There is not much to say, its just numbers written in photoshop with a square brush. It looks ridiculous. It is probably going to be a trend in typography if it’s not already. I should make a font out of it.

Save the world, clear the air, clean the seas.

The type responds to the climate crisis and uses irregular/imperfect circles to suggest the state of the climate.

Is the application of a
rainbow gradient on the letters A, B and C

TEXTURE REIFENSPUR

Is a collection of wheel track textures.

Each graphic is the repetition of a German word related to speed, shaping a pattern to resemble texture.

PURPLE GLASS SEQUENCE

Is an extract of an Excel-made font,
only using the letters A and B.
Both signs explore the visual qualities of light and shadow of glass in a psychadelic atmosphere.

ABC TOMATOE
is the experimental examination between a tomatoe and the first letters of the alphabet.

This typeface was inspired by the shape of cacti, the light reflections you might see if they had a glossy surface, and slightly also the roughness of mountains mixed with the filigree veins of leaves. The font is suitable for titles and looks really well in white on a dark background.

For this typeface, I started with Old Caslon. The first step: print. My printer produces the first printing errors. Then I transferred the letters to linoleum. Thin lines became thicker, curves were no longer round. The next errors. Cutting the letters produced another transformation. Slipping off, tearing out, mistakes happened. Lots and little color affected the appearance of the letters in print. Printing errors caused by too much and too little color. Through scanning and digitizing, these errors finally found their way into a typeface: Mistakes.

Linear was born from the desire to express the planes of perspective in three dimensions. The Linear font refers to the basic geometric shapes. The gaps within the font balance the work. Linear is a great font for titles and subtitles of posters and art projects.

The Klaronaut font is an abstract font and it combines simple shapes. The poster shows the design grid with the finished font below. The colored dot in the design grid is a symbol for the Klaronaut logo. Klaronaut is a project that started in 2020 and serves as a balance to the university for me.

Metallic text effect with the font cera.

Best viewed as an ongoing series of typographic exercises, each “Composite” is an abstract reconfiguration of the graphic elements that make up a single majuscule letterform from an existing typeface. Scaled and centered within a square format, two identical instances of the chosen letterform are cropped into fourths and sixteenths, respectively. The subsequent twenty unique geometric segments are then reconfigured or discarded in order to create an original nonrepresentational composition.

Different outcomes that shows the type of work I create from Illustrations to experimental design typography using shapes.

Mild was born while
working on a branding project.
I was creating a logo for a copywriter
and out of all my proposals,
its hand-sketched lettering
caught my eye.

The lettering wasn’t selected
for that particular brief, but it had
potential. I sketched it out and
reconsidered the concept,
refining it into a set of letters.
Eventually, I arrived at the complete
typeface with the boldness and edge
I had sensed in the original
hand-sketched version.

Mild was born.

In the seminar “New Alphabet” by Prof. Eva Kubinyi at the Aachen University of Applied Sciences, teams of two developed modular fonts and presented them using a digital or analogue medium. In this project, the font was developed based on the shape of crystals and presented in a newspaper. The modular typeface is called “chrystallis” and was designed by Dilara Cekic and Eva Bauer. The writing is presented in the newspaper using the first stanza of the poem “Kristalle” by Heinz Bernhardt Ruprecht.

Calisz is a experimental, custom type based on simple geometrical shapes arranged on a square grid composed of two lines intersecting at an angle of 90 degrees.

“Welcome to the Machine” explores the potential of 3D software in typography. By using micro and macro typographic experiments, this project aims to investigate the properties and strength of the software and discover new visual worlds.

In her thesis project Stella Kornfeld created an experimental series of images. Over the course of three month she created a variety of images, while working on a different topic every week.

During the project, more than 2300 images and animations where created. These results where collected and summarized in a compendium, to make them accessible to others.

My work focuses on a counterintuitive view of typography and letterforms. It is deeply rooted in our brains to read and pull meaning from written language. My work is focusing on breaking the connection between letters/words and a written message. Is it possible to break that connection?

My intent is to make abstract work that is purely based on aesthetics. There is no deeper or hidden meaning in my collages, the goal is to create something that feels good. I want my art to create a sense of belonging regardless of the environment it is placed in. It is not art for contemplative thought, but for a satisfying feeling that induces familiarity as well as newness.

Typographic research presented on specimens.

Lorna Mulligan’s calligraphy explores the interaction of traditional calligraphic techniques with more contemporary expressions. Words combine with the drawn line creating an interplay of colour, form and movement. She continues to be inspired by the chaos in nature and the beauty of letterforms.