Digital 3D spray over the empty space. Rendered by Redshift and worked at Cinema 4D.

For my bachelor thesis I created a grid system to generate abstracted shapes from the necessary lines to represent Latin alphabetical and numeric characters, in order to identify one – or even more – bases of the smallest, essential fragment of the respective character.
These characters build the base of my thesis, ultimately yielding six complete sets of uppercase letters, lowercase letters and numbers and were then combined in different font-approaches. The results of the different approaches then again were used for the creation of a new Latin monospace font to close the transformation circle from system to fragment to character. This work is the starting point of the GOLEM type foundry.

Inspired by the 36 days of type project, I created my own alphabet and posted each letter on instagram for 36 days.
while creating, I followed only one rule: No letter may resemble the others in terms of “classic typography rules”.
After that, I decided to use two design directions out of that portfolio to form a “real font” out of it. One of them, you can find in the poster mockup “Hamburgefont” of my contribution. The work is still in progress, the designs show the status quo.

I combined regular money design with some dirty type to take out the seriousness out of the currency, but at the same time keep the illusion of value on printed paper.

Cross is a typeface designed on the
basis of personal visual research.
It contains aesthetic references to the
world of architecture and type design,
but also to all those visual stimuli related
to typography that I pick up while
walking around my city.

ink on paper – flowing ink. handwritten. the pen distributes the ink chaotically & the typeface takes on a life of its own and becomes a new overall image.

An endless workshop

Die Hellvetica entstand im Rahmen meiner Bachelor Arbeit und basiert auf theoretischen Themen wie Aneignung, Wiederholung, Kopie sowie Originalität und Autorschaft. Die weltweit verbreitetste Schriftart, die Helvetica, wurde als Grundlage genommen, um aus dieser systematisch und experimentell aufeinander aufbauende, neue Variationen und Versionen zu entwerfen. Mit der Absicht, sich gegen die herrschende und überholte Originalitätsmoral zu stellen, sowie ganz bewusst dem daraus resultierenden Zwang zu entgehen und im Einklang mit der menschlichen Natur und dem alltäglichen künstlerischen Schaffen ein neues einzigartiges Originalwerk – gerade durch Wiederholung und Aneignung – zu erschaffen.

For the release of @playtype’s Studio 6 typeface I designed a two-sided foldable specimen A2 poster. The poster features the shattered 6 element (which is generated in p5.js) with a playful layout showcasing the different weights on the back.

What does “Grotesque” mean in a literal sense? We know various optical principles regarding type recognition. We optimize type for micro sizes and the use on screens. We add ink traps to digital typefaces to refer to the golden age of print. In fact, we do cheat, cheat, cheat. So what if there was a typeface that was just “honest” – grotesquely ugly without any optical correction at all? Glyph width = glyph height (HET …) or glyph width referring to geometrical circles (SDO …); All diagonals refer to those of an equilateral triangle; Horizontal = vertical = diagonal stem thickness; And of course, everything aligned to geometrical center. And now look at that mess! It’s GROTEXT.

Syllaba is a typeface that imitates Hangeul (the Korean writing system) programmed to have the letters group intro syllabes, breaking down the words into syllabic blocks when a word is typed.

Display typography designed from scratch.
It’s been inspired by the 90’s sports typographies, creating a bold and very direct graphic vocabulary.

Display typography designed from scratch.
It’s been inspired by the 90’s sports typographies, creating a bold and very direct graphic vocabulary.

Display typography designed from scratch.
It’s been inspired by the 90’s sports typographies, creating a bold and very direct graphic vocabulary.

Listen closely and you can hear all sorts of noises and sounds. I made cards that can be arranged and put on a wall. They were printed with silkscreen on brown paper with a size of 44 x 26.5 cm.

The words were recorded as a video and played through a synthesizer which helped to create feedback and beautiful noise. Then it was just a matter of converting some stills into bold colors.

During the migration in 2015, for the first time since the founding of the European Union, there were increased controls at the borders within the Schengen area. Since the beginning of the corona pandemic in 2020, the situation at the inner-European borders has worsened again. Member states report a massive increase in the right-wing scenes in the wake of the pandemic. Due to the current developments within the EU, we have also asked ourselves whether the Schengen area is about to end, almost 25 years after its introduction. That is why we have decided to use our poster series to draw attention to the importance of open internal borders and to make a statement against rising nationalism and

These three different fonts are made for my master project, “Pick Me”, which is a graphic experiment, which is about eye-catching snack designs. Can’t these playful snack package designs be used for better snacks that aren’t unhealthy processed foods? These concerns inspired this project. For the design process, I collected around 80 snacks from all around the world and researched what typefaces they have on their packages. Then I decided to make three types of fonts. These three typefaces have strong characteristics but share one grid system, which is inspired by Le Corbusier’s Modulor. So they can be unique by themselves, but can be well-composed all together on a same product.

I made this tool with processing in the class “Code && Type” at Bauhaus University. This tool reads a brightness value of a pixel from images and converts it to an SVG shape I put. The shapes are changed by mouse movement and also colors can be changed by key press. The changes of the letters make an interesting appearance by accident. And also, viewers can capture the moment they want.

Experimenting with photography and typography by capturing water drops on glass above printed typography compositions. A combination of the digital and physical world, aiming to break the boundaries of typography and explore new aspects and dimensions around it.

Experimenting with printed typography on transparencies, using the scanner. The power of the hand gives life and energy to the letters, emphasizing how playful typography can be.

Poster based on the inspirational quote “In a gentle way, you can shake the world” by the Indian Activist Mahatma Gandhi. Aiming to make people think and take action, this motivational poster suggests that each person should follow these powerful words, take action, and change the place we live, into a peaceful world. The main part of the poster is a long exposure photograph, a result of a paper with cutout typography, black background, and flash.

Which is the relationship between hopes and dreams? How can each one transform into the other through experimental typography? A visual journey that combines the physical and digital world with the use of photography (water drops on glass above typography prints) and digital design.