and likewise some letters are dynamically distorted in their width. This gives a feeling of movement .

On the poster we have played with the sound of the voice of Molly Burch as you can find in some of the glyphs. The vibrato or the sadness inside her voice are transferred into the glyphs of the Title.

Poster for an exhibition at 48h Art Festival Neukölln, Berlin. This exhibition was located at an old parking house in the center of Neukölln.
You can find the Name of the Exhibition in the red curled Line between the blue one.
It was printed in a Screenprint 2 Pantone Art Edition.

The poster is created with different “sheets of Paper” which are printed with the Bandname and all the other informations, then composed in a collage and rebuild in InDesign.

Poster for an Exhibition of Lena Schramm in Berlin. The Typography is cut because of the many Layers that is giving the feeling of something is wrapped in something.

Typography created for adidas Xploric. Herzogenaurach, Germany, 2020.

Remix of different counters of a font.

OBLQ is an interactive design generator working with the intersection of typography and animation to create shirt designs.

The extensive use of handheld controllers while working in VR got me interested in the idea of handwriting in virtual reality. What could handwriting look like when it is performed in a VR environment? Clipper is a first try of answering this question with a naive 3D „typeface“, handwritten in VR.

This work is a very literal description of my emotional states when using social media, specifically Instagram. Ironically, once this piece was finished, the first thing I did was uploading it to Instagram and waiting for likes, comments and follows to come in. Still caught in the loop.

Using virtual reality tools as a means to create typographic work takes quite some time and effort to get used to. It feels very different to me than any other tool I previously used to create type. This is probably because working in VR is a rather new experience to me which I still have to familiarize myself with.

This work is inteded to communicate my efforts in fostering a symbiotic relationship between myself and the machines I use.

This a resubmission of my previous file by the same title with rich black and bleeds pulled. Apologies!