This poster explores inner energy as a personal source of strength and transformation. Through fluid, flame-like forms and intense contrasting colors, the work visualizes emotion in motion – unstable, powerful, and alive. It reflects the idea of embracing one’s inner fire rather than suppressing it, allowing identity to burn, change, and exist freely.

Four poems rotate in a loop. They address the abstraction of written language, terminology, and communication as a visual form. Using Blender Geometry Nodes the typography is distorted procedurally in multiple ways.
AH. FADES CALLING DRIFTING VANISHING FALLING WHISPERS OH.
WE STAY WAITING. DRIFTING LOOSING SLIPPING, GONE. NOW:
COLD BURN TOUCHING; SHIFTING BREAKING FADING LOST-STILL.
COLD CUT! SHARP DIVIDING. FRACTURE BURNING DEEP & WIDE.

“YWCTF” is a photographic poster that attacks governmental and ideological frameworks that oppress and criminalize bodily autonomy. The message is inscribed onto the skin, binding the protest and the body into a cohesive surface to establish bodily sovereignty as an imperative political reality rather than a debate matter. Trans bodies, female bodies, immigrant bodies, and all bodies shall not be coerced to suit any doctrine, including that of the observer as confronted by the pronoun “you.”

The concept of this project was inspired by the philosophy of the absurd — the compulsive search for meaning where there is none. As we vainly seek wholeness, the elements of our reality are abstracted into smaller and smaller parts, until they become pervasive noise. The more we try to make sense of it, the more it becomes unintelligible. This project depicts this spiritual, human process through visual experiment, using the tools of typography.

Text exploration with TouchDesigner.
Kokichi Mikimoto was a Japanese entrepreneur who is credited with creating the first cultured pearl and industry, his legacy served as an inspiration for this work.

I am an artist and graphic designer based in Rotterdam. My work explores experimental ways of creating letterforms, allowing process and chance to shape the outcome rather than predefined decisions.

0016 is a digital tool I developed to create letters without knowing the final result. Through interaction and transformation, the tool lets typographic forms emerge unpredictably as part of the process.

I am an artist and graphic designer based in Rotterdam. My work focuses on creating letterforms that move between readability and abstraction. My process is experimental and driven by exploration, using materials, techniques and tools in both analogue and digital form. I embrace the unexpected and allow chance to influence the outcome.

For this work, I used a garbage bag, transparent foil and white ink, allowing the behavior of the materials to determine the letterforms without control.

The key visual was developed through an experimental typographic process on 16mm blank film. Different typefaces were precisely cut onto the film using a cutting plotter, then manually colored with felt-tip pens. The film was projected and filmed again, reflecting the festival’s focus on filmmaking. Removing the letters revealed strong negative forms, resulting in a bold typographic identity.

Liquid Mercury is an experimental display typeface inspired by molecular diagrams and the behaviour of liquid metal. Letters appear to form from smooth, viscous droplets, blending organic fluidity with digital precision. Interlocking joints and soft, rounded edges evoke molecular bonding, motion, and transformation. Designed for impact rather than long text, it suits sci-fi branding, experimental posters, and conceptual digital work, presenting a living, metallic, and evolving aesthetic.

A book of experimental typographic exploration inspired by natural processes. Fonts undergo digital decay through artificial intelligence, transforming their structure into organic forms and stripping them of legibility. AI acts not merely as a tool, but as a co-author, whose unpredictability shapes the emergence of lifelike entities, born from the interplay of digital manipulation and organic transformation.

Dächer Mono is a monospaced typeface inspired by urban structures. The foundation for both the monospace design and the stylistic set lies in distinctive roof shapes. The result is a typeface full of intriguing visual interruptions that subtly weave into the flow of reading. The typeface includes 468 characters across five weights, ranging from Light to Brutal.

The piece presents a text in an unconventional spatial format, where written content is displaced into a rendered abstract 3D environment. Text is distributed across clustered torus forms, prioritizing aesthetics and form over linear reading. Through this spatialisation, legibility is intentionally disrupted, positioning unreadability as a generative condition and treating form, movement, and perception over meaning.

The work investigates experimental typography through a hybrid digital–physical process. Found imagery is reinterpreted using AI, then processed through a custom node-based system in 3D software where images are layered and converted into ASCII characters. The result is refined through image editing, printed, and re-digitized, introducing material distortion and loss. ASCII functions as a typographic structure where image, node networks, and typography converge.

In medieval times, illuminated manuscripts were meant to be read in front of a light source. The flame of a candle danced behind the letters and illustrations, giving life to the content. These venerated shapes deserve new life; they deserve the same care as contemporary letters. These majuscule letterforms have been carefully arranged in radial patterns to form new and unconventional symbols. Resembling stars and other celestial bodies, they yearn to dance before the light once again.

A Tribute-to-Wolfgang-Weingart-Silkscreen-Poster for the first-semester exhibition “Experimental Design – Our Way to Typography” of the Information and Communication Design study program at Rhine-Waal University of Applied Sciences.

In this project, the Palace of Justice Barcelona becomes a cipher rather than a monument. Through abstraction, the building’s formal logic is translated into a visual vocabulary that moves between geometric structure and symbolic mark-making. Certain forms recall archaic scripts, such as cuneiform or lost alphabets, suggesting that architecture can function like language. While legal discourse governs interior justice processes, this visual writing offers a parallel reading of the structure.

Through the medium of typography, the project examines how we perceive our environment and how we in turn can shape it. In particular, typefaces and signs that emerge in subversive and often improvised ways offer a valuable visual resource for urban communication.
As a sociocultural expression, the type-system is variable and human, much like the urban environment it reflects.
Beyond the digital dimension, the type system reclaims the city as a physical manifestation from which it originated.