The FOAM typeface was made from a typographic experiment using letterforms from the font “Times New Roman”. The intent of my investigation was to experiment with letters as an art form. As a result, I created cropped letters as unrecognizable compositions. I added black and white textures, such as cardboard, window nets, image distortion, and spray foam to each abstract piece. I gravitated towards the rough uneven surfaces of spray foam, a material that allowed me to create a unique typeface.

We have developed another, lighter typeface of the Ripple font family with eighteen lines in the letterform. The character is smooth and harmonious, and its missing rigid structure makes this font perfect for any kind of visual experience. Each letter interacts with any letter of the typeface to produce unique combinations. We wanted to take the lined forms to the next step and obtain more illustrative variations of the Ripple font without compromising on the idea. Ripple Swing Display font is made for showing off in posters, headlines, and on large-scale implementations.

„Am Ende Licht“ ist eine typografische Auseinandersetzung mit dem Sprichwort „Es gibt Licht am Ende des Tunnels“. Gerade jetzt, in Zeiten vieler Krisen, ist nicht immer klar, dass der Tunnel endet, wir ihn passieren können und danach wieder unter Sonnenlicht stehen werden. „Am Ende Licht“ ist in hellen, lebendigen und warmen Farben gedruckt, die nicht nur Hoffnung geben, sondern den Betrachter auch beruhigen. Denn ja, es gibt Licht am Ende.

Panorama is a colored monospaced font that emerges from a desire of finding other visual ways of communication and transmission rather than using typography and letters.
This book depicts and illustrates the diverted using of “Glyphs”, known as a software allowing the construction of fonctional fonts.
Led by an ongoing process of creating a font in a paradoxical
modern way, this diverted use software allowed the creation of a visual typography. It permitted to generate different panoramas thru the creation and the construction of this monospaced font.
Behind this collection of landscapes hide a real alphabet made with a font-tool. A new way opening a door to the creation of new alphabets

A book about David Lynch’s ‘Mulholland Drive’. The book consists of extracted phrases and words from the film, which hints at the film’s overarching multi-layered narrative. The text are treated simply, such as slicing, stretching and blurring. However, these simple forms are given the freedom to juxtapose and add complexity to one another, depending on the pages the reader flips. Each page layers onto one another and the multiple layers begin to formulate different varying complexities. At some point, text becomes image and it’s difficult to distinguish the boundaries between them. The loose nature of the book lets the reader navigate between clarity and complexity, on their own.

A celebration of monastic life

2021 marked a thousand years of Monastic life in the Dutch province of Brabant. Graphic design has a rich tradition that is closely linked to monastic life. It could be argued that the monastic scriptoria laid the foundation for the spreading of knowledge and contemporary graphic design. To allow people to (re)discover the origin and value of handwriting, an interactive installation was conceived. Thanks to an automatic process, each collected manuscript was converted into a digital font. Finally, all thousand manuscripts will be bound in a book, resulting in a Gesamtkunstwerk of handwriting by the people of Brabant: the Manus Brabantiae.

Cooks Creek is a historical spot in Winnipeg that I visited during the summer and I decided to use the photos I took for the poster. The design consists a lot of clipping mask, distortions/warping and marble-like patterns. I customized the type by using the bloating effect on Illustrator to produce flower-like shapes mostly on the rounded letters. The type is also warped using different warp effects on Illustrator but I made sure that there is still a balance between the letters. The photo is edited on photoshop to add textures, camera raw filters and hue changes.

Sonnets is my attempt at experimenting with symbols and typography, and how just the shape of letters can transform into beautiful patterns. The shapes are inspired by ornamental architecture, Arabic type flair as well as the beauty of repetition. I wanted to see if each letter could say something interesting, repeating into rhythmic visual sonnets.

Typeface – a face consisting of the Zapfino Font

„If you feel lonely, surround yourself with everyday noise.“ (Homeshopping commercial). In „Hausmusik“ everyday life sounds are rhythmically adjusted to a beat, the associated terms are animated to the beat… And yet everyday life seems not so boring anymore.

Ripple Air grew out of a concept of how font components or letters can interact with others by overlapping and causing a Moiré pattern effect by simply combining and moving the geometrical forms. This headline font is neither functional nor follows the usual graphic approach. Its development is not representing the traditional step-by-step procedure driven-way to develop a font. Its starting point is the trial and error method. Due to the complexity of the font, multiple attempts were made to reach an adequate result. The huge number of paths of the fonts were optimized to its best using a font editor to export the font and to solve all technical problems.

Inspired by “Before The Water Gets Too High” by Parquet Courts I created this calligraphic lettering piece. For this artwork I experimented with the boundaries between readability and a visually interesting design.