UNTITLED IS A WORK I MADE TO DISPLAY
INDIFFERENCE FOR INJUSTICE AND RASCIST HATE CRIMES.
IT SPECIFICALLY DEALS WITH ALL (REPORTED)
RACE-RELATED MURDERS IN GERMANY FROM 1950 ON .

MY TOOL IS THE KNITTING PROGRAM DESIGNAKNIT AND ITS OUTCOME: A SLEEVELESS SWEATER.

THERE ARE SEVERAL MEANING LEVELS TO THE WORK, WHICH ARE SHOWN IN THE MAGAZINE DOCUMENT.

The typeface Examen Mono was created for a graduation exhibition with the main theme “ausbilden” (german for “to educate”, but also “to form” / “to evolve” / “to occur” e.g.)

It’s loosely inspired by scrap and remnants (punching slug) that left over from metal shaping processes, like blanking. It also refers to Bradbury Thompsong’s “monoalphabet” Alphabet26, with its mixture of uppercase and lowercase letters with the same size.

The goal of woggle is to display natural movement within a fontset. By framing mealworms as the core element, the font itself becomes alive.
This experimental approach was not only challenging during the production, it also confronted me with my own fear of worms.
I believe this emotion may be mirrored in the audience when watching the showcase, though I do hope that it also triggers curiosity as well as a positive respect towards these creatures – just as I developed over the time of the project.

woggle is a project created during my bachelor studies @ HAWK.

The control handles define the shape of the curve on either side of the common node, and can be manipulated by the user, via the software. Bézier curves were adopted as the standard curve of the PostScript language and subsequently were adopted by vector graphic and font generating programs. Today the Bézier curve is still considered the most fundamental parametric curve form.

Finnegraphein is a project that explores the evocative and polysemic abilities that make up the language of James Joyce’s Finnegans Wake. Project deals with the communicative potential of letters and their simultaneous textual and pictorial properties, resulting in the to creation of an “antiabecedarian” alphabet for “toptypsical readings”, following the methodology inspired by that of the Irish author.

Main title: Rawya’s workshop
Rawya’s workshop is an Egyptian Documentary about the first Egyptian woman to open her own pottery workshop in Tunis village, Fayoum, Egypt.
Rawya is a very rebellious woman who insisted on making a strong career for herself despite all the people who discouraged her.
The poster was created using actual Egyptian clay and pottery shaping tools.
Captions Translation:
“From the age of 12 years old”,
“Strong independant woman”,
“Broke the rule”.
“From Tunis Village To The World”

変身(Henshin)=Metamorphosis is an experimental project on Japanese Kanjis. Using variable fonts I’m transforming ideograms into pictograms depicting their meanings. In this samples 山(Yama)=Mountain and 木(Ki)=Tree.

Main Title: Best Times
Best Times is an Egyptian movie about a girl receiving letters from an anonymous. She goes on a journey to search for the sender, then realizes it’s her stepfather who loves her like his own daughter, and has been hoping to connect with her. The poster visualizes her guesses of the sender, the path shape portrays the word “Best”, and the start point is also the end point, her stepfather.
Captions:
Friends, dad, Neighbor, Teacher, “Rabie”, the stepfather.

*! had to uplpoad this again ! in my previous upload there was a wrong magazine file – here is the correct data!

The letters of this alphabet were constructed using paper triangles on a set grid.
The shape of the triangle appears in the grid. Due to the selected triangular shape in the grid, the letter is placed on the grid analogously with this shape. The shape of the square and the bisected square and thus the triangle play the elementary role. The geometric shapes create cubist-looking letters. Everyone has different approaches on putting a letter shape on the grid, this creates endless possibilities to experiment with the shapes.

In ‘Spaced Out’, I incorporated typography into a multimedia acrylic print painting.
I created the font I used specifically to look sleek and slightly futuristic to see how it would perform when embroidered onto canvas. I wanted to explore the contrast between digital font design and traditional techniques like embroidery, and how it creates imperfections in a clean font.
I believe that those imperfections can make the fundamental features of the original design stand out.

abstract arabic type experimentation

The statement of this poster is derived by the experimental design process: life seems clearly recognizable here and now, but the further we look into the future, the more diffusely we can capture, plan and predict. The analog design technique is based on random scans where the letters of the word “future” become gradually less accurate. The abstraction of the letters are used as a deliberate stylistic element to support the poster’s message and its visual representation.

The statement of this poster is derived by the experimental design process: life seems clearly recognizable here and now, but the further we look into the future, the more diffusely we can capture, plan and predict. The analog design technique is based on random scans where the letters of the word “future” become gradually less accurate. The abstraction of the letters are used as a deliberate stylistic element to support the poster’s message and its visual representation.

Abjad Lino is a Hebrew-Arabic layered font. Letters with similar sounds from both alphabets are adjusted to one another, so when the layers are overlapped, it is possible to see the commonalities and differences between both scripts.

BABEL2014 is a joint character set for the Latin, Cyrillic, Hebrew and Arabic alphabets.
The character set was developed to show similarities between letters that look completely different at first sight, although they derive from a common historical source – the Phoenician alphabet.
Each of the BABEL2014 characters stands for the same sound in the four alphabets (sometimes it is mirrored or rotated). The signs are inspired by print script, cursive writing, majuscules and minuscules. Each character is a «transition» between the different alphabets.

The project “100 Ways to Move an A” questions the results-oriented design and puts the process in the foreground. It was created as a personal project in addition to a semester assignment at the FH Potsdam on the design of a dynamic character set. According to one of the guiding principles of Sister Corita Kent “If you work it will lead to something” the idea was sought in the design and not in the sketch. The result is the indefinite design of 100 moving characters. It invalidates the directly analyzing thoughts in the process and leads to new, unexpected results.

The typeface was created for a poster on the subject of “Monopoly”. The letters consist of two shapes, a square and a shape that looks like a small house. The font is based on a grid and was created using the online modular design and text art tool Glyph Drawing Club. An editor based on a customizable grid that users can “draw” on with a set of geometric shapes or with any typographic symbols.

Poster designed for “Panejamento” (draping) — a mutable sculpture exhibit. The geometric concrete volumes were changed everyday by the artist, like a cloth draped over the gallery space.
The type image made for this poster was 3D printed and photographed with the structures visible, arranging the letters in a composition as if the type were the sculptures themselves.

Wareniki is a draft project. At first it started as a contribution to the 36daysoftype movement, and then turned into something else. In light of the happenings in Ukraine I found myself in the same dilemma, as many other creatives working in the industry. How can I live and work, like nothing has happened? What can I do, as an artist, a graphic designer to do good? The name ‘Wareniki’ is made-up word, consisting of the word ‘WAR’ (because the Russian propaganda wouldn’t call it what it is) and the popular Ukrainian food Vareniki. Wareniki Display has one weight, and is characterized by organic, seaweed-like curves, and wiggly letterforms.

Structural packaging design cover for RARITIES by Lorn. Its cover is made from a single piece of paper folded in such a way to contain a CD. Fragments of the pixelated title can be seen in all stages of unfolding, but are only readable when fully opened, inspired by the way HDDs save data.

The font came to light from the urge for a deeper understanding of technology, which is omnipresent in our daily lives. Therefore, electronic scrap was deconstructed, looked at and ideas began to spark. Several objects have arisen circling around theoretical and practical aspects of humankind‘s extraordinary achievement: to communicate over time and space through type.

The heart-piece of those artifacts is an analog laser using a technique discovered in the process. By focussing sunbeams through a lens on graphite traces on paper, shapes of all kinds can be burned into the material in a distinctive, unique formal language. Following this principle, the PNG-Typeface „Mindset“ emerged.

The animated poster was created as a submission for the Heidelberg Symposium, part of the Heidelberg Art and Culture Prize, with its annual focus on the subject “Keep Restless”. As an independent project as part of the course “The Moving Poster” at the University of Applied Sciences Potsdam, it was supervised by Prof. Klaus Dufke and Prof. Sven Voelker. In “Keep Restless”, self-rotating cuboids try to connect and repel each other, seemingly at random, within a three-dimensional space. In the movement, communication, relation and transformation are thereby depicted in an abstract way. Endless intermediate and transitional images of different configurations are created.